TYPEE - In the Valley of the Shadow of Death - A Filmscript - 4. Part 5 – Fayaway's Love & Part 6 – Shadow of Death

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[Part 5 – Fayaway’s Love – I: In the Name of David and Jonathan]

INT. MAHEYO’S HOUSE – MID-AFTERNOON

As most of the household sleeps in cozy pairs, REDBURN lies on his stomach, his journal in front of him. His beard is longer now.

 

INT. VERANDA OF MAHEYO’S HOUSE

FAAUA and KORI-KORI glance at Redburn and chat quietly. They speak in POLYNESIAN, with subtitles.

 

KORI-KORI

Toby’s not coming back… He’s betrayed his partner.

 

FAAUA

It’s only been a few weeks; if he could come back, he would. I just hope – he’s not dead.

 

KORI-KORI

He’s not coming back—

 

Faaua is unaccountably forceful.

 

FAAUA

You were not on the beach with Toby. If he can come back, he will. You did not see the fear in his eyes. He didn’t want to leave, but….

 

KORI-KORI

But, what?

 

FAAUA

Mow-Mow.

 

She leaves the rest unsaid, as if Kori-Kori would understand, but he does not.

 

FAAUA (CONT’D)

Mow-Mow wanted Toby gone, so he is gone.

 

KORI-KORI

He must be far away, not to come back…he’s broken his heart, but Tommo must think of the here and now, not the past.

 

INT. MAHEYO’S HOUSE

REDBURN writes in his journal. During the following voiceover, the typical sights of the house in the afternoon are shown: Arva doing some person grooming; Kori-Kori and Faaua chatting quietly on the veranda; Tinor rises first, proceeding to tidy up a bit; Maheyo getting up next and busying himself with his ‘tool shed’ outside; etc.

 

REDBURN (V.O.)

In the history of the day, the luxurious siesta is almost never omitted. When mid-day has crept a near-shadowless apogee, peace fairly comes to the vale and not a sound is to be heard, while deep sleep falls upon one and all. The post-meridian heat of afternoon is often cut with meandering strolls to the little lake. Here Fayaway, Kori-Kori and I row the canoe I asked to be placed there, or swim, and this is where Kori-Kori will inevitably play and tumble in the water – his pranks designed for the sole purpose of diverting my sadness. For the one thing that stands out in contrast to our so-called ‘civilized,’ and our so-called ‘christian,’ world is that here, there seem to be no cares; no grief; no trouble, or jealousy; not in all the valley of the Typee. I, in my self-contemplating doubt, stand out like a sore thumb – or ankle – while they trip the hours along as gaily as a laughing couple down a country lane. I am the only thing they have to worry about.

 

Redburn’s pencil goes to rest on his lower lip as he recalls a memory.

 

BEGIN ‘KISS IN THE GRANDSTAND’ FLASHBACK:

EXT. HULA HULA GROUNDS GRANDSTAND – NIGHT OF FESTIVAL

The gourd lanterns are all lit. Torches mark the boundaries of the stage as men chant and play drums on the platform. women dance on the stage. Redburn sits next to Toby and both are taken with the beauty of the scene. They are happy. Toby leans in.

 

TOBY

Have you ever seen the likes? Now, this is adventure.

 

Toby scans his partner’s face, hoping to make him smile. Redburn won’t look at him.

 

REDBURN

You are coming back for me, right?

 

Toby gulps in choked sorrow. He turns Redburn by the cheek to him.

 

TOBY

And, what in name of David and Jonathans everywhere would I do without you...?

(in POLYNESIAN, with subtitles)

I will come back for you.

(in English)

Idiot.

 

They turn to watch the festivities. Redburn quietly slips his fingers into Toby’s grasp. After a while, Toby lifts it, and gently kisses the back of Redburn’s hand. Redburn is amazed.

 

REDBURN

Don’t you care who sees?

 

TOBY

(amazed back)

You are right – They know. And, they don’t care, except to be happy for us.

 

Redburn leans in, and plants a peck on Toby’s cheek. Toby seems sadder than ever. He glances around, and catches the eye of Faaua, who has a dreamy look for him. Next to her is Kori-Kori who seems only mildly interested. Then he glances to find Tinor and Maheyo with hand-in-glove affection for each other. Redburn notices Toby’s inspection, but is not prepared to see the soul-searching ache he turns on Redburn.

 

TOBY (CONT’D)

It will be all right. Trust me.

 

Toby puts a hand on the back of Redburn’s head and draws him into a sustained and tender kiss. As they kiss, they draw attention – Karnunu with Mununi; Marmunu with Karluna; and especially Monu with Ruaruga – are all moved by the genuine love of their houseguests.

 

END ‘KISS IN THE GRANDSTAND’ FLASHBACK.

 

INT. MAHEYO’S HOUSE

KORI-KORI stands in front of REDBURN.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Tommo – let’s go for a swim.

 

Redburn sees FAAUA is waiting at the door with towels. He nods and put his pencil down.

 

[Part 5 – II: Lake Scene]

EXT. LAKE IN TAIPIVAI – MID-AFTERNOON – LATER

A sheet of clear water, with lush foliage coming straight down to its margins, is disturbed by a coming wake. At water level, the prow of a canoe glides into view. Behind the prow, REDBURN reclines in the bow with hands behind his head. Next, KORI-KORI lazily paddles from the center of the boat, while standing in the stern, FAAUA has taken the hem of her long skirt and lifted it above her head. She holds it there, and the gentle breeze on her face billows the fabric out behind her like a living ‘Spirit of Ecstasy’ figure.

