TYPEE - In the Valley of the Shadow of Death - A Filmscript - 3. Part 3 – Settling In & Part 4 – Do or Die

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[Part 3 – Settling In – I: A Day in the Life]

INT. MAHEYO’S HOUSE – MID-MORNING

TOBY sits near the veranda working with MARMUNU and KARNUNU, who decorate paddles and spears. Toby uses his jackknife to carve scrimshaw-like decorations on a gourd bowl. They chat, and the men of the household offer Toby encouragement. REDBURN lies on his stomach on the dais, scanning the room. In front of him is an open notebook; a pencil varies from writing to resting on his lower lip in contemplation. To his right, he can see out of the house, and MAHEYO rambling back and forth to his ‘tool shed.’ Far to his left on the dais, RUNU naps in a sitting position. Redburn now sports a short and youthful beard and mustache; Toby remains clean-shaven.

 

REDBURN (V.O.)

In Typee the history of a day is the history of a life. One tranquil period of ease follows another in quiet, and happy, succession. After the morning repast, and the social passing of pipes, Marheyo inevitably retreats to the little hut he is forever building, and Tinor busies herself in the inspection of her rolls of tapa, or employs her industrious fingers in the plaiting of grass mats. Fayaway and the other girls ready themselves for rounds of mid-morning visits by dressing each other’s hair, and dabbing fragrant oils here and there. The young men of the household retreat to the veranda and produce their personal possessions. They number few, but are greatly treasured handiworks, like paddles, clubs, spears, fishing gear, and a few ornaments for around the neck or ears. My companion sits amongst these intent-but-smiling men as they endeavored to permanently mark their goods as their own. Using a honed bit of shell, or a holstered shark tooth, they – and Toby with his jackknife – carve motifs unique to themselves; unique so that all Typee-vie will know instantly to whom this treasure belongs.

 

Maheyo comes in and goes to his usual spot where he slips in his ‘going out’ earrings. Redburn rises to a crossed-legged position, and Maheyo notices his intent. After his jewelry is in, Maheyo nods to Redburn and picks up a fan. He sits next to Redburn and begins to gently cool his guest.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Poor Tommo. How is your ankle?

 

REDBURN

(in POLYNESIAN, with subtitles)

It hurts, but I can walk better now.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Poor Tommo. So far away from family.

 

REDBURN

(not knowing the word – in POLYNESIAN, with subtitles)

Family?

 

MAHEYO

(smiles, gestures around – in POLYNESIAN, with subtitles)

Family. Here, we!

 

REDBURN

(gets it – in POLYNESIAN, with subtitles)

Family.

 

MAHEYO

(prosaic – in POLYNESIAN, with subtitles)

But – you have Toby. You are family, right?

 

REDBURN

(in POLYNESIAN, with subtitles)

Toby; my family, yes.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Good. It’s very good not to be alone. In Manika, how do you say family?

 

REDBURN

Fa-ma-ly

 

MAHEYO

FA-MA-Li

 

REDBURN

Family.

 

MAHEYO

Family—

(in POLYNESIAN, with subtitles)

Good. Family!

 

REDBURN

(in POLYNESIAN, with subtitles)

Who is family here? So many people….

 

MAHEYO

(in POLYNESIAN, with subtitles)

Oh. Runu is head. He married Tinor and me when we were young – then we three built this house together. We have sons – Mowanna, who is married with his own house; then Marmunu and his girlfriend Karluna; Faaua, our daughter with Kori-Kori; Mununi, our daughter, with Karnunu – and our youngest son, Monu with his boyfriend, Ruaruga. Do you understand? Monu and Ruaruga are like you and Toby – together.

 

REDBURN

(smiles – in POLYNESIAN, with subtitles)

Yes. Together.

 

MAHEYO

(in POLYNESIAN, with subtitles)

So we were blessed with sons and daughters, and soon, older men will marry them. Monu and Ruaruga need an older woman with her own house – the others, an older man. Do you understand?

 

REDBURN

Family!

 

MAHEYO

(laughs)

Family.

(in POLYNESIAN, with subtitles)

Tinor is looking for a good woman for you and Toby to marry. Then you can settle down in a big home

and have your children. Don’t tell her I told you, right?

 

Maheyo chuckles to himself, rises and walks out the front door, repeating ‘family’ to himself several times. Toby comes up and jocularly slaps his partner’s back.

 

TOBY

Well, my brother – are we in for the day,

or what?

 

REDBURN

No. Let’s take a walk. I have a lot to relay.

 

[Part 3 – II: They Know]

EXT. CENTRAL AVENUE OF TAIPIVAI – NOON

TOBY and REDBURN stroll along. They wear their kilts, belts, hats and borrowed sandals. Redburn uses a paddle as a crutch. Behind them, KORI-KORI and FAAUA follow, enjoying a lover’s tête-à-tête.

 

TOBY

…So you say, young couples are ‘married’ by an older, more established, man – polygamy, in multiples of husbands?

 

REDBURN

Yes. Just two men, one woman.

 

TOBY

Good for the women folk here – it makes sense. If one man is killed or crippled in one of their wars, then the children are still looked after.

 

REDBURN

But sometimes the older, better established, is a woman.

 

TOBY

Huh?

 

REDBURN

Two men and a woman – same arrangement, only she marries the young men who are the couple.

 

TOBY

Oh.

 

REDBURN

They know about us, Toby. Maheyo says those young ones – Monu and Ruaruga – are like ‘Toby and Tommo.’

 

TOBY

Those lazy scapegraces?

 

REDBURN

Monu is their son; Ruaruga is his partner.

 

Toby stops Redburn with a hand and a slack jaw.

 

TOBY

What does that mean?

 

Redburn glances over his shoulder at Kori-Kori and Faaua several paces behind them. Toby gapes at them too.

 

REDBURN

It means, they know, and…they don’t care.

 

TOBY

(blurts)

But, how can that—

 

Redburn grabs Toby’s arm and compels forward.

 

REDBURN

It can, and it is. Their traditions are open. The way we were raised is not the way it has to be.

 

CHEERS drift from beyond the line of trees. In a few steps, an opening to a clearing shows a CROWD gathered in a circle watching something. Kori-Kori runs up excited and pulls them in.

 

EXT. A CLEARING

REDBURN, TOBY, KORI-KORI and FAAUA make their way to the back of the CROWD, and as they are seen, people call out ‘Toby’ and ‘Tommo’ and push them to the front. Two young MEN are wrestling. Finally, the sweaty and smiling victorious WRESTLER comes up to Toby.

 

WRESTLER

(in POLYNESIAN, with subtitles)

Wrestle with me!

 

TOBY

(in POLYNESIAN, with subtitles)

No – I….

 

The Wrestler pulls Toby’s arm, and Toby lets himself be led to a match. He quickly pops his hat on top of Redburn’s. In the ring, Toby puts on his war face and wrestles. Eventually he pins his opponent, and the crowd calls out: ‘Toby; Toby; Toby.’ After the match, Toby extends a hand and lifts the young man to a standing position. He slaps the Wrestler’s shoulders in good fellowship, then Toby jogs over to Redburn.

 

TOBY

Come on lad! Let’s show them how to box.

 

REDBURN

I can’t—

 

Toby picks the hats off of Redburn and drops them on Faaua’s head. He takes Redburn’s paddle and gives it to Kori-Kori.

 

TOBY

Sure you can. I know you only half rely on that crutch. Don’t worry – exhibition match only.

 

Toby pulls Redburn out, and they strike a boxing pose. The crowd is in hushed awe as the Americans begin a dance with feet and fists. Toby jabs right; Redburn ducks left, etc. Some playful punches are landed by Toby, and the crowd again chants his name. Redburn gives as good as he gets, but becomes distracted by pairs of small BOYS running around the inner perimeter of the ring putting up their dukes. Toby lands a punch that is too hard. Redburn falls on his backside. Toby rushes to help him stand.

 

TOBY

Are you all right?

 

REDBURN

(grimace)

I think I twisted it again.

 

Toby motions desperately for Kori-Kori to come to them. Kori-Kori presents his back, and Toby and the Wrestler help Redburn mount piggyback style. As Kori-Kori rushes back to the road, Toby calls after them.

 

TOBY

I’m sorry – I’m sorry. Damn my hot head!

 

[Part 3 – III: Toby Must Go]

INT. MAHEYO’S HOUSE – MID-AFTERNOON

It is the hottest part of the afternoon. The HOUSEHOLD is in deep siesta, arranged on the dais in quiet pairs. REDBURN and TOBY sit at the edge of the dais and chat in hushed tones. Toby looks miserable. He reaches up and strokes his mate’s cheek with the back of his fingers.

 

TOBY

I hurt you.

 

REDBURN

It’s not you. But, I am worried. If that witchdoctor deems my foot has to come off – off it comes!

 

TOBY

I won’t let them….

 

REDBURN

You can’t stop them. No. I need medical attention. I have to get to Nukahiva.

 

TOBY

How! You can’t walk. You expect Kori-Kori to carry you there?

 

REDBURN

(swallows hard)

No. It’s up to you to get there and come back with a doctor, or at least, some medicine.

 

TOBY

Never. I will never leave you alone, in the hands of these…these—

 

Redburn picks up Toby’s hand.

 

REDBURN

You have to go. It’s the only way.

 

TOBY

It’s my fault – just – just hold on for a few weeks. I know you can. Then you’ll be better, and we can walk out of here, together. What makes you think they’ll let me leave anyway?

 

MAHEYO rouses. He rises and looks around for his fan.

 

REDBURN

They know you will return. They know as well as I do, you will never leave me here without you.

 

Maheyo, fan in hand, sits on Redburn’s other side. He fans both his guests in a gentle back and forth with his wrist in his lap.

 

REDBURN (CONT’D)

(in POLYNESIAN, with subtitles)

Maheyo – my ankle is bad. I need a French doctor; French medicine. Let Toby go and bring it back to Typee.

 

Maheyo is saddened, but then he sees Toby’s moist eyes.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Poor Toby. Poor Tommo. You are both in pain. I will help you ask Mehevi. Toby? You will come back….

 

TOBY

(vehemently – in POLYNESIAN, with subtitles)

I will come back.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Good. I know.

 

[Part 3 – IV: No Treachery]

INT. OF THE TI – EARLY EVENING

REDBURN, TOBY, MAHEYO, KORI-KORI, MOW-MOW and MEHEVI are lounging and smoking.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Mehevi – Tommo’s leg is worse. Toby must fetch medicine so all will be well with them. Toby will return.

 

MOW-MOW

(in POLYNESIAN, with subtitles)

French medicine? What’s wrong with

Taipi medicine!

 

MAHEYO

(in POLYNESIAN, with subtitles)

Nothing – for us. For Tommo, it does not work. I suspect his spirit is suited for other medicine, not ours.

 

MOW-MOW

(in POLYNESIAN, with subtitles)

Bull. They just want to leave. They care nothing about our hospitality—

 

Mehevi tersely cuts him off.

 

MEHEVI

(in POLYNESIAN, with subtitles)

There is no treachery in love. If Tommo is ill, Toby will not abandon him. You have eyes!

 

Mow-Mow fumes in silence. He looks to Kori-Kori for support, but it seems Kori-Kori has had a change of heart. Mehevi turns to Toby with affected lightness.

 

MEHEVI (CONT’D)

(in POLYNESIAN, with subtitles)

You will return to Taipivai; to Tommo?

 

TOBY

(in POLYNESIAN, with subtitles)

I will not leave Tommo for long. I’ll get the medicine and come back quickly.

 

MEHEVI

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

See. No treachery.

(to Maheyo)

Only love. You, Maheyo, will provision Toby – food, water, whatever he needs.

