MATRON (CONT’D)
Please sign here, nurse. And deliver the bodies to them.
Paraiti’s steely gaze holds on the matron and her eyes are full of hate.
EXT. BACK DOOR / MEDICAL
CLINIC — DAWN
Horiana stands behind a rickety open-tray truck. She folds a couple of blood-stained blankets then places them in the truck bed, making sure the clean sides remain upwards.
From the clinic, a PAKEHA STRONG MAN pushes a gurney on which rests the body of Aroha. Across her chest rests the inert body of her baby. Both are wrapped in white jersey material. Aroha’s uncle walks by their side.
They go towards the truck.
Horiana uncovers Aroha’s face and places a white handkerchief over her.
Moments later, Paraiti exits the building. She is profoundly undone. Behind her, the matron follows.
MATRON
Out!
The matron gives her a push out the door.
PARAITI
I will not leave this place unless we take her placenta with us!
Paraiti turns on her, almost desperate.
PARAITI (CONT’D)
This girl and her baby will never find any peace unless I bring it back to the land! To our ancestors!
The matron shoves her again, but this time in the direction of waste-filled barrels standing in a corner.
MATRON
Take whatever garbage you want. Look for it. Take it away from here!
Horiana can’t contain her anger and is about to react against the matron, but Aroha’s uncle holds her strongly by the arm.
The matron returns to the clinic, closing the door behind her. Once safely locked inside, she watches through the glass window.
Paraiti is standing right in front of the barrels of waste. It takes her a few seconds to know what to do … She lifts the lid covering one barrel and looks inside. She is pained by what she sees. Clearly, there is no way to recover what she is looking for. She replaces the lid on the barrel.
Completely numb, Paraiti cannot react any longer. Something deep inside her is profoundly broken.
The Pakeha strong man, Aroha’s uncle and Horiana observe the scene. All of them are equally disturbed.
The Pakeha strong man, who is deeply moved, respectfully leaves the group with their dead and disappears through the doors of the clinic, which the matron opens for him and quickly closes again.
Horiana moves to Paraiti, still standing by the waste barrels, too stunned to move.
Horiana places her arm around her friend’s shoulders.
Paraiti and Horiana come over to the tailgate of the truck. They take a last look.
In the background, the matron observes everything through the clinic door’s window.
Paraiti leans over Aroha’s body and recovers the small naked body of the baby from the dead breasts of its mother.
Paraiti’s sorrow is immense.
She holds the infant to her own chest and from the depths of her soul emerges a profound and sacred chant.
EXT. RURAL ROAD — DAY
The truck makes its way along the rural road. Tied to the back of the truck trots Paraiti’s horse.
EXT. / INT. BACK OF THE TRUCK /
RURAL ROAD — DAY
Covered with a white sheet, the body of Aroha lies on the back of the truck, in between Paraiti and Horiana.
The dead baby is still wrapped in Paraiti’s blouse, between her old breasts, close to her heart. She holds the head of the dead infant with care, as the truck bounces along the road.
Snuggled at her feet, her disconsolate dog watches.
EXT. MAORI CEMETERY / VILLAGE — EVENING
Wirepa walks alongside Paraiti. Horiana follows a few steps behind.
PARAITI
Ai kua hara ahau … kia koe, ki taua kohine, ki tana pepe … ki te hapu, a kia tatau katoa …
SUBTITLE:
I have failed … I let that girl and her baby down … You, the family and the people …
Wirepa neither questions nor encourages her in any way. He simply listens.
They approach the fresh graves of Aroha and her baby.
PARAITI
Kai te whakarerea enei ahua, Wirepa. Me kimi ano e koe he tangata hei tiaki i te iwi.
SUBTITLE:
I’m leaving all this behind, Wirepa. You need to find someone else to take care of the people.
Wirepa stands, then places his hand on Paraiti’s shoulder as if she were still a little girl.
WIREPA
Ko koe ano hoki kai te mohio tonu koe Paraiti.
