EXT. WHARE NUI — DAY
It is raining.
Paraiti and Horiana sit together. Something in the body language of the two women speaks to an old and close camaraderie.
Horiana rises, preparing to fetch the next patient, but Paraiti stops her.
PARAITI
Kua rahi mo te ra nei. Kua pau taku hau. Tukuna te korero ki te hunga ra kua tata ahau te wehe atu ki te taone nunui mai konei mo te hiahia mea aa etahi.
SUBTITLE:
Enough for now. I’m tired. Let the people know that I’m on my way to town, in case someone needs something.
Horiana goes towards the meeting house, leaving Paraiti resting outside. As soon as Oti notices her master is on her own, she approaches and leans her snout on her lap.
Paraiti pats the dog’s back.
HORIANA (OFF SCREEN)
Apopo kai te hoki a Paraiti ki te taone. Na, ko nga mea he tono a ratau me tu ki tenei taha ko wetahi o koutou me hoki mai apopo.
SUBTITLE:
Paraiti needs a rest. If you want anything from town, tell me now.
Amused, Paraiti overhears the old woman with swollen legs grumbling her protests.
OLD WOMAN (OFF SCREEN)
Kua roa ke ahau e noho ana i konei, Kua pau i ahau te ra!
SUBTITLE:
I have been waiting here all day!
EXT. VILLAGE — DAY
Paraiti leaves the village, her horse at her side and her dog following behind.
EXT. MOUNTAINS — DAY
Paraiti and her animals cross the mountain range; its colours and textures flow together.
EXT. DEVASTATED LANDSCAPE — DAY
The land is burnt and brown. No trees. No life.
Paraiti walks slowly, as if crossing a haunted territory … Oti is very close by her side.
The whistle of a distant train pierces the barren silence, bringing the sounds of the town.
EXT. COMMERCIAL STREET
TOWN — AFTERNOON
Paraiti waits for the DOORMAN to open the doors.
She leaves the shop carrying a few packages.
Progressing through the urban streets, Paraiti’s gait is notably altered; clearly this is not her world. She’s not intimidated but a cautious air invests all her movements.
She walks across the street to the movie theatre announcing a Charlie Chaplin film. Not far from her, by the doorway of a chemist shop is a MAORI EMPLOYEE talking to MARAEA, a Maori woman of about 50, wearing a fastidious servant’s uniform and white gloves.
Seconds later, a CHEMIST in a white smock bursts from the shop. He turns around and discovers the Maori employee whispering with the servant, Maraea.
CHEMIST
(To the EMPLOYEE)
Ah! There you are! I don’t pay you to be chatting on the streets! Back to work!
Paraiti slows her pace and silently witnesses how the chemist abuses the two Maori women.
CHEMIST (CONT’D)
(To MARAEA)
If I see you again troubling my employees, I will report you to Mr Vickers! If you want to keep your job, you’d best stay away from here!
For a brief moment, Paraiti and Maraea are face to face a few metres apart.
Paraiti reacts and heads in the direction of the theatre.
The chemist re-enters his pharmacy, roughly pushing past his young Maori employee.
CHEMIST (CONT’D)
(To the EMPLOYEE)
Inside!
Once the chemist has disappeared inside the shop, the employee runs towards Maraea and with a quick whisper points her finger in Paraiti’s direction.
MAORI EMPLOYEE
(To MARAEA)
That’s Paraiti! She could help you …
After that, she immediately turns and rushes back inside the chemist shop.
Peering back from around a corner up ahead, Maraea’s eyes furtively follow Paraiti until she disappears into the theatre lobby.
EXT. MOVIE THEATRE — AFTERNOON
Paraiti enters the theatre.
A big publicity stand announces the screening of The Kid.
INT. MOVIE THEATRE /
LOBBY — AFTERNOON
Paraiti enters the theatre lobby.
Arranging her packages on the elegant lobby seats, she waits for the ticket booth to open.
Maraea appears and, half-hidden behind the main door to the lobby, she looks for Paraiti. Maraea meekly crosses the lobby and heads towards Paraiti.
She takes a seat next to Paraiti and speaks rapidly, casting her eyes low, like a servant.
MARAEA
You must be Paraiti? May I trouble you?
Paraiti’s only response is to listen.
MARAEA (CONT’D)
I have a mistress who needs a job done.
PARAITI
A tena he rite ano too wahine rangatira kia tatau?
SUBTITLE:
Is your mistress one of us?
MARAEA
No … My mistress is Mrs Rebecca Vickers.
Paraiti doesn’t take her eyes off Maraea.
MARAEA (CONT’D)
The Honourable Mr Vickers is currently in Europe for business … We are only recently arrived here …
The ticket booth is about to open and a few PATRONS approach it and form a queue. Paraiti seizes the moment to excuse herself.
PARAITI
Mo tetahi wa pea, haerere tonu mai ai ahau ki konei, mo reira pea …
SUBTITLE:
Some other time perhaps. I come here often, maybe next time …
Paraiti stands, gathers her packages and walks away from Maraea to take her place at the end of the queue.
Seeing Paraiti leaving, Maraea follows her.
Paraiti busies herself looking inside her purse for the money to buy her ticket. There is only one YOUNG WOMAN ahead of her in the queue.
Paraiti is just about to pay for her ticket when Maraea appears behind her. Maraea seems lost and desperate …
MARAEA
It is a matter of life and death.
Paraiti hesitates, unsure of what to do. After a deep sigh she agrees to help Maraea.
PARAITI
Ka hoatu e ahau tetahi haora ki too wahine rangatira.
SUBTITLE:
I will give one hour to your mistress.
Back to her submissive ways, Maraea responds.
MARAEA
Thank you.
Maraea lowers her eyes and whispers.
MARAEA (CONT’D)
Follow me, but please stay back … It may be better that people don’t know we are together.
And without giving any time for more conversation, she leaves the movie theatre.
Paraiti follows her, a bit uneasy, a bit curious and a bit amused by the boldness of the servant.
EXT. ELEGANT STREET / TOWN — AFTERNOON
In the elegant environs of the town, the villas are large with green lawn promenades, manicured topiaries and flowers impressively arranged in massive planters. A quite different order of greenery than Paraiti knows from the forests and mountains.
After Maraea turns a corner, she slows her pace only long enough to confirm that Paraiti still follows her. At a distance, Paraiti walks slowly, carrying her packages.
EXT. VICKERS’ VILLA — AFTERNOON
Maraea disappears, first down a long private drive then behind the elegant two-storey white villa on the lush property.
At the end of the drive, an OLD MAORI GARDENER washes an elegant white car that is parked in front of the entrance to the house.
Paraiti goes down the drive but waits at the main door, assuming that the servant will open it for her.
After a moment, Maraea peers around the side of the house at the service entrance and impatiently waves Paraiti to follow that way.
The old Maori gardener looks discreetly at Paraiti as she enters the house.
PARAITI
(To the GARDENER)
Tena koe.
SUBTITLE:
Good day.
INT. RECEIVING HALLWAY — AFTERNOON
Paraiti follows Maraea down a long hallway that leads back to a large reading room. The reading room shines under a crystal chandelier, which is switched on even in the light of day.
Paraiti walks past Maraea and places her packages on top of a table.
MARAEA
Be kind enough to wait here.
Maraea indicates the entrance to the reading room.
MARAEA (CONT’D)
Mrs Vickers will see you soon.
Maraea, with her eyes downcast as always, steps aside to leave Paraiti alone in the room.
INT. READING ROOM — AFTERNOON
The reading room is clearly a masculine space.
The furniture is elegantly upholstered and trophy animal heads hang from the walls. The lamps cast light into an infinity of mirrors of all types and origins. At the back of the room, facing a lovely fireplace, is a chaise longue.
It is as if Paraiti has landed on another planet. She is not intimidated but she is alert.
She approaches a grand piano on which a group of beautifully framed photographs stands — a smiling adolescent girl with a trophy, an old Irish family portrait of a mother and father sitting rigidly with a young boy, a man standing proudly in front of the gates of a factory, and a few others of an exceedingly elegant couple in different settings of European cities. He is an older red-haired man; she is a beautiful, and much younger, woman. She is the girl with the trophy; he is the proud man by the factory gates.
Paraiti selects one of the photographs of the couple and carries it to a window for a better view in the natural light from outside.
Paraiti has pulled back the curtain to get a better look at the photo, when, from the entrance behind her, she hears:
REBECCA
If you have stolen anything while you have been alone in the room, it would be wise to put it back where it belongs before you leave.
Mrs REBECCA VICKERS is barely 25 years old, with beautiful black hair and a white, almost death-like pallor to her skin. She is the woman in the photographs. Despite her youth, her presence is powerful, her beauty mysterious, disturbing …
Ignoring Rebecca’s comment, Paraiti regards the photo in her hands and puts it down.
PARAITI
What may I help you with, Missus?
REBECCA
My name is Mrs Rebecca Vickers.
PARAITI
Yes, I already know that …
At a languid, regal pace, Rebecca crosses the room in Paraiti’s direction.
Each woman measures the other. Neither breaks eye contact, more out of curiosity than as a challenge. They find themselves mere centimetres from each other.
Suddenly, unexpectedly, almost seductively, Rebecca lifts Paraiti’s chin with one hand. She clinically observes the scar that runs across Paraiti’s face. With the index finger of her other hand, the young woman slowly and deliberately traces the scar’s line.
REBECCA
I was told you were ugly, but really you are only burnt and scarred.
Paraiti holds her breath. No one has ever touched her face in such an intimate way. It takes a few seconds for her to recover her composure before she can step away from Rebecca.
Turning away, with her back to Paraiti, Rebecca unbuttons her dress, letting it fall gently to the floor. Aware of her beauty, Rebecca steps out of her dress but keeps on her high heels. Under the soft texture of a silk slip, the skin of her back is so extremely white that it appears to be almost weirdly translucent grey.
Rebecca turns around to the front to reveal her almost half-term pregnancy.
REBECCA (CONT’D)
This is very simple. I am carrying a child I cannot have. I want you to get rid of it.
Not taking her eyes off Rebecca, Paraiti responds in the same cold manner by which her services were requested.
PARAITI
And you assume I will do it only because you asked me?
Rebecca grimaces, slightly annoyed by what she understands as an undisciplined answer from a servant. With a patronising attitude, she reclines on the chaise longue, takes her time to get comfortable, and then lights a cigarette.
REBECCA
Maraea told me you Maoris have ancient ways. You are renowned for your clever hands. Those hands could secure the result I seek.
Paraiti stands, fascinated by the beautiful white body that lies poised the length of the finely upholstered chaise longue. But to her Rebecca is no more than an alabaster sculpture and Paraiti remains silent.
Rebecca tries again.
REBECCA (CONT’D)
I will pay you handsomely both for your work … And for your silence.
Paraiti expresses her words without emotion — she is specific, dry, precise.
PARAITI
You are a Pakeha. Go and look for a solution with your doctors.
Rebecca loses her patience.
REBECCA
I cannot do that, as you may very well understand. In this hideous little town everyone is greedy for a reason to gossip!
Paraiti turns around, and walks to the door. She turns and looks one more time at Rebecca, who remains reclined on the sofa.
Rebecca looks at Paraiti with disdain and taps the ashes of her cigarette in an ashtray.
Paying her no more attention, Paraiti leaves both Mrs Vickers and the room behind.
INT. RECEIVING HALL — AFTERNOON
Unseen, from the hall, Maraea has witnessed the interview.
Paraiti stares at her harshly as she leaves the room.
Maraea follows her.
MARAEA
If that baby is born, her life will be destroyed …
Ignoring what she has just heard, Paraiti picks up her packages.
Maraea stops her by holding the packages.
Paraiti shakes free of Maraea’s grip.
PARAITI
Kaua e ui mai ano!
SUBTITLE:
That is not my concern. Don’t ask me again!
Holding her packages, Paraiti leaves through the main door.
Maraea hears the impatient ring of a hand bell and Rebecca calling her, but she doesn’t move; she just watches Paraiti leave.
REBECCA (OFF SCREEN)
Maraea!
Only after the door has closed does Maraea disappear in the direction of her mistress’s voice.
EXT. EDGE OF THE RIVER /
MOUNTAIN RANGES — DAY
Back in her world, Paraiti walks by the edge of a powerful river. She observes and gently touches the moss that covers the trunks of the trees. She carefully picks only those leaves that are touched by the light of the sun.
Not far away, her horse, loaded with the packages she bought in town, and Oti the dog are waiting for her.
EXT. WHARE NUI — EVENING
Paraiti pulls up a stool at the entrance to the meeting house, setting down a small metal box and the packages she bought in town.
Horiana is there already and her YOUNG MOKOPUNA runs over and crouches by her side. He selects a couple of packages and reads in a loud voice.
YOUNG MOKOPUNA
E rua nga iari kakahu whero. E toru nga kohao ma.
SUBTITLE:
Two yards of red cloth. Three spools of white thread.
A WOMAN with TWO TAMARIKI at her side approaches.
YOUNG MOKOPUNA
E toru hereni.
SUBTITLE:
Three shillings.
The woman picks up the package and gives the mokopuna a bunch of coins. He counts them and places them in the metal box.
Paraiti reaches for a copper kettle.
YOUNG MOKOPUNA
He tikera.
SUBTITLE:
A copper kettle.
An OLDER MAN approaches and picks up his merchandise.
YOUNG MOKOPUNA
Whitu hereni me, te ono kapa.
SUBTITLE:
Seven shillings and sixpence. Good.
The mokopuna receives some coins from the older man and continues the process. Others collect their packages as they pay.
EXT. BUSH — DAY
Blended with the most verdant parts of the great landscape, Paraiti walks with her animals.
Behind them, in the distance, a column of smoke rises from the village.
They all disappear in the lush greenery of the bush.
EXT. DENSE FOREST — AFTERNOON
Under rain, sheltered beneath a dense canopy of giant ferns, a small rustic tent seems to float on the white mist.
Made of a material that already seems ancient — many rains have fallen over its sides to wash away its textures and what, long ago, were its colours — the tent flies are wide open. Inside, Paraiti has set out her healing herbs and instruments. A cot and bench complete the furniture.
The neighing of Paraiti’s horse sounds nearby.
Oti the dog curls up alongside Paraiti, attentively observing her master.
Paraiti is working her fingers down the throat of an ASTHMATIC BOY.
Paraiti finally manages to extract a thick green wad of phlegm from the boy’s throat. She is triumphant.
The boy is wide-eyed in fascination.
ASTHMATIC BOY
He pai noa iho te heri i tenei? Kia pai ai taku whakaatu ki waku hoa?
SUBTITLE:
Can I take it home? I want to show it to my cousins.
Paraiti glances over to his MOTHER, whose tacit reply with her eyes pleads Paraiti to tell him ‘no’.
Paraiti reads the impish look on the boy’s face. She enters the tent only to emerge seconds later with a deep paua shell in which she deposits the phlegm then gives it to the boy.
PARAITI
E i, ina ka mutu too whakaatu haere i too weriweri, whiua atu ki roto i te awa. Ki te kore ka nokinoki mai ano ia ki roto i too korokoro.
SUBTITLE:
Promise me that once you’ve shown your little monster around, you will throw it into the river. If not it will crawl right back inside your throat!
The boy is stunned. Suitably impressed, with his eyes wide open, he nods in agreement.
Mother and boy leave the camp. She reprimands him with successive raps on the noggin.
The boy laughs out loud and runs off, holding the paua shell in both hands like a treasure.
Not too far away, a COUGHING OLD MAN and his DAUGHTER are waiting for the medicine woman to see them.
Bursting from the dense forest growth, Horiana’s grandson, sweating, races toward the tent. He chokes out a cry a few metres from the tent.
HORIANA’S GRANDSON
Paraiti! Paraiti!
Surprised by his arrival, Paraiti approaches.
HORIANA’S GRANDSON
He mea tono mai ahau e Kuia Horiana. Kua raru te kotiro hapu ra. Kei te rere te toto i waenganui i ona waewae. Mea mai ia kua kahaki hia e tana papara ki te taone. Ki te takuta.
SUBTITLE:
Horiana sent me to find you. There is trouble with that pregnant girl! She is bleeding between her legs … She said to tell you her uncle is taking her to town … To the doctors.
Paraiti listens intently. She gives calm and precise instructions to Horiana’s grandson.
PARAITI
Whakarongo, mau e tuku iho taku kopuni. Katahi ka kawe atu ki te marae.
SUBTITLE:
Listen, you break my camp. Then load everything and take it to the village.
Winded and hacking, Horiana’s grandson turns to begin his tasks. Paraiti rushes inside the tent, collects some herbs and sundries, then places them in her kete.
The young boy drags the horse towards Paraiti, who rushes him, impatient.
PARAITI
Awhinatia mai au ki runga i taku hoiho!
SUBTITLE:
Help me on to my horse!
Horiana’s grandson holds the horse close to Paraiti, who, old and clumsy, does her best to mount the beast.
PARAITI
(To OTI)
Haere mai, Oti!
SUBTITLE:
Let’s go, Oti!
Paraiti gallops off as fast as possible.
The dog runs behind her and her horse.
Soon they have become lost in the forest.
INT. MEDICAL CLINIC — EVENING
In the hall of an urban medical clinic, Paraiti sits next to Horiana. Not far from them, a man with stains of fresh blood on his shirt and trousers leans against the wall. He is AROHA’S UNCLE. They all wait in silence.
With an energetic pace, the MATRON comes down the stairs towards the hall. She does not stop to talk.
Paraiti stands and approaches the matron.
PARAITI
I need to see the pregnant girl.
Without any suggestion of sympathy, the matron questions her.
MATRON
What is your relationship to the patient?
Realising she must avoid any hint of confrontation, Paraiti simply answers: