This action might not be possible to undo. Are you sure you want to continue?
Written by GERALD BRACH & ROLAND JOFFE October 1990 Early Draft
FOR EDUCATIONAL PURPOSES ONLY
CITY OF JOY FADE IN: TITLE SEQUENCE. EXT. BIHAR - DAY (DAWN, SUMMER, MID-1980) Heat that has mass. That rises off the parched earth in shimmering waves. After a moment, we see what appear to be figures coming out of the haze, one by one. A family with their few belongings: HASARI PAL, 33, his wife, ALOKA, 28, and their children, daughter, AMRITA, 13, sons MANOOJ and SHAMBU, 11 and 9; HASARI'S MOTHER and FATHER. They embark toward the night, the rising sun behind them. EXT. ROADSIDE - BUS STOP - DAY (DAWN) Hasari's Father passes a gourd of precious water. Hasari serves the children first. Shambu gulps entirely too much, the others forcing him to stop by a unified force of will. Embarrassed, he passes the cup to his brother, who sips, as does his sister. Aloka barely wets her lips, insisting on leaving the last drops for Hasari. And now, a rooster tail of dust rises up behind the approaching bus and the old parents bid farewell to their son's family. There is an intense sadness at leaving the land and Hasari's Mother clings to him... HASARI I'll send money soon. His Mother nods, as Hasari erupts in a small cough which, by habit, he suppresses. His Mother crushes Aloka to her. HASARI'S MOTHER Don't let the children out of your sight. Not for a moment. Now the children. She wants to keep them here even as the old man touches her, reminding her she must let them go. HASARI'S MOTHER Help your parents. Don't fight with each other. And, Manooj, stay away from the cinema, do you hear? Shambu, his eyes big as saucers, whispers to his grandma... (CONTINUED)
2. CONTINUED: SHAMBU I don't want to go. There are bad men with long knives who steal children. That does it: Hasari's Mother dissolves in tears, but the old man nevertheless unlooses her insistently from the children. Aloka and the children get on the bus as the old man embraces his son. HASARI'S FATHER A man's journey to the end of his obligations is a very long road. Yours begins here. EXT. ROADSIDE/INT. BUS - DAY There's not an empty inch inside the little vehicle or on top. The passengers are silent. A woman breast feeds a baby. Several passengers fan themselves. Many sleep. The Pals squeeze wearily into the rear seat. MANOOJ (to his neighbor) Our farm has died, so we are moving to Calcutta to become rich! Hasari and Aloka look at each other: If only it were the pursuit of wealth and not survival. The woman understands. And now the BUS GRINDS forward and the Pals look back. Hasari coughs, suppresses it... as silence falls. The elder Pals stand huddled together in the dust and we see, nestled behind a boulder at the roadside, a tiny, blue flower -- beautiful and fragile, but like all things alive, determined to live... and we hear the sound of a DOZEN VOICES CHANTING a quiet mantra in unison as we -DISSOLVE TO: INT. ASHRAM - ANOTHER FLOWER - DAY This flower floats gently in a bowl of water. The TITLES END as we PULL BACK SLOWLY to reveal a dozen Anglos, several Indians, and one Kenyan seated cross-legged before an aging Yogi, who's quietly urging the supplicants to find "their light, allow your white light to fill your spirit's eye." Above, ceiling fans move the air. (CONTINUED)
T.. SPARTAN ROOM . searching for the source of this unmeditative sound.. who pops open first his right eye -. and a nice chant that gets rid of this rock in my gut. instead of continuing the mantra and the search for his white light.looks left and right. MAX LOEB.looks to his right and left -. BETSY I would really appreciate it if you wouldn't be terribly glib just now. folks..DAY Max closes the trumpet case and starts chucking his clothes and books in a knapsack and a small valise. other single eyes pop open.. BETSY Am I to assume you'll be at the airport in Calcutta a week from tomorrow? (CONTINUED) MAX .. overdressed somewhat in an Indian style. BETSY KAHN. endeavors to exercise the inner peace she's been pursuing. they do you in a weekend. 29. making a vibrating. who's willing to eschew communication of all kinds and just finish heaving his stuff in the valise... Around him. BETSY I swear to God. CONTINUED: As we PAN the group. until we COME TO an American. Get serious. That's okay with Max. INT.3. one indicative of sizeable frustration and dismissal. E. We notice the Hebrew letter chai on a gold chain around his neck. expels a stream of air through his pursed lips.S. Max. flatulent sound. serenity.TRUMPET . Max? MAX Only what they promise in the brochure: Inner peace. and then. His girl friend. you never give anything enough time! What did you expect in five days.closes his right eye and opens his left eye -. Max nods and smiles a wry smile as if to say: This just ain't doin' it for me. we see that everyone has his/her eyes closed in earnest meditation.
I paid for it! How many times am I going to let you walk out on me and come back? MAX I think only you can answer that.. CONTINUED: MAX Impossible to predict. Lend me a hundred dollars. MAX Do you really think that's an appropriate way to get rid of your Western rage. A little pack of single-engine twoand four-seaters. begins to chant her mantra as he grabs his knapsack and valise and goes out the door. INT. she's silent and. The Clerk CLICKS off and finds Max. Max. giving his call numbers. Betsy Ilene Kahn. appears around a bend in the approach road. hot. We hear the STATIC-BACKED VOICE of a PILOT. We STAY WITH her a moment as we -DISSOLVE TO: EXT. passing on the prevailing wind and the active runway. BETSY Screw you. she cares..DAY Cool. A CLERK. in the simplest sense. Maybe you better give me my ticket. deeply hurt.WINDING ROAD . in shorts and University of Miami T-shirt. lush hills. She can't help herself. who doubles as Ground Control on the microphone. COUNTRY AIRPORT (ASSAM) . Two would call for retaliation.4. She yanks free. Bets? She swings at him again. He catches her hand hard in his MAX One slap is romantic. fist. Max -. She slaps him. then announcing he's clear for immediate takeoff on the active runway. AIRPORT . sweaty.WAITING ROOM A small service desk. Betsy Ilene Kahn. Now. (CONTINUED) .
the Clerk with his smile. EXT. MAX When's the next flight to anywhere? CLERK To Bombay. AIRPORT . ANOTHER ANGLE The rubicund face of VEEJAY CHATTERGEE. and more British than Churchill.DAY Max sits on the ground. A beat --. VEEJAY I say. MAX I'm wanting to go wherever you're wanting to take me. Where are you wanting to go? Max's eyes flick from Veejay to the back view of Manubai as she continues on and back to Veejay. CONTINUED: MAX How you doin'? The Clerk gives Max a warm smile. Max looks up.. Hello. CLERK .. their daughter. the other giving off simmering heat. A pair of well-shod feet ENTER the FRAME.5. and making her way toward the enclave of small planes.LOW ANGLE . Behind him. Tomorrow. 50. one simply warm. up against the building. MAX I've always wanted to walk into a little airport just about like this one and ask the guy at the counter the following question. playing a jazz line quietly and rather well on his trumpet. are you looking for a way out of here? We have an extra seat. 26. Ready? The Clerk nods. Max with his. his cherubic wife. RAVI. MANUBAI. at one o'clock in the afternoon. he's at Max's ervice.
