MARDI - At the Crossroads of Life and Art - A Film Script - 1. Parts 1 and 2

The Secret Melville [04]

 

 

MARDI

At the Crossroads of Life and Art

Film Script

 

"Ὁ βίος βραχύς, ἡ δὲ τέχνη μακρή.

Vita brevis, ars longa.

Life is short, but art is long."

Hippocrates

 

"Artists must be sacrificed to their art.

Like bees, they must put their lives

into the sting they give."

Emerson

 

"The object of art is to give life a shape."

Jean Anouilh

                                               

"All men should strive to learn before they die

What they are running from, and to, and why."

James Thurber

                                                       

"Duty is only a substitute for love (of God and of other people),

like a crutch, which is a substitute for a leg.

Most of us need the crutch at times;

but of course it is idiotic to use the crutch

when our own legs (our own loves, tastes, habits, etc.)

can do the journey on their own.”

C.S. Lewis

                                                                 

 

---

 

Based upon the Novel:

Mardi, 1849

And the supplement to Typee,

Sequel:

The Story of Toby, 1847

by Herman Melville

 

 

"Stay-at-homes say travelers lie; just as few travelers are ever skeptics as to what they've seen, few skeptics are ever travelers."

After Mardi, Chapter 98

 

 

---

 

[Part 1 – Pre-Journey – I: The Pursuit Demands Attention]

INT. LONGBOAT – NIGHT

The boat bobs on a dark tropical sea. Silent flashes of lightning linger across a moonless sky, briefly illuminating a frightened-looking REDBURN. Behind him stretches a bleak and featureless horizon. He is alone. Before him is a large native canoe with a central canopy. ^[1] Lightning flashes again, and the moving silhouette of a female figure is seen darting within the enclosure. The tapa cloth is preternaturally white.

 

EXT. ENCLOSURE ON CANOE

As REDBURN approaches, he looks around nervously and extracts his jackknife. There is no one to be seen, but he feels a presence watching him. Lightning streams through the sky. The breeze picks up and rustles the flaps to the enclosure. His face grows steely.

 

INT. ENCLOSURE ON CANOE

A lantern of carved and translucent gourd is lit and sways from the peak of the enclosure’s ceiling, casting eerie and swaying shadows. REDBURN blinks; raises his knife. Soft cushions and mats, all in white, are in disarray. In one corner, the trembling shoulders and back of a girl with her hands to her face under a long veil sobs gently. Redburn moves to her, touches her shoulder. YILLAH‘s head covering falls away, revealing an eighteen-year-old girl of Western extraction. She has pale skin, long blond hair, and turns blue eyes on the sailor.

 

REDBURN

Who are you?

 

YILLAH

Yillah.

 

REDBURN

And what do you here, Yillah?

 

YILLAH

It is my mission to be sacrificed to the

Great God.

 

REDBURN

Who says this?

 

YILLAH

My father, Alima.

 

REDBURN

(looks around)

And where is such a one?

 

YILLAH

Gone – taken.

 

REDBURN

Come with me. My companions – me and my kind – we will protect you.

 

Yillah resists Redburn’s touch, her eyes awash in sincerity.

 

YILLAH

Will you vow to forever help me complete my mission?

 

REDBURN

Aye, lass. I will.

 

Yillah slowly puts her hand in Redburn’s, and he pulls her to the door.

 

EXT. ENCLOSURE ON CANOE

As REDBURN and YILLAH come into the open, the wind whips up violently. Thunder CRACKS. The boat rocks, and Redburn sees three shark fins circling in the water. Lightning flashes, and ALIMA stands in the bow of the craft. He is a wizard-like Polynesian with long white beard and hair, and a priestly whitewashed wicker headpiece.

 

ALIMA

Unhand her! You are not worthy to complete the task.

 

REDBURN

(shields Yillah)

Stand back, old man. She gets to decide what she wants.

 

Yillah screams, distracting Redburn for a moment. Alima dashes for him. They struggle: Redburn stabs Alima in the gut; then again, and again, until Alima stops fighting. After a staggering pause, Alima falls into the water. There is a frenzy of shark teeth and splashing. Alima screams. Redburn grabs Yillah and turns her head into his chest. The water grows deathly still. Lightning flashes. Low thunder RUMBLES across the deep. The three sharks rise from the water as frightening Polynesian WARRIORS; their sharky eyes trained on Redburn; their teeth and chins red with blood. Now they are on the deck of the canoe. They wear only dripping red tapa kilts, and grip shark tooth-edged trident swords as they crouch and creep up on Redburn. These three have faces like younger versions of Alima.

 

INT. UNDERWATER

REDBURN is in the water. Above him he can see the hull of the canoe, and YILLAH looking over the side at him. Around him circle the three sharks. Suddenly, he peers down. The mossy-green corpse of ALIMA, bloated and looking like a rotten chunk of soap, grabs onto his ankle. Redburn struggles, losing some air in the form of bubbles. Alima’s dead-white eyeballs sear into his panic.

 

[Part 1 – II: Not About That]

INT. MEDIA’S PALACE GUESTHOUSE – NIGHT

REDBURN starts awake gasping, instantly sitting up in bed and reaching for his throat. His legs kick back the blanket, but nothing is attached to his ankle. Redburn slowly regulates his breaths; lowers his hands. All is still. A tropical breeze wafts in through the open hall with verandas on all sides. Outside, dark foliage mummers softly in the bright moonlight. The faint sound of SURF calms Redburn. He scans the floor near him. SAMOA and AN’NATU sleep peacefully – her head on his chest and outstretched arm. Next to Redburn, JARL too is sound asleep, his hand extended towards him. Redburn gets up.

 

INT. VERANDA FACING THE SEA

From behind REDBURN’s shoulders and the back of his head, a rising view shows a vista down to a beach and Odo’s harbor beyond. The Parki is at anchor, and the brilliant moonlight glints on her, the surf, and on a multitude of emerald green islands on the horizon. As the view circles around to Redburn’s face lost deep in thought, a hand gently falls on his left shoulder and startles him. JARL, eyes heavy with sleep, sits next to Redburn. Jarl drapes his arm over Redburn’s back, and momentarily drops his head onto his arm.