(to Redburn)

But Toby must stay for a few more days for the festival. That way, we have time to plan. Yes?

 

REDBURN

(in POLYNESIAN, with subtitles)

Yes.

 

TOBY

What does he say?

 

REDBURN

You can go in a few days – something about a holiday. Maheyo will help us prepare.

 

Toby beams, thanking first Mehevi, then Maheyo by taking his host’s hands.

 

TOBY

(in POLYNESIAN, with subtitles)

Thank you. Thank you!

 

[Part 3 – V: Feast of the Calabashes]

EXT. COCONUT TREE ALLÉE – NOON

MUSIC fills the air; PEOPLE in holiday mood LAUGH and CHAT. The crowd moves toward the second gate to the Hula Hula grounds. The crowd treats Maheyo’s family like honored guests, and warm greetings RING out. First, MARMUNU and KARLUNA lead a tottering RUNU, closely followed by a beaming TINOR with MAHEYO and FAAUA. Next REDBURN is walking, braced by his arms over the shoulders of TOBY and KORI-KORI. Then, MUNUNI with KARNUNU, and trailing arm in arm, MONU with RUARUGA. The women of the family are wearing the calico brought by Redburn and Toby. The men wear kilts with mantles on their shoulders. Everyone is decked out with green head wreaths, collars, and anklets. The crowd swells, and everybody is compelled through the gate into the Hula Hula grounds.

 

EXT. HULA HULA GROUNDS

The rhythm of the MUSIC becomes acute, as PEOPLE swirl around the transformed yard. Each of the shrines is festooned in garlands of flowers and foliage, and each idol is freshly dressed in bright white tapa. The narrow end of the grounds, to the right of the gate, is centered with a hundred-foot-long stage raised three feet off the ground. Here WOMEN dance while MEN on the flanks intone the legends of their peoples. Behind the stage, a platform rises ten feet above it. Massive fifteen-foot-long drums are propped with one end on stage and the other on the raised platform, where young MEN play them in unison. Behind the drum platform rises a tiered hundred-foot-high pyramidal tower. Each level is dotted with hundreds of hanging lanterns cut from the round bottoms of green gourds. Each is incised with decorations, so white shows through when lit. The left end of the yard is a grandstand that rises thirty feet in the air. People are sitting here, watching the dance, chatting and eating. The women of MAHEYO’s party head to the grandstand, while the men move to the Ti.

 

INT. GARDEN VERANDA OF THE TI FACING THE INNER COURT

The rear bleachers connecting the Ti and Rectory are dotted with visiting MEN who are neighboring dignitaries. The yard is decked with a dozen green bamboo poles equally spaced and each sporting a spotless white tapa pennant. The platforms around the trees each have four PRIESTS, sitting cross-legged with their backs on the trunks. They have closed eyes, and hands folded in prayer. They chant in unison.

 

INT. OF THE TI

Front and center, facing the court, MEHEVI entertains REDBURN and TOBY. Around, and behind them, all the MEN of Taipivai sit, chat, eat, smoke. Before the Americans, a trencher of roast pork steaming invitingly. They help themselves with casual languor.

 

REDBURN

What do you think of this description: ‘They convert rebellious and hostile hogs into the most docile and amiable pork – a morsel of which, placed on the tongue, melts as helplessly as a soft smile fades from the lips of beauty.’

 

TOBY

(lip-smacks)

Rhapsodic – and all for a pork chop.

 

Redburn is crestfallen.

 

TOBY (CONT’D)

But – it’s beautiful. You have a way with our glorious ‘mongrel tongue.’ You’ll be famous one day; I know it.

 

REDBURN

I wish I had my journal.

 

TOBY

You’ll remember it. You won’t forget any

of this.