and now flood the platform. In it he can see Manubai's judge by what he sees in them. We got out of East Bengal before partition destroyed so many.DAY Max is crammed into the back seat with the plump Ravi. sit on the roof. People hang on its sides. VEEJAY We were among the fortunate back in '48. VEEJAY We don't have a flight attendant on this flight. INT. the flask.. He smiles his EXT. with tea. clinging to their baggage in the middle of this human anthill. asking for money.. The NOISE of the ENGINE forces them to speak somewhat loudly. Veejay has an old flask out. ANOTHER ANGLE We see now that. Loeb? MAX Unattached trumpet player and recently-certified associate guru. As he takes a hit on little mirror on the eyes. The Rajah Double Spring. CLOSE ON THEM (MOVING) Hands reach out with sweets to sell.. The train trundles to a stop. flowing into the station.. HOWRAH STATION (CALCUTTA) . she least bit amusing.6. If we were to doesn't find him the smile at her. We make mattresses. (passing the flask) Are you a musician. 180 FOUR-SEATER .DAY (EARLY MORNING) A huge bridge dominates the skyline. its WHISTLE clearing the way. Mr. (CONTINUED) . contrary to our assumption that Veejay would be in the left seat. MANOOJ Daddy. it's Manubai who's flying the plane. I'm scared. clearing a view for us of the Pals. Max's eye focuses on the dash.
. face half-hidden and eaten away by leprosy. VENDOR #1 There's no such address as this in Calcutta. HASARI Please. He moves them quickly to a wall. Don't move. VENDOR #1 Of course it is possible! I have lived here all my life. Who would know if a place exists or does not? VENDOR #2 Bombay. HASARI But that's not possible. It does not seem possible that he can protect all of them against the predatory eyes watching them. Aloka senses someone: A beggar. as a deformed hand stretches INTO the FRAME.why? This is very exciting. HASARI Wait right here.. As they press on.7. they (and we) are overwhelmed by the size of the station and the desperate energy of the humanity around them. there. perhaps... shows a piece of paper to one. As soon as we get to our friend's house. despite Hasari's charade of confidence. Both look at Hasari. shows it to the Vendor next to him. WITH HASARI He moves to a line of VENDORS. can you direct me to my friend at this address? We are to stay with him. You are new. CONTINUED: HASARI Scared? No -. This terrifying image presses the boys tightly to their mother and moves Hasari to encircle Armita with one hand and attempt to wrap the other three inside the embrace of his other hand. The Vendor gives the address a look. everything will be fine. Delhi. a small beggar woman huddled on the platform turns her eyes eerily on Manooj. as he digs out his precious screw of money to make a purchase of sweets from the Vendor. Look (CONTINUED) . But.
weary. Aloka tries to ease his fear. a thin policeman shares a cigarette with a group of traders. Manooj. There is a deeply fearful look in Hasari's eyes. am I correct? HASARI Yes. his face going through a magical transformation as he prepares to suggest to the family that all is well. go and get some fruit.DAY (MIDDAY SUN) A few clean and cared-for Ambassador cars sweep into the gateway of the Grand Hotel. hello. Across the way. Shambu cries.MAIDAN Feet tramping the pulsating tarmac. Hasari hands Vendor #1 a rupee and. is fixed on the cinema across the street. turns back to his family. dispirited. RACK FOCUS TO: FEET . Come straight back. Manooj sets off. how did you know? (CONTINUED) . a look he is having difficulty controlling now. though. consumed by the crowd. CONTINUED: Dear God. CHOWRINGHEE LANE . Bihar.8. the mere crossing of the street is a potential parental nightmare. He needs to revive the family's confidence. They stop numbly at the edge of the park. HASARI Manooj. A hand ruffles Manooj's head and a TALL MAN with dark eyes and a sweet smile comes at the boy's anxious parents. what now? Stunned. past a gateman. scared. EXT. sending up dust. GANGOOLY (TALL MAN) Yes. They've been walking a long time. He takes out his precious bundle of rupees and gives one to Manooj. Hasari indicates a stall just across the main road. his eyes on the marquee of the theater with its huge cardboard cutout of Kumar Kapur. starring in Hot Gun. Hasari calls out to him to watch where he's going. brother. ANOTHER ANGLE The Pals. put their bundles down against a long wall. Delighted with his task. with the sweets.
look around. Gangooly. GANGOOLY Terrible. And now. blessedly. GANGOOLY They'll need feeding. plastic curtain in a corner. HASARI Three years without rain. containing a tap with running water. But don't spoil them. part kitchen. glances around. And now a smile as full as the sky above. It is not acceptable. Which. They're amazed. Manooj and Shambu run about in delight. SMALL BUILDING IN BACK STREET . Though the houses are nothing much. Gangooly motions for quiet. With a flourish. part wash place. There's a cage occupied by two parrots.DAY Gangooly enters. We're BEHIND the brick and see Gangooly's soft face as he reaches in and pulls out a key..9. EXT. The street is small and empty. Give them seed. (smile widens) And if I can't help. a small altar dedicated to the goddess Lakshmi is decorated with some flowers and. the family on the street. In one corner. (CONTINUED) . INT. he opens the door. behind a torn. SMALL ROOM . to the Pals. my name is not Mr. GANGOOLY Be free -. they look like palaces. CONTINUED: Hasari is torn between speaking to the man and watching his son's incredible journey across the street. GANGOOLY Let me say only that the terrible malevolence that has visited your part of the country affects us all.DAY A brick slides out of the wall.. On the faces of the family is one thought: Is it possible? Amrita goes right to the parrots. waves the Pals in. it is. Nothing came out of the earth but debts.
but for a brother. GANGOOLY Drink! It's as pure as the dew on Shiva's lips. My cousin. CONTINUED: He bows briefly before the altar as he moves to the washing area. together.10. the rent takes fifty rupees for a week. Manooj and Shambu put their hands under the tap. GANGOOLY And now. The Pals are hypnotized. One and two. FAVORING GANGOOLY AND HASARI GANGOOLY Now.. Normally. and beckons Hasari aside. GANGOOLY Holy water from the Ganges! Flows out forever. don't thank me. Gangooly is pleased. Aren't I from Bihar. And the money is in his hand.. You'll find work. one of the miracles of life in the city. GANGOOLY Give me the fifty. but as soon as I have work.. forty. He turns on the tap and a stream of brown WATER GURGLES out. too? Yes. pay the rest next week. They drink... is away. I trust you. this place is yours for two weeks. It's how I am. HASARI I have only seventy-five. No. He joins his hands GANGOOLY You are pleased? Then Mr. Come -. traveling. Moti. the fists around their hearts begin to ease.touch it.. Gangooly claps in delight. (CONTINUED) . Hasari pulls out his little screw of money.