 

JARL

Another bad dream?

 

REDBURN

Aye. Bad.

 

Jarl lifts his head; scans Redburn’s profile.

 

JARL

What do you think they mean?

 

Silence. Jarl draws Redburn’s head onto his shoulder. He begins to smooth Redburn’s hair and pull it off his forehead.

 

JARL (CONT’D)

Tomorrow we begin our search. Don’t worry about Toby. If he’s here, we will find him.

 

Redburn stares at the moon with wide eyes. There is a pause.

 

REDBURN

I don’t think the dream is about that.

 

DISSOLVE TO:

PASSAGE OF TIME:

 

A locked time-lapse series of shots gradually show the coming dawn.

 

[Part 1 – III: Opening Title and Credits]

INT. VERANDA FACING THE SEA – NIGHT TO DAY

The title fades in, and the full moon treks across the sky to set before dawn. As the rest of the credits roll, the shots run to the first break of light, and then a slow revealing of all of Mardi in the full daylight. It sparkles with optimism; some nimbus clouds edge the violet sky near the sea. Soft MUSIC introduces the “Lonesome Road I” theme: this music will accompany most the traveling segments of the film. ^[2]

 

FADE IN: TITLE CARD: “The Secret Melville, MARDI, At the Crossroads of Life and Art”

 

[Part 1 – IV: The Search Begins]

EXT. WHITE SAND BEACH – MORNING

The Parki is anchored about a half-mile out. PEOPLE scurry about. In the foreground, and off to one side, three large royal outrigger baurua – large, intercoastal canoes – are being loaded with food, gourd containers, mats, pillows, etc. ^[3] The three craft match in design and their decorative treatment of mother-of-pearl inlays and hulls glistening like black diamonds in many layers of thin shellac. Their size difference is striking though, for, at a hundred feet, the lead barque is double-hulled and twice as long as her escorts. The bow of the flagship rises up to form a central platform uniting the two prows with an ornamental figurehead. His squatting body takes the general shape of a Polynesian Hei Tiki good luck figure. His face is highlighted with shell inlays at the eyes, a two-boar-tusk nose ring and ear studs made from abalone. His arms are upraised, and as the prows curve away and create a larger void, it is filled with the giant shark’s mask the figurehead holds. The mouth of the wooden creature towering high above the waterline is wide open to the blue sky beyond. Large enough to comfortably seat a child, its jaws gleam with a triple row of porpoise teeth, set shark fashion. Glaring slits above the mouth form the eyes inlaid with coral and blood-red. Moving back from the bow section, most of the rest of this baurua is decked over. Hatches lead to store holds in the ‘pontoons,’ and a central mast rises majestically rigged out to the ship’s outriggers on both sides, from where the paddlers operate. The large triangular sail is emblazoned with Media’s crest: three upright boar’s tusks on a solid circle of blue. Most of the stern section of the craft is rooved over by a royal tent. This enclosure is made of blue tapa and lashed around with cords and tassels. In contrast, the two fifty-foot support vessels have outriggers in the standard arrangement – the lead craft’s starboard escort to starboard, and the port craft to port side. These boats are piled high with supplies and royal gifts, all covered with blue tapa and lashed secure with cord. Near the barques, ROWERS, all fit young men, are preened and fussed over by family members: girlfriends, boyfriends, wives and husbands. The rowers all wear short white tapa kilts with mantles tied at the waist like ponchos, however, the mantles are now off the shoulders and hang down, as being bare-chested is a mark of respect. On each of their right shoulders is a tattoo with Media’s crest. As they speak, wishing them a safe journey, etc., the language transitions from POLYNESIAN to ENGLISH.

 

EXT. A LITTLE DOWN THE BEACH

SAMOA, AN’NATU, JARL, and REDBURN stand near the beached longboat. Several young MEN are standing by its hull ready to shove off. The Parki is in the background, anchored about a half-mile out. Samoa slaps Redburn’s shoulder hardily.

 

SAMOA

Take care, ‘Taji.’ By the time you meet up with us on An’natu’s home island, the Parki will be outfitted and ready for us to sail back to Maui.

 

JARL

Just make sure you train up these Mardi boys to be decent sailors.

 

SAMOA

(hugs his wife by the shoulders)

No problem there. Sailorman An’natu will whip them into shape!

 

AN’NATU

(frees herself – to Jarl)

You two be careful, and don’t go breaking too many young boys’ hearts.

 

The men shake hands. Samoa and An’natu wade towards the longboat. Inexplicably, An’natu runs back to Jarl and hugs his waist, hard. She forces him to bend down as she offers a confidence.

 

AN’NATU (CONT’D)

Take care of Redburn. He doesn’t deserve as good a man as you are.

 

An’natu runs back to the boat that has already shoved off; Samoa helps her in. The crew rows, and heads to the Parki. In a few moments, Redburn and Jarl wave from their position on the beach.

 

REDBURN

(through his forced smile)

What did she say?

 

JARL

(pauses - sighs)

She hopes you find what you

are looking for.

 

EXT. SURFACE OF WATER

The feet and lower legs of the ROWERS slosh into the surf launching the royal barques. Once afloat, they deftly climb on and their paddles strike the water in muscular force. The boats rip along, cutting the tropical blue.

 

EXT. ABOVE THE WATER

A rising view shows the central vessel peopled with Media’s party: REDBURN, JARL, and MEDIA, all men in their prime. With them are two mature men: MOHI, whose beard is down to his knees, shaggy, and braided with whale ivory beads, and BABBALANJA, whose beard is full, but well-trimmed. A teenage boy, YUMI, and VI-VI, a little boy of eight, are close by Media’s side. The other two craft follow behind as they pass the Parki and attain the open water outside the harbor.