 

EXT. FLAT ROCKY OUTCROP IN LAKE

In a large sunny area FAAUA, with glistening skin and wet hair, lightly fans the face of REDBURN lying by her tucked-in legs. Redburn also glistens from his swim, and he is naked except for a wet strip of thin tapa draped over his crotch. Redburn rotates his head to watch KORI-KORI’s antics in the water by their side. He bobs straight up with his hands by his sides, and then topples over like a felled tree, making a big splash. Redburn turns, and arrests Faaua’s fan. He holds it gently, and quietly pleads with her. They speak in POLYNESIAN, with subtitles.

 

REDBURN

Tell me again.

 

FAAUA

(sighs)

A man like you in a boat talked to Toby. Toby did not want to go – he made me promise I would tell you he would come back in three – no, no – sooner. Before three days. He didn’t want to leave you, you know that…but….

 

REDBURN

But, what?

 

Faaua is visibly nervous. She glances around, like she shouldn’t say this, and is barely audible.

 

FAAUA

Mow-Mow is not your friend.

 

Kori-Kori comes up to the rock with a sly grin and with a mouthful of water. He aims a stream on Redburn and Faaua, who both start. Redburn sits and puts out his hand as a shield. Kori-Kori launches himself onto the rock next to Redburn. Faaua sits on Redburn’s other side. In a moment of quiet, Redburn sees a lingering sadness in Faaua be answered by a bit of awkwardness from Kori-Kori. Faaua’s hand comes up and gently pulls Kori-Kori into a lingering kiss before Redburn’s face. After they part, they stay close to him. Faaua kisses Redburn with equal tenderness, then both glance at Kori-Kori. With subtle urging from Faaua, Kori-Kori puts a placid hand on Redburn’s cheek, and gradually draws him into a kiss with increasing warmth, and lingering desire.

 

EXT. MAHEYO’S HOUSE – NIGHT

Full-moon brilliance shines light on a sleeping Taipivai. The light is sliced into spiky shadows by coconut leaves as a gentle breeze animates them on Maheyo’s veranda floor.

 

INT. MAHEYO’S HOUSE

Sounds of the household asleep calmly measure out a beating rise and fall. REDBURN lies awake between FAAUA and KORI-KORI. They sleep peacefully turned towards him, their arms meeting across his abdomen. Redburn’s hands are behind his head, and he contemplates the mysterious three bundles. A slow descent on Redburn’s face shows a single tear pressed out as he closes his eyes.

 

[Part 5 – III: Tattoo scene – Love in the Grass]

EXT. CENTRAL AVENUE OF TAIPIVAI – NOON

REDBURN is helped along by his paddle crutch and KORI-KORI. His ankle is noticeably worse. Redburn is distracted by a path; faint TAPPING accompanies low CHANTING.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Tattoo; you want to see?

 

EXT. A CLEARING

REDBURN and KORI-KORI enter. In the center is a tall canopy of palm leaves. Moving closer to it, they see a MAN lying on his back, his arm covering his eyes, and a TATTOOIST working on the man’s leg. The Tattooist intones a prayer to the beat of his stylus.

 

INT. TATTOO SHELTER

REDBURN, supported by KORI-KORI, comes in for a closer look. The TATTOOIST becomes distracted, and his work and chant slows down. The MAN looks up, and smiles at the visitors. The Tattooist asks Kori-Kori with mild interest.

 

TATTOOIST

(in POLYNESIAN, with subtitles)

Does Tommo want one – is he ready to become Taipi?

 

KORI-KORI

(shrugs – in POLYNESIAN, with subtitles)

I don’t know. Do you want?

 

Redburn jumps as if awoken from dream by a bee sting.

 

REDBURN

(in POLYNESIAN, with subtitles)

No! No – I was just watching.

 

The Tattooist rises and latches onto Redburn’s arm.

 

TATTOOIST

(in POLYNESIAN, with subtitles)

Yes – good face; it will make nice lines….

 

Redburn pleads to Kori-Kori.

 

REDBURN

(in POLYNESIAN, with subtitles)

I was just looking—

 

KORI-KORI

(fatherly – in POLYNESIAN, with subtitles)

This is a big step, Tommo….

 

REDBURN

For God’s sake – hands off.

(to Kori-Kori – in POLYNESIAN, with subtitles)

No. Not now; he’s hurting me.

 

At this information, Kori-Kori grows stern and picks the fingers of the tattooist one by one off of Redburn’s flesh. He shields Redburn behind him.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Not now – we must ask Mehevi first.

 

Kori-Kori deftly turns and picks up Redburn, honeymoon-fashion. He speeds away towards the road, but as soon as they are out of sight of the Tattooist, Kori-Kori gently sets his charge down, but he does not let go. He looks angst-ridden, like a parent who has just exposed his child to some potential harm.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

I am sorry. You do not want a tattoo,

do you?

 

REDBURN

(in POLYNESIAN, with subtitles)

No.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

No. That would mean you had decided – to become…. It’s a big decision. I’m sorry, I would never let anyone hurt you. Do you understand? You are family now. I will protect you in everything, because…. Because.

 

Redburn cannot account for the depth of sadness showing on his companion’s face, but he smiles a bit in an effort to comfort. Kori-Kori responds by taking Redburn’s hand and leading him into the tall grass off the path.

 

EXT. TALL GRASS

In a bit of a wide spot, KORI-KORI stops, turns, and leans down to kiss REDBURN. An initial awkwardness is soon lost in mutual and reciprocal passion. After a few moments, Kori-Kori gently pushes Redburn back a bit, and slowly reaches down to the slit in Redburn’s kilt. As Kori-Kori begins to work his hand, Redburn moans and Kori-Kori resumes kissing him. As the tension builds, Redburn slowly leans back, and Kori-Kori follows, using his other hand and arm to brace his lover at the small of his back. As Redburn’s breath grows rough and ready, Kori-Kori slides his supporting hand up to, and behind Redburn’s neck. He raises the American so his lips press his, but Redburn’s pleasure is such, he continues to glide forward, and Kori-Kori steers Redburn’s head to rest on his chest. Redburn’s hand reaches up to steady himself, and holds onto Kori-Kori’s working bicep. As Redburn climaxes, his parted lips blanket heavy breaths on Kori-Kori’s erect nipple. After he feels Redburn relaxes the tension in his grip, Kori-Kori gradually lowers his mouth and kisses the top of Redburn’s head.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Because. Rest now.