11. CONTINUED: He turns on his heel and he's gone. For a moment, the Pals are still, swept from the brink of catastrophe to salvation... and now, as one, they release their sheer and utter joy. INT. CHATTERGEE STAIRCASE - DAY Ravi and Veejay leading Max up the grand staircase, Manubai in the foyer, looking after them. INT. GUEST ROOM - DAY Ravi leads the way into a lovely guest bedroom. RAVI I hope this is all right. The room hasn't been aired or the bed turned, but -VEEJAY Oh, he doesn't care about that, do you, Max? Here, look here. Veejay opens a little cupboard, stocked with liquor. VEEJAY Help yourself. Be comfortable. Ravi, come on, go, go, let's leave the young man to himself. Obediently, Ravi goes. window. HIS POV The beautiful Manubai in the garden. MAX He lies down on the bed. INT. MAIN ROOM - DAY It's Hasari who watches now. There's LAUGHTER from Aloka and Amrita. Joyful SHOUTS from the boys. Hasari is alone in the main room, on his knees, in front of the pile of their baggage and bundles. He turns his attention from the laughter to a just-opened, old suitcase. He takes out a small tea box. Opens it delicately. (CONTINUED) He's found Nirvana. Veejay follows. Max goes to the
12. CONTINUED: It's full of something brown. He pushes his fingers in and feels this bit of earth with a tenderness that's almost religious, puts a pinch to his nose and breathes it in. The LAUGHTER and SHOUTING from the bathing area is GROWING. INT. BATHING AREA Shambu is paddling near the tap. Aloka is bending over the drain and Amrita is rinsing her heavy, dark hair with a pot. Manooj is nearby, rubbing himself with an old towel. Hasari enters unnoticed and looks at the group with tenderness... and with gratitude for their good fortune. A MAN, red with anger, yanks the curtain aside, stares. The family freezes. Aloka's hair drips unnoticed on her sari. MAN What are you doing here? you? Who are
HASARI My name is Pal, Hasari. Mr. Gangooly rented this space to -Mr. Who? Gangooly. Mr. Moti. HASARI You must be his cousin, MAN
MAN I don't know any Gangooly and my name is Binal and this is my home -- get out! The furious Binal, followed by the Pals, goes into the main part of the room. A small crowd has been attracted by the noise. HASARI But this is true. We paid him a deposit of fifty -BINAL A man goes out because he has to work, and some beggar tries to move in while his back is turned. (CONTINUED)
13. CONTINUED: This while Binal has begun to throw things out onto the street, though this cleansing of his home doesn't stop him from picking up a stick. The odd sympathizer meets with... BINAL So, should I suffer if they are so stupid to jump into the first mouth that wants to eat them? He turns with the stick on Hasari. BINAL You're lucky I don't kill you! Hasari looks at Manooj, who drops his eyes. They collect the remainder of their possessions and hurry out the door. EXT. SMALL STREET - DAY Full of neighbors. There's a suppressed violence in the air. A man pushes Aloka. Sweat streaming down his face, Hasari confronts the man. A WOMAN pushes the men apart. WOMAN Go to the river. Try to squeeze in there. EXT. VICTORIA MONUMENT - STREET - NIGHT (DUSK) Calcutta broiling: Buses, vendors, carts, rickshaws, children beg at car windows. The Pals stand, uncertain, and for the first time a rickshaw fills Hasari's eye, carrying two passengers. But now he shoulders his burden and leads the family toward the river. We HOLD until they grow small against the setting sun, gleaming red against the white domes of the Victoria Monument. INT. CHATTERGEE'S LIBRARY - TORSO - NIGHT Moving through the dark, a figure, touching things, looking at photographs of the Chattergees. We hear a MUFFLED DIALOGUE mixed with the SINGING a la Dean Martin of "Everybody Loves Somebody Sometime": "Goddamn it, boy, what's the matter with you? -"Everybody loves somebody sometime" -- "Go for it, son!" -- "Sure, Dad, whatever you say, Dad." -"Everybody falls in love somehow" -- "You're the dad, Dad." Now, a humidor. Max opens it, takes out a cigar, takes two. Takes five. Senses someone. Turns.
14. KITCHEN .DAY The bridge etched against the dawn sky. HASARI Don't let it frighten you. I'm starving. The boy's eyes turns to the man's. He kneels beside Manooj. they found refuge here. EXT. watching the dead man being removed. The man behind the gate shakes his head. wondering if the man can provide for them. Hasari's eyes. He gives her his best saint's smile. EXT. RAVI Well. not far from the steps that dip down to the smooth water. near a tree.g. points. DOCKS . FAMILY After their humiliating flight. RIVER BANK . You have to be brave.DAY Hasari at the gates. strokes him. are on the dead man. The corpse of an indigent is collected and put on a cart. MANOOJ With his eyes open. He nods. EXT. I know we'll find work today. she'll fix you something proper. too. ANOTHER ANGLE Ravi in her bathrobe.WINDOW .HOWRAH BRIDGE . Come with me. Tiny figures huddled together with their baggage and bundles. he with a beatific grin on his face as he feeds himself. we'll wake up the cook. we see the bleary-eyed cook laying out food as Ravi chatters away at Max. you don't want to eat those awful cigars. Fear and doubt fill Manooj's eyes. MAX .NIGHT THROUGH the window. the family huddled together in the b. that warning.
FROM STREET . The elder shakes his head. You can't go around all week in your tribal garb. doesn't he.HASARI AND OWNER Two plump men in shirt sleeves look coolly at Hasari. The boy smiles a wonderful smile. and a salesman. RAVI It's not extravagant at all. She at him. Shambu is peering into a shop with male mannequins in the window. EXT. Hasari is on the edge of panic. we PULL BACK AND UP. MANUBAI . Max sees a boy's face pressed to the glass: he indicates the shirt. MEN'S SHOP .15. FILLING the FRAME WITH street upon street. Manubai. Outside. he gathers the family into the protectorate of his arms and guides them onward. saying a prayer. ANOTHER ANGLE A line of a hundred men stretches from a door. Manubai? Almost. The mirror stops at Max slipping into a kurta before an audience of Ravi. The younger shows Hasari the door. Hasari talking to the owner of a small market stall.MOVING MIRROR In the moving mirror we see counters and shelves of men's clothing. for the boy's approval.INTO WORKSHOP . As he pushes off into the sea of humanity. Max looks at her. an increasingly desperate Hasari finds Aloka before a small shrine. INT.DAY Aloka huddled with Manooj and Amrita. RAVI Now he looks civilized. BARA BAZAR . As before. disappearing Hasari. he's wearing his confident smile. but when he turns to the family.