 

[Part 4 – Do or Die – I: Spiky Shadows]

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 and TOBY lie in each other’s arms and kiss. Toby’s left arm is under his mate’s head, and he hovers above Redburn. Redburn’s right-hand laces up through Toby’s armpit to grip Toby’s shoulder, while his other hand moves below the line of the tapa blanket below their waistline. As they continue to kiss, Redburn pleasures his partner, and soon Toby has to pause for air. Toby continues to hover over Redburn, even though his breaths become short and sharp. As Toby reaches orgasm, Redburn greedily lifts his head to catch these breaths. Toby falters, like he is going to collapse on Redburn, but instead, he executes a measured and slow descent. He kisses his mate passionately. He stops and strokes Redburn’s short beard, smiles, then rests his head on Redburn’s chest. Redburn brushes Toby’s curly hair out of Toby’s eyes, and unaccountably looks above him. The three bundles loom in the eerie light with more menace than ever.

 

[Part 4 – II: Goodbyes]

EXT. GATE TO MAHEYO’S HOUSE – MID-MORNING

TOBY is outfitted for his mountain hike. He is back in his sailor clothes and hat. His escorts, MARMUNU, KARNUNU and MONU, are checking their spears and generally horsing around. Marmunu, as leader, is anxious to get on the road. MAHEYO comes up with parental concern.

 

MAHEYO

(in POLYNESIAN, with subtitles)

Toby! Be careful. The Happar are treacherous – you understand? Enemies!

 

TOBY

(in POLYNESIAN, with subtitles)

I’ll be safe with your sons.

 

MAHEYO

(in POLYNESIAN, with subtitles)

They can’t enter Happar territory. If they see Happar, they will explain you need to pass through. Then they will come back. Toby, you are brave. You are a son to me. Understand?

 

TOBY

(nods)

I need a spear – to fight the Happar!

 

Karnunu puts up his dukes.

 

KARNUNU

(in POLYNESIAN, with subtitles)

You don’t need a spear. For a hothead like you, strong fists are all you need!

 

Monu comes up and play-punches Toby’s gut.

 

MONU

(in POLYNESIAN, with subtitles)

Yeah! Give the Happar your ‘one-two;

Pow. Pow!’

 

Toby smiles and weaves in play-defense.

 

TOBY

Brat. Pow. Pow, yourself.

 

TINOR comes bustling with a lashed pair of green coconuts. Behind her, REDBURN ambles from the house with his paddle crutch.

 

TINOR

(in POLYNESIAN, with subtitles)

Monu! Take these. Come get more.

 

Tinor leads Maheyo, Marmunu, Karnunu and Monu back to the veranda, leaving Toby and Redburn alone.

 

TOBY

No emotion now. I will be back by three-days at the longest. You rest yourself – be strong and ready in case

we can get you out by boat. You might need to make a run for it.

 

There is silence from Redburn. The boys come back with strings of coconuts draped over their necks. Their respective partners: KARLUNA, MUNUNI and RUARUGA, follow. Paired up, they pause. They are moved watching the Americans’ parting.

 

TOBY (CONT’D)

Keep your spirits up. I’ll be fine.

 

MARMUNU

(in POLYNESIAN, with subtitles)

Toby. Let’s go.

 

Toby looks sad. He picks up Redburn’s hand a moment, and pulls him into a brief smack on the lips. Suddenly, Karluna takes her partner’s hand and pulls him down into a kiss. Karnunu turns and plants a peck on Mununi’s cheek. Ruaruga titters, but Monu puts his arm around his neck, and soon the boys kiss like they mean it. Inspired, Redburn kisses his partner like he means it too.

 

REDBURN

Well, brother, looks like we’ve started

a trend.

 

Before Toby can respond, the young men are out the gate and motioning for Toby to follow. As they troop up the road, Redburn moves to the gate; the women go into the house, chatting. Toby turns and gives a jocular wave. As he watches his mate disappear, Redburn can feel KORI-KORI and FAAUA come up, and stand behind him. Redburn gives a final, desperate wave.

 

[Part 4 – III: Trouble Ahead]

EXT. MOUNTAIN PASS – AFTERNOON

A narrow pass cuts through deep woods. MARMUNU comes along as quietly as possible. He is followed by TOBY, then KARNUNU and MONU. Marmunu stops and motions for everyone to crouch down and be still. They hear no sounds of people.

 

MARMUNU

(low – in POLYNESIAN, with subtitles)

Toby, this is as far as we can go. We are in Happar territory, and there is no one around. You just quietly follow this path. It goes around behind the Happar valley, and by the end of the day, you will cross into Nuku Hiva.

 

Monu is impatient with his brother.

 

MONU

(in POLYNESIAN, with subtitles)

We can’t leave him – those barbarians

will kill him.

 

MARMUNU

(authoritative – in POLYNESIAN, with subtitles)

We can’t be caught here. Toby is safer without us. Goodbye, Toby. We will look after your Tommo until you can return.

 

The young men transfer two strings of coconuts to Toby’s shoulders.

 

TOBY

(in POLYNESIAN, with subtitles)

All right. Good-bye.

 

The other young men make a retreat the way they had come. Toby stands erect, tips his hat brim back, and eyes the path ahead warily.

 

INT. MAHEYO’S HOUSE – EARLY EVENING

REDBURN sits alone on the dais. FAAUA brings him a gourd bowl with steaming dumplings in it. She sits next to him with the food in her lap.

 

FAAUA

(soft – in POLYNESIAN, with subtitles)

Tommo, you didn’t eat anything today. Have something.

 

REDBURN

(in POLYNESIAN, with subtitles)

Eat...? No – but, stay awhile.

 

After an awkward pause.

 

FAAUA

(in POLYNESIAN, with subtitles)

Toby is a good man. He will return.

 

REDBURN

(in POLYNESIAN, with subtitles)

You love Kori-Kori, don’t you?

 

FAAUA

(in POLYNESIAN, with subtitles)

Kori-Kori is a good man too.

 

REDBURN

(in POLYNESIAN, with subtitles)

He doesn’t like me, does he?

 

Faaua reflects before answering.

 

FAAUA

(in POLYNESIAN, with subtitles)

Kori-Kori is slow to trust – But once his confidence is gained, he’d sacrifice anything for those in his heart.

 

REDBURN

You’re like Beauty itself – you bring out the best in every human heart.

 

FAAUA

(puzzled – in POLYNESIAN, with subtitles)

What...?

 

REDBURN

(in POLYNESIAN, with subtitles)

I say – you are beautiful.

 

Faaua blushes, and is miffed.

 

FAAUA

(in POLYNESIAN, with subtitles)

Don’t tease. I know you don’t like girls.

 

Redburn is a bit shocked that the subject is talked about so openly, and so lightly.

 

REDBURN

(in POLYNESIAN, with subtitles)

Well – still, you are beautiful.

 

An odd SOUND arises, and pours in from the front door and verandas. People on the road are shouting. A telegraphing message in horrifying timbre comes down the valley. Redburn and Faaua stare at each other in rising, but stymied, alarm as they make out the words (in POLYNESIAN, with subtitles): “Oh, no! Oh, no! Toby has been killed!”

 

EXT. GATE TO MAHEYO’S HOUSE

TINOR, MAHEYO and FAAUA come running up the gate. An agitated throng of PEOPLE point up the road. REDBURN is helped by KORI-KORI, and by the time they make it to the gate, a dusty cloud resolves itself into TOBY’s white duck-covered legs swinging off the ground as MARMUNU and KARNUNU run sideways. Their arms are linked, and support the front half of Toby. MONU struggles behind them to support Toby’s torso. Soon, two other young MEN relieve him, and Monu runs ahead. Kori-Kori shouts to Monu.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Go fetch the doctor!

 

Monu continues past the house. The young men bring Toby through the gate, and Redburn sees Toby’s head and shoulders are covered in blood. Kori-Kori picks Redburn up and takes him into the house before anybody else gets there.

 

INT. MAHEYO’S HOUSE

KORI-KORI sets REDBURN down by the dais. As the young MEN bring TOBY in, Redburn takes charge. He points to where Toby is to be deposited. Then roars to TINOR and FAAUA.

 

REDBURN

(in POLYNESIAN, with subtitles)

Water!

 

As the women gather bandages and bowls of water, the young men group with Kori-Kori and Maheyo.

 

MAHEYO

(to Marmunu – in POLYNESIAN, with subtitles)

What happened?

 

KARNUNU

(in POLYNESIAN, with subtitles)

Damn Happar!

 

MARMUNU

(in POLYNESIAN, with subtitles)

We just left Toby on the Happar side, when we hear some angry voices demanding to know who Toby is.

Toby has no time to say anything before they attack him.

 

KARNUNU

(in POLYNESIAN, with subtitles)

We rushed back to help him, and the Happar cowards ran away. We found Toby bleeding from—

 

MARMUNU

(in POLYNESIAN, with subtitles)

Savages! They attacked him for no reason.

 

Redburn positions himself behind Toby and puts Toby’s head in his lap. He gently rotates it so the open gash is facing upwards. Toby shows no signs of life. Redburn puts his hand through Toby’s jersey and under his tee-shirt to rest on his heart. Faaua rushes up with sloshing water.

 

REDBURN

(to Faaua)

He’s alive. Thank God, he’s still alive!

(in POLYNESIAN, with subtitles)

Alive!

 

Redburn dips his fingers in the water and drips it over the wound. Now he can see some of Toby’s hair is in it, so he gently extracts it, and pours a stream of water to wash it. The DOCTOR arrives with MONU holding his bag. The Doctor calmly goes over to Toby and waves for Redburn to move. Redburn grits his teeth and shakes his head. The Doctor shrugs, and calls for his bag. From it, he extracts a thick succulent pad. He snaps it in two and holds the oozing ends to Toby’s wound. Toby starts in pain. Redburn grabs his shoulders.

 

REDBURN

(shushes)

Be still now. Just wait.

 

Toby’s wild eyes settle on Redburn, then on the Doctor, and a current of relief washes over him in relaxation. Toby closes his eyes, and a devilish grin creeps across his lips.

 

TOBY

A fine invalid pair we make.

 

REDBURN

(shushes)

Thank you, God.

 

[Part 4 – IV: Taipivai’s Washington]

EXT. CENTRAL AVENUE OF TAIPIVAI – NOON

KORI-KORI and REDBURN stroll. Redburn wears his kilt, belt, borrowed sandals and his hat. He neither leans on Kori-Kori nor has his paddle crutch; he limps slightly.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Toby is brave. He is a strong man. You

are lucky.

 

Redburn is distracted by an opening coming up. A thicket of bamboo poles with white tapa pennants mark the entrance to a clearing. He points.

 

REDBURN

(in POLYNESIAN, with subtitles)

What is this place?

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Come.

 

Kori-Kori leads Redburn through the tapa-strewn poles.

 

EXT. SHRINE COMPOUND

A perimeter of palm trees edges a clearing of about fifty square yards. To the left side from the entry, a stone platform rises about three feet, and supports a building about ten feet square. The front is open, and a tall idol rides a full-size canoe. The idol is dressed in a red mantle, and an offering table by the prow of the boat is full of food, flowers and drink. REDBURN forgets his host and walks right up to the canoe. KORI-KORI is impressed by Redburn’s interest.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

This is Kikiruaru – Great Chief of Taipivai. He built the Ti and Hula Hula enclosure ten generations ago.

 

Redburn sees the limbs of the statue are glistening. He sniffs at it, and makes a puzzled look to Kori-Kori.

 

KORI-KORI (CONT’D)

(in POLYNESIAN, with subtitles)

Every day the chief is bathed by women, then dressed with coconut oil and given a new mantle to wear.

 

REDBURN

(in POLYNESIAN, with subtitles)

He’s in a boat.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

To travel from Taipivai to heaven – in the stars – and back to us again. He could never leave Taipi. We love him. We never allow the loved one to leave here – the place where he is best loved.

 

REDBURN

(in POLYNESIAN, with subtitles)

Your heaven is in the stars?

 

KORI-KORI

(in POLYNESIAN, with subtitles)

Yes – see the paddle?

 

Redburn looks again, and at the side of the figure, held by both his hands, is a broad paddle.

 

KORI-KORI (CONT’D)

(in POLYNESIAN, with subtitles)

He paddles through the waters of the sky where all is rest and comfort. Whenever he wishes for breadfruit, ripe ones fall to his feet. When he thirsts, green coconuts open themselves to his lips. If he rests, it is upon mats much finer than those we use. And he has an endless selection of plumes, boar tusks, whale teeth, to decorate his body. And there, among him, are young men and young women, lovelier than the sons and daughters of our earth.

 

REDBURN

(in POLYNESIAN, with subtitles)

A very pleasant place – But, it sounds exactly like Typee.

 

Kori-Kori comes up and whispers a secret in Redburn’s ear.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

It is.

 

Redburn turns into an unaccountably near Kori-Kori.

 

REDBURN

(in POLYNESIAN, with subtitles)

Do you, then, wish to accompany the chief on his travels?

 

KORI-KORI

(in POLYNESIAN, with subtitles)

In time. If I do no harm here among my brothers and sisters while living, I will join him; but not now.

 

TOBY, supported by FAAUA, walks into the sanctuary unnoticed. Toby’s head is bandaged with tapa, and his beard is growing.

 

TOBY

Ahoy, matey!

 

Redburn rushes over to him, relieving Faaua of her duty.

 

REDBURN

Toby. What are you doing? It’s only been

a week—

 

TOBY

Air, my boy. Air. Fayaway makes pleasant company.

 

Redburn puts his hat on Toby’s head.

 

REDBURN

I told you not to go out in the sun.

 

TOBY

(to Faaua – in POLYNESIAN, with subtitles)

Mother-hen.

 

Faaua and Kori-Kori laugh heartily, and Kori-Kori slaps Redburn’s shoulder, repeating.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

You’re a mother-hen!

 

A chorus of voices telegraphs up the valley road from the beach (in POLYNESIAN, with subtitles): “A boat is approaching – gather fruit!”

 

REDBURN

(quietly to Toby)

A boat. There’s a boat coming.

 

PEOPLE are seen on the road, many carrying coconuts and other produce. They run towards the beach.

 

TOBY

(to Redburn with affected glibness)

I have to go. I can get help.

 

Kori-Kori becomes authoritative, and moves towards the road.

 

KORI-KORI

(in POLYNESIAN, with subtitles)

We should go home.

 

Redburn blows his cool. He nearly pleads to Kori-Kori, until Toby stops him.

 

REDBURN

(in POLYNESIAN, with subtitles)

Take us to the beach….

 

TOBY

Calm yourself. This is the time you take my advice. Stay calm; stay here.

 

He turns lighthearted to Kori-Kori.

 

TOBY (CONT’D)

(in POLYNESIAN, with subtitles)

Tommo will stay here – I want to see the fun! Faaua and I can go, and we’ll meet you back at the house.

 

So saying, Toby spins around and puts his arm around Faaua’s shoulder. They make for the road before Kori-Kori can object. Redburn walks back to the shrine and Kori-Kori must follow. Redburn looks the old wooden idol in the eye, and the noise of people fade as natural sounds call for his attention. The palm trees around the enclosure rustle; birds call in pleasant song; and the stream chops itself over smooth stones. From the food and flowers on his offering table, a slow draw leads up to the chief’s wooden eyes. Redburn leans in as close to the idol as he dare, while Kori-Kori drifts up behind him, not knowing what’s happening.

 

REDBURN

God speed, brave one. May you have a pleasant voyage to the beyond. To the outward eye, you make but little progress,

but to the inner eye of deep abiding faith – you cleave the bright waters and cut the foaming waves into

brilliant shards with never-forgetting fingers. You never leave those you love.

 

 

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