 

INT. MEDIA’S ROYAL BAURUA

Jarl speaks aside to Redburn.

JARL

I still don’t know why we didn’t take the Parki to tour these islands.

 

REDBURN

Media said it would be rude to use his guests’ vessel. He must entertain on his own!

 

At a kingly gesture from MEDIA, VI-VI grits his teeth and nods with determination. The boy latches onto the shell horn hanging around his neck from a crimson cord. As he runs forward, two MEN ready themselves; Vi-vi leaps into their arms, and they athletically launch the child onto the platform behind the figurehead’s gaping maw. He raises his horn and blows a melodic signal. The Rowers from all three craft grunt and lift their wet paddles upright into the air. Vi-vi blows another signal. The Rowers grunt and slap their chests with their free hand. All eyes are trained on Media.

 

MEDIA

(casually)

Yumi, master poet, will you do the honors?

 

YUMI bows with his head, and goes to stand before the base of the mast. He begins to sing, and a moment later, Vi-vi begins to blow his horn in rhythm with the song.

 

YUMI

(SINGS)

”Three times waved on high

Let our paddles fly.

(the Rowers grunt, slap chests, and wave paddles

over their heads)

There above the head;

there above the deep.

(the Rowers wave the paddles over the top of the water

in synchronized unison)

Now perfectly timed

Of body and mind

(the Rowers thrust deep and splashlessly into the sea, row, and the boats lurch powerfully forward)

Our oars cut the sea;

and forward we leap!”

 

ROWERS

(SING - row)

”Who lifts our chants?

Who power grants?”

 

YUMI

(SINGS – the Rowers row)

”The wild sea song,

to the billows’ throng;

Rising, falling,

Bravely, calling.

 

Now high, now low,

as fast as we go,

Gaining on our foe.”

 

ROWERS

(SING - row)

”Who lifts our chants?

Who power grants?”

 

YUMI

(SINGS – the Rowers row)

”Leap back; leap back,

you waters black

Pile them high astern,

in mountains black

Till we sink in our wake

In furrows we make

As we rush aside

Time’s now slowing tide.”

 

ROWERS

(SING - row)

”Till we sink in our wake

In furrows we make

As we rush aside

Time’s now slowing tide.”

 

Jarl, all smiles, turns on Redburn.

 

JARL

How much different from when we

first landed!

 

[Part 1 – V: Taji Returns]

INT. LONGBOAT – AFTERNOON

The sky is a bit overcast above a small tropical island inlet. REDBURN and JARL row; the sail is set and drives them to shore. The Parki is anchored in the background. AN’NATU is in the bow. She keeps her eyes trained on a small beach ahead where several native boats are grounded. Beyond the boats, the sand quickly gives way to dense foliage and a clear path to the interior. All is quiet; no people can be seen. When they get close enough to wade, An’natu turns to the men and motions for them to stop. They rise and look ashore.

 

AN’NATU

Let me go ahead; find out who they are.

 

JARL

No, no – Just because Upolu is still on the Parki doesn’t mean you can go off by yourself. He’d still kill me if anything happens to you. I’ll go with you.

 

Jarl jumps into the water, turns with raised arms and catches An’natu as she jumps into the surf.

 

JARL (CONT’D)

Tack off a bit. Run back to the ship if anything hostile happens.

 

Redburn watches as Jarl and An’natu make the beach, then cautiously disappear along the path. As he turns the sail and pulls the boat back, he pauses.

 

REDBURN (V.O.)

Hope is lovely enough to be truly mystical. So still and witching is the hope that grips ahold of my hand, it seems no hand at all, but only a touch. Visions flit before me, and in me; something hums in my ear; all the air is a sweet and expectant lay of dreams. Is my Toby to be found here?

 

Jarl and An’natu reappear all smiles, and wave Redburn in. As he nears the beach, a slow assembly of two-dozen young native MEN gather around Jarl and An’natu and strip down to the waist. When the boat gets within wading distance, Redburn quickly lowers the sail, and the Men rush out into the surf. Their hands grab the gunwales, and pull it to shore where Jarl and An’natu quickly climb in. The Men then hoist the boat onto their shoulders and carry it to the trailhead. Redburn ducks as the boat rocks and sways moving swiftly, right beneath the branches.

 

REDBURN

What did you say to them?

 

AN’NATU

(shrugs)

Ah, nothing much, really – just that you are the long lost hero, Taji, come back for a visit.

 

REDBURN

Taji?!

 

JARL

And who the devil might this hero be?

 

REDBURN

Oh – just the demigod that Captain Cook masqueraded as.

 

JARL

Well, matey – ham it up – or our bacon will be Cook’d, just like the old Captain.

 

EXT. CLEARING IN THE WOODS

The longboat is deposited about five feet off the ground in the crook of two trees. Now a procession of CHIEFS in canoes, likewise portered by bare-chested young MEN, comes into the clearing and they are set on the ground. ^[4] The Chiefs stand and gather in a circle. They have a private conference, punctuated by furtive glances at the longboat. All the young Men line the clearing’s margins. An OLD CHIEF steps up to the longboat. REDBURN stands akimbo, then adjusts his turban to a more rakish angle.

 

OLD CHIEF

What brings you hither, Taji, before your appointed time...?

 

A skinny and nervous CHIEF yells out from the crowd.

 

SKINNY CHIEF

(trails off in self-consciousness)

You were scheduled to be back in five thousand moons – you’re early….

 

OLD CHIEF

(placating)

How long do you intend…to linger? If you’ve come to stay, know the houses of Mardi are but small; our kava, tepid; our—

 

REDBURN

(haughty)

When your forefather came to me in heaven, did I ask how long he intended to stay? No. I rejoiced in his presence. Why not you, in mine?

 

The Old Chief looks around for support.

 

OLD CHIEF

(fake chortle)

You will interfere in the worship of your sacred tikis – and, besides, we have plenty of other gods to venerate…. Why did you come?