Max slips him several rupees. Wait for me by the tree. Where is he? Shambu looks. whispers to the smiling boy. Manubai. Out of his own desperation. HASARI . Shambu is devastated. We're not beggars.. the boys nod. MAX You sure I look all right? The little boy nods. quickly becoming a small figure disappearing into the sea.LATE AFTERNOON SUN Starting to sink. HASARI Don't do that.16. EXT. but the car's gone. and he.did you ask him for money? SHAMBU He just gave it to me. EXT. We PAN DOWN TO Hasari stepping to a grilled window as the man ahead moves out. MEN'S SHOP . and Ravi fold themselves into her tiny car as -ANOTHER ANGLE Shambu runs to his dejected family. HASARI Go back to the river. Hasari feels he's been a little rough on the boy. Do you understand? Aloka. We WATCH them as Hasari heads off. JUTE MILL DAY .DAY Man leans down.. SHAMBU Look! A man gave me these many moneys! HASARI What man? Why -.. He holds him close.. Don't go anywhere.
. INT. An old CLERK at a desk. A voice calls out. Ravi.DAY A flaking gray wall.. drowning out the words. JUTE MILL .trade union. Take it! The Clerk waves him away.. looks up. But I'm three days without work.DAY (LATE AFTERNOON) Manubai's face. turns his attention to the next man. except these: "." The Clerk shakes his head sadly. presses two rupees on Hasari. The grilled window lets in a little light and the quiet supplications of those outside. (CONTINUED) . I don't want you to give me -The next man in line forcibly moves Hasari out of the way. CHATTERGEE RECEPTION ROOM . Then hers. half-obscured with moldering files.17. I'll take anything. Hasari hangs onto the window. a man with a family can't be proud... Looking at each other. crosses to the grill. Then his. The Clerk digs in his pocket. HASARI No. and I'm betting you can't do it. CLERK Do you have family? HASARI Yes. The Clerk Hasari's tense face through the bars. MAX I said you have three days to get me into bed. Then Max's. A TRUCK RUMBLES past. INT. Kiss. On the verge of panic. yes of course. CLERK Here. CLERK In this city. Five days.. now go away.
DAY (LATE AFTERNOON) Bare feet.18. GREEN ACRES COURTYARD . I don't know.. Maybe I could say something so amusing that you'd laugh so hard it would break that hot poker you have up your ass. stuffs the money into Max's pocket. She doesn't pull away. He pulls back. EXT. who turns a disinterested eye up...DAY His arm around Max. then gets up. goes around the table. Veejay guides the young man toward a waiting taxi. then Max senses someone in the doorway. Do you have enough money? Max gives him a non-commital shrug. CONTINUED: MANUBAI It's all right for you to use my mother as your tour guide and meal ticket. because she'll get something nice out of it.COW . but after a moment he realizes she isn't responding.. . MAX Well. but he opens his eyes. They stare at each other another moment. VEEJAY Believe me. MAX The same sound of frustration and ennui he made in the ashram. She stares at him. He continues the kiss. EXT. disappointment filling her eyes. But what would I get? He stares at her a moment. CHATTERGEE HOME . gee. but you know how women are. Veejay winks. RAVI Staring at them. He bends to kiss her.. and then sneakered feet step over the sleeping bovine. to find her staring at him.. I understand.
19. ANOTHER ANGLE Max is guided by a grumpy hall PORTER wearing an offwhite shirt and bellbottoms through the walled and well planted courtyard of an inexpensive hotel.yes? -. PORTER Maybe you like two girls -. very good. If it is lady you like to know -. Max puts a finger on the Porter's head... PORTER Bar? Of course -. HOTEL ROOM . PORTER No like boy? Something then for smoke -.. many. very good for smoke! AT DOOR Max eases the Porter out.DAY The room is utterly utilitarian. Sahib.look a little Chinese. The smile disappears and the FAN gets his attention. Max smiles his smile and disappears the Porter behind the closed door. Max gives the cow a bemused eye. Or boy.you let me. (CONTINUED) . very sweet. As the door is closing. He flicks the switch.many. PORTER It pleases you? MAX No fruit basket? No mini bar? Max hands the Porter several rupees. but very great pleasure.mmmh. good nature. Huh? Very sweet girl. Max clearly doesn't care for cockroaches. for me. it has an annoying rhythm and sound. The Porter turns on a ceiling fan.. INT.. Please. but the fan continues to snap around. sending an army of cockroaches scurrying for calmer terrain.. But make care. turns him for the door.
. we hear a distant. my children. HASARI My wife. the women singing canticles at the top of their lungs. RIVERBANK . He sits on the edge of the tub.DAY (EARLY EVENING) Hasari comes around the corner of a warehouse..and ours -. stopping the fan. as the panic-stricken Hasari rushes up. He carries his knapsack to the tub.. CLOSE ON PAMPHLETS Guides to inner peace.. and startles us by suddenly flicking out a hand and grabbing the blade.. clutching some bananas and dried grain.. (CONTINUED) . CONTINUED: He stares at it. a smile on his face.DAY His head turns and his eyes look this way. He lets go. He's lost his family.is short-lived. the men tossing a little boy happily back and forth. TREE AND BANK The space where he left the family has been cleared and taken over by trucks. dumps his knapsack on the floor. that way. extraordinary word. Suddenly we -CUT TO: UNDER BRIDGE . HOWRAH BRIDGE ROAD A group of Hindus are celebrating a puja. The fan is still...HOWRAH BRIDGE ..20. EXT. it has brown stains along the middle and the water has a brown tinge as it flows out of the tap.. His relief -. until out of the near silence. Hasari rushes on. picks up a half-dozen pamphlets from the ashram. RESUME He wings the pamphlets at the trashcan.
Hasari looks at his tiny bit of food. there is no disguising their hunger. The roof is cardboard and cloth and half an old movie poster featuring the actor Kumar Kapur.. CHILD (O. CONTINUED: CHILD (O.. then puts his hands together.S. but they didn't care! They were mean! As before. Everyone looks at the food. Arun and his family.) Daaaaaaddddddyyyyy! The word catches Hasari's ear.g. rising up out of the sea. HASARI I told you to remain where I left you! I told you to stay there! MANOOJ The police came! SHAMBU We said we had to meet you. Manooj appear.21. Amrita.. Shambu rises up out of the sea of bodies .. debates a moment. ALOKA These friends have found space. . He looks into the sea of people along the river bank under the bridge. Hasari tries to engulf the rest of his family in the protectorate of his arms. addresses these generous people.) Daaaaaadddddddyyyy! As in a dream. and runs to his father. They will share with us. Hasari looks at the tiny space..S. In the b. ending Hasari's nightmare. HASARI I would be proud if you would share our food with us. SHAMBU Daaaaadddddyyyy! Now. Aloka. Hasari engulfs the little boy. A warrior returning from battle.
