MARDI - At the Crossroads of Life and Art - A Film Script - 3. Parts 5 and 6

.

[Part 5 – Maturity – I: What the Truthful Soul Demands]

INT. MEDIA’S ROYAL BAURUA – MORNING

The party sits to a light meal. REDBURN finishes relaying his newest dream.

 

REDBURN

…So, what do you think of my latest dream?

 

All seem reluctant to speak.

 

MOHI

Perhaps, you struggle with what form your maturity will take.

 

REDBURN

Babbalanja?

 

BABBALANJA

Maybe, you pursue the thing most dear to your soul, but you may not know what that is.

 

JARL

Yumi?

 

YUMI

For a poet, these things are not challenging. You say in this cycle of dreams you are pursued by three sharks; led by three women?

 

REDBURN

Yes.

 

YUMI

The three sharks are the three primal fears that goad you along from behind; from the dark places: fear of disgrace; poverty; of loneliness. The three women are the three primal enticements that lead you on: comfort with family; respectability from peers; continuation via offspring.

 

The truth of the revelation hits Redburn like a ton of bricks. He nearly jumps when Jarl puts a comforting hand on his forearm.

 

YUMI (CONT’D)

Pursue what you must – to be mature means you do as your truthful soul demands.

 

BABBALANJA

(as if to himself)

The greatest marvels are first truths; and it is those first truths we are last able to comprehend.

 

Redburn rises aggressively; his temper flares.

 

REDBURN

What?! You are not speaking abstractions to a concept of a man – this is real.

 

BABBALANJA

And so it is, great Taji.

 

Media rises and puts his hand on Redburn’s shoulders. He leads him back to a sitting position.

 

BABBALANJA (CONT’D)

It is like a man observing his own ear. He has a more comprehensive view of the moon than that which is so close to his scrutinizing brain. It is because we are in ourselves that we know not what we are. And ultimately, it is easy faith that makes infidels of us all.

 

MEDIA

(peacemaker)

Speaking of faith, our journey next takes us to Maramma – the spiritual heart of Mardi.

 

YUMI

(aside to Jarl)

The spiritual big-business heart….

 

MEDIA

Mohi, dear historian, tell us of the line of great priests.

 

MOHI

The current Hivohiti is the one thousand, eight hundred and forty-eighth incarnation of the founder of his island’s great temple to the king of heaven and his son, Alma.

 

BABBALANJA

Some say Alma, the humble prophet and teacher, would tear down the temple and strip all its wealth for the poor—

 

MEDIA

No doubt, Babbalanja, but proceed

with history.

 

MOHI

The high pontiff spends most of his time in isolation, though many flock to the great temple and its balcony to glimpse his form, but it mostly stays hidden.

 

YUMI

(aside to Jarl)

Like his secret banking operations….

 

MOHI

When Hivohiti grows too old, too feeble, his replacement is secured by novel means. The candidates must wade with sharks in the papal bay. The unworthy not only cannot stay afloat, but they cannot stay uneaten for long either. Thus the line of volunteers is remarkably short. But he who can placidly swim among the toothsome menace of this world, is deemed specially chosen by God as our tyrant’s equal, and his envoy to the rest of mankind.

 

BABBALANJA

That reminds me, great chief; great Taji. There is a story taught to children. Vi-vi? Have you heard of the shark with the man’s leg?

     

VI-VI puts a finger in his mouth, shakes his head and grabs onto Media’s neck for support.

 

BABBALANJA (CONT’D)

Well, once a shark seized a man’s leg. The shark said: ‘Friend, for I hope we are friends, I will release you, if you answer my question truly: “Do you think I mean to harm you?”’

Now, knowing that sharks are seldom, if ever, magnanimous, the man with his limb between the creature’s bite, said: ‘Kind, sir shark, I know you mean to do me harm, so let go.’ The shark slowly shook his head and a cold tear formed in his icy eye. ‘Sadly,’ said he, ‘duty demands that I meet your expectations of me, however low they may be.’ So he ripped the man to pieces, blaming the man for the shark’s misfortune.

 

Babbalanja, Mohi, Media and Jarl all laugh. Redburn and Yumi shake their heads and exchange a brief, knowing look, but little Vi-vi grows wide-eyed in terror.