 

INT. VERANDA MAHEYO’S HOUSE – MID-AFTERNOON

REDBURN sits with KORI-KORI at his side. He has Toby’s yellow bandana, from which he extracts their photo. He pops open the case and holds it for Kori-Kori to see. Kori-Kori smiles and goes about his business of lighting a pipe for them. As Kori-Kori works at this, Redburn set the open photo aside and writes in his journal.

 

REDBURN (V.O.)

And what of my companion, Toby? For that is the name he goes by among us sailors – and a fitter nom de mer he could not have chosen. ‘Tobias’ is worthy of him – the Biblical man touched by an angel – matches the grace and conduct of my mate. Toby has a remarkable ability, unseen in most other men, to be fearless in the expression of his feelings. When those feelings are hot, brawny follows – with no lack of ordinary courage – will fairly quail before this stripling.

 

Redburn notes that Kori-Kori has arranged his loaded pipe and tinder and is now beginning to rub a fire stick in a wooden channel. Kori-Kori begins to inhale sharply, and work with increasing speed.

 

REDBURN (CONT’D – V.O.)

His shipmates, other than me, view Toby as a strange and wayward being, proceeding through the world fists-first. They look upon me to smooth out the rocky course his frankness leads him. But, when those feelings are tender, the tenor of his private conversations will reveal all, that is, until a nagging creep of conscience concerns him, and makes him anxious to conceal them, from all but me. Our future it seems is destined to be encountered together. We move in a different sphere – the one that is active, ready with fearless courage, obliging to duty, and so too, to love. We are the type of sailor never to allude to home or origin; never to list lacking comforts; never to brook much closeness with those different; or for even those ‘others’ to manipulate our names in their work-a-day mouths. We give false names, changeable as our moods, so none can guess who we really are. Toby and I are they – the wayward, the strange beings – prone to go rambling over the world as if pursued by the same mysterious fate that drives some captains to try to outdo the Word of God Itself. This compelling fate is never to be eluded; never to be satiated; but at least Toby and I were fated to row our divided quests into the common oar of a union brave – two fates to be sought out as one.

 

Sweat beads Kori-Kori’s forehead as he continues, and his limbs begin to glisten, much to Redburn’s visual delight.

 

REDBURN (CONT’D – V.O.)

And what of Toby’s looks? In navy frock and duck trousers, he cuts as fine a figure as any sailor ever had. Sixteen months my senior, I nevertheless stand a few inches taller, and have a few pounds on him, but his great freedom of movement as he springs to action is envied by all sailors. His naturally dark complexion is bronzed to perfection by the tropical sun, and his dark hair, with its rakish curl, clusters about his temples to throw a deepening mystery of shade across his large blue eyes. This Toby – fearsome and fearless; slight and mighty – is mine, and the very one I choose as my partner. What solace, I ask myself, could there be on land, nay, even in the Garden of Eden itself, without my companion? None. And so he must have asked himself of me, because I had to convince him to escape without me....

 

Redburn can’t go on. He turns sad eyes on Kori-Kori, who is in a radiant halo of smoke. Kori-Kori leans back on one hand, and his body glows like a post-coital partner, smoking. He presses his pipe to Redburn’s lips, who inhales and smiles devilishly.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

What?

 

REDBURN

(in POLYNESIAN, with subtitles)

Nothing…

 

Redburn sidles up so their thighs touch.

 

REDBURN (CONT’D)

(in POLYNESIAN, with subtitles)

But this.

 

Redburn holds his lover’s eyes, and he spits into his left palm. He reaches down and begins to pleasure Kori-Kori, who quickly turns to look over his shoulder. The house is still asleep, so he lolls back to Redburn with heavy eyelids. Soon Kori-Kori’s breaths become jagged and spasmodic. He lowers his head into Redburn’s waiting mouth. Redburn muffles the sound, and then greedily takes Kori-Kori’s gasps of pleasure into his mouth as his partner climaxes. The two finish with an extended and gentle kiss. In his other hand, Redburn presses Toby’s picture tight to his heart.

 

[Part 5 – IV: Polynesian Apollo]

INT. MAHEYO’S HOUSE – MID-MORNING

REDBURN sits on the edge of the dais writing in his journal. RUNU sits in his usual position with ARVA in his lap. MAHEYO rushes in, excited and breathless.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Marnu is coming!

 

REDBURN

(puzzled)

Marnu?

 

MAHEYO

(in POLYNESIAN, with subtitles)

Yes. Yes, Marnu!

 

REDBURN

(in POLYNESIAN, with subtitles)

Good.

 

Maheyo exits again and Redburn can hear voices on the road telegraphing (in POLYNESIAN, with subtitles): ‘Marnu is coming!’; then ‘It’s Marnu!’ In a minute, CHIEFS enter the house and greet first Runu, then Redburn. MEHEVI and MOW-MOW come next, and Redburn rises, having trouble putting weight on his ankle. Mehevi and Mow-Mow pay no attention to him, and instead turn expectantly to the door. MARNU enters like a king, and all the chiefs make a great fuss to show him to the seat of honor. Marnu completely ignores Redburn, but the American is instantly taken with the young man’s beauty. The chiefs, Maheyo and Marnu sit removed from Redburn and soon are engaged in lively conversation, during which Marnu jocularly stretches his legs in front of him and generally coveys youthful animation. As they talk, Redburn returns to his journal with a new subject.

 

MOW-MOW

(in POLYNESIAN, with subtitles)

What about the French?

 

MONU

(looking grave – in POLYNESIAN, with subtitles)

They have built a prison in Nuku Hiva – this is a house with metal windows and doors. They lock in here warriors whom they say fight the French.

 

MOW-MOW

(in POLYNESIAN, with subtitles)

Like a cage, for chickens?

 

MONU

(in POLYNESIAN, with subtitles)

Yes – but strong – no man can get out. The French are bad. They do not care if warriors bathe, have blankets, or even food.

 

Mehevi offers a gentle scoff.

 

MEHEVI

(in POLYNESIAN, with subtitles)

It can’t be that bad….

 

MOW-MOW

(in POLYNESIAN, with subtitles)

You haven’t seen it with your own eyes – Marnu has.

 

Marnu plays the peacemaker.

 

MARNU

(in POLYNESIAN, with subtitles)

Why they do these things, we cannot understand. They have a word: crime…

 

Marnu pauses to glance at Redburn writing.

 

MARNU (CONT’D)

(in POLYNESIAN, with subtitles)

…They expect people to do bad things….

 

The men continue to talk.

 

REDBURN (V.O.)

The stranger could not be a day over twenty-five, and tall – yet, if a hair’s breadth taller, the matchless symmetry of his form would be destroyed. His unclad limbs are beautifully formed; while the elegant outline of his figure, together with his beardless chin, entitles him to be called a Polynesian Apollo. Never before have I beheld such a powerful exhibition of natural eloquence as this Marnu displays. The grace of his attitudes, the ease of his flexible and exposed limbs, and above all, the fire which shoots from his brilliant eyes…

 

The crowd laughs at Marnu’s joke – he rises and mimics a ‘Oui-Oui’ with a fishing rod – to general hilarity.

 

REDBURN (CONT’D – V.O.)

…Imparts varied accents to a voice any orator would be proud to possess. One moment, calm and poised, he reclines on a bent-elbow – legs outstretched and crossed before him – the next, standing mightily and contorting his face with the passion of his tales – he commands his audience with lofty attitude. Marnu – how the island cooed the dulcet name, and soon I breathlessly followed suit – Marnu. This all-attractive personage, has hair of rich coiling brown, that twirls about his temples and neck in little close-fitting ringlets; which dance up and down continually as he is animated in speech.

 

Marnu casually inquires about Redburn.

 

MARNU

(in POLYNESIAN, with subtitles)

So, there is the famous Tommo. Does he content himself in Taipivai?

 

MOW-MOW

(in POLYNESIAN, with subtitles)

Yes, he is very happy—

 

MEHEVI

(in POLYNESIAN, with subtitles)

Well, his partner abandoned him. He is still sad about that.

 

MARNU

(in POLYNESIAN, with subtitles)

With your permission, I would speak

with him.

 

Mehevi heads to Redburn.

 

REDBURN (V.O.)

His light olive skin is free of the least blemish, and his soft cheek rides the tides of his smiles with flawless grace….

 

Marnu sits by his side without the American’s knowing it. When Marnu continues to speak to the chiefs, he startles Redburn, but still refrains from looking towards him.

 

MARNU

(in POLYNESIAN, with subtitles)

Well, this valley grows more lush

each time I visit…

 

Marnu holds out his hand for Redburn to take.

 

MARNU (CONT’D)

(in POLYNESIAN, with subtitles)

…Too bad I missed the festival…

 

When he feels Redburn take it, he looks him in the eye for the first time, and then pulls him in so close his lips nearly touch Redburn’s ear.

 

MARNU (CONT’D)

…And, how do you do?

 

Redburn stares back in astonishment.

 

REDBURN

I…I do fine – you speak English?

 

MARNU

(to others – in POLYNESIAN, with subtitles)

He wants to converse in his language.

 

Marnu shrugs like ‘what can I do?’

 

MARNU (CONT’D)

Watch your tone – no animation now. We are being watched. Smile.

 

Redburn gathers himself and turns a grin on the others, who seem to relax.

 

REDBURN

What do you know about my companion, Toby?

 

MARNU

(half sighs)

Rumors, only. Some say he was kidnapped by other islanders, and taken away at night. Some say the French put him in irons and sent him to Tahiti for prison – others say he shipped on a whaler. I am sorry – whichever is true, his is not on Nuku Hiva.

 

REDBURN

How can you travel freely?

 

MARNU

I am taboo – no one will harm me. It is a ‘sin,’ as you call it.

 

Redburn glances at the men, while desperately attempting to control his tone.

 

REDBURN

Take me with you.

 

MARNU

There is nothing I can do. I have no influence here – these people rave about you – these people love you – they will never let you go.

 

REDBURN

You must help me—

 

MARNU

Watch your tone.

 

Mow-Mow rises in anxious suspicion. He addresses Mehevi.

 

MOW-MOW

(in POLYNESIAN, with subtitles)

They talk of French spying.

 

Mow-Mow puts on a fake smile and walks up to Marnu.

 

MOW-MOW (CONT’D)

(in POLYNESIAN, with subtitles)

Tommo must rest. Marnu, come to the Ti. We must further discuss important matters, and eat.

 

The chiefs rise and pressure Marnu to do the same. The valley’s leaders make for the door, and Marnu, standing over Redburn, warns him.

 

MARNU

They will never let you leave.

 

[Part 6 – Shadow of Death – I: A Man Amongst Us]

EXT. CENTRAL AVENUE OF TAIPIVAI – MID-AFTERNOON

The sun beats down; the stream rolls over smooth rocks. REDBURN and KORI-KORI slowly walk along.

 

INT. GARDEN VERANDA OF THE TI

REDBURN writes in his journal. KORI-KORI sits next to him smoking. Kori-Kori bumps Redburn’s arm and passes the pipe. Redburn takes a drag and passes the pipe back with a grin. He slowly exhales as he resumes writing, a twinkle on his lips. During the following voiceover, the white gravel of the yard, flowers, birds, etc. are interlaced with glimpses of Kori-Kori’s glorious physique and handsome face. He glows in that ‘post-coital’ exertion Redburn has already written about.

 

REDBURN (V.O.)

Kori-Kori is quite expert at striking a light – a necessary effort when one is ready for a smoke. At first Kori-Kori goes to work quite leisurely, but gradually, his pace quickens – and waxing warm in his employment, drives the stick furiously along the smoking channel, plying his hands to-and-fro with amazing rapidity, the perspiration starting from every pore. As he approaches the climax of his efforts, he pants, and gasps for breath, his eyes almost closing with near faintness from the violence of his exertions. This is the critical stage of the operation – all his previous labors are in vain if he cannot sustain the rapidity of movement until the spark is produced. Suddenly, he stops. He becomes perfectly motionless. His hands still retain their hold on the smaller stick, which is pressed convulsively against the further end of the channel – the channel where a fine powder has accumulated – as if it had just been pierced through and through. The next moment, a delicate wreath of smoke curls spirally in the air, the heap of dusty particles glow with fire, and Kori-Kori almost breathless, passes me his smile, and, his pipe.

   

Redburn puts his pencil down and turns a half-lecherous grin on Kori-Kori. After he pushed down on his erection a bit, Redburn places his hand on Kori-Kori’s knee and motions for the pipe. Kori-Kori, grinning, holds it to his partner’s lips, and Redburn inhales. Redburn tilts his head back and slowly exhales to the rafters.

 

INT. OF THE TI

MEHEVI, MOW-MOW and MAHEYO enter and sit on the mats. REDBURN and KORI-KORI rise and join them with smiles. Mehevi calls for a servant. They speak in POLYNESIAN, with subtitles.

 

MEHEVI

Boy! Pipes!

 

A BOY appears, nods and disappears.

 

KORI-KORI

Marnu is safely on his way back home?

 

Mehevi nods.

 

MEHEVI

He is.

(to Redburn)

I hear you have taken an interest in

the tattoo?

 

Redburn elicits a nervous call for help from Kori-Kori.

 

REDBURN

I saw the artist work….

 

MAHEYO

(proudly)

You don’t know how it honors our hearts that you consider taking this final step.

 

REDBURN

Final?

 

MEHEVI

To become a man, amongst us –

to be Taipi.

 

KORI-KORI

He is injured—

 

MEHEVI

Naturally – all in good time. First, my boy – First, the face—

 

REDBURN

Face!

 

BOYS arrive with pipes. This gives Redburn time to think. He draws a pair of lines around his bicep.

 

REDBURN (CONT’D)

Face, no. A band – a bold design, here.

 

Mehevi intones loud and proud towards Mow-Mow.

 

MEHEVI

Good.

 

MAHEYO

Brave lad. Brave.

 

MEHEVI

But first – the face.

 

Redburn again looks for Kori-Kori’s support.

 

KORI-KORI

That’s the way it is – a few dots – a few lines….

 

REDBURN

Later. Later.

 

Mow-Mow is done with chitchat.

 

MOW-MOW

Marnu’s intelligence should prompt us to take preemptive action. Our boats can make a night raid and be gone before the Wi-Wi’s know about it.

 

Mehevi broods in silence – smokes. Mow-Mow grows angry.

 

MOW-MOW (CONT’D)

Time is not on our side. Damn it – do something about this.

 

MEHEVI

(calmly)

The French stay away from Taipivai. If they came here, they know they wouldn’t make it back to France again.

 

MOW-MOW

But—

 

Mehevi cuts him off curtly.

 

MEHEVI

Quiet.

 

As Mow-Mow fumes in impotent rage, Mehevi speaks

softly to Redburn.

 

MEHEVI (CONT’D)

Tommo, what is on your mind? Please

sing for us. Please.

 

 

BEGIN ‘LOVE IS A STREAM’ SERIES OF SHOTS:

As Redburn sings in English, views of his face, and of the men transfixed around him, fade to a series of flashbacks of Toby in Redburn’s memory:

 

A) Toby on ship

Toby squinting up at him from the rock during the escape

C) Face of Toby smiling by the cave fire

D) Toby seeing Redburn enter the longboat

E) Face of Toby as Redburn kisses his fist in the cave

F) Toby jubilant in the palm tree

G) Toby giving beads to the children

H) Toby dancing his ‘pee’ dance

I) Toby glistening in the stream, slicking his hair back

J) Toby putting up his dukes

K) Toby kissing Redburn in the grandstand

L) Last night of lovemaking before Toby’s trip overland

M) Toby’s bloody face in Redburn’s lap

N) Redburn putting his hat on Toby – his last sight of him

 

REDBURN

(SINGS)

"Love is a stream that always flows –

It roils, it tumbles

But smoothly over strife it goes

It pains, it humbles

Yet love is love; it always flows.

 

Once I loved a one, who loved me –

A greater gift never was,

For his love was deep as the sea,

To wash me as the ocean does.

 

I the lucky one, who loved him,

Riding the tide of swelling grace,

Showing me just where to begin,

To match his flow with my own pace.

 

Love is a stream that always flows –

It rails, it grumbles

Yet calmly over grief it goes

It falls, but won’t stumble

For love is love; it always flows."

 

END ‘LOVE IS A STREAM’ SERIES OF SHOTS.

As the song ends, all are lost in thoughts of their own mortality, when suddenly the still is broken by a gun SHOT a half-mile off, up the flanks of the mountains. The men rush to the garden veranda. Several muffled voices and angry CRIES ring out, then several more SHOTS. Puffs of smoke rise from the top of trees up the hill. Kori-Kori whispers in Redburn’s ear.

 

KORI-KORI

Happar.

 

SHOUTS come from the entry of the Ti.

 

INT. FRONT VERANDA OF THE TI

MEHEVI gives orders. MOW-MOW hands out the guns and powderhorns to several young MEN who have answered the call to arms. MAHEYO dithers, telling the BOYS to make coconut canteens. REDBURN and KORI-KORI lag behind. The men rush down the steps with their weapons, and Kori-Kori sits Redburn down on the top step.

 

EXT. HULA HULA GROUNDS FACING THE TI

The BOYS come rushing to the men with green coconuts on cords, which the men fling on their backs. Several other young MEN haul the long drums from their storage places underneath the Ti’s front veranda, and jostle them into position in the yard. As Mehevi and his fighting party jog under the gate, the drums begin to sound.

 

EXT. TREES ON THE HILL – LATE AFTERNOON

As the war drums continue to BEAT, MEN SHOUT from far away. Several SHOTS ring out, followed by WHOOPS of joy and victory. The voices begin to telegraph down the valley.

 

EXT. HULA HULA GROUNDS FACING THE TI – EARLY EVENING

A large CROWD is gathered. They pause to hear the content of the message approaching them. They become jubilant. Kori-Kori explains to Redburn. They speak in POLYNESIAN, with subtitles.

 

KORI-KORI

Some Happar bastards are caught. They are being dragged here. Mehevi is a great leader!

 

MEHEVI appears at the vanguard of his troops. The crowd presses around him with congratulations. As he nears the center of the grounds, a young WOMAN with a young MAN push through the crowd to him. Mehevi pauses, and the woman hugs his waist. The teenager slaps Mehevi in an all too familiar way for a chief. Kori-Kori explains.

 

KORI-KORI (CONT’D)

Mehevi’s family – his wife and partner. They are glad he is safe.

 

Mehevi stops and turns to face the outer gate. The crowd pushes back to clear an area, and a pitiful line of four bound and bleeding HAPPAR stagger to the center of the yard. Young MEN with guns force them to kneel before Mehevi. The children taunt the captives cruelly. Mehevi majestically holds up his hands for silence – the drums stop. They speak in POLYNESIAN, with subtitles.

 

MEHEVI

And so, here we see the fate of every invader of Taipivai.

 

The crowd cheers. Kori-Kori leaps to his feet in joy. MOW-MOW comes up to him in agitation.

 

MOW-MOW

Take the outsider home! Now. He can’t see this. It is forbidden.

 

Mow-Mow storms off. Kori-Kori helps Redburn stand.

 

REDBURN

What’s happening?

 

Kori-Kori latches onto him.

 

KORI-KORI

Let’s rest at home.

 

REDBURN

I want to stay.

 

For the first time ever, Kori-Kori is curt with him.

 

KORI-KORI

NO.

 

Redburn folds his arms; stands his ground.

 

KORI-KORI (CONT’D)

Don’t make me carry you! Because, I will.

 

Redburn blinks, then as slowly as possible, descends the steps, watching the captives. Kori-Kori rushes him along.

 

EXT. GATE TO THE HULA HULA GROUNDS

As REDBURN and KORI-KORI get to the gate, the drums start again, this time with a slow heartbeat menace. Redburn turns one last time and catches the inner gates opening, and the captive being dragged bodily into the holy sanctuary.

 

INT. MAHEYO’S HOUSE – NIGHT

Out on the road, a holiday mood prevails. PEOPLE rush about, both to and from the Hula Hula Grounds. The house is empty except for a brooding KORI-KORI who looks sore to miss the doings, and REDBURN who tries to get into his journal. A torch is lit near where he sits on the dais, and casts eerie shadows on his minder’s already moody face. The drums DRONE on in the distance with their unvaried, hair-raising rhythm.

 

REDBURN (V.O.)

There is not a single padlock in all the valley – nor even anything that could answer for one. Indeed, there seem no rogues of any type in Typee, and deep in the darkest nights, the natives sleep soundly – their worldly wealth…

 

Redburn looks up at the three packages also casting odd moving shade onto the rafters above them.

 

REDBURN (CONT’D – V.O.)

…Dangling freely in the rafters above their night-dreaming heads; their hands by doors that are never barred. In my few months among them, I never saw a hostile exchange, never witnessed even an unkind word or look – they live as true Christians – without envy, without holier-than-thou pronouncements; without hate in any of its many polite forms so admired among us ‘civilized’ – they live with only love, and share in the capacity that Christ, when with us, deemed fit for all of us. The only enmity they ever showed was reserved for their valley’s hostile neighbors, and show it they inevitably did.

 

The drums BEAT quicker; the voice of the crowd RISES along with them, and both reach a sudden crescendo; followed by stillness. A glance at Kori-Kori reveals nothing, only that the local has now officially missed ‘the good part.’

 

EXT. CENTRAL AVENUE OF TAIPIVAI – MORNING

A hazy sun seems not to want to shine. Chickens lazily peck down the center of the abandoned road. Dogs root and scratch up tidbits. After its long night, the valley is sleeping in.

 

EXT. GATE TO THE HULA HULA GROUNDS

REDBURN leans heavily on KORI-KORI. They speak in POLYNESIAN, with subtitles.

 

REDBURN

It really hurts – it doesn’t get better, it only grows worse.

 

KORI-KORI

Give it time. You should rest at home.

 

REDBURN

I want to see.

 

Redburn looks around. The yard looks used, but in order.

 

INT. GARDEN VERANDA OF THE TI

MOW-MOW and KOLORI hold a secret conference. Manu Atu is in the priest’s arms. At their feet are serving bowls, and a large wooden trencher covered with fresh leaves. They speak in POLYNESIAN, with subtitles.

 

MOW-MOW

Now is the time. The people are ready for war – we need only one hostile suspicion that the French are in our midst. The tool we need is here already. Will you help? It is for the people.

 

KOLORI

But, is it right to do so?

 

MOW-MOW

I may be wrong. If I mistake, future generations will know me as a fool. But, if I am right – there may be no future generations to remember any of us. Now, will you help?

 

Before Kolori can answer, there are sounds at the entry of the Ti. Mehevi loudly GREETS Redburn and Kori-Kori. Mow-Mow and Kolori decide to retreat to the interior of the Ti. They carefully step around the trencher.

 

INT. OF THE TI

MEHEVI leads REDBURN and KORI-KORI to the dais. MOW-MOW and KOLORI are just seating themselves. Redburn’s eyes snoop around, immediately spotting the trencher as out of place. They speak in POLYNESIAN, with subtitles. Other CHIEFS drift in and sit.

 

MEHEVI

(to Redburn)

Will you eat?

 

REDBURN

(good-natured)

No, not yet. Later.

 

MEHEVI

(paternal)

Tommo, your indication to become tattooed has touched my heart…

 

Mehevi looks around, grows loud.

 

MEHEVI (CONT’D)

Touched all our hearts. You must get well, so you can join the men of Taipivai, as our equal.

 

MEHEVI (CONT’D)

(quietly to Redburn)

Later, I have a special gift for you.

 

Mehevi nods at Kori-Kori, as if in recognition that it was his idea. Kori-Kori unaccountably smiles contentedly.

 

MEHEVI (CONT’D)

Kolori! I see you have brought your ‘baby.’ Tommo, have you seen the image of our Lord Manu Atu being nursed by Kolori?

 

REDBURN

Nursed?

 

MEHEVI

Show us.

 

While Kolori takes a position in front of them, Kori-Kori whispers to Redburn.

 

KORI-KORI

This is how God instructs us – he tells us what to do.

 

REDBURN

(in ENGLISH, to himself)

A wooden oracle….

 

Kolori begins to perform the ritual, spurred by a half-pleading, half-commanding glare from Mow-Mow. First he cuddles the icon, cooing.

 

KOLORI

What a good boy you are.

 

He rocks it, and whispers some question in its ear. All lean in to hear; the question is private. After another cuddle, Kolori holds the idol’s lips to his ear. His face goes blank in expectation, then cross, as neither he nor the room hears a peep. Kolori scolds.

 

KOLORI (CONT’D)

Now, don’t be that way. I asked you

a question.

 

He whispers again into wooden ears, and lingers as he draws holy lips to his head. Kolori says to the crowd.

 

KOLORI (CONT’D)

Tell us what you know. Will you speak?

 

Kolori holds Manu Atu forward.

 

MANU ATU

(faint)

Yes.

 

Redburn starts; he can’t see any ventriloquy, though Kolori looks like his energy is being sapped. Redburn wants to rise and flee, but he is equally determined to see this. The other men are excited and awed.

 

KOLORI

Tell us what we need to know.

 

MANU ATU

(voice grows louder)

The French will kill you all. You must

fight them first.

 

The icon’s cold wooden features slowly turn to lock onto Redburn.

 

MANU ATU (CONT’D)

(shrieking)

An enemy is among you – Treachery. Treachery. Treachery. Look to eliminate the French spy. Treachery!

 

Redburn covers his ears; Mehevi and Kori-Kori look sick; Mow-Mow, relieved. The godhead is spent. Kolori collapses as if he’s fainted. From the floor, he locks eyes on Redburn, and faintly coos.

 

KOLORI

Good, boy. Good, boy.

 

Mehevi pulls together his considerable poise.

 

MEHEVI

Well. Quite a lot to say today.

 

Kori-Kori laughs and pokes Redburn to join in, for his

own good.

 

MEHEVI (CONT’D)

Manu Atu will no doubt keep us informed as to who this spy can be—

 

Mow-Mow storms to his feet; throws his whole arm towards Redburn’s head.

 

MOW-MOW

It’s him!

 

MEHEVI

(rising to meet the challenge)

Did Manu Atu say that?

 

Mow-Mow is floored.

 

MOW-MOW

…Na…no…

 

MEHEVI

No.

 

Mehevi glares at Kolori.

 

MEHEVI (CONT’D)

No, he did not reveal who the enemy is, and we must search for him. It must be someone absent from this group.

 

Mehevi walks to the veranda, shouting for the servant.

 

MEHEVI (CONT’D)

Boy! Bring it; it’s time.

 

Mehevi comes back to the assembled with more

authority than ever.

 

MEHEVI (CONT’D)

Not a word of this leaves the Ti. Not until we suss out who is working for our enemies. Swear. Swear it!

 

Kori-Kori and the other Chiefs swear readily; Mow-Mow and Kolori halfheartedly. Two BOYS come holding a green kilt between them. It is made if carefully cut breadfruit leaves, woven into a band at the top and flowing loose below. On top of the leaves are several strips of white tapa that zigzag in broad bolts of lightning from waistband to hem. Kolori and Mow-Mow grow belligerent the moment they see it.

 

MOW-MOW

Wait – you can’t do this!

 

Mehevi glances at Kori-Kori, who positions himself between Mow-Mow and Mehevi. Mehevi helps Redburn to his feet. The chief then kneels before him, and the boy servants come to his side. As he places the mark of Taboo around the American’s waist, Mehevi intones a prayer.

 

MEHEVI

(CHANTS)

”Now amongst the foliage,

Now amongst the walks of man,

Now upon the face of the waters,

Of the sky,

Of the air and stars –

You are sacred,

You are untouchable,

You are Taboo.”

 

Mehevi rises in awe of the divinity before him. He bends into Redburn’s ear a worried whisper.

 

MEHEVI (CONT’D)

Fear not, loved one, you are protected.

 

As Mehevi pulls away, Redburn reels; all eyes are upon him.

 

REDBURN

I…I am feeling tired. Kori-Kori, let’s go home.

 

The other men rise. Mehevi and Kori-Kori try to placate Mow-Mow and Kolori. In the distraction, Redburn goes towards the garden veranda and trencher. With a quick glance, that Kori-Kori catches, Redburn kicks off the leaves. In horror he looks down on a few flies walking across tattooed flesh – raw human meat in the form of thighs, a lower leg and foot, and a half a forearm with hand still attached.

     

KORI-KORI

(yelling)

Tommo, NO!

 

As Kori-Kori runs up to his side, all the men are stunned. Kori-Kori puts the leaves back in order, and singsongs in a demanding way to Redburn.

 

KORI-KORI (CONT’D)

Roast pork – Roast Pork!

 

As Kori-Kori leads him away hurriedly, Redburn gets it and sings out.

 

REDBURN

Yes. Just roast pork. Roast Pork!

 

EXT. CENTRAL AVENUE OF TAIPIVAI – NOON

REDBURN and KORI-KORI plod their way home. Redburn has more trouble walking now. He wears the kilt of taboo. PEOPLE on the road greet them, then stand back in awe at the sign of Redburn’s sacred investiture.

 

INT. MAHEYO’S HOUSE

As REDBURN and KORI-KORI enter, they see all the MEN of the household huddled together in Redburn’s regular spot in animated chatting. They come up to them without a word, and Redburn peers over MAHEYO’s shoulder. The three bundles from the rafters are laid open, one human head rests on each piece of fabric. The head on the cloth from a sailor shirt is a strawberry-blond Irishman; his face is still severely freckled, even in death. MARMUNU, still in mid laugh, glances up, and whispers in disbelief.

 

MARMUNU

Tommo…

 

The others look, and Maheyo tries to block Redburn’s view with his body. Several hands push Redburn back, and as if in slow motion, Redburn extends a pleading arm towards his host father for silent explanation.

 

INT. MAHEYO’S HOUSE – NIGHT

Moonlight slants in from the front door. The sounds of the household asleep rise up to REDBURN sitting on the dais. He is wide-awake in stymied panic. FAAUA and KORI-KORI lie close to him. He glances up to the rafters. The three bundles are missing, leaving a void in his vision. He looks down again, and straight out at nothing.

 

REDBURN (V.O.)

My hosts were all the worst things Jim feared – yea, worse. Escape became my only concern. But how? I could not run. I could not escape without the implicit help of one or more of my captors, and that was not likely. Perhaps one European head hung from every house-beam in Typee. Perhaps my shipmate’s tale of a whole crew dispatched by these people was not a tale at all: I resolved to redouble my acceptance while I bided my time. I must act as if none of these revelations affected me in the least – I must play with their children, must compliment their food, I must live their dream of an earthly heaven until I can awake from my nightmare of Hell. For surely, I walked among them as if in the valley of the shadow of Death.

 

BEGIN ‘LOVE IS’ FLASHBACK:

INT. VERANDA OF MAHEYO’S HOUSE – NIGHT BEFORE TOBY LEFT

REDBURN and TOBY sit and look up on a full moon. The valley is quiet; the house at their back, asleep. Toby has a tapa bandage on his head. Soft MUSIC re-introduces Toby and Redburn’s love theme.

 

TOBY

I lost my hat.

 

REDBURN

You’ll use mine from now on. It’s been a week, but you can’t go out in the sun until your head heals.

 

After a pause.

 

TOBY

What will we do now?

 

REDBURN

Wait. You recover; I recover; and it’s just like you said: we both walk out of here.

 

After a pause.

 

REDBURN (CONT’D)

You were right. I should have listened to you. We should be in our bunk on board the Dolly.

 

TOBY

That seems a thousand years ago. If I had listened to me, I never would have seen the parade; the lanterns; met these people; had this experience…with you. Maybe one day you will take my advice, but maybe it’s not so bad here. They treat us like, like – I was going to say ‘kings,’ but they treat us better than that – they treat us like men.

 

REDBURN

(lost in his own thoughts)

’It is patient; it is kind. It does not envy others; it does not boast of its own – it never offends. It does not seek to disgrace others, or promote its own – it is never angry and it never tallies wrongs. It does not exalt the unfair, and will ever uphold the truthful—'

 

TOBY

‘Love always defends; always trusts; always believes; and love will always persevere.’

 

Redburn puts his hand on Toby’s far shoulder and draws him to rest Toby’s head on his shoulder. After a long choking pause, Redburn is able to say.

 

REDBURN

Too bad men don’t say ‘I love you.’

 

TOBY

No. Men don’t say ‘I love you’ –

they don’t have to.

 

END ‘LOVE IS’ FLASHBACK.

 

INT. MAHEYO’S HOUSE – NIGHT

Kori-Kori sits up, looks for Redburn, then swings his legs to sit on the dais with him. Kori-Kori yawns, stretches and places a hand across Redburn’s shoulder. He speaks to him with gentle concern; with love.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Rest, Tommo. None of what you have seen matters – Mehevi has protected you, so we may keep you forever.

 

Kori-Kori rocks his charge and softly intones a lullaby his mother would sing to him.

 

KORI-KORI (CONT’D)

(in POLYNESIAN, with subtitles)

(SINGS)

"In the vale of the Taipi,

The water runs clear,

The breadfruit falls –

There is plenty to eat

There is plenty of sleep –

So rest little one,

Rest your head in peace."

 

Kori-Kori tenderly pulls Redburn’s head to rest on his chest. He closes his eyes as he rocks, but Redburn does not. In Redburn’s hand is Toby’s bandana and picture.

 

 

_