' He strokes her tenderly in return.what? ALOKA I miss the village. EXT.CLOSE ON BULLDOZER . .. HASARI It's all right -. There I HASARI Hasari pulls Aloka close. on the day of our marriage. He slumps beside her. she begins to weep. You asked me my name and you said. The Porter looks up. Amrita close to her mother.NIGHT Distant transistor MUSIC as we PAN DOWN: The Pal children sleep despite the QUIET MOANS and nightmare CRIES around them. BRIDGE . but now. the two boys huddled together. INT. 'You are a very beautiful girl and I am wondering whether you will find me appealing. MAX'S ROOM Max sits on the floor in a corner and plays as we hear the sound of a fierce WHISTLE and a SCREAMING ENGINE. Aloka strokes Hasari.DAWN A gigantic earthmover lurches into position. Aloka looks at him.22. looking lovingly at him. What? She doesn't want to say it. Hasari comes out of the dark.. He shakes his head. doesn't want to wake the children. SETTLEMENT . strokes her. GREEN ACRES . overwhelmed with despair. ALOKA I remember the first time I saw you.NIGHT The sky turns red. could help. EXT. EXT. stuck with only a trumpet for company. shakes his head: Poor young man. Wearing a bright yellow turban.
out of which steps a BABU. ARUN If we're driven from here. ANOTHER ANGLE Swarming police. Then from Hasari's side. (CONTINUED) . He's not accustomed to BABU Because this settlement is impeding construction work. A minion hands the Babu the mike. where should we go? BABU I'll give you five minutes to gather your things. A microphone and speaker has been set up.23. ARUN For what reason? The Babue appears disconcerted. Hasari is close to him. ARUN We're not moving! Why should we move? Who is the municipality? We are! This is our home! BABU I have my orders. disoriented. as is Arun. Another car unloads several politicos with party banners. Aloka gentles the children as Hasari moves instinctively toward the threat.now! For a moment there is a babble of fear and frustration. Arun confronts the Babu. SCENE A black ambassadorial car pulls up. All of you must go -. Then. he wants to get on with it before this turns into a political rally. BABU The municipality has directed us to carry out the destruction of this settlement.startled. the poor asking questions. PALS Awaken -. the settlement comes down.
Arun one of the first to get hit. his belly screams with hunger. and to heave the pieces at the Babu. EXT. beneath the sign. but Hasari grabs her.CLOSE ON BILLBOARD .DAY On the billboard: A maharajah sleeping snugly on a thick mattress. Turning away.. terrified. he studies the morsel of food. I'll look other men in the eye! (a beat) I swear. From his dreamland he inquires solicitously: "Have you ever thought of a Rajah Double Spring as a present?" We PAN DOWN and FIND the Pals and Arun and his family. He staggers into Hasari's arms. are we going to die here? Hasari can see on everyone's face this question. but soon. CHURCH . trying to shelter her and the children as well as Arun's wife and children. but he takes only a single bite.. hurling things at the police and at the driver of the tractor.. then carefully wraps the rest in a cloth and knots it. CONTINUED: ARUN Why should you alone be burdened with such a task? Let me help! Arun begins to tear his shelter apart. EXT. panting. pounding people with their sticks.. Hasari and Aloka gather the children and their few belongings. HASARI No! Today. Quickly we've got a full-scale riot. who retreats. Aloka stops instinctively to help the woman. I'm just a mangy dog on the street. (CONTINUED) . Others soon take up the call to vent their frustration. His head aches.24. clutching Arun to him as in the chaos they manage to escape. The police wade into the crowd. SHAMBU Daddy. FAVORING PALS/ARUN AND HIS FAMILY Unbelievable! Panic-stricken. Yet on his face we see the extraordinary pressure to make this promise reality. I swear. SIDE OF RESTAURANT Hasari reaches the head of a line and receives a small handout. as beside them a woman goes down from a stick to the head.
HASARI I'm feeling a little dizzy. His vision BLURS. ATTENDANT We pay more. It's a 15-year-old BOY with RAFIK (BOY) Why live like a beggar when you can live like a maharajah? Hasari stares at the boy. HASARI I thought you were only taking a little.. HASARI AND NURSE With his free hand. CONTINUED: He feels a tug at his elbow. (CONTINUED) ATTENDANT . and the SCREEN GOES BLACK. thick. Rafik in turn gives the thin man his share.DAY A needle injected.. blood flowing into a bottle. BLOOD DISPENSARY . his face broken out in perspiration. HIS POV Rafik and a thin man chatting easily and exchanging cigarettes with another attendant. scholarly spectacles. ANOTHER ANGLE Hasari seated on a stool. The thin man bows his farewell. he begins to grapple for the Attendant to keep his balance. watching his blood leave his body. INT.CLOSE ON HASARI'S ARM . starts to fall. DISPENSARY . It'll pass. we take more. FADE IN: EXT.25.DAY A woozy Hasari gives Rafik his share.
and he freezes. four. MAX'S ROOM . While Hasari considers. Now. brother. beautiful and exotic-looking behind her excessive makeup. And he's gone. ANOTHER ANGLE . contorted. blessed to count his money. There's the snap from center..he has an open man at the Notre Dame twenty for the victory. Choke chokes. He opens his hand with its dirty nails. moulders on the bedside table. The fans go -A KNOCK at the door. with his feet up over his head against the wall. falls off the wall. In it lie a little group of pills. The door is closed.26. many hours old. Take these and you can give again in a week. . POOMINA is 16. give me another three and I'll give you these. A book lies open beside him. The same time. MAX They're in the shotgun. woozy but at least.FAVORING MAX The porter pushes the girl gently into the room. Rafik pours the pills into Hasari's hand. HASARI What are those? RAFIK Vitamins. Opens it. for the moment. nodding.. He freezes! Mr. leaving Hasari. like highly-colored sweets. three -. RAFIK Here.. INT. He crosses to the door. smiling at Max. CONTINUED: RAFIK Blood is the oil well of the poor. Hasari downs the pills. One week. A half-eaten room service meal. takes the three rupees. Max shuts up.five. Max is babbling a mock sports case into his fist. the clock is running -..NIGHT Max lies on his messed bed.