 

REDBURN

It is not for a god to tell mere mortals, ‘why’ – It is enough, that I am among you.

 

JARL

(aside)

Jesus Christ.

 

MEDIA steps forward, pushing many Chiefs aside, including the Old one, with his staff / scepter. ^[5] He boldly wears a red mantle and kilt that highlights, rather than hides, his prime-of-life physical attributes. On his head he wears a crown of radiating manta ray bones. He addresses Redburn loud and proud.

 

MEDIA

I claim thee, noble Taji, for myself. My name is Media; my island, Odo, and it has enough to make you comfortable; your stay, pleasant.

 

REDBURN

I thank you, brother Media. Lead the way.

 

Media gets into his canoe, and it is hoisted by his young Men. They head along the path back to the beach. The longboat is hoisted and follows.

 

EXT. OVERHEAD SHOT OF WATER – AFTERNOON – LATER

Brilliant sun glints off of a still and tropical sea. Odo’s harbor is in the near distance, and Media’s royal baurua leads the way for the Longboat and the Parki.

 

EXT. STREAM WITH LOW WATERFALL ON ODO – LATE AFTERNOON – LATER

REDBURN’s head rises from the surface of the water. His hands come up and joyfully slick back his long hair. He watches and smiles to see SAMOA lift AN’NATU out of the water. She playfully protests, and he drops her with a splash. She stands and begins to chase him. JARL, at Redburn’s side, moves the hair off the nape of Redburn’s neck and kisses it. Redburn lolls his head to the side and closes his eyes in pleasure.

 

EXT. FLAT ROCKS BY STREAM’S EDGE

SAMOA, AN’NATU, JARL, and REDBURN recline with tapa towels draped over them. An’natu’s head is in Samoa’s lap. Jarl and Redburn stretch out side by side on kicked-back hands. Jarl sits up and has urgent tones for Samoa.

 

JARL

Before we get in any deeper with this Media chap, you better tell me about ‘Taji.’

 

SAMOA

Well – before there was anything, the universe was like a compressed egg—

 

JARL

What’s that got to do with—

 

AN’NATU

Don’t interrupt. If you want to learn; learn.

 

SAMOA

And this egg was infinitely dense, and at the heart of everything. Creation began when the egg split open into millions of pieces and began to expand, and mana was born – the life force. And what made the universe begin? Time. Time we call the god Tangaroa. He blended with substance – the Earth – and produced children; like the air, the sea. Upon these, and from them, grew the trees, the fish, and eventually, people.

 

AN’NATU

I heard Tangaroa planted a vine, which withered and festered, and the maggots that infested it was mankind.

 

SAMOA

Well, be that as it may, Tangaroa’s great son, Tane, built a mound of sand and mated with it – bringing it to life. Hina was the first female and gave birth to a daughter, Titama.

 

AN’NATU

But then Hina caught Tane fucking Titama, she got so angry that she dissolved away like the sand she was.

 

SAMOA

Hina brought death into the world; brought it in sorrow, which we all must feel still to this day. Anyway, Tangaroa’s sons – Tane, Odo, Alma – are the ‘great gods.’ They overthrew time, their father, produced the lesser gods, and mated with men and bore the demigods. Taji is a demigod.

 

AN’NATU

A quarrelsome demigod who doesn’t

like authority.

 

JARL

Oh, she chose well, but what did he do?

 

AN’NATU

Lots of things! He was raised in heaven with the great gods until he became such a troublesome teen, they booted him down to Earth.

 

SAMOA

He liked to be with people so much, he went back and stole fire for us – taught us how to cook, and fish.

 

JARL

(to Redburn)

Big breeches, boy, Prometheus and Bacchus rolled into one. Think you can handle it?

 

REDBURN

(gravely)

Upolu, how serious is it to impersonate a god, even a demigod?

 

Samoa and An’natu exchange a swallowing look.

 

[Part 1 – VI: Ignoramus Like Me]

EXT. BEACHSIDE SHRINE ON ODO – TWILIGHT

MEDIA, with VI-VI by his side, stands at the top of the shrine’s ten-foot-tall stone podium. He wears a red mantle and a porpoise tooth crown. Before them, the orange disc of the sun nears the horizon on the western sea, and they watch REDBURN, JARL, SAMOA, and AN’NATU climbing the steps up to them. His guests wear white mantles and kilts, strings of coral and dog teeth around their necks, and woven crowns of palm and fern fronds – An’natu’s with flowers too. As the guests reach the landing, Media gestures greetings, and Vi-vi cocks his tired head and grabs Media’s leg for comfort and support.

 

MEDIA

Welcome, thrice-honored guests!

 

INT. SHRINE

The front is completely open to face the ocean. REDBURN, JARL, SAMOA, and AN’NATU pause to admire the view. Along the rear wall, several four-foot-tall religious statues face the view. The two in the center are brightly polychrome. Before these two is a low altar. MEDIA strides up to the central sacred statue on the left and displaces it. VI-VI tries to help, but is mainly in the way. The tiki is moved in front of the other idols and set at a forty-five degree angle to the now open space. He does the same with the one on the right.

 

MEDIA

Great Taji, if you please.

 

Media gestures to the vacated spot of the statue on the right. Redburn moves there, and sits. Media waves for the others to sit in two rows before the sacred figures at a ninety-degrees to them. Vi-vi runs to the edge of the opening and gestures down.

 

VI-VI

Come on!

 

As the king seats himself on the other vacant pedestal, SERVANTS arrive and form a procession with steaming bowls and platters of food, which are laid out before the guests. Behind them, Vi-vi pours kava into gourd cups and hands them to Jarl, Samoa and An’natu. As a final trencher, with an entire roast pig, is borne by two bare-chested young MEN, and set on the altar, Vi-vi gives cups of kava to Redburn and Media. Young WOMEN begin to fix plates and serve, and Redburn can hardly control his salivating over the roast pork. Media holds up his cup to his guests, then drinks. The others follow suit.

 

MEDIA

(to Redburn)

I have always identified with you, great Taji.

 

He gestures to the tiki by Redburn’s side. Redburn studies the fearsome features being gilded by the setting sun.

 

MEDIA (CONT’D)

Your love of life is an inspiration.

(to all)

Eat, honored guests, eat!

 

Media picks up his plate, Redburn does likewise, and they enjoy some pork.

 

REDBURN

My cohorts and I are on a quest to locate my lost boon companion – my partner – one Toby by name. Have you heard word of him? He is about my height and size; has dark, wavy hair.

 

Media looks momentarily confused; glances at Jarl.

 

MEDIA

Alas, no. But I have sent word to my neighboring islands. Tomorrow a banquet in your honor will give you opportunity to ask all. The whole world will attend you and your search.

 

The meal continues. Servants light several gourd lights and hang them around the shrine. Jarl and Media each drain several cups of kava and Vi-vi is kept busy between them. A sociability develops between these two men.

 

JARL

Great Media, your hospitality proves you a chief among chiefs!

 

Media laughs warm-heartedly.

 

MEDIA

But, kind sir – what do they call you?

 

Jarl locks in a frozen smile; he hadn’t thought that far ahead.

 

REDBURN

My dear companion is known to me as my ‘Sky-man.’

 

MEDIA

Oh, a fine name, for a fine and handsome companion.

(raises his cup to the others)

And you?

 

SAMOA

Upolu.

 

AN’NATU

An’natu

 

MEDIA

A toast to all of your health; Sky-man included.

 

As they party, laugh and eat, and Media chats about the method this particular pork was roasted, Redburn notices the wooden figure next to his host has the same tattoos as Media and that the face bears an artistic likeness too. He scans the displaced tiki of Taji. He grows worried – the slowly organizing light gives the features a menacing chiaroscuro – he squints and fancies the statue’s face looks like his.

 

REDBURN (V.O.)

The displaced ciphers stood upright before us. The idol of my persona bore a blank face of unusual expression. It almost demanded of me to account for this cavalier treatment of his wooden godship. I had none to offer, other than my presence, and that tranquilly awaiting what next might happen. I earnestly prayed, that if sacrilege was thus committed, vengeance might be averted from an ignoramus like me.

 

[Part 1 – VII: Second Nightmare]

INT. LONGBOAT – MORNING

The sky is gray, but cloudless. JARL, REDBURN and YILLAH are gathered in the center of the boat. Jarl is shirtless and bathes with a washcloth and small bucket of water. As he rubs his arms from the shoulders down, Yillah is drawn to his large tattoo. She gently takes his arm and pulls the image of the anchor crucifix to her inspection. At first Jarl seems annoyed at her touch, but then softens with a couple of blinks as he sees Yillah scan the image with obvious emotion. Her fingers trace the bell of the anchor, then float up to Christ’s extended arms. She touches the tattooed drops of blood and pulls back fingertips stained with Jarl’s blood. She looks sad, and Jarl guides her fingers to touch his lips. Redburn grows distracted by the sound of water SPLASHING overboard. He looks over the side and three shark fins circle the boat. When he turns back to warn the others, they are gone. He rushes forward, arms out for balance. Above the water float THREE WOMEN, Polynesian temptresses, in long and flowing black tapa robes. They hold tropical blossoms, which they toss at Redburn’s feet. He yells at the women.

 

REDBURN

Where are they? What have you done

with them!

 

THREE WOMEN

Forsake them. Follow us. It is your destiny. Leave foolish things behind.

 

Redburn blinks. He sees a ‘flash forward’ of the incognito guest at Media’s banquet (page 157 below). The remembered eyes make him double over in nausea on the boat. He forces himself upright in obvious pain to confront the Three Women. Now their robes have changed to have bright silver streaks within the black, and the tapa clings seductively to their bodies. The sheen deepens like iridescent fish scales.

 

THREE WOMEN

Forsake the dalliance of youth. Follow us to your inevitable fate.

 

REDBURN

No. You cannot lead me astray. Yillah! Toby! Jarl….

 

He withers under the intense stabbing pain in his gut. During the following voiceover, he slowly remembers Yillah’s face revealing itself as her veil fell away; her hand gently taking his; her touch of Jarl’s blood going to his lips; and then he sees her face sinking placidly in a pool of clear water.

 

REDBURN (CONT’D – V.O.)

She is like to me a crystal lake in a fathomless wood: all light and shade; fleeting revelations; shadowed depths; dimpled sun – all sparkling and shifting; all blending together. Far from revealing, her eyes are a veil to things still more strange. Like some pure spirit looking far down into my soul, and seeing therein upturned faces. I shake in amazement and seek to know what spell is upon me.

 

Redburn stands upright in sheer, tortuous defiance. The Three Women fly towards him, and as they get near, arc back as flapping pilot fish. They fall into the water before the boat, and it begins to glide forward.

 

EXT. LONGBOAT FROM ABOVE

REDBURN stands alone. The boat moves with three pilot fish in front and three sharks behind.

 

[Part 1 – VIII: Love on a Canoe]

EXT. DECK ON MEDIA’S ROYAL BAURUA – NIGHT

REDBURN starts awake. Soft MUSIC introduces the “Lonesome Road II” theme. ^[6] He sits, looks up at the bright moon and the sail set and full of the warm night breeze. JARL lies asleep right next to him – his tattooed arm turned up and bare. Redburn lowers his head and kisses the image living within Jarl’s flesh. Jarl awakens and lifts his arm for Redburn to cuddle into. Redburn lowers himself and kisses Jarl’s lips and moves his hand below Jarl’s kilt band. As Redburn works his magic, Jarl reaches around with his free hand and holds onto Redburn’s face as he begins to climax. As he reaches orgasm, he opens his eyes and sees his partner has tears in his eyes. Confused, Jarl wipes them with his thumbs, then pulls Redburn’s hand up to his lips. He kisses them, and then draws Redburn in for a sustained and passionate kiss that lingers. Jarl opens his eyes while he is still hugging Redburn close, and sees YUMI has watched them make love. Jarl cracks a cockeyed grin at the teen, who only slowly glances away and up at the moon.

 

DISSOLVE TO:

PREVIOUS NIGHT:

 

The moon from the last scene transforms into the open mouth of the Polynesian god of plenty. It is full of flowers and other offerings.

 

 

[Part 1 – IX: Media’s Banquet]

INT. MEDIA PALACE – NIGHT

Pulling back, we can see the five-foot-tall sacred tiki stands along one wall of a large open space. Verandas look out onto foliage, and one, onto the sea. PEOPLE mill about, and SERVANTS refill kava cups. Opposite the god of plenty is a dais the whole length of the room. On this sits AN’NATU, SAMOA, JARL, REDBURN, and MEDIA. On Media’s other side sits a handsome YOUNG MAN. VI-VI walks behind them, refilling cups. Amongst the crowd, TWO MEN hold a conversation – they are unaware that a fully robed INCOGNITO figure listens in. YUMI passes the dais and he and Jarl lock eyes for an intense moment.

 

FIRST MAN

…Only landed yesterday. The one claims to be Taji, returned….

 

SECOND MAN

…Well, I heard he is seeking someone in Mardi – someone special.

 

FIRST MAN

Well then, who’s that other one?

 

SECOND MAN

Apparently Taji has many lovers.

 

FIRST MAN

Taji. Who’s to say that man is really the hero from long ago. It is dangerous to pawn himself off as a demigod, if he is not.

 

SECOND MAN

Sacrilege, I’d say.

 

INT. ON THE DAIS

REDBURN feels momentarily alone. MEDIA talks with his YOUNG MAN, while on his other side, JARL is busy detaining VI-VI and his pitcher of kava. Redburn scans the room, then feels Jarl’s elbow. He holds his cup for Vi-vi, but gestures to the crowd with his chin; an astute grin plays on his lips.

 

JARL

Come on, lad. I can see your literary gears grinding away behind those eyes of yours – so, how would you describe our amiable host?

 

Redburn thinks for a moment, gives a furtive inspection of his subject, then applies a grin for Jarl’s inspection.

 

REDBURN

Media: a gallant gentleman and king. He stands like a palm tree about whose acanthus capital droops not more gracefully the silken fringes than Media’s locks upon his noble brow. Strong too are his arms – to wield the mighty club; to hurl the rigid javelin; and potent I ween around a loved one’s waist.

 

A hopelessly lecherous smile cracks open his features.

 

JARL

Well done, lad. Well done. You can write, that’s for sure.

 

Unexpectedly, Redburn feels queasy. He scans the crowd before addressing their host.

 

REDBURN

Media, have any of these guests intelligence of my Toby?

 

MEDIA

Sadly, no.

 

Media returns his attention to his Young Man.

 

REDBURN (V.O.)

For a time I raved. Then falling into outer repose, I lived in a space in moods and reveries – with eyes that knew no closing – one glance forever fixed. The thought of things broke over me like returning billows on a beach – a rush; a foam; a recollection. Toby gone; I was bereaved. Slowly, misery became the memory; the keen pang, a deep vibration, for some mourners load the air with lamentations, but the deepest notes are struck from a hollow. There lie thoughts that glitter deep while the common woes mix and flow all around them, for these other griefs surge beneath and roll under the visible tide. On the surface, tears may well fast, but under, life’s deep sea of hopelessness only springs without release. At last, I turned, resolved within myself to rove throughout all the world; for Toby might yet be found, and hope would keep me afloat.

 

The pangs in Redburn’s stomach grow acute. Moving behind the crowd is the Incognito. This person is glaring at him with eyes that are intensely familiar. Aghast, Redburn holds the hostile stare and elbows Jarl. The figure moves.

 

REDBURN

Did you see that robed one?

 

JARL

(scanning)

Who?

 

REDBURN

The one with the eyes that do not flinch; that command.

 

JARL

Must be gone now. Don’t worry about it. They’re all staring at you, great Taji.

 

REDBURN

There was just something on the edge of familiar about those eyes—

 

THREE MESSENGERS burst in. Media stands. They kneel before the dais.

 

FIRST MESSENGER

Urgent news, great Chief Media. Three men in a boat like Taji’s stopped at a nearby island to the north-west.

 

SECOND MESSENGER

They sought water and food. One of the men was of the height and size of Taji, but with wavy dark hair.

 

THIRD MESSENGER

They said they were looking for someone like them.

 

FIRST MESSENGER

They wore odd clothes, like Taji; like Sky-man.

 

Redburn looks expectantly to Jarl. Media steps down and lifts the Messengers to their feet.

 

MEDIA

Thank you, messenger friends. This is welcome news.

 

Media ushers them away and takes center stage.

 

MEDIA (CONT’D)

The great gods smile upon thee, Taji, and thy mission. I myself will lead the search party with you. All the islands will be visited until you are reunited with the lost one of your heart. Dear guests, much is to be done. We will sail in the morning. Please stay and avail yourselves of all I have, but I must see to the arrangements.

 

Samoa and An’natu begin a heated exchange. Redburn and Jarl stand up and scan the crowd.

 

JARL

(grabbing Redburn)

Don’t get your hopes up – there are plenty of boats in the South Pacific.

 

Redburn says nothing; pats the top of Jarl’s hand. In a moment Samoa and An’natu come up to them, continuing to debate something.

 

SAMOA

…Yes, enough. I understand!

(to Jarl and Redburn)

An’natu has put her foot down – no more trekking for us, at least not now – now that she’s so close to home. My idea is this: she and I sail the Parki to her home island on Mardi, and in ten months, she’ll be sick of her relatives, and I will have the ship ready to sail us all back to Maui and her owners. Simply make her island last on your tour, and we can sail on to Hawaii.

 

They all look to An’natu, who shrugs.

 

AN’NATU

Sounds good to me.

 

Media has assembled a small team, and leads Yumi, MOHI, and BABBALANJA back to the dais.

 

MEDIA

Dear friends. We must tour with proper knowledge, so I propose these three go with us—

(gestures)

Mohi, the historian; Babbalanja, the philosopher; and Yumi, the poet – for the world is hard enough with them, but impossible without ‘context,’ ‘supposition,’ or ‘love.’

 

Yumi and Jarl recreate their moment from earlier in the evening, but Jarl looks sad and self-conscious as Yumi glances between him and Redburn.

 

MEDIA (CONT’D)

Now, I will oversee all the arrangements. Please sleep well, honored guests. At first light, we will be off.

 

Media leaves, with Vi-vi on his tail.

 

REDBURN

(softly – to Jarl)

The dawn can’t come soon enough.

 

DISSOLVE TO:

FIRST MORNING OF THE TRIP:

 

Before the prow of the boat lays an emerald-green isle. A volcanic peak lightly smokes in the violet morning light.

 

 

[Part 2 – The Search Begins – I: Immaturity]

INT. MEDIA’S ROYAL BAURUA – DAWN

REDBURN, JARL and MEDIA stand and look from the bow. Media turns and walks to the area before the enclosure. Here MOHI, BABBALANJA, and YUMI sit before mats upon which a light breakfast is spread. Media sits and addresses Mohi loudly.

 

MEDIA

Our first stop: Valapi, isle of yams.

 

Redburn and Jarl join the others and sit as VI-VI walks behind them with cups of thin kava.

 

MEDIA (CONT’D)

Mohi, give us the history of young Pepi, ruler of this place.

 

MOHI

Pepi was crowned before he left his mother’s belly. Strange to relate the incredible facts of his conception and birth, but ten years ago a soothsayer warned the chief his death would follow before a year had passed. The great man, who knew he was going, and having a great store of mana – obtained from twenty defeated warriors and chiefs, and from ten of his ancestors – transferred all these energies to his boy while still in the womb. Dead before he was born, Pepi arrived as a powerful carrier of his father’s preternatural expectations. The boy is now nine, and many believe he is sorely burdened by obligations he was forced to inherit. Mana is precious, but heavy, and something like mercury, crushing the vessel that would contain it.

 

JARL

(aside to Redburn)

Mana?

 

REDBURN

(aside)

Too complex to go into right now.

 

BABBALANJA

(irreverent)

The joke is, of these thirty ‘spirits,’ each is given the governing of Valapi for one day a month. Thirty days, thirty different rulers, and the land is a mess.

 

MEDIA

Watch your tongue, Babbalanja. While on our vessel, you may speak your mind freely, but keep your dark thoughts hidden before our island hosts.

 

Babbalanja bows his head.

 

YUMI

If I may be so bold…historian…you have just relayed assumption as fact. Is it ‘history’ that Pepi is endowed with souls of the conquered and of his forefathers? To my dumb poet ears, that sounds like speculation and belongs in the realm of philosophy.

   

MOHI

Historians recount and recite history as established by consent and coercion. The masses or the monarchs decide what goes down.

 

YUMI

Is there a common thing, say love between equals, and a society convinces itself that the constant manifestation of it is nothing but a rare and obscene thing? If so, then ‘history’ is constantly deceived by a thousand nihilations of the obvious. Is that right – for history to serve the endless tide of blind conformity? When does it speak the truth?

 

BABBALANJA

(interrupts Mohi)

I can answer that one: never. Like you said, history is ‘fact’; philosophy, speculation. But fact is relevant to the speaker, while speculation often reveals the truth to the hearer beyond any doubts. ‘History’ is property – truth thoughts belong to all. Why else, when we hear it, does the truth seem so natural? Why else do we assume it fits us so well, like we’ve heard it before? Because when we hear the truth – like the valor of a man loving a man – it reiterates us to ourselves, for all truth is in us the moment we are born; no doubt it was so for Pepi, but the slow grind of childhood, and being forced to live for others’ expectations, wears the truth out of us. Our task in life is to reconnect to that moment of birth in us – the birth of the universe – to reconnect us one to the other; one to the all.

 

MOHI

(shakes his head)

I can tell, this is going to be a long trip….

 

The others laugh, but not Babbalanja.

 

DISSOLVE TO:

PASSAGE OF TIME:

 

A time-lapse series of shots convey the passage of a month’s time.

 

EXT. BEACH ON VALAPI – MORNING

VI-VI, in the shark’s mouth, blows his horn. The three vessels are tacked offshore, but Media’s launch canoe is at the beach. Several young MEN appear, strip to the waist, and rush into the surf. They surround the canoe, lift it, and several look at JARL with warm smiles.

 

JARL

(smiling – to Redburn)

I suppose we’ll have much to look forward to on this adventure.

 

The canoe is carried to the beachhead and set on the ground. The young Men move off, Media and his party step down, and OFFICIALS begin to arrive down a path. Behind them, a BURLY MAN in his prime, bears a nine-year-old boy on his shoulder. The Man’s hand is raised for PEPI to hold onto, and his other is behind his own head to support Pepi’s back. The Man wears a short white tapa kilt and a string of boar’s tusks. Pepi wears a red tapa kilt, several strings of coral beads on his neck, and a headband on his curly locks of cowry shells. It terminates in a cord that dangles by his right ear. On the end is a carved fob of sperm whale ivory.

 

YUMI

(to Jarl)

See the ivory bead by his ear?

 

JARL

Aye.

 

YUMI

That is the image of his father, there to constantly whisper counsel in the boy’s ear.

 

The Officials and Pepi, with his porter, come up to Media.

 

MEDIA

Brother Pepi, greetings!

 

While they exchange chiefly pleasantries, Redburn experiences some odd sinking in the pit of his stomach. He scans the crowd of Pepi’s attendants. Finally he alights on a pair of hostile, familiar eyes. He reaches out for Jarl to steady himself as stabbing pain rips his gut.

 

MEDIA (CONT’D)

Great Taji has returned to look for a lost companion. One with dark wavy hair and light skin – one who resembles Taji. Have you seen or heard of such a one?

 

Pepi bends whispers into the Burly Man’s ear.

 

BURLY MAN

Pepi has not.

 

REDBURN

(aside to Jarl)

There – do you see that one?

 

Jarl earnestly scans the attendants. They are all looking at Redburn. Powerless, he helps Redburn stand upright, and turns him away from the stares.

 

BURLY MAN

Pepi extends his hospitality.

 

Media bows deeply.

 

[Part 2 – II: Third Nightmare]

EXT. MOON – NIGHT

The moon is a day or two past full. Insects CALL gently, and all is still and beautiful.

 

INT. PEPI’S PALACE

A moving low shot shows moonbeams striking the veranda floor, then falling across Media’s party of sleeping travelers, to REDBURN who is asleep next to JARL, but is twitching in a dream.

 

EXT. BLEAK GRAY LANDSCAPE – TWILIGHT

A sharp horizon line reflects sky and land as the same gray-cloud-streaked netherworld. It is like Redburn’s description of a calm at sea – sky and earth but one vapor. Soft MUSIC introduces Hautia’s theme. ^[7] Lightning flashes, but seems infinitely far off. REDBURN stands before the THREE WOMEN in their black and gray fish scale robes. They toss blossoms, which form into bright little lizards where he stands. He is not frightened as they scamper over the top of his bare feet.

 

REDBURN

(calm)

Where have you taken them – Yillah; Toby; Jarl?

 

FIRST WOMAN

Which one matters the most?

 

REDBURN

(confidence shaken)

Who is Yillah?

 

SECOND WOMAN

Don’t you know – ask yourself.

 

REDBURN

She is a kindred spirit in me – one with me at the moment of creation – one truth inseparable – one life lived hand in hand. She is….

 

THIRD WOMAN

Leave your childish attachments behind. Our mistress, the one of three faces, the guardian of crossroads, Hautia, intends you to marry. You must follow us. We lead all roads to her. You must fulfill your destiny and conform to what the world expects of you – nothing else matters.

 

REDBURN

(shouts)

No! Where have you taken them?!

 

THREE WOMEN

Illusions all – do what matters. Conform. Leave immaturity behind.

 

The Three Women glide into the ground. Redburn takes a step towards them and falls into water over his head. It too is as gray as the sky.

 

EXT. MEDIA’S ROYAL BAURUA – MORNING

The travelers are back on Media’s royal barque. The ship and its escorts leisurely row away from Valapi. They sit to a light repast. VI-VI passes cups as REDBURN is relaxed and finishes telling the others about his series of dreams.

 

REDBURN

…Then I fell into a gray and lifeless sea, in a dead calm. I ask all of you humbly, what do you think this could mean?

 

MOHI

Great Taji – you are still troubled by your brave attempt to extinguish death for mankind.

 

Redburn looks uncomfortable – the locals are touched – Jarl confused.

 

MOHI (CONT’D)

Perhaps, due to your transition to immortality, you do not remember the details...?

 

JARL

Mohi, I was not companion to Taji at that time, perhaps you can tell me.

 

MOHI

Death was brought into the world by Hina’s great suffering. Tane betrayed her and her grief created an underworld – a world opposite ours. But truth to tell, her grief was so strong, it manifested itself as a separate entity. Mira, as it is called, is so dense, nothing can escape her pull. All energy is drawn eventually into her swirling blackness to be crushed to nothingness. Some speculate Mira is the dark side of time, and once she destroys all, a new universe will be born – she is the primordial egg regenerating right now. But Taji sought to cast Hina into the crucible. He went with companions into the underworld, found Hina asleep and schemed to force himself through her sandy body – thus annihilating death for man on Earth. Taji crept up on her, forced his hands, his head, his shoulders into her womanhood – the objective, to come out her mouth – but by the time Taji was up to his knees, his companions could no longer hold back their laughter. Hina awoke, crushed Taji in her vagina, and sent him to transition with the Great Gods.

 

JARL

(to the party)

A pretty attempt, great Taji, but I have to say, that doesn’t sound like you at all!

 

REDBURN

We all have our moments of indiscretion…and that fate is sadly the fate of many men.

 

MOHI

You are still haunted by your valiant attempt to free mankind from the fear of death.

 

BABBALANJA

(clears his throat)

I, respectfully, see otherwise. From a philosophical approach, your soul yearns for freedom.

 

REDBURN

But I have all the freedom I could want—

 

BABBALANJA

Thoughts of Pepi reminded you of passing from boyhood to the intermediate phase. ‘Childish ways’ equal letting our parents’ wants guide our actions completely. We have no free volition while children, like Pepi, who is not his own man yet. He governs based on the expectations of his father’s generation; not his. In the intermediate phase from boy to young man – influence is all-important.

 

YUMI

What is clear to me is Yillah is not a person – she is the contrast to Toby and Sky-man. She is the embodiment of something you desire – a deep longing, the personification of what you wish to achieve while you still have life on Earth.

 

REDBURN

And Toby; Sky-man?

 

YUMI

Well, I am only a poet, but even I know they could only stand for one thing: love.

 

MEDIA

When I was a boy, only a bit older

than Vi-vi here…

(he grabs and tickles the lad)

…I transferred the love I felt for my mother into a broader passion and bliss for life. Taji was my role model – thumb convention; do good in the world. Many follow the wrong path; are pressured by family obligation to do what makes them unhappy. They will always stay as emotional children, no matter what they achieve in status, or wealth, or respect from a world that knows them not.

 

DISSOLVE TO:

PASSAGE OF TIME:

 

A time-lapse series of shots convey the passage of a month’s time.

 

 

_