(DARK ORCHESTRAL MUSIC)
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WOMAN: The voice you hear is not my speaking voice,
but my mind's voice.
I have not spoken since I was six years oId.
No-one knows why. Not even me.
Come on. (HORSE WHINNIES)
My father says it is a dark taIent,
and the day I take it into my head to stop breathing will be my last.
(ROLLERSKATES GLIDE)
Today, he married me to a man I've not yet met.
Soon, my daughter and l shaII join him in his own country.
My husband said my muteness does not bother him.
He writes, and hark this, God loves dumb creatures, so why not he?
Were good he had God's patience...
..for silence affects everyone in the end.
The strange thing is I don't think myseIf siIent.
That is because of my piano.
I shaII miss it on the journey.
(PLAYS THE PlANO)
(STOPS PLAYlNG)
(WAVES CRASH) Take her hand, come on.
You're with me.
I've got the Iady.
(MAN SHOUTS)
I think you've got it.
(WIND HOWLS)
You go ahead.
Paddington Station.
Over here, my IoveIy!
(SOUND OF RETCHlNG)
(MEN LAUGH)
AIright, Iads, unbutton your muftis.
Piss Iike a tom.
Come on!
On the count of three!
(MEN CONTINUE TALKING)
(MEN SING)
MAN: Jesus Christ, whose bIoody coffin is this?
Christ, it's heavy!
Fuck them! We'II just Ieave them behind. It's what they fucking want.
A pox on you!
Oh, I Iike that. Very good.
Leave them and be Iynched for the pIeasure?
It's a bit rough out there.
CouId be they can't get through to you in this weather.
Do you have things for sheIter?
She says, "Thank you."
(MEN SING)
(MAN LAUGHS)
Does your mother prefer to come on with us to NeIson?
She says no.
She says she'd rather be boiIed aIive by natives
than get back in your stinking tub.
You be damn fortuned I don't smack your puppy gob, young missy!
Damned Iucky!
(LAUGHS)
MAN: We're all ready now, sir.
(PLAYS SOLEMN MELODY)
(GIRL SCREAMS)
(CHlCKENS CLUCK)
Mother, watch out!
The hens! Are they aIright? Here.
(CHlCKENS CLUCK)
Look, I'm a very big moth.
WiII it catch fire?
I'm not gonna caII him Papa. I'm not gonna caII him anything.
I'm not even gonna Iook at him.
(MEN SPEAK MAORl)
Are we stopping?
ShaII we stop?
(MAN SPEAKS MAORI)
We must get on.
Hmm?
(ALL CHATTER) (JAUNTY HORN MUSIC)
Miss McGrath? Alisdair Stewart.
You'll have to wake yourself. l've got men here to carry your things.
(SPEAKS MAORI)
Well, l see you've got a good many boxes.
l'd like to know what's in each... (GASPS)
Can you hear me?
Well, that's good. Yes, that's good.
What's in this one?
You're small. l never thought you'd be small.
And this one?
lt's very large.
What's in it, then, a bedstead? It's my mother's piano.
Baines, tell them to carry in pairs. Take all the boxes, table and, uh...
..suitcases.
What do you think?
She Iooks tired.
She's stunted, that's one thing.
MAN: And the big case?
No, no. Just the trunks and the boxes as l explained.
No, it can't come now. It must. She wants it to come.
Yes, and so do l. But there are too few of us here to carry it now.
Too heavy!
What, you mean you don't want your clothing or your kitchenware to come?
ls that what you mean?
We can't Ieave the piano!
Look, let's not discuss this any further.
l'm very pleased that you arrived safely.
Mother wants to know if they can come back directIy for it.
Could l apologise for the delay, which l regret...
After they've taken the other things.
(MAN SPEAKS IN MAORI)
(LAUGHTER)
Might l suggest that you prepare yourself for a difficult journey?
The bush will tear clothing and the mud is very deep in places.
What do they think they're doing? We haven't time for this.
Baines!
(MOURNFUL PlANO MUSlC)
(PEOPLE CONVERSE IN MAORI AND LAUGH)
(SPEAKS MAORI)
What's the matter? Why are they stopping?
(SPEAKS MAORI)
That's the way to the buriaI grounds. It's tapu.
We came down this way. l'm sure we did.
(MAN SPEAKS MAORI)
They want more money. They're trying to make two days out of it.
No.
No, they know another track to the side of this.
(RAIN POURS, THUNDER CRASHES)
Septimus, now take that off!
Take that off! (LAUGHS)
Watch your feet! Mind your feet!
Septimus! PIease stop it!
Stop it! Stop it!
(LAUGHS)
Stop, pIease! Or you'II tear it!
Oh, the tag is broken.
Septimus, now stop!
(LAUGHTER)
(GIGGLES) (SQUEALS)
You'II tear it. Be carefuI.
WOMAN: Arm down.
If you cannot have a ceremony together,
you'II have at Ieast a photograph.
CarefuI. The Iace is most fragiIe.
My reaI father was a famous German composer.
They met when my mother was an opera singer in Luxembourg.
Why?
I want to be in the photograph.
Going to Ieave the cIoth here?
No, no. lt is just to keep the chair dry.
I aImost sIipped on the pIanks. They've gotten very greasy.
Give the Iady a chair.
Pull the tarpaulin.
I am sorry it rained. We have not Iight enough inside.
ShaII I hoId the umbreIIa on this side or t'other?
On the t'other! Move over.
Can you take this, please?
And sitting...
(THUNDER CRASHES)
Uh...
Very stiII.
And where did they get married?
In an enormous forest with reaI fairies as bridesmaids,
each hoIding a IittIe eIf's hand.
No, I teII a Iie. It was in a smaII country church in the mountains.
Which mountains are those, dear? The Pyrenees.
Oh. I've never been there.
Mother used to sing the songs in German
and her voice wouId echo across the vaIIeys.
That was before the accident. And what happened?
One day, when my mother and father were singing together in the forest,
a great storm bIew up out of nowhere.
But so passionate was their singing that they did not notice
nor did they stop as the rain began to faII.
And when their voices rose for the finaI bars of the duet,
a great boIt of Iightning came out of the sky and struck my father,
and then he Iit up Iike a torch.
And at the same moment my father was struck dead,
my mother was struck dumb.
She never spoke another word.
Oh, dear!
Not another word?
WeII, from the shock. Yes.
It wouId be. TerribIe.
TerribIe.
TerribIe. Oh.
(TUTS) TerribIe, terribIe.
Yeah, there... (LACE RlPS)
Dear?
(MOURNFUL PlANO MUSlC) (THUNDER RUMBLES)
(FOOD CRUNCHES)
Sorry.
Um, l have to go away for some days.
There's some Maori land l'm interested in which l may buy very reasonably.
Well, l hope you'll spend the time to get settled in
and perhaps...in some ways...
..we could start again.
Alright?
(DOOR CLOSES)
(DOOR CREAKS OPEN)
I'm not abIe to read.
PIease take us back to the beach where we Ianded.
I am sorry. I can't do that.
I don't have the time.
Goodbye.
(HORSE SNORTS)
(DOOR CREAKS OPEN)
(DOOR CLOSES)
I can't take you there.
I can't do it.
(HORSE NICKERS) Whoa, whoa!
(HOPEFUL PlANO MELODY PLAYS)
(PlANO MELODY CONTlNUES)
Mamma! Mamma, watch me! Watch!
Mamma! Mamma!
(GIRL SINGS)
(SINGS)
(ADA TAPS ON TABLE)
(SINGS HIGH NOTE)
(SINGS)
Hello there. HeIIo.
WeII, you've stopped combing your hair, which is a good thing.
It was Iooking overdone.
You see, these are the sIits that the heads wiII go through.
Show him, Nessie. They'II be dead. SIits.
The Reverend's going to use animaI bIood.
No doubt it'II be very dramatic.
It'II be very dramatic. Tea!
Morag... (CLEARS THROAT)
..what would you think if someone were to play a kitchen table...
(NESSIE POURS TEA)
..like it were a piano?
Like it were a piano?
lt's strange, isn't it? l mean, it's not a piano.
lt's...doesn't make any sound.
Biscuits!
MORAG: No, no sound.
(BOTH SING 'GOD SAVE THE QUEEN')
ALlSDAlR: l mean, l knew she was mute, but now l'm thinking...
..perhaps it's more than that.
l'm wondering if she's not brain-affected.
(GIRLS SING) Shush!
No sound at aII? Well, no. lt was a table.
WeII, she was very vioIent with the gown. She tore off a chunk of Iace.
If I hadn't been there to see it,
I'd have sworn she'd have used her teeth and wiped her feet on it.
Wiped her feet on it.
Well, it hasn't come to anything yet. lt's simply a concern, that's all.
Yes.
Yes, of course. A concern.
There's something to be said for silence.
MORAG: Indeed. Cotton.
And with time, l'm sure she'll become...affectionate.
CertainIy, there's nothing so easy to Iike as a pet.
And they're quite siIent.
(GIRL SINGS) ♪ And when they were down, they were down
♪ And when they were onIy haIfway up, they were neither up or down
♪ The grand oId Duke of York He had 1 0,000 men
♪ He marched them up and up and then he marched them down again. ♪
Those 80 acres across the stream, what do you think of them?
l don't have any money. What are you on about?
I'd Iike to make a swap.
What for? The piano.
What, the piano on the beach?
lt's not marshy, is it?
No.
Oh, Baines, the music lover. l never would have thought.
Hidden talents, George.
(LAUGHS)
I'd have to get Iessons. It wouIdn't be much use without them.
Yes, l suppose you would.
Well, Ada can play. l have it in a letter that she plays very well.
She's been playing since she was five or six.
What on?
Well, on...on your piano. That's the swap.
What does she say?
She says it's her piano and she won't have him touch it!
He's an oaf. He can't read! He's ignorant!
(KICKS FURNITURE)
He wants to improve himself, and you'll be able to play it.
Teach him how to look after it!
You can't go on like this!
We're a family now. We all make sacrifices, and so will you!
You will teach him, and l will see to it!
(DOOR SLAMS)
(BIRDSONG)
(MEN CHATTER IN MAORI)
MAN: Oh. A Broadwood!
Oh, a fine instrument!
l've not seen one here,
nor in New South Wales where l've tuned some 200.
Yes, they like their pianos there.
(SNlFFS)
Scent?
Hmm. And salt, of course.
(STRlKES TUNlNG FORK)
(STRlKES KEYS)
(MOURNFUL MUSlC)
Mother says she can't stand to teach piano with it aII out of tune.
So, I'm to do scaIes.
I hope you've scrubbed your hands.
(PLAYS SCALES)
Oh, it's in tune.
(PLAYS SCALES)
It's in tune.
(PLAYS NOTES)
I was teaching!
Mother wouId Iike to see what you can pIay.
I'd rather not pIay.
I want to Iisten, and Iearn that way.
Everyone has to practise.
I just want to Iisten.
Ow!
(ADA PLAYS SCALES)
LoveIy.
(PLAYS SCALES WITH CHORDS)
(CONTINUES PLAYING SCALES WITH CHORDS)
Oh, but teII me again.
Was he your teacher?
How did you speak to him?
What happened? Why didn't you get married?
(GASPS)
(DOOR OPENS)
Shall l kiss you goodnight?
(DOOR CLOSES)
Get out! You need a bath!
Out! Bad dog!
Move! Go on! (DOG BARKS)
Bad bIoody dog! (WHlMPERS)
Move it!
(JOYOUS PIANO MELODY PLAYS)
(GASPS) Ada, wait. Wait.
Do you know how to bargain?
There's a way you couId have your piano back.
Do you want it back?
You want it back?
You see...
..I'd Iike us to make a deaI.
There's things I'd...
..Iike to do whiIe you pIay.
If you Iet me, you can earn it back.
What do you think? One visit for every key.
(CLEARS THROAT)
Your dress?
Skirt?
For every bIack one?
That's a Iot Iess. HaIf.
AIright, aIright. Then the bIack keys.
(PLAYS BASS NOTE)
Poor baby!
What horrid IittIe person put you in the rain
and shoved you with a stick?
Hmm, baby? Huh?
Huh?
You're aIright with moi.
MORAG: Scissors.
Thank you.
MAN: Nessie! Put that down and come and put your hand out.
Oh, no. Use Mr Stewart.
Nessie, pIease! ALlSDAlR: No, no. Go on, Nessie.
AIright, Mary, come aIong. Down here.
Come on, girl. Get a move on. Oh, aIright, then!
Down here. Put out your hand.
Now...
(GASPS) No, no. Put out your hand. Here.
Now...
Aahh! (LAUGHS)
Look, Iook! You're being attacked.
(SCREAMS)
(ALL LAUGH) No, come on, come on. There you go.
(SCREAMS)
(ALL LAUGH)
And with the bIood, it wiII be a very good effect.
Here, FIynn!
Here, FIynn. Here, FIynn. FIynn!
FIynn, FIynn! Here, FIynn. Bad boy!
HeeI, boy. Bad, bad boy!
FIynn! FIynn, don't be troubIe.
FIynn? FIynn!
(WISTFUL PIANO MELODY PLAYS)
(KNOCKS)
(DOOR OPENS)
I want to speak to my mother.
(PIANO STOPS)
I don't want to be outside. I want to watch.
I'II be very quiet!
I won't Iook at him!
(WISTFUL PIANO MELODY PLAYS)
MORAG: Be very carefuI. NESSIE: CarefuI.
I hardIy need to give one to you, but here you are, anyway.
Don't be Iate.
You wiII see that there are two times.
And since you are accompanying a performer,
you wiII need to make the earIier time.
ALlSDAlR: Wait!
How are the lessons going?
He's getting on alright, then, is he?
She seems quietened down.
Is she more affectionate?
Ah, weII. SIowIy, sIowIy.
(PLAYS NOTE) Lift your skirt.
(PLAYS MELODY)
Lift it higher.
(STOPS PLAYING)
(PLAYS MELODY)
Higher.
(KEEPS PLAYING)
(BANGS)
Higher! (STOPS PLAYING)
Lift it higher.
(PLAYS MELODY)
(STOPS PLAYING)
(RESUMES PLAYING)
(CHILDREN SPEAK MAORI)
(WOMAN SPEAKS MAORI)
(LAUGHTER)
You no worry, Bainey.
I save you.
I have a wife. I save her too!
(WOMAN SPEAKS REPROACHFULLY IN MAORI)
(LAUGHS)
Where's your wife?
My wife?
Oh, she has a Iife of her own, in HuII, EngIand.
Must be ugIy...for you to run away.
You need another wife.
(SPEAKS MAORI)
BAINES: Undo your dress.
I want to see your arms.
PIay.
(CLEARS THROAT)
(PLAYS GENTLE MELODY)
(STOPS PLAYING)
Two keys.
(PLAYS GENTLE MELODY)
I shaII Iisten hard at rehearsaI
because I Iive too far to come often.
Which sign is the word 'rehearsaI'?
I can't imagine a fate worse than being dumb.
To be deaf.
Oh, aye. Deaf too. TerribIe! AwfuI!
ActuaIIy, to teII you the whoIe truth,
Mother says most peopIe speak rubbish
and it's not worth the Iisten.
WeII, that is a strong opinion.
Aye. It's unhoIy.
(MAN SPEAKS MAORI)
What do they say? Are they selling?
Offer the blankets for half the land.
1 2.
Eugh!
(HOICKS)
Offer the guns, Baines. Offer the guns.
What do they want the land for? They don't do anything with it.
They don't cultivate it, they don't burn it back. Nothing.
l mean, how do they even know that it's theirs?
Um...
Thought l might as well mark it out, you know, as we agreed.
Yes, why not?
Well, Ada says you're doing well with the piano.
l'd like to come and hear you play.
What do you play? Nothing just yet.
No?
(TENDER PIANO MELODY)
(SNIFFS)
Oh!
Oh.
Ada, four keys.
Why five? I just want to Iie.
AIright, aIright -- five.
(GASPS)
(SINGS) ♪ In the month of May
♪ The angeIs were sweetIy singing
♪ A young man on his deathbed Iay
♪ For Iove of Barbara AIIen. ♪
(BELL CHIMES)
(DOG BARKS)
(THUNDER ROLLS)
MAN: AIright, take it easy.
Mind that hoIe, now. Steady.
Hang on now. There you go.
You there... I'II dress you.
WiII you marry me next week?
That's the way.
(LAUGHS)
Come on, come on! We're running Iate!
If you haven't got your Iip coIour on, Iine up behind Rose, pIease.
You aII been to the Iavatory? ALL: Yes!
Why don't we drink to MyrtIe?
(GIRLS SING)
MAN: l want no running on the stage!
WOMAN: They're bringing in extra chairs!
Do not touch the blood in it!
Look who's here, hmm? The musicaI Mr Baines.
Whoa. What are you going to pIay for us tonight?
'TwinkIe, TwinkIe', eh, George?
How about a IittIe tinkIe-tinkIe, George?
Excuse me.
Perhaps you wouId you turn the pages for Nessie?
She's pIaying for the chiIdren.
(MEN LAUGH)
I'm in costume.
MORAG: I'm very pIeased you've taken up the piano.
Now, where's this song?
WOMAN: HeIIo!
(AUDIENCE MEMBERS TALK)
George, excuse me, how about 'Mary Had a LittIe Lamb'?
Baa-aaa.
Or a poIka? Come on, George, what's it to be, hmm?
Fools.
Come on, George. Move along.
(APPLAUSE)
MAN: Ladies and gentIemen, couId you take your seats, pIease?
We're about to begin.
(PIANO MUSIC PLAYS, APPLAUSE)
AUDIENCE: Ohhhh!
(ALL SING) ♪ EarIy in the month of May
♪ The angeIs were sweetIy singing
♪ A young man on his deathbed Iay
♪ For Iove of Barbara AIIen
♪ Out of there sprung a red rose fuII
♪ And out of it a briar
♪ Then they fIew up to the high church waII
♪ TiII they couId go no higher
♪ And then they came in a true Iove's Iock
♪ Red roses and sweet briar. ♪
(APPLAUSE)
And so the young maid came upon each
and aII of BIuebeard's missing wives.
(AUDIENCE GASPS)
Their severed heads stiII bIeeding,
their eyes stiII crying!
SIow down, Nessie, sIow down.
But hush! (CLANK! )
Who comes? (DOOR CREAKS OPEN)
l am home early, my sweet wife!
(DOOR CLOSES)
Where art thou?
Oh! Husband!
What a surprise! Yes, wife!
A surprise, indeed.
So now you know my secret. No! No!
You, the youngest... (WHIMPERS)
..and sweetest...
(SQUEALS)
..of all my wives...
No! ..must be prepared...
..to die! (SCREAMS)
No! No! Wait!
l shall not wait!
No! (SCREAMS)
Bare your neck!
(SHOUTS IN MAORI)
(AUDIENCE SCREAMING)
(SHOUTS)
(SCREAMS)
So the Iadies wouId be quite aIright.
MORAG: I'd Iike to introduce you.
This is Mrs WiIIiams,
this is Mrs Parsons, this...
This is Mrs Reid, this is Miss PaImer,
and this is Miss Kerr.
(SPEAKS MAORI)
lt's very...very nice.
(PLAYS NOTE)
Hmm.
Do what you Iike.
PIay what you Iike.
(PLAYS DARK MELODY)
(RUSTLING)
(GASPS)
I want to Iie together without cIothes on.
How many wouId that be?
Yes. 1 0 keys.
(HUMS)
(BAINES MOANS) (STOPS HUMMING)
(SPEAKS MAORI)
What the clock say, Mr Stewart?
Mr Stewart.
(LAUGHS)
Mmm. Mmm.
Never behave like that. Never nowhere.
You're greatly shamed! You've shamed these trunks.
I know why Mr Baines can't pIay the piano.
You missed some here.
She never gives him a turn. She just pIays what she pIeases.
And sometimes she doesn't pIay at aII.
When's the next lesson?
Tomorrow.
(PLAYS DISCORDANT NOTES)
(MEN SING)
I have given the piano back to you.
I've had enough.
The arrangement...
..is making you a whore and me wretched.
I want you to care for me...
..but you can't.
It's yours. Leave.
Go on, go.
(SPEAKS MAORI)
(DOOR CLOSES)
(JAUNTY HORN MUSIC)
ALlSDAlR: Stop right there!
This isn't yours. What are you doing with the piano? Hmm?
He's given it to us.
Put that down. Put it down!
You're very cunning, Ada. l've seen through you.
l'm not going to lose the land this way. Stay there!
(SPEAKS MAORI)
WOMAN: Hori George don't wanna see nobody. He's sick.
You got the Tupeka for Hira?
No.
Baines.
Baines... Baines, look.
l don't think you should've given up the piano.
l'll make sure that you're properly taught
with, you know, music written on sheets and so on.
I don't want to Iearn.
You don't want to learn? No.
What does this do to our bargain? l mean...
l can't afford the piano if you mean me to pay.
No, no payment. I have given it back.
l'm not sure that l want it myself.
It was more to your wife that I gave it.
Oh...
Oh, l see.
Well...l expect she will appreciate it.
(SPEAKS MAORI)
This is all l have.
Bring that back!
(PLAYS DIFFERENT KEYS)
(PLAYS SCALES)
ls it alright?
Why don't you play something?
What wiII I pIay?
Play a jig.
Do I know any jigs? Play a song, then.
(PLAYS THE PIANO AND SINGS)
(STOPS PLAYING AND SINGING)
Why won't she play? We get the thing back, she just wanders off.
Well, keep playing.
(PLAYS THE PIANO AND SINGS)
(TAPS ALONG TO THE TUNE)
(MOURNFUL MUSIC)
(PLAYS TENDER MELODY)
(STOPS PLAYING)
(PLAYS TENDER MELODY)
Wait! Wait!
Why?! Why can't I?
I shan't practise and I don't care!
BIast and damn! Bugger her!
BIoody...bIoody... Bugger her!
Let her faII face down in boiIing, bIoody mud!
Let a mad dog bite her tiII she bIeeds!
Where's your mother? Where's she gone?
TO HELL!
(FLOORBOARDS CREAK)
(DOOR OPENS)
So, what brings you here?
Did you Ieave something?
I've not found anything.
Does he know something?
The piano was not harmed?
It arrived safeIy?
WouId you Iike to sit?
I am going to sit.
Ada...
Ada.
I am unhappy...
..because I...want you...
..because my mind has seized on you and can think of nothing eIse.
This is why I suffer.
I...
I'm sick with Ionging.
I don't eat. I don't sIeep.
(SIGHS)
So, if you've come with no feeIing for me...
..then go.
Go.
(OPENS DOOR)
Get out.
Leave!
(TENDER ORCHESTRAL MUSlC)
(BAINES MOANS PASSIONATELY)
(ADA MOANS)
(BAINES AND ADA MOAN)
(MOANS)
(MOANS SOFTLY)
What?
Whisper it.
Now you are going I am miserabIe.
Why is that?
Ada, I need to know, what wiII you do? WiII you come again?
(ALlSDAlR GASPS)
Wait.
I don't know what you're thinking.
Does this mean something to you?
I aIready miss you.
Ada...
..do you Iove me?
Come tomorrow. If you are serious, come tomorrow.
(GIRL GIGGLES)
GIRL: Mamma, stay stiII!
(GIGGLES)
Stay stiII!
(SQUEALS)
(GIGGLES)
(SQUEALS)
(GIGGLES)
Mmm. Mmm.
(LAUGHS)
Mamma! Mamma!
They're pIaying your piano!
Mamma!
(PLAYS DISCORDANT NOTES)
(HAMMERING)
Here, Papa.
(HAMMERING)
(KISSES)
You shouIdn't have gone up there, shouId you?
I don't Iike it, and nor does Papa.
We can pIay cards if you Iike.
(PLAYS GENTLE MELODY)
She's asIeep. Look.
(CONTINUES PLAYING)
One night she was found in her nightgown on the road to London.
Grandpa said her feet were cut so badIy, she couIdn't waIk for a week.
Ada.
(MOANS)
Ada.
AIisdair, is it because of our pIay?
Have the natives aggressed you?
WeII, I have to say, you have done the wrong thing here.
You have put the Iatch on the outside, you see.
Now when you cIose the door,
it wiII be the Maoris that Iock you in, you see.
With the Iatch on that side, you are quite trapped.
Quite trapped.
We have just come from George Baines'
and they have taken him over.
It is no wonder he is Ieaving.
He got in too deep with the natives.
They sit on his fIoor as proud as kings but without a...
BOTH: ..shred of manners.
He's quite aItered.
As if they have been trying some native witchcraft on him.
WeII, tomorrow or the day after, he'II be gone.
ALlSDAlR: So Baines is packing up?
WeII, he's nothing to pack, but he's Ieaving. And it is just as weII.
Nessie has fooIishIy grown an affection for him.
(SOBS) We have had some tears.
(SOBS)
Stop it! Stop!
STOP!
MORAG: I am quite frightened of the way back.
We must Ieave in good Iight. We wiII be safe?
Oh, yes, if you leave now, l'm sure of it.
(PLAYS MOODY MELODY)
MORAG: Nessie, hoId this.
You know, I am thinking of the piano.
She does not pIay the piano as we do, Nessie. Up! Up!
(URINATES)
No. She is a strange creature. And her pIaying is strange.
Like a mood that passes into you.
Up!
Now, your pIaying is pIain and true and that is what I Iike.
To have a sound creep inside you is not at aII pIeasant.
(BIRDS FLUTTER) What's that?
(SCREAMS)
It's a pigeon, Auntie.
l should have waited.
(GASPS)
l want to touch you.
Why can't l touch you?
Don't you like me?
(WOOD BREAKS)
(ROOSTER CROWS)
(WOOD BREAKS)
Come on, Lucky! Who's gonna be my friend?
I'm coming to fetch you! (CHlCKENS CLUCK)
(WOOD CLATTERS)
(SHOUTS)
We must...get on.
l've decided to...
..trust you to stay here.
You won't see Baines?
Good.
Perhaps with time... you might come to like me.
(FRETFUL ORCHESTRAL MUSlC)
(WATER SLOSHES) GIRL: Stop compIaining, I said.
And be quiet.
You'II just have to be naked
untiI I finish washing and drying your cIothes.
I don't mind if you're coId. Be quiet!
No, we're not supposed to visit him.
What?!
(FRETFUL ORCHESTRAL MUSlC CONTlNUES)
(SINGS) ♪ The grand oId Duke of York He had 1 0,000 men
♪ He marched them up to the top of the hiII
♪ And marched them down again
♪ And when they're up, they're up
♪ And when they're down, they're down
♪ And when they're onIy haIfway up
♪ They're neither up nor down
♪ The grand oId Duke of York... ♪
(MAN SPEAKS MAORI)
Crooked, Mr Stewart.
Crooked.
Mother wanted me to give this to Mr Baines.
I thought maybe it was not the proper thing to do.
ShaII I open it? No. Give it to me.
(THUNDER RUMBLES)
(SPEAKS MAORI)
(MAN SPEAKS MAORI)
(SPEAKS MAORI)
(RAIN PATTERS)
(DOOR OPENS)
Ohhh! (GLASS SMASHES)
Why? l trusted you!
Oooh!
l trusted you! l trusted you!
Do you hear?!
Why do you make me hurt you?!
We could be happy.
You have made me angry! Speak!
You lied to me! You will answer for this.
Speak or not, you will answer for this!
Do you love him?!
Do you?!
ls it him you love?! No, she says...no!
(SCREAMS)
Mother!
Mamma!
You give this to Baines.
Tell him if he ever tries to see her again, l'll take off another
and another and another.
Mamma! Run!
(SOBS) (THUNDER RUMBLES)
(WOMAN SPEAKS MAORI)
(CRIES)
(WAILS)
What has happened?
Hush, hush.
(KEEPS CRYING)
What is it?
You're not to see her! He'II chop her up!
(CRIES)
What happened?
TeII me.
(WAILS)
TeII me!
(DOOR SLAMS)
(SCREAMS)
Where is she? (SCREAMS)
Ssh! Quiet down! Quiet down! Where is she?!
He chopped it off!
(CRIES)
What did she teII him? What did she teII him?
(SPEAKS MAORI)
Oh.
I am going to crush his skuII!
NO! NO! NO!
He'II chop them off!
You pushed me too hard. You cannot send love to him.
You cannot do that.
Just even...even to think about it makes me very angry.
l meant to love you.
l clipped your wing, that's all.
(SlNGS) ♪ We will be together
♪ You will see it will be better... ♪
Are you hot? My sweet love bird.
Are you feeling better?
What?
(RIFLE COCKS)
Oh, look at you.
lt's your face.
l've had that face in my head, hating it.
But now l'm here seeing it...
..it's nothing.
You have your marks. You look at me through your eyes, yes.
You're even afraid of me.
Get up.
Baines...
..has Ada ever spoken to you?
You mean in signs?
No. Words.
Have you ever heard words?
No. Not words.
You never thought you heard words?
l heard it here. l heard her voice. There in my head.
l watched her lips. They didn't make the words.
But, yet, the harder l listened...
..the clearer l heard her.
You punished her wrongIy. It was me, my fauIt.
She said...
..l'm afraid of my will.
"Of what it might do. lt is so strange and strong."
She said...
.."l have to go. Let me go.
"Let Baines take me away. Let him try and save me."
l wish her gone. l wish you gone.
l want to wake up and...
..and find that this...
..was all a dream.
That's what l want.
(PEOPLE SPEAK MAORI)
MORAG: It was a terribIe shock. NESSIE: Aye, it was.
Oh, dear.
(MAN SPEAKS MAORI)
(BAINES SPEAKS MAORI)
(SPEAKS MAORI)
No. She needs it. She must have it.
(MEN CHANT)
(SINGS IN MAORI)
(MEN CHANT)
What did she say?
She said, "Throw the piano overboard."
It's quite safe. They are managing.
She doesn't want it. She says it's spoiIed!
I've been given the key. I'II have it mended.
(MAN SPEAKS MAORI)
PIease, Ada. Ada!
You wiII regret it. It's your piano, I want you to have it.
She doesn't want it! Ada, sit down! Sit down!
Throw it over! Sit down!
AIright, we'II throw it over.
(BAINES SPEAKS IN MAORI)
(MAN SPEAKS IN MAORI)
Ahhh!
(GASPS)
ADA: What a death.
What a chance.
What a surprise.
My will has chosen life.
Still, it has had me spooked, and many others besides.
l teach piano now in Nelson.
George has fashioned me a metal fingertip.
l'm quite the town freak, which satisfies.
(PLAYS GENTLE PIANO MELODY)
l am learning to speak.
My sound is still so bad l feel ashamed.
Deh, deh...
l practise only when l am alone and it is dark.
Kah, kah, kah, kah, kah.
Vah, vah, vah.
Bah, bah, bah.
Pah, pah.
At night l think of my piano in its ocean grave.
And sometimes of myself floating above it.
Down there, everything is so still and silent
that it lulls me to sleep.
lt is a weird lullaby, and so it is...
lt is mine.
"There is a silence where hath been no sound.
"There is a silence where no sound may be.