MAX Got an I. POOMINA Is problems. Food. but then. MAX'S ROOM . yeah. For a moment.. POOMINA No. on you? (she doesn't get it) How old are you? POOMINA Twenty. sahib? MAX Is problems. MAX AND POOMINA He may have been receptive to a "sweet. I call. I buy that. She fingers the Hebrew letter at Max's throat. sahib.27.D. She approaches him seductively. they come. young girl. MAX How 'bout some chow? (she doesn't get it) I was just about to order some room service.NIGHT (HALF HOUR LATER) Max smokes a Monte Cristo and watches Poomina. Time. as she begins more serious ministrations. INT. She stares at him. on its gold chain. please. I can -There's something desperate in her that makes him put a finger to her lips and say." but not a kid in her teens. there's time out on the field. yes. sahib. just a couple. Max is mesmerized by this child. POOMINA I can do anything you want.. time out. (CONTINUED) MAX . MAX Hold it. devour the last of a Green Acres room service meal and then wrap a small piece of fish in the paper napkin. we eat. like a frightened little animal. he pulls back.
time really flies when you have no moral conviction. Now.FLAMING LIGHT . get in touch in five years. his grip on her causing her discomfort. With his shoulder. cut it out! night. He stares at a parade of cockroaches gliding along the wall as he listens to her CRYING quietly on the other side of the door. the tears stop and a liptwitching smile lights her face. (CONTINUED) . a SCRATCHY vinyl RECORD on a turntable. she resists. INT. His breath comes in little bursts.NIGHT A bare light bulb. Now you go home. mouth in charming embarrassment. MAX Goddamn it. leaving us outside. He opens the door.. MAX You're a very wet kisser. Like some lunatic comedy. She locks her knees. wipes his lips. yes? MAX Watching you eat was my great pleasure.. she stands on tiptoe and kisses him. Work on it.BAR . MAX Five years already? Gee. Poomina is distressed.28. He pulls out some notes. BACK ALLEY . As he escorts her toward the door. CONTINUED: She looks up at him. delivers a small burp. He leads her toward the door. Opens the door. She hasn't given up. Poomina stands there. and he loses. POOMINA Now. Max realizes she can't leave empty-handed. though. For you. He debates. you are ready for great pleasure. closes it. She slides into his arms. good MAX Covers her He muscles her out the door. he closes the door. Torn. and as he takes the money. Max begins to respond. pressing against him. He stops himself. He pushes.
son of the local Godfather. CONTINUED: Poomina watches Max do a sleight-of-hand trick with a coin.. Short guys! MAX Quit lookin' at us! This remark goes over big with the thugs. The two of them toss off what's in their glasses. Max eyes the thugs eyeing him. but the other holds the penny.29. sahib. He tosses it up. But then she seesm to read something in the b. she picks on. produces the coin. MAX For you. exaggerated way. I beat! MAX I really don't think so -. her laughter escalating.also empty. But puts it down with mock machismo. nay..oh no. a capo to the local "mafia" chieftan. I would drink battery acid. where we see four thugs. Max doesn't care. two of whom will become known to us as THE GOONDA.empty -. brings his hands past each other. The bangla in Max's glass is stronger than battery acid. she laughs. the sheer awfulness of the drink. POOMINA We have fun some more. POOMINA Special drink for you. and ASHOKA. mimes waiting for him to commence a drinking race with her. He does an elaborate routine involving the pain. You make try. she points to one fist -. the surprise. Only the most man can drink it. The Goonda meticulously cleans a spot of mud with spit from one of his expensive new running shoes. She loves it.then other -. nay! I never lose the truly irrelevant contest.. I bet! She puts her glass to her lips and.. Max reaches behind her ear and. Ashoka works on a pimple on his chin. He does it again. Fooled. in a childish. The bartender brings them two shots of something in two unmatched glasses. He knocks off the last of the beer in his bottle. For me.g. then holds out his fists. again! I bet (CONTINUED) POOMINA . POOMINA Who that finish first.
in the b.NIGHT Max sings "Take It to the Limit" with enormous inebriated sincerity as Poomina helps him out of the bar. Hasari awakens from restive sleep to the sound of a FIGHT. From behind. The others awaken. Seek punishment and ye shall find. He goes down. There's a big black motorcycle parked outside. he can see three men beating someone.NIGHT The Pals sleep beneath the sign. EXT. As he looks back to the road ahead.. Max glances at it as they start down the alley. looks up through blasted eyes at Ashoka as two sticks now land against his shoulder and his head. watching.. All the while. Ashoka straddles the big cycle.what are you doing? HASARI It sounds like someone needs help. Knowing what's coming. EXT. ARUN Don't go -. HASARI What are you doing? (calling back) A man's being beaten here! As Hasari runs down the alley. He looks behind him.. Hasari bolts for the corner. BAR . .g. Indeed. Max nevertheless unleashes a beautiful howl and tries to trample The Goonda offtackle. he's hit with a length of stick. MAX Well well. the MOTORCYCLE FIRES UP and SCREAMS OFF and the three goons take flight. a fourth man standing off to the side. the other two goons are there. The Goonda and his two thugs watch emotionlessly and Ashoka works on his acne.30. He gets up. ALLEYWAY As Hasari turns into the head of the alley. he finds The Goonda in front of him. Max isn't so drunk that he doesn't sense what this is about. CONTINUED: She turns to the bartender. MAHARAJAH SIGN . calls for two more.
He peers into the dark. MAX Oh. short. I like the way the room moves in circles. Wishes he hadn't. who's barely on his feet. a butterfly bandage under one eye. Now Max's eyes RACK FOCUS TO the cherubic face of JOAN BETHAL. Joan. JOAN Good morning. HASARI AND MAX Hasari runs up.31. as a shadow moves and startles Hasari. (checking out his accommodations) I suppose I should inquire where I am. MAX Did I do that to your nose? (as Hasari nods) I'm sorry..CRUCIFIX .DAY The crucifix sways. Hasari grabs his nose with one hand and kneels beside the fallen Max. welcome to our country. ANOTHER ANGLE Max on a cot in a tiny. INT. Max manages to sit up. (CONTINUED) .. junior. spare room. Irish.. stout. now we require that each visitor decide that for himself. nailing Hasari to the wall as Max collapses at Hasari's feet. Max turns and belts Hasari in the nose. This gentleman and a young lady brought you here. CLINIC/SCHOOL (CITY OF JOY) . reaches out to Max. As Hasari touches Max. hovers over him. JOAN You're in the City of Joy. peering AT the CAMERA without sympathy. Hasari Pal.MAX'S POV . Behind her. MAX Is that geographic or spiritual? JOAN Oh.. and Poomina steps into the light.
a Shetland pony? JOAN I would have to inspect it more closely. MAX Thanks -..." Across the way. SQUARE In the dawn light. MAX What was that -. he finds himself in a small square in a slum. Joan thinks to . (CONTINUED) JOAN Too late. to find perhaps fifty people. but Jesus H. readies to go out to work. but I believe that was one of our economy-size rats. He leaps to his feet and against the wall. CLINIC/SCHOOL . Small group of children around a blackboard with a teacher. rubbing its back and sniffing at its neck. Christ. RAM CHANDAR. He's repulsed. staring at him. Max turns.. an open sewer running before him. MAX Pardon the expression.. The rat scurries away. Trying to orient himself. a stout old Hindu man dressed in Western clothes. From the tea shop.NIZAMUDHIN LANE . CONTINUED: Hasari shrugs.. and a gigantic rat drops in Max's lap.. a young man is dandling a baby on his knee. doing numbers. say.got it. He ducks outside for some air. MARGARETA. raises a hand in greeting to Joan.. largely women and children. Max clambers for the door.. Watch your -Max cracks his head on the door frame. On the door Max and Joan have come through: "City of Joy Self Help School & Clinic. the rickshaw puller. smiles. SURYA.32. EXT. ANOTHER ANGLE .MAX'S FACE Stunned.