SUBTITLE:
Only you know what you have to do, Paraiti.
Paraiti’s gaze drifts away.
Horiana and Wirepa slowly make their way out of the cemetery.
Paraiti stands alone by the grave, lost in the anger and the emptiness of her grief.
EXT. ELEGANT STREET — DAY
Four square on her horse, Paraiti rides down the centre of the road toward the Vickers House. Followed by her dog, she owns the road.
EXT. MAIN ENTRANCE — DAY
Paraiti stands right in front of the main door. She knocks and waits.
Unlike on her earlier visit, the house now seems abandoned. The curtains are drawn, the windows are closed. There is a hollow silence.
A tired-looking and dishevelled Maraea opens the door, her eyes downcast as usual. Her hands seem wet and are partially covered in a whitish paste; she promptly wipes them off and hides them away in the front pockets of her apron.
PARAITI
Tikina to wahine rangatira, kia korero atu au ki a ia.
SUBTITLE:
I want to talk to your mistress.
Maraea stands aside to let Paraiti in. Neither woman says a word.
Once Paraiti is inside, Maraea peers outside and closes the door.
INT. RECEIVING HALLWAY — DAY
The home appears semi-packed up, as if the occupants were on the verge of a hasty move.
In one corner, a pair of open steamer trunks sit half-filled. Paraiti kneels beside them to discover the contents.
Rebecca Vickers appears at the back of the hall. She walks slowly towards Paraiti. Her hair is dripping with water and her belly has grown so that it is impossible to hide. Despite the dark circles that ring her eyes and the scraggly hair that partially covers her face, she remains immensely beautiful.
Paraiti, still kneeling by the steamer trunk, observes Rebecca’s beauty.
Almost without paying attention to Paraiti, Rebecca goes to the reading room.
INT. READING ROOM — DAY
Paraiti follows Rebecca into the reading room.
PARAITI
Maybe I came back too late …
I see you have travel plans …
Rebecca’s arrogance remains intact.
REBECCA
If you’ve come to gloat, you can get out of my house right now.
Each woman sizes the other up silently.
REBECCA (CONT’D)
Maraea said you had a matter of interest to discuss with me.
PARAITI
Do you still want to end your pregnancy?
Maintaining eye contact, Rebecca nods. Each woman is trying to decipher the other’s true nature and intentions.
PARAITI (CONT’D)
I will begin tonight.
For the first time, and only for a moment, Rebecca drops her frozen mask of defence. Her face dissolves into an odd expression of both pain and relief. She walks slowly over and sits on the chaise longue.
REBECCA
Tonight? How will you do that?
Paraiti speaks slowly, without emotion.
PARAITI
With a herbal potion. You will drink it three times a day. I will massage your body and ask your child to leave it … It will be painful, but in seven days it will be over.
Rebecca recovers her harsh attitude and takes a bell from the pocket of her robe. She rings it.
Almost immediately Maraea appe
ars in the doorway.
Still keeping eye contact with Paraiti, Rebecca asks Maraea:
REBECCA
When does Mr Vickers arrive back in the country?
MARAEA
We are not certain, Madam, but he is expected any time this coming fortnight.
Silent for a few seconds, Rebecca evaluates the situation.
REBECCA
You must take less time.
PARAITI
Less time means more risk for you.
In a chilling and unexpected tone, the servant breaks in.
MARAEA
The risk is not of any matter. The life of my mistress is already in danger because she will not survive her husband’s rage.
Somehow, the words of the servant bring, from a remote place inside of Rebecca, an old and painful shadow into her eyes.
Silence.
PARAITI
I know my business … Your heart will not want to go all the way.
Rebecca recovers her enormous selfassurance.
REBECCA
I’m strong enough, believe me.
Rebecca looks around for Maraea.
REBECCA (CONT’D)
Put everything back in place. Unpack the trunks. I want the house impeccable.
MARAEA
Yes, Madam.
Maraea leaves.
REBECCA
Why are you doing this? What made you change your mind?
Paraiti responds plainly, without any arrogance, as a simple matter of fact.
PARAITI
This is my way of restoring some justice.
The rules are clear.
INT. KITCHEN — DAY
Maraea shows Paraiti around the kitchen, instructing her in the household rules and schedules.
MARAEA
It is absolutely forbidden to enter the second-floor bathroom, ever.
Without expecting an answer from Paraiti, Maraea disappears for a short time and returns with some old sheets and a thin, worn mattress.
MARAEA (CONT’D)
You may use the bathroom on the lower floor behind the staircase.
Maraea places the mattress against the wall next to the stove.
MARAEA (CONT’D)
When you aren’t working with Mrs Vickers you will remain in the kitchen. You have no permission to go into any other part of the house.
For the first time, Paraiti reacts to the endless talk of the servant.
PARAITI
Te waahi ka mahia e au nga wai rakau kai ahau tera. Na he tapu te kaupapa nei, kaare e mahia e au i roto i te whare kai.
SUBTITLE:
Where I prepare my potions is my business. It is a sacred procedure and I can’t do it in a kitchen.
MARAEA
The instructions of Mrs Vickers were clear. You are forbidden to be in any other place in the house but the kitchen unless you are doing your job.
Irritated, Paraiti interrupts Maraea’s harangue.
PARAITI
He tino kuare ke nei koe. Nera?
SUBTITLE:
You are really ignorant, aren’t you?
MARAEA
It is not of my interest.
PARAITI
Me pono koe, mehemea ka hiahia koe kia ora too wahine rangatira.
SUBTITLE:
It had better be, if you want your dear mistress to survive.
Taking a minute more, Maraea passes her hand over the sheets to make sure all the wrinkles disappear.
MARAEA
What do you need?
PARAITI
Inaara, ko tetahi waahi pai hei tahu ahi, whakawhaiti i aku mahi, kai ko atu o too te whare.
SUBTITLE:
I need a place to light a fire, away from the house.
Maraea looks at Paraiti, doubting for a second, but finally she signals Paraiti to follow and leaves the kitchen.
Paraiti follows her.
EXT. BACK GARDEN — NIGHT
At the back of the house there is a small fire.
On a clean white tea towel placed on the ground there is a big bath bailer, a couple of pots filled with water and several stones of different shapes and sizes.
Not too far away, lying close to the horse, Oti quietly watches Paraiti organising in perfect alignment — just as she did when she was a girl — a display of various herbs, flowers and roots.
INT. REBECCA’S BEDROOM — NIGHT
Rebecca lies on the bed.
Maraea opens the door from outside and shows Paraiti the way into the room.
Paraiti enters with a steaming bowl and some herbs and green leaves. She leans over the edge of the bed. She fixes her stare on Maraea and waves her out of the room.
Maraea looks to Rebecca for approval; receiving it, she turns to leave.
Once the servant is gone, Paraiti prays in silence.
REBECCA
I don’t need any of your prayers.
PARAITI
They are for me, not for you.
Although they will not hurt you.
Paraiti sits at the side of the bed.
PARAITI (CONT’D)
Uncover your belly.
Rebecca unbuttons her robe and opens it.
Paraiti dips the leaves into the bowl.
Mistrusting, almost fearful, Rebecca observes what the old woman does.
Paraiti takes out some wet leaves and places them on Rebecca’s swollen belly with slow movements.
Rebecca is tense but allows it.
Paraiti concentrates on pressing the dripping leaves with enormous care on specific parts of Rebecca’s belly.
Paraiti offers Rebecca the bowl.
PARAITI (CONT’D)
Drink it when you are ready …
Rebecca takes the bowl in both hands and slowly brings it close to her lips. She is unsure about drinking it, but an imperative gesture by Paraiti makes the young woman swallow part of the liquid. The bitter taste immediately makes Rebecca want to throw up.
Paraiti covers Rebecca’s mouth with her hand.
A few seconds later, Rebecca drinks it down despite its obviously unpleasant flavour and puts the bowl back on the dresser.
Rebecca vomits a yellowish liquid that runs down her chest.
Paraiti cleans Rebecca’s lips then helps her recline again.
Spent, Rebecca closes her eyes.
For a while, Paraiti watches her sleep. Despite her undeniable deterioration, Rebecca remains strangely beautiful. And fragile …
INT. KITCHEN — NIGHT
Maraea eats at the kitchen table.
Paraiti enters and looks at Maraea.
The servant eats silently, never lifting her eyes from her plate. She avoids any direct eye contact with Paraiti, who observes her with great attention.
PARAITI
Ehia roa koe e mahi ana ma te wahine nei.
SUBTITLE:
How long have you been working for this woman?
MARAEA
A long time.
Paraiti sits down at the table, very close to Maraea.
PARAITI
Ko too wahine rangatira kai te aukati i a koe ki te koorero i to taua reo?
SUBTITLE:
Is she the one who forbids you to speak our language?
MARAEA
It is not forbidden. I just don’t want to speak it. That’s all.
Considering the conversation closed, Maraea goes to the sink to wash her plate, eyes downcast as usual.
PARAITI
Ahakoa kaore koe e korero i too reo, engari ka whakaaro nui ahau kia kore e wareware i a koe.
SUBTITLE:
You may not want to speak it, but I will make sure you don’t forget it.
Maraea leaves the kitchen.
Once alone, Paraiti drags the mattress out of the kitchen and places it just outside, in the corridor.
INT. HALLWAY — NIGHT
Paraiti rests on the thin, shoddy mattress.
Outside, the dog howls softly. Paraiti rises and opens the door to let the dog in, who immedia
tely curls up in her skirt.
Paraiti lays out some blankets and prepares to sleep. The dog is somehow restless, at her side, close to her body.
As Paraiti hums, the dog presses its snout forward with anxiety.
PARAITI
Ina kaua e maharahara … Kai te pai nga mea katoa …
SUBTITLE:
Don’t worry, Oti. I know what I am doing.
Paraiti pats the animal’s rump.
FADE OUT.
FADE IN:
INT. HALLWAY — MORNING
Paraiti is asleep on the mattress.
Maraea enters the hallway on her way to the kitchen and is surprised to find Paraiti there.
Paraiti opens her eyes and props herself up on one elbow to view Maraea directly.
PARAITI
Kei te pehea to wahine rangatira?
SUBTITLE:
How is your mistress?
MARAEA
She slept all night.
Maraea goes inside the kitchen for a moment and comes back with a tray covered with a white cloth.
MARAEA (CONT’D)
Can I give her a bath?
Paraiti nods.
With an efficient and precise manner, Maraea walks away, but, just before leaving the hallway, she turns towards Paraiti and looks at her with contempt.
MARAEA (CONT’D)
Why are you sleeping here?
Without waiting for an answer, Maraea mumbles a disdainful comment to herself and leaves.
EXT. BACK GARDEN — MORNING
Paraiti and Oti sit on the stairs of the back porch.
Close to them is a tray with breakfast.
Paraiti pours some milk into a cup of tea and offers it to Oti, who happily drinks it.
INT. STAIRCASE — DAY
Paraiti walks up the mansion’s staircase and through the upstairs hallway that leads to Rebecca’s bedroom. As usual, she carries the steaming bowl and some dry herbs.
She hears a painful, suffocated cry.
Paraiti stops for a second and listens.
Instead of continuing on her way to the bedroom, she silently walks in the opposite direction, following the sound of the moan.
INT. HALLWAY OUTSIDE BATHROOM — DAY
Paraiti stops across from the closed bathroom door. Placing her ear close to the door, she strains to overhear what is going on inside. She hears the muffled voices of Maraea and Rebecca. Very carefully, she wiggles the door handle and quietly opens the bathroom door a crack to look inside.
Facing away from the door, Maraea sits on a bench positioned alongside the bathtub.
Rebecca is lying in the steamy bath tub.
White Lies Page 12
