The Cage
by Jef Tan
Short Film
Email: [email protected]
Two women in similar circumstances, yet worlds apart, share a story where they might inevitably have more in common than just a fictional character.
The Cage
by
Jef Tan
Name Jef Tan
Address 12/22 Saxon Street, Brunswick. VIC 3956
Phone 0403800791
Email [email protected]
Copyright Jef Tan, 2007
Registered with the Australian Writers' Guild
No: 11920INT. BETH'S KITCHEN. DAY.
BETH stirs the second cup of hot chocolate while her new
neighbor watches. She fixes her hair slightly to the mirror
in the kitchen adjacent to her. No point hiding those grey
hairs now. Up close she can catch the distinct lines on her
face especially around the eyes. She opens the cupboard.BETH
Handed down from generations. One
cup to another.
(chortle)BETH takes the jar of marshmallows down and opens the cap.
LIZ
I'll skip that, thanks.BETH
What? And miss out on the real
deal? My momma, God bless her soul--LIZ
I'm on Atkins.BETH
Who? I'm sorry--LIZ
It's a diet Beth.
(smiles)
It's a city thing.BETH
Oh yes I think I remember hearing
about it on Oprah.BETH serves LIZ the hot chocolate and both sit down at the
table. Liz is in her early thirties, nearly twenty years
younger than Beth. The clock behind Liz reads: 2 PM.BETH (CONT'D)
Well I see some of those women who
need it -- and look at me-- I sure
need it but you?
(shakes her head)
-- must be a young person's thing.LIZ
It's pretentious I know.
(pause)
You know what? For the hell of it.BETH
You sure about this?LIZ nods, smiling. BETH turns and takes the jar from behind
her chair.LIZ
Just so you know, those things are
made from the fat and bones of
pigs.BETH
There's your fat and bones.LIZ picks up her mug and lifts to toast. BETH, slightly
surprised, lifts hers too, laughing.LIZ
To friendship.BETH
And putting up with all my stupid
stories.LIZ
They're not stupid Beth. Besides, I
should thank you for making me feel
at home. Especially in this town.BETH
It's not easy fitting in believe
you me. I should know. When Frank
and I moved here twenty eight years
ago--
(stops, dismisses herself)
-- I'll save that for another time,
Lizzie.LIZ feels her pregnant belly. She looks down at her hands
caressing her stomach and looks up again smiling.LIZ
He likes your hot chocolate, Beth.BETH
Well you can tell him that his
momma will inherit MY momma's age
old recipe someday. Have you
thought of a name, sweetheart?LIZ
Nah. Plenty of time for that.
(pause)
Never thought about having one
yourself?BETH sips her drink. Looks away, uncomfortable.
LIZ (CONT'D)
I'm sorry I shouldn't have--BETH
Frank says it's not a good idea. He
sorta changed his mind after we
married and well, I'm a woman who's
set in my ways so it's probably a
good idea.
(fake smile)Awkward silence.
LIZ
You know Beth, you really should
write your stories down and publish
a book--BETH
-- Frank says --LIZ
No, for real Beth! That woman who
wrote Harry Potter? She's stinking
rich now and she can do whatever
she likes.
(beat)
I'm sorry-- I don't have the right
to--BETH
No, you're probably right. Maybe,
someday. I wanted a computer once,
you know, keep up with the times
and all and Frank said it'll be a
waste of money-- but you know what?
I'm saving every dime and before
you know it, I might just take your
advice--
(winks)
-- you'll be the first to know, I
promise.LIZ squeezes BETH'S hand, looking directly at her in a
courteous mixture of concern and restraint.BETH (CONT'D)
I've got a new story. I never told
anyone this one. It's a little--
crazy -- I'll tell only if you
promise not to share it.LIZ
Promise.
(eager smile, gestures a
silly "scout's honour"
salute)BETH takes a deep breath.
As BETH assumes the Narrator's role, her story forms a new
backdrop.CUT TO:
EXT. PUBLIC HOUSING PROJECT DISTRICT. CHINA. DAY.
Outside one of the many overcrowded looking flats, a man
moves cautiously, looking up at one of the windows above. The
entire facade is an aged, dirty wall with holes for windows.
Washings hang from every clothes-pole sticking out like sad,
sagging branches. On the second floor, a woman appears
through an open window. She smiles, then waves.NARRATOR/BETH
There once was a woman. She was
about your age. Just as pretty too.The man smiles and waves back. He hollers out to her.
LEE
Today! Right now! Right this
minute. I'm serious Faye!FAYE
Shush! The neighbors!She hand-signals him to hurry away. He responds with a kiss
motion and hurries off -- in a bicycle. The young woman
giggles, shaking her head and returns to her chores.CUT TO:
INT. FAYE'S KITCHEN. DAY.
FAYE
Run away. Now, now he says.
(sarcastic)She potters about. Cleaning. Tidying. She searches for any
incriminating evidence of HIM in the bedroom, casting careful
glances once, twice and three times.NARRATOR/BETH
And every day it was the same. Her
little secret. Except today was
different. Today was just a little
- CRAZY.FAYE
Run away. Like it's so damn EASY.CUT TO:
INT. HALLWAY. DAY.
FAYE laughs, self-dismissive. She turns and sees her wedding
photo. Her husband is not the same man from moments ago.FAYE
I wish.BIRD (O.S.)
Why don't you?FAYE stops. Cocks her ears and looks around.
BIRD (O.S.) (CONT'D)
And I thought I was pitiful.FAYE is holding her broom tight now. Her eyes scan her tiny
flat with a face seized by fear. Where was that voice coming
from?BIRD (O.S.) (CONT'D)
Day after day after day. For one
little hour you find peace. Then he
leaves. And it's back to this sad,
sad life you lead. Pitiful.The young woman grabs hold of a talisman in her hand and
follows the voice to the kitchen window. She thrusts out the
religious object in front of her. Instead, all she hears is
hysterical laughter. She gazes outside the window, still
following the sound of laughter. Then she finds it.FAYE
I'm nuts.She looks up at the cage above her where her pet bird is,
laughing hysterical.BIRD
You're telling me!The young woman runs to the altar where a portrait of her
husband's dead father hangs, almost sentinel-like.CUT TO:
INT. HALLWAY. DAY.
In front of the altar, FAYE drops to her knees, head bowed
over and over.BIRD (O.S.)
Come back here.The woman is still begging for forgiveness.
BIRD (O.S.) (CONT'D)
If you're doing what I think you're
doing you better forget it. We are
NOT the same person.The woman stops abruptly.
CUT TO:
INT. KITCHEN. DAY.
FAYE emerges. The bird hops nearer to the bars of the cage.
BIRD
And you're not crazy. So I'm a bird
who talks. So what? But if you
carry on living like this-- tsk,
tsk! --
(shakes head)
You'll be REALLY nuts, mark my
words.The bird turns around and hops back on its perch. The woman
too, sits down at the table. Her face is the look of despair
and defeat.BIRD (CONT'D)
Oh please. It's not as if I am
going to tell HIM.The woman's eyes dart about, searching the table. She finds a
cigarette and lights it.BIRD (CONT'D)
Oh and THANK YOU for shortening my
already BRIEF life span. I don't
have much more for your
information, the least you could do
-FAYE
Alright - alright!She stubs it out into a plate of pickles in front of her just
as quickly.BIRD
Thank you.FAYE
You're welcome.Awkward silence. The bird swings on its perch, looking at
her.FAYE (CONT'D)
What?
(defensive)BIRD
Nothing.FAYE
Are you smiling? You know I can't
tell if you're smiling -- birds
have beaks and -- what am I saying
- I'm talking to a damn bird--BIRD
CAREFUL!FAYE
I'm sorry -- I'm sorry.BIRD
Yes.FAYE
Yes what?--BIRD
--Yes, I'm smiling.FAYE looks to the side, self-loathing.
BIRD (CONT'D)
You humans. You live a life so many
times longer than ours and what do
you do? You cage yourself up.
Pitiful.FAYE
Pitiful?
(screaming anger now)
Pitiful! You're absolutely right.
But what's it to you? Since when
was it any of your damned business?Awkward silence again.
FAYE (CONT'D)
I'm sorry.FAYE crumbles, buries her face into her hands which are
folded at the table. She mumbles through her tears, words
muffled into an inaudible mess. Suddenly she looks up (her
make-up has run) and glances at the clock. It's 2 o'clock.
She looks at her pet bird. The bird looks back at her, its
head tilt with curiosity.FAYE (CONT'D)
You're right. My life is really not
what I'd planned it to be.
(in tears)
You know you start out hoping that--
I mean, you make your decisions and
hope that whatever you decide will
be -- you can't plan everything you
know? One has to -- to-- manage! --
one's expectations-- accept
consequences--The bird looks on at her, its head tilting in the same
curious manner. The woman rises and opens her drawer. Her
shoulders droop in surrender as she picks up some pills. She
pops them into her mouth with a swig of water and leaves the
kitchen.FADE TO BLACK.
SUPER: THE NEXT DAY.
DISSOLVE TO:
INT. BEDROOM. DAY.
The couple makes love in bed. As she climaxes, she arches her
head back and catches a glimpse of the time. It's 1.30 In the
afternoon. Her lover moans a sigh of ecstatic relief and
collapses on top of her. Then he rolls to the side, his eyes
opening and look up at the ceiling.LEE
What time is it?FAYE
Half past.LEE
Fuck.FAYE
You say "fuck" EVERY time.LEE
So?Her lover rises to get changed.
FAYE
You say this and yet you leave at
exactly the same time. You get back
to your rounds at the same time.
I get back to life as usual at the
same time.LEE
So?LEE tucks in his uniform shirt and puts on his postman cap.
LEE (CONT'D)
What's wrong?FAYE
Nothing.LEE
If you're not going to say
anything, I won't be asking again.FAYE
Do you mean it?LEE
Mean what?FAYE
Do you mean it every time you ask
me to run away with you? What if I
surprise you one fine day and say
yes?LEE smiles. He bends towards the bed and kisses FAYE
passionately on the lips.LEE
How's that?
(smiles)He returns to the floor and bends to his feet to wear his
shoes.LEE (CONT'D)
Besides, I'm still just a lowly
postman.FAYE
What's that supposed to mean?LEE
It means.He points to his watch.
LEE (CONT'D)
Back to work.FAYE forces a smile and waves. She hears the door close. Then
she rises to put her clothes on. She leaves her bedroom and
like clockwork, walks to the kitchen.CUT TO:
INT. KITCHEN. DAY.
From the kitchen, she waits with the cup of tea just brewed
and watches as he emerges on the road with his bicycle. There
he is, waving his goodbye's. This time he doesn't ask it. He
rides off.FAYE
Yes. Yes I'll run away with you.
Into the sunset--BIRD
Oh PLEASE.She drops her cup and it smashes into pieces.
BIRD (CONT'D)
Pitiful.FAYE
You're -- doing it again.BIRD
Clean up the mess now, someone will
get hurt.The woman does as told.
BIRD (CONT'D)
Good. Now sit down.The woman sits and stares at thee bird.
BIRD (CONT'D)
You know what is going to happen
don't you.
(pause)
One fine day, he will come home
from work and he will catch you --
both of you --and he will kill you.
Then he will destroy everything you
own -- including me.FAYE
Is that all you're worried about?BIRD
Me? Oh no. No. I don't have much
longer to live remember?FAYE
Are you sick or something?BIRD
Life span! Heavens. Oh forget it,
I'm wasting my time.FAYE
I'm sorry. What's your point?BIRD
My point is--
(big sigh)
-- when are you going to make up
your mind and be happy?FAYE
I can't just get up and go you
know.BIRD
And WHY may I ask?Blank stares. Awkward silence.
BIRD (CONT'D)
Let me guess. You're worried about
what people will say.She looks up, rolls her eyes.
BIRD (CONT'D)
Or maybe because he's just a "lowly
postman"--FAYE
You EAVESDROPPING piece of--BIRD
--or maybe you're just a coward.The woman rises suddenly and seizes the birdcage, poised to
throw it out the window. Then stops.BIRD (CONT'D)
Yeah go on. Besides, you can always
get another one of my kind from the
pet shop.The woman puts the cage calmly on the kitchen table.
FAYE
I'm sorry.BIRD
I remember the first time I saw
you. You had the loneliest eyes
ever seen on a human--DISSOLVE TO:
Flashback.
INT. PET SHOP. DAY.
Birdcages hang about the pet store against aquariums of
teeming fish and hamsters. The various kinds of birds flutter
about -- except one particular one, whose eyes are fixed on
the one woman who returns a gaze.BIRD
-- and there you were.The woman points him out to the shopkeeper.
DISSOLVE TO:
INT. FAYE'S KITCHEN. DAY.
BIRD
How long has it been?FAYE
I don't know. Ten, eleven years?BIRD
Thirteen.FAYE
Oh!
(sighs)
Lost track.BIRD
Time flies when you're having fun.FAYE turns to look at the clock again. It's 2 o'clock.
BIRD (CONT'D)
And you've been with what's-his
name--FAYE
Lee--BIRD
-- whatever -- for how long?FAYE
Five years.BIRD
No, I believe it's six.FAYE
Fine, six years then. Time flies
when you're having fun.BIRD
Don't get coy.FAYE
Sorry.BIRD
So what happens if he stops asking?FAYE
Well he did just today.BIRD
And every once and again. I mean
what happens if he stops seeing you
altogether, what then?FAYE shrugs. The bird shakes his head.
FAYE
And what would you do? If you were
me I mean.BIRD
If you open the cage door? I'll fly
right out-- goes without asking.
Life is short you know. He might
get run over by a car or something--FAYE
Stop it!FAYE crumbles again.
BIRD
Come now.
(emphatic)
I don't want to give you a hard
time. It's just that I HATE seeing
you like this. Face it. This
situation you're in just doesn't
suit you anymore.
(pause)
Don't cry.Awkward silence again.
BIRD (CONT'D)
All I'm saying is. Some people
spend their entire lives wondering
what's it like to be happy. Then
the chance arrives. The chance to
be really, really happy. And they
don't take it. They stumble for a
split second. Then they turn back.
Returning to the sad, pitiful lives
they lead.FAYE nods.
FAYE
He says he will move to Shanghai.
When he's ready.BIRD
And when's that?FAYE
I don't know. When he's saved
enough I guess. Oh!FAYE breaks into sobs again.
FAYE (CONT'D)
I don't know!BIRD
Please. Please stop.FAYE doesn't stop. She can't help it.
BIRD (CONT'D)
There's two things you can do.
Either you shut me up and let me go
or you promise me you'll seize the
chance when it comes up again.
Whatever it is, just stop this
crying rubbish!FAYE nods.
NARRATOR/BETH
And so it was. Life went on as
usual. Every day her husband came
home and they had dinner like every
other day.CUT TO:
INT. KITCHEN. NIGHT.
FAYE and her husband have dinner. She turns and looks at the
clock. It's 5 PM in the evening.NARRATOR/BETH
They went to bed. Like every other
day.CUT TO:
INT. KITCHEN. DAY.
The same couple finishing up on breakfast. The clock says 7
AM.NARRATOR/BETH
He goes to work like every other
day.Effect: Pages of the calendar on the wall flicker, showing
the passing days.NARRATOR/BETH (CONT'D)
But today--CUT TO:
INT. BEDROOM. DAY.
FAYE looks at the clock. It's 1 PM. She paces, entering the
kitchen. She stands facing the bird cage.FAYE
It's here.The bird returns her gaze. His head tilt again in the same
curious manner.FAYE (CONT'D)
The day is here. The day YOU'VE
been talking about.Silence.
FAYE (CONT'D)
Oh great. Just when I need you to
say something.Silence.
FAYE (CONT'D)
I must have done something in my
past life to--BIRD
Oh shut up!FAYE glares at the bird.
BIRD (CONT'D)
It's not the first time. Just one
day he doesn't show and the whole
word crashes down. Pitiful.The bird turns his head to look out the window. Disgusted.
Moments pass. Then the bird laughs.
FAYE
What's so funny?The bird gestures with his neck to look out the window. FAYE
rises and walks towards it, looking out.CUT TO:
EXT. PUBLIC HOUSING PROJECT DISTRICT. DAY.
A pick up truck appears at the roadside sounding it's horns.
It's LEE. He looks out his window and waves. He motions to
come downstairs.LEE
Come!A busybody neighbor looks out.
LEE (CONT'D)
NOT YOU!FAYE sees that his truck is loaded with belongings.
FAYE
You can't be serious!LEE
Shanghai or bust!FAYE stops and looks at the bird.
BIRD
Well?FAYE is silent.
LEE
Yes or no?FAYE turns and looks at the clock. 2 o'clock. She looks
behind her. It is a picture of her husband.
LEE (CONT'D)
I don't have all day!BIRD
He doesn't have all day.FAYE is silent. Horns sound from LEE'S pick up truck below.
FAYE turns to the bird again.BIRD (CONT'D)
Don't look at me.Horns sound again. FAYE runs to the window.
FAYE
Yes!From downstairs, LEE smiles. FAYE retreats laughing like an
over excited schoolgirl and turns to the bird. There is a
smile on her face, amidst her tears. The bird nods with
approval. FAYE dashes out of the kitchen.CUT TO:
INT. BEDROOM. DAY.
FAYE hurries with packing her clothes into her suitcase.
CUT TO:
EXT. PUBLIC HOUSING PROJECT DISTRICT. DAY.
FAYE emerges with a huge suitcase and LEE runs out to help
her. They load up her belongings and soon the pick up truck
disappears into the highway while the bird watches.CUT TO:
INT. PICK UP TRUCK. DAY.
FAYE
Stop.The truck screeches to a halt.
LEE
You're not having second thoughts
are you?FAYE
No, no. Forgot something that's
all.The truck turns around.
CUT TO:
INT. KITCHEN. DAY.
The bird sees his owner in the kitchen. She is panting from
her run back up. There is a strange look on the bird's face.BIRD
Please don't say you've changed
your mind.FAYE walks up to the bird cage and lowers it. She opens its
little door and lifts it back up.FAYE
Thank you.FAYE walks to the door and stops.
FAYE (CONT'D)
Goodbye.She leaves, shutting the door behind her.
Once again the bird watches as the pick up truck turns away.
CUT TO:
INT. PICK UP TRUCK. DAY.
The lovers hold hands while they drive on into the horizon of
the dusk lit highway. A road sign says "Shanghai 300 miles".CUT TO:
INT. KITCHEN. NIGHT.
FAYE'S husband walks into the kitchen holding a note. His
face is the face of anguish. The kitchen is empty and the
silence, deafening. He looks at the clock. It is 6 PM at
night. He suddenly notices something. It is FAYE'S bird in
the cage. The cage door is wide open but the bird stays put.
He looks at the bird, bewildered. The bird stares back, it's
head tilted once again in curious wonder.NARRATOR/BETH
The end.CUT TO:
INT. BETH'S KITCHEN. DAY.
LIZ
Oh-kayee.BETH
You don't like it.LIZ
No I do, I do. It's unique. Leave
us wondering if she is REALLY
crazy.BETH
More chocolate?LIZ
No I'm fine, thanks.Silence.
LIZ (CONT'D)
They say you can tell a person's
life from the stories they tell.BETH is making herself a fresh cup.
BETH
And?LIZ
And maybe I can tell a little more
each time. About you, Beth.BETH
Oh don't be making such a big deal
about it Lizzie. We all make the
best use of our situation. It's
survival. We all do what we have to
do to get by. Like, telling stupid
stories.LIZ
I liked your story, Beth.BETH
Well I'm glad then.
(forced smile)
Real life is different. There's
usually no such thing as happy ever
after. You'd be surprised how
different that woman will be if she
lived here in Kansas.CUT TO:
INT. FAYE'S HALLWAY. NIGHT.
FAYE is an old, old woman now. She walks past the hallway,
and past the altar where her now deceased husband's portrait
hangs instead. Next to it, the previous bird is perched on a
stand. It too is dead, stuffed, preserved for all posterity.CUT TO:
INT. FAYE'S KITCHEN. NIGHT.
FAYE lifts the bird cage onto the table. Inside is a
different bird. She whistles to it but it doesn't respond.
She leans at the window sill and looks out at the road. But
there's no truck. No postman lover. Nothing.CUT TO:
INT. BETH'S KITCHEN. DAY.
BETH
Real life is all about compromises.
Take it from me sweetheart. Some of
us are luckier than others that's
all--LIZ
Beth--BETH motions a "stop" sign with her hand and continues.
BETH
Some of us have a whole life ahead
of them. And some of us just have
to compromise and -- cope.
(pause)
Oh heavens dearie -- look at the
time!It is the same clock as FAYE'S. And it says 5 PM.
A distant voice hollers.
BETH (CONT'D)
Frank's back.FRANK (O.S.)
Left the keys behind again honey!LIZ
I better go too.Loud knocking on the door.
FRANK (O.S.)
Honey!BETH
(to Frank)
Coming!
(to Liz)
Well it's been nice having you.
We'll do this again.LIZ
Yes we will. Thank for having me--FRANK (O.S.)
HONEY!BETH
Coming! He's an impatient one,
isn't he?BETH kisses Liz on the cheek.
BETH (CONT'D)
Same time tomorrow?LIZ nods, smiling.
FRANK (O.S.)
Honey don't make me lose it!BETH
Almost there!BETH rushes out the kitchen but briefly turns around. LIZ
stays standing right there but quickly fades BACKWARDS into
the mirror. She smiles. LIZ is a younger version of BETH.
Then disappears altogether. BETH smiles back and looks at the
computer sales advertisement in her hand for one last time.
She crushes it and throws it into the bin-- and hurries away.THE END.
Copyright Jef Tan, 2007
Registered with the Australian Writers' Guild
No: 11920
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