listens. how exciting.33. yes. I'm a nonpracticing doctor. but couldn't see a goddamn thing. CONTINUED: He knows them by type: on the door. MAX This is obviously one of those three days. JOAN What do you do in America? Max is slow to answer. You a doctor? JOAN Oh no. JOAN I see. but only three days a week. (CONTINUED) . What brings you to our country? MAX I came to find my white light. Must be something illegal. How long are you here? Perhaps I could recruit you for -MAX Forget it. You've got your nonpracticing Catholics. JOAN Indeed. Are you a criminal of some sort? MAX I suppose that depends how you define the word: I'm a doctor. MAX He looks at the sign MAX Kept opening the doors and windows of my spirit. find it. JOAN Oh. JOAN I take it you didn't patients. Ah. I'm a corporate executive. Hasari hangs back. Doctor arrives at half seven. Discreetly.
JOAN Go on. I'm outta here. who believe the tourist trade ought to be encouraged. Hasari is incredibly shy. No.his watch is gone -. Max finds his pockets empty. Then reaches for his wrist -. I can keep up. Max turns to Hasari. (CONTINUED) All eyes on HASARI Let me. can barely meet Max's eyes. JOAN I'm afraid they cleaned you out. MAX Thank you very much. an exuberant smile slashed across his face. EXT. them.34. She holds out several rupees toward him. He goes for his money. Why's that? MAX Found out I just really don't like sick people.DAY Max in the rickshaw. Ram. CONTINUED: JOAN How very distressing. please. Well..his chai is gone. JOAN I can't imagine ever divining how to collect. it's all right.FLYING FEET . HASARI You see. Hasari running alongside Ram. but there are a few of us Indians. too. I owe you one. You'll owe .. (to Max) Take this. me two. STREET . you know.and then his throat -. here's your first rider.
fine. come. has a short coughing fit. The driver and conductor of the tram let fly a tirade of insults. The traffic is beginning to back up behind them. Anyone can run at this pace. MAX I trust the man. step in here. MAX I hope you're taking something for that. mister! What did I tell you? Come on! What do you think this is -. The street is crowded. go. give him a shot. RAM All right.35. But you think it's easy to run and to pull? I can do it. Hasari looks on Max with enormous gratitude. you. looks at Max. CONTINUED: RAM Keep up. (CONTINUED) . pull. of course. RAM Now. Suddenly. Ram puts the shafts down. He's as fast as you and looks twice as strong. Hasari tries to pull. HASARI I could pull it. Ram waves him off as Hasari lifts the shafts to his hips. Ram comes to a stop. it takes a gift. This is enormously difficult and Hasari's very clumsy at it. RAM Will you still pay me when he runs you into a ditch? Absolutely. but the center of gravity isn't easy to find. He turns to Max. spits some phlegm. MAX Come on. RAM You see.some village street? You've got to move quickly. RAM See.
36. CONTINUED: MAX I say he can do it. I'll bet you the fare he can do it. (play by play) What do you think, rickshaw fans, can he do it? The crowd isn't in for fun. Hasari strains forward. The rickshaw moves with him. Ram moves alongside, shouting instructions and oaths. A cop comes on the run, screaming at Hasai... which makes Ram importune more strongly and Max joke more vociferously. Even under this incredible pressue, Hasari gains confidence and begins to move quicker, earning shouts of approval from Max and Ram, who now has trouble keeping up as they make their way through the maelstrom, an avalanche of oaths following them. INT. GODFATHER'S HOUSE - DAY At first all we see are feet on a marble floor. The Goonda's in his running shoes, then Ram and Hasari's bare feet. This is the partitioned splendor of an old house sprinkled with the relics of a grand colonial past. Everything is baroque, rotting and somehow impressive. Hasari has never been anywhere like this, and is caught between curiosity and fear of breathing. INT. "THRONE ROOM" The three men enter a large room shuttered from the sunlight -- dusty and packed with a ramshackle assortment of furniture. Two fat blue titmice perch in a cage next to ambitious plaster portrait of Napolean. Sitting behind a desk is Ashoka, leaning over a mirror, squeezing a balky pimple. Near a large window, his 60-year-old father, GHATAK, in a European jacket and dhoti, works with intense concentration at repairing a pair of broken glasses with a twist of fine wire. The three new arrivals stand silent and respectful before the desk. At last, without raising his head... ASHOKA Not a tongue between you then? (CONTINUED)
37. CONTINUED: RAM Yes, yes, I am wondering, sir, we are, is it possible you might have something for my friend? Ram indicates Hasari, as if there might be some question to whom he's referring. Ashoka attacks the pimple. RAM Let me explain it for your ears, sir. My cousin from Bihar has just arrived in our city -GOONDA They've brought a small present -- of respect. The Goonda places a small bundle of rupees on the desk. Ashoka allows himself a disinterested glance at Hasari. ASHOKA So, you want to be a human horse? RAM Oh yes! I have personally witnessed his excellence -- yes. ASHOKA He doesn't talk? Can he neigh at least? (to Hasari) You -- do your ears function? Oh yes, Babu. Neigh! HASARI Can I... uhm...?
ASHOKA Like a horse.
Ashoka pulls back his lips, shows his teeth and imitates a neigh: "Ne-igh! Ne-igh!" HASARI Well, yes, Babu, I can do that. Would you like me to imitate a horse? Finished with the pimple, Ashoka wipes a finger on his shirt and takes a helping off a plate of sweetcakes as...
38. ANOTHER ANGLE Behind him, The Godfather walks up to the desk, putting his glasses on. He barely glances at his son, but waves him out of the chair. Ashoka doesn't like it, but he steps aside. As he does, he turns a look of hatred on Hasari. Through no fault of his own, Hasari has made an enemy. Ghatak chews on a pan and casts a benevolent eye on Hasari. GHATAK Lift your longhi. Hasari does. The Godfather looks at his legs and thighs.