 

YUMI

(to Redburn)

Women sob and lessen their woe;

Men laugh and redouble their sorrow.

 

[Part 5 – II: A Queer in the Temple of Conformity]

EXT. HIGH OVER AN ISLAND LAGOON – NOON

Vi-vi’s horn BLARES with increasing volume; a descending shot approaches Media’s vessels sailing in the center of Maramma’s lagoon. Turning, we see their destination, for forming a giant open-armed embrace, a majestic double-pillared colonnade follows the natural curve of the lagoon’s green-water edge, while centered behind wharves and piers, a plaza fronts a two hundred square foot temple. The shrine itself is entirely open and resembles a manmade forest of upright trees under a high, palm-thatched roof.

 

INT. TEMPLE

Media’s party wander in awe through the high columns of the temple. However, there seems to be no focus of worship, and TOURISTS – snacking on fast food and idle chatter – inattentively bump into each other. The ‘worshipers’ lack of presence is contrasted sharply by a phalanx of armed GUARDS standing around the entire perimeter. They’re clad in woven suits of armor, and wear menacing helmets encrusted with sea urchin spines. For this sentinel duty, they carry long trident swords edged with shark teeth. An older TOUR GUIDE, blind, but led by a little BOY, comes along with a group of middle age MEN and WOMEN. Trailing behind them is VOYO, a young man. Media’s group casually eavesdrop.

 

TOUR GUIDE

Here Hivohiti the First consecrated a great shrine to the prophet Alma, and God his father. The temple exists to guide people away from the nihilation of hell. Those who venture a spiritual journey alone will surely go there.

 

The Men and Women nod, but the young man scoffs.

 

TOUR GUIDE

Who dares show mirth in the House of God?!

 

Voyo steps forward.

 

VOYO

No offence, but I was merely struck by

the irony.

 

TOUR GUIDE

What irony?

 

The little Boy’s head gets aggressively kneaded.

 

VOYO

That this temple takes riches from the rich, and blesses them. From the poor, it strips the rags from their backs, and then ‘pities’ them.

 

TOUR GUIDE

And who are you, that you presume to know so much.

 

VOYO

A wayfarer, like all true pilgrims here; like Alima was when in Mardi. And like the great prophet, I am strong. I must go alone. The right path I will seek for myself, for like the Son of God, I follow the divine instinct within me.

 

TOUR GUIDE

(angry – pushing the Boy to take him closer)

And again, who are you to presume such power of faith?

 

VOYO

One who can speak truth to pretense – one who knows that my very doubts humble me. My maturing faith is in my dreams. I feel nothing in me vile, deserving of punishment, or rejection.

 

The Tour Guide begins to tremble in rage. He strikes the child, who cries out in pain.

 

TOUR GUIDE

(shouts)

Guards! Heresy! Seize the profane one – remove him!

 

REDBURN

(urgent – to Media)

Chief! Do something. That young man has just avowed more faith than any of the blindly pious can ever do.

 

MEDIA

(hems)

He may be right. There are many paths to God – but – he is foolhardy to proclaim it under the roof of any one particular sect.

 

MOHI

Yet, he speaks the words of the prophet himself, so how can that be foolish in the house built to remind us of him?

 

GUARDS arrive and roughly detain Voyo. They begin to drag him off, raining blows down on him. Redburn grows frantic against Media’s prosaic calm.

 

REDBURN

Media – for the love you bear Taji – I beg of you to intercede on his behalf. Please do as much as you can.

 

[Part 5 – III: The Pontiff in His Bower]

EXT. HIGH SHOT OVER SMALLER COVE – AFTERNOON

Media’s launch approaches in reverential silence. The cove looks abandoned, verdant and still, while Media’s ships can be seen tacking offshore in the background. Foliage comes right down to the water’s edge, but a small mooring place comes into view. Half a mile upslope, in the forest, a tiered, ten-story tower soars above the treetops. The uppermost level is a single twelve by twelve octagonal room, with no windows and a thatched roof.

 

EXT. JUNGLE PATHWAY

Media’s party follows the trail uphill, sweating and laboring for breath in the almost tropical vacuum. On one is around.

 

EXT. CLEARING BEFORE THE TOWER

One by one, they emerge from the trail and stand in awe looking up the bamboo edifice. An open staircase wraps around the structure. After a moment where no one appears, the rest look to MEDIA. The chief claps his hands and calls out.

 

MEDIA

Wayfarers are here. We seek audience. Answers!

 

A door in the base of the tower creeks open. A red-clad PRIEST steps out.

 

PRIEST

His Holiness greets his Brother Media, but he will only see you, and you.

 

The Priest points to YUMI and REDBURN, who turn puzzled looks on each other.

 

EXT. VERANDA AROUND TOP LEVEL OF THE TOWER

REDBURN and YUMI climb the last of the outside steps. They pause for air and look out over the forest tops. The sea sparkles beyond the greenery. Hivohiti’s weak voice calls from within.

HIVOHITI (O.S.)

Come forward.

 

[Part 5 – IV: All There is to See]

INT. HIVOHITI’S INNER SANCTUM

Sliding the door closed behind them, REDBURN and YUMI need a moment to blind adjust to the dim light. Some rays of dusty light pierce the thatched room and stripe the floor in slanted pools. There is nothing in the room, expect HIVOHITI sitting cross-legged near the center of the space.

 

HIVOHITI

Seat yourselves.

 

Moving to about five feet in front of the pontiff, they do as they were told and now get a good look at Hivohiti. He is bald, indeterminate of age, naked except for a white loincloth, and blind. His eyes are white orbs that flicker as consistently as a man watching the outside world.

 

HIVOHITI (CONT’D)

What seek you here?

 

REDBURN

Release for one – a young man taken prisoner in the temple for speaking honesty – against conformity.

 

HIVOHITI

‘I feel nothing in me vile,’ said he.

 

Yumi and Redburn regard each other, astonished.

 

REDBURN

How did you know that?

 

HIVOHITI

How do you know what you yourself heard? You, outsider, who pretends to be what he is not.

 

Redburn casts a nervous glance as Yumi. The young man knits his brow.

 

HIVOHITI (CONT’D)

Speak plain to yourself, for you know who and what you are, before God, and before one who has ‘…more faith than the blindly pious do.’

 

REDBURN

I….

 

HIVOHITI

Concentrate. You can affect the young man’s fate as much as I can. Concentrate on altering his present state, and perhaps your own as well. Concentrate on what you most desire….

 

Redburn’s vision slowly drifts up, following a dust-ray to the roof. By degrees Yumi and Hivohiti dissolve away, as does the floor. Now the roof is pierced by a thousand brilliant shafts. Redburn rises to his feet, his eyes staying locked on the expanding radiance above him, then suddenly, the roof is gone. A soft white light envelops him on all sides. He looks to his hands. They are grayish-white, as is the rest of him. Background MUSIC softly re-introduces Toby and Redburn’s love theme. ^[8]

 

BEGIN ‘WHAT REDBURN MOST DESIRES’ SERIES OF SHOTS:

A) INT. FORECASTLE OF A SHIP AT SEA – DAY

Daylight filters down an open hatch behind him, and Redburn can hardly believe his eyes; Toby is in a bunk before him. Toby sees him, stumbles out and crashes to the floor holding up both frightened and beckoning hands.

 

TOBY

Redburn – forgive me – how I did not want to leave you on Typee.

 

Toby is racked with sobs.

 

TOBY (CONT’D)

Don’t accuse me so…

 

Redburn approaches Toby, who cowers away from him on the floor. He reaches out to touch his cheek, but his ghostly hand only goes through the face of the man he loves.

 

TOBY (CONT’D)

…I don’t want to believe you are dead, but you must be….

  

EXT. ANTARCTICA – DAY

Redburn stands with hazy snow hitting him.

 

REDBURN (V.O.)

Far to the south, wide stretches flow the drift ice, frozen cemeteries, grinding islands crushing skull and bones.

 

C) EXT. HIGH ABOVE A TROPICAL SEA – DAY

Redburn’s sight flies above the sparkling equator.

 

REDBURN (CONT’D – V.O.)

A pulse rises over the equator – it joins in with mine till I know not whether I feel my life in me, or that of the Earth Herself.

 

D) EXT. HELM OF THE HIGHLANDER – DUSK

Flashback of The Greenlander placing his hand on Redburn’s shoulder at the helm.

 

REDBURN (CONT’D – V.O.)

One in the center of the All.

 

E) EXT. MAIN DECK OF THE DOLLY – DAY

Silence. Flashback of Redburn and Toby listening to the quiet along the equator. Redburn smiles to know how alike he and Toby are.

 

F) EXT. HIGH ABOVE A TROPICAL SEA – DUSK

Redburn’s sight flies above the sunset streaked equator.

 

REDBURN (CONT’D – V.O.)

Scudding over the face of the waters – in me, a thousand souls, there since the moment it all began – out to the Milky Way.

 

G) EXT. MILKY WAY – NIGHT

Redburn’s hand skims the stars, displacing them like bubbles. The image of Kikiruaru’s holy statue on Typee ripples the stars too, like a stone cast into the pond of the heavens.

 

REDBURN (CONT’D – V.O.)

Then locked under a scorching sun in a calm.

 

H) INT. LONGBOAT – DAY

Flashback of Jarl about to punch Redburn because he loves him so much; then of Redburn placating him, and taking his hand.

 

REDBURN (CONT’D – V.O.)

A calm, like God’s everlasting serenity, is like unto man’s passing despair. Then to a peaceful meadow, and an oak tree in England’s countryside.

 

I) EXT. BENEATH OAK TREE – DAY

Flashback of Harry Bolton and Redburn rising up into each other’s arms; their first kiss.

 

REDBURN (CONT’D – V.O.)

A perfect greenwood where true minds as equals meet – while high above it all, Shakespeare soars, sweeter than all the larks of spring.

 

J) EXT. GRANDSTAND ON TYPEE – EVENING

Slow-motion flashback of Toby kissing Redburn before the whole world. The love theme MUSIC comes to an aching crescendo.

 

REDBURN (CONT’D – V.O.)

My memory is a life beyond birth. To love in the face of death is all: no more, no less.

 

END ‘WHAT REDBURN MOST DESIRES’ SERIES OF SHOTS.

 

INT. HIVOHITI’S INNER SANCTUM

YUMI lightly touches REDBURN’s arm. All returns to normal.

 

YUMI

(whispers)

What’s wrong?

 

Redburn turns to the pontiff.

 

HIVOHITI

Well. What did you see?

 

Redburn chokes back a sob.

 

REDBURN

Nothing—

 

HIVOHITI

Then you have seen all there is to see.

 

[Part 5 – V: I Saw What I Needed]

EXT. TRAIL DOWN TO BOATS – TWILIGHT

REDBURN trots down the path at a brisk walking pace, like he is trying to escape. YUMI tries to follow, but keeps looking back up at the mysterious tower, and gets struck by the branches his companion slaps in his face. Eventually he runs up and steps in front of Redburn. He pants for an explanation.

 

YUMI

Tell me what happened!

 

REDBURN

You mean to say, you saw – nothing?

 

YUMI

(shakes his head)

And you?

 

REDBURN

I saw what I needed to see.

 

EXT. CLEARING WITH BOATS

REDBURN and YUMI emerge through the trailhead, and then stop. The young man from the temple, VOYO, is standing with the rest of Media’s party. He looks tired, has a black eye, and a blood-strained cut on his forehead.

 

[Part 6 – Dotage – I: Perjured Instincts]

EXT. OPEN SEA – DUSK

Media’s party sits to a light meal. VOYO eats heartily, wears a tapa bandage on his forehead, and the blood is washed away.

 

MEDIA

And where are you from, young man?

Your name?

 

VOYO

The Island of Padulla, great chief. My name

is Voyo.

 

MEDIA

How fortunate. Padulla is our next stop, to visit two curious old men. They dote on opposites. One on scraps of the past, while the other lives the life of a miser so he can collect even more wealth from others.

 

JARL

How so?

 

MEDIA

The first avoids all comfort to collect and collect and collect – all objects of interest to History. He hoards these things for fear the past will be forgotten, and thereby avoids life in the present.

 

REDBURN

And the other?

 

MEDIA

He is rich beyond measure. Strings up money, and lives in constant fear he’ll be unable to obtain more.

 

YUMI

Why would he need more?

 

MEDIA

No one knows, but again, obsessed over the collecting and preservation of wealth, he shuns all delight in living for the present.

 

BABBALANJA

So I have heard it said, learnèd chief, in one form or another, old age is nothing but dotage.

 

REDBURN

And what were you doing on Maramma, at the great temple, Voyo?

 

VOYO

(smiles)

Preparing for my wedding. My partner bid me make a pilgrimage, to ensure I was mature enough. We, and our wife, are to be married as soon as I return. Please, please stay as my honored guests! My cousin Rumuho is a great diver for turtles – he vows to bring one to the feast.

 

MOHI

I am sorry they abused you, lad. They have no right to ‘decide faith’ for anyone.

 

JARL

Why would they feel they have the authority?

 

YUMI

Because instincts themselves are prejudiced.

 

BABBALANJA

You are right, poet. The strong arm is no argument, though it overpowers all logic. Maturity, true maturity, is standing up for one’s freedom to be as God intended.

 

MEDIA

I agree, philosopher. A society that bursts closed doors to root out a person’s personal traits, does so only to condemn itself.

 

REDBURN

But has religion no role to play in tempering a society?

 

MOHI

Prayer does. To me prayer draws us nearer to our own souls, and purifies our thoughts.

 

BABBALANJA

Religion’s role is to bring us closer to mana; the state of grace within ourselves. Just as many disbelievers derive comfort casting adrift the least incredible thing, the bigots of the world reject the most obvious.

 

MOHI

Yes, they must, because one single chink in our bigoted armor, and all faith may pierce us through.

 

REDBURN

Yes, I think you are correct. The higher the intellect, the greater the expression; the greater the faith – the more the love of the truth because it is true. The angels reject more than we, but out-believe all of mankind combined.

 

YUMI

But tell me, great Taji, what does expression mean to you?

 

REDBURN

Mean? Expression means everything. My soul goes out and soars. She gathers with her wings greater meanings than I alone can understand – from north to south; from our present time to all points past – and then – she comes back to me, my art, and folds up her wings within me, and makes me fly by standing still.

 

DISSOLVE TO:

PASSAGE OF TIME:

 

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

 

[Part 6 – II: Homecoming and Two Old Men]

 

BEGIN ‘DOTAGE’ MONTAGE:

■ EXT. BEACHHEAD OF PADULLA – NOON

Media’s party lands. As they disembark, Voyo is greeted by an older man and a younger woman; his betrothal pair. Both hug him with obvious joy, then they touch his wound, fret over him, and are relieved at his safety.

■ EXT. ANTIQUARIAN’S HOUSE – AFTERNOON

Media’s party pauses before a large house with a tall roof. They go to the veranda and are greeted by the Antiquarian, an old man with neatly cropped white hair. He inspects his visitors. Media points inside, and then at his party. Once the Antiquarian is properly flattered, he leads the way inside.

■ INT. ANTIQUARIAN’S HOUSE

The Antiquarian shows Media’s party a shark-tooth-edged spear with wild enthusiasm. He relays all the history of this piece as Redburn looks up the tall walls. Every inch is encrusted with antique weapons, religious paraphernalia, strings of coral beads, and on and on. Everything is caked in layers of dust and falling to pieces for neglect. As the Antiquarian moves on to another item to show his guests, Jarl and Redburn share a discreet eye-roll.

■ EXT. MISER’S HOUSE

Media’s party comes up to a dilapidated house. An old man with long, matted and disheveled beard and hair, the Miser, is in his yard polishing dog teeth, which are the currency of Polynesian. He is dressed like a beggar. As soon as he sees his visitors, he acts protective and secretive. Media speaks with him and offers a string of teeth as payment for a tour. The man reluctantly accepts, but grabs at the string.

■ INT. MISER’S HOUSE

Media’s party steps into a dark interior. In a moment their eyes adjust and see millions of strings of teeth hanging in layers upon layers from hooks on the walls. Again, like in the Antiquarian’s home, every inch is covered, but all are sparkling white and polished, and obviously doted on.

■ EXT. MISER’S HOUSE

Media’s party begins to walk away. The Miser holds out his hands and rubs his stomach. The party is confused. Is he really begging for food? Media gestures to Vi-Vi, and the boy fishes a baked yam out his bag. The boy tosses the yam to the Miser, who grabs it and begins eating it – skin and all. Media’s party is sickened to witness this.

END ‘DOTAGE’ MONTAGE.

 

[Part 6 – III: Death and New Beginnings]

EXT. BEAUTIFUL CORAL REEF – NOON

JARL, YUMI, VOYO, and his cousin RUMUHO dive on the reef, splash, laugh and have fun.

 

INT. UNDERWATER BY THE REEF

RUMUHO dives deep. The other men are above him on the surface. A coral wall sinks to the sea floor by his side. Fish and other sea life swim around him. He spots a turtle below him as it ducks and swims into a nook in the coral. He swims under a ledge and dives deeper towards the turtle. As he gets closer to the turtle’s hiding spot, a shadow catches his eye. A shark swims towards him. Rumuho boldly kicks off the wall and heads for the shark. Usually this makes the animal turn coarse, but this shark only accelerates towards the young man. Rumuho retreats back to the coral wall, but still the shark comes. The other young men are now underwater and see what is happening. Rumuho panics, an air bubble escapes his mouth and he rises quickly. The others panic because they see him not looking up. Rumuho strikes his head hard on the bottom of the coral ledge and loses consciousness in a pool of blood. The others chase off the shark and pull his motionless body up to the surface.

 

EXT. BEACH

YUMI and JARL frantically lift RUMUHO out of the surf and carry him onto the beach. VOYO runs ahead and begins calling for help, gesturing frantically to his cousin. MEN and WOMEN assemble around him. He leads them back to where Yumi, Jarl and Rumuho are, but by the time they get there, Jarl is folding the young man’s hands over his chest. Rumuho is dead.

 

EXT. CLEARING IN A GROVE BY THE BEACH – LATE AFTERNOON

RUMUHO is on a bier. His head is crowned with a wreath of flowers and fern fronds. He wears a red mantle and kilt. His HUSBAND and WIFE, dressed in white, stand by his side and quietly moan. Funeral guests file past and speak low words of comfort to the survivors. Media’s party watches at a respectful distance. MUSIC of a festive nature slowly interrupts. YUMI arrives and leads the rest of the party away.

 

EXT. NEARBY GROVE

Media’s party arrives to find the wedding in progress. VOYO stands with arms linked with his HUSBAND and WIFE. They wear white tunics and colorful sashes, and are crowned in palm frond wreaths. Their limbs are loosely bound with flower garlands. A PRIEST intones a blessing and the three bow their heads towards the center of the circle they form.

 

PRIEST

Be intent upon the essence of things – the mystery beyond; the laughter-provoked tear. Seek the circle’s center; probe to evolve the inscrutable. For there is more in the world to be thought than to be seen. Ours is a place where the obvious couches mysteries, and the plainspoken, profound enigmas. Be gentle with each other, and always act, in only love.

 

Suddenly REDBURN’s stomach aches; he catches the INCOGNITO moving along the back line of the crowd.

 

EXT. BEACH – TWILIGHT

Brilliant colors streak across the sky as the sun inches toward the horizon. Torches are lit. A line of boats awaits. RUMUHO’s body is borne on the shoulders of Media’s bare-chested ROWERS. Behind him follow: his HUSBAND and WIFE; VOYO – and his HUSBAND and WIFE – then MEDIA and the rest of his party. The body is loaded onto the lead, double-hulled canoe, and four Rowers climb in and shove off.

 

EXT. ONE MILE OFF SHORE – DUSK

A rosy pink pervades all from the post-sunset sky. Four torches rising from the prows of the burial boat now light the pure-white tapa of RUMUHO’s shroud. The four Media ROWERS stand at attention, facing the body. A rising shot reveals the bier vessel is at the center of large circle of other boats, each with their prows pointing to Rumuho, and each with a lit torch in the bow. MOURNERS stand here silently. MEDIA gives a signal, and the Rowers lift the bier above their heads. REDBURN begins to sing.

 

REDBURN

(SINGS)

“Love is life in the human heart,

For through it all, it connects us

To the primal force that made us

On the day all life got its start.

 

For ultimately

Beyond the world’s passivity,

All of history

Is impotent philosophy.

 

Love creates, makes us whole, comforts;

It is the strength in our standing

Proud to fall to our commanding,

To make us one and heal our hearts.

 

For ultimately

The world’s greatest primality,

Connectivity,

Strengthens us through humility.”

 

While he sings, the Rowers in a slow unison lower the body to their knees, and gradually tip Rumuho feet-forward into the sea. He slides off peacefully.

 

INT. UNDERWATER

The body causes beautiful blue phosphorescent microscopic organisms to swirl and embrace him like a stone cast amongst the stars. He glides down slowly, creating a Milky Way of sparkles in the fading light from above.

 

INT. REDBURN’S CANOE

As REDBURN finishes singing, all are deeply moved. JARL slips his hand into Redburn’s, but smiling, Redburn removes it gently, and places it into YUMI’s.

 

[Part 6 – IV: The Point]

INT. VERANDA OF PADULLA CHIEF’S PALACE – NIGHT

The view looks over treetops and the glistening sea beyond. The moon is high in the sky and a few days away from being full again. REDBURN sits alone. In his hands is Jarl’s ditty bag. He opens it slowly and a yellow bandana peeks out.

 

REDBURN (V.O.)

The firmament has no keystone, least of all is man its prop. We are everything to ourselves, but little to others. We stand alone, and others are but little to us. There was a time when a star of the first magnitude grew lurid as fire, then dim as ashes, and went out. Now, in its blank place, who thinks of that cold sphere? It is better to think of the others around us than the stars that know us not. Here, here, our fellow men can be angels to one another, just as the dimming stars intended.

 

MEDIA clears his throat. Redburn looks back; smiles. Attached to Media’s leg is VI-VI, who looks very sleepy with his finger in his mouth. Redburn pats the floor next to him, and Media sits. He puts the boy in his lap, and Vi-vi immediately begins to flutter into sleepful rest.

 

MEDIA

You know what they say about stay-at-home skeptics?

 

REDBURN

What?

 

MEDIA

Stay-at-homes say travelers lie about the wonders they have seen, but just as few travelers are ever skeptics, few skeptics are ever travelers.

 

REDBURN

So true: to wonder, is to learn;

to wander is to find.

 

MEDIA

I am the luckiest man in Mardi to have gone on this trip with you – whoever you may be – but to me you are my Taji, now and forever. And I hope you find that which you seek.

 

Redburn hesitates a moment, his grip tightens on Jarl’s ditty bag. He lifts it, catches Media’s attention, and pulls out the bandana with Toby’s picture in it. He unfolds it, unsnaps the case and hands it to Media.

 

REDBURN

This is an image of Toby and me, together, a long way from Mardi.

 

Media takes it, and rakes it to the moon light. He concentrates on the happiness he sees recorded there, and is sad for Redburn. Media hands it back. Redburn palms it, and smiles as he asks, gesturing to Vi-vi.

 

REDBURN (CONT’D)

Media – who is this little boy to you?

 

Media’s reaction proves he thought it was obvious.

 

MEDIA

My son. My greatest joy, Taji, the greatest blessing of my life. You see, his mother died in bearing him into this world, and since she was not one of my royal wives, Vi-vi will never follow to wear my crown. But, that’s as it should be. I have faith all things unfold as intended. But Taji, you should have children, if only for no other reason than to know that happiness in your lifetime.

 

Redburn looks down into the peacefully sleeping Vi-vi nestled against his father’s chest.

 

MEDIA (CONT’D)

For all the confidence of history, the aching doubt of philosophy, and the sweet comfort of art, it’s all about love, isn’t it? All else positively quails before that stripling – love.

    

He jostles Vi-vi affectionately, and the boy moans and shifts. Redburn smiles; recognizes the truth as obvious.

 

_