GHATAK The wise men of our nation say that nirvana is the attainment of a state of supreme detachment. For me, nirvana is counting each evening, one by one, the rupees earned by my two thousand and forty-six rickshaws. Hasari doesn't know whether to respond. A glance at Ram tells him not to. Ghatak gestures for Hasari to lower his longhi. GHATAK You are with family? HASARI I have a wife and three children, Babu. GHATAK And they must eat, heh. The world is full of open mouths. He chews on this a moment, then opens a drawer... and holds a small, tinkling rickshaw bell toward Hasari. Hasari understands that, incredibly, he has a job. His breath is so shallow, he can barely utter his gratitude. He takes the bell. HASARI I shall be eternally grateful to you. From now on, I shall be as the youngest of your brothers. GHATAK Stay loyal. These days, it's a crop nobody plants. The Godfather turns his beatific and Godlike smile on Hasari Pal. (CONTINUED)
In their excitement. and put away a little bit for your dowry. Soon I'll be able to send money home. INT.. The Pals load the rickshaw that stands at the road with Ram in it. (looking at Amrita) .NIGHT (EARLY EVENING) We hear the BELL TINKLING as the rickshaw. EXT.. Surya. Ram lights an oil lamp. The Pals glance into the school at Joan. pulled by Hasari. under the stars.NIGHT A door opens. SQUARE . OUTSIDE and up to the roof. EXT. There are embraces with the bruised Arun and his family. RAM'S HUT .. WITH PALS Reverentially.ON SKY . A job. Moonlight. Faces peer through the door.. . In the glow. Selima. a roof. HASARI Someone has blessed us. a school. other neighbors greet them as they come.39. them and: We LOOK UP WITH DISSOLVE TO: EXT.NIGHT PAN DOWN TO Max on his balcony playing his trumpet as we continue to DISSOLVE TO BLACK.DAY (EARLY EVENING) Transitor MUSIC. carrying Ram and Aloka (holding Shambu) arrives (Amrita and Manooj trotting beside their father). the family looks around their tiny space. Hardly able to suppress smiles. who's teaching an evening class. the boys run. MATTRESS SIGN . they follow Ram inside as Joan watches. GREEN ACRES .
who's arriving -. He stops in front of a small group. It's not easy and Sunil -. approaches the rickshaw stand. The wheels of the rickshaw hit a rut. a line of perhaps seventy-five wait patiently. With an exhausted smile.HIGH ANGLE . he signs to Aloka and Amrita to get in. SQUARE AND STREET (CITY OF JOY) .DAY About twenty tattered street kids faces shining with enjoyment. the sack tips back and Hasari is lifted into the air. They run and shout as they pursue something just out of frame. can't hold back their laughter. EXT. and Hasari takes them triumphantly around the circuit. watching as Hasari takes off again. We also see several other pullers. as he pulls the rickshaw. Ramatullah.DAY Hasari rubs the moonstone in his ring on the shafts.40. They do. loaded with a huge sack. we see Hasari negotiate them with much increased skill. Aloka and Amrita.has to jump out of the way to the accompaniment of apologies from Hasari and Ram and hoots of laughter from the children. A SCHOOL GIRL in uniform. He shouts a command and Hasari struggles to bring the rickshaw to a stop. sitting near the bawling Ram. Hasari loses control. As Ram shouts instruction. HIGH ANGLE Hasari's triumphant ride continues and we: DISSOLVE TO: EXT. then touches his heart and his forehead. Rassoul. Outside the clinic. feet flying. PARK STREET .DAY The square is set with obstacles. feet kicking as he tries to regain his balance. WIDE SHOT The cause of the excitement is Hasari running TOWARD us. Chomotkar. plus Joan and Surya. It's his family. Ram stands in the center of the square. SCHOOL GIRL Rickshaw wallah! (CONTINUED) . SQUARE . Manooj and Shambu are clinging to the sides of the machine. FADE IN: EXT.
The girl runs into the school yard. The other pullers wish him well as he comes forward. Hasari looks around at the clean. SCHOOL GIRL That way. . at all the children in their crisp uniforms and a look of great yearning comes over his face. he helps the School Girl into his carriage. A HORN RAILS at him and a taxi tries to run him down. Pius School. you can depend on me. ever so politely. met immediately by friends. He looks at Ram. bustling school. eyes flicking left and right.. ST. luck. setting off into the insanity of the traffic. and then to the right. SCHOOL GIRL Well.. You're my very first passenger. and thrusts his hips forward. SCHOOL GIRL This is my home address. calling and laughing as Hasari jumps in terror. She gives him the address of the St. HASARI I'm sorry. I don't know where that is. CONTINUED: RAM Let Hasari go! The line of rickshaw pullers turns to Hasari. HASARI Yes. he manages to pull out a rupee and deposit it into the hand of the impassive traffic policeman and then turn right. Pick me up promptly at seven each morning. Really.. thank you. RAM (calling) Feed the police! Other pullers laugh. and as he approaches the first corner.. PIUS . I hope I bring you She gives him a sweet smile. His heart pounds. His moment has arrived. EXT.41.DAY The School Girl hands him a slip of paper. call after Hasari.
and senses someone close. He leans out. Now. slap it flat like this.. INT.. MAX Beef. He turns to find an American hovering at his shoulder. ANOTHER ANGLE Ashoka. WITH ASHOKA He pulls the boy's ear. his aching ribs slowing him a bit.42. Really? Max grabs Ashoka. though. Looks around for help. flip it. pepper. REVS the ENGINE to go. There is none..cow? Minced. No one touches me. who breaks free. Ashoka recognizes Max. MAX . ASHOKA Don't touch me. Max gives chase. He reaches for the necklace with the Hebrew letter. SMALL RESTAURANT . WITH MAX AND WAITER MAX Put it on the grill. and GUNS the CYCLE down a side street. You know -. I'll be right back. MAX You know.DAY Max is trying to explain to the waiter what he wants. I have to say you really don't look Jewish. astride his motorcycle. throw it on the grill. he just glimpses the shiny gas tank and engine of a motorcycle around the hip of the waiter. I believe that's mine.. little salt. GUNNING the ENGINE as a boy runs out of a store with an armload of cassettes.
He's MAX Oh. please.. He has to make a choice about this corner or that one.. He chooses. begins to open up some distance... but he makes no move to give chase. however. MAX Ready my lips: I do not have my passport with me at this... he loses Ashoka. EXT. MAX It's in my hotel room.DAY (EARLY EVENING) A COP steps into his path. glancing back. we see a group of girls carrying cricket equipment COMING AT us. CITY OF JOY . there's fire in Max's eyes.. SEVERAL CUTS Ashoka.. now. Yet.him! He can't talk and breathe. The Cop obviously is doing this at Ashoka's behest. The Cop. The Cop glances where Max points.43.. COP May I see your passport? MAX Passport? I'm in the middle of a high speed chase. suddenly. Max hangs tough. In the distance. Now.good timing . COP Passport.AROUND CORNER .. He sees Ashoka up ahead. He points desperately. but a hand takes the Cop's stick before Max can make a big mistake. A crowd has begun to form. .. I see. Max starts around the Cop. hopelessly out of breath. good. sticks his club in Max's face. (he gets it) Ah. weaving like a broken field runner through the mass of bodies and vehicles. That guy -COP Passport please. great. said the blind man..
licks the flap. all right.NOTE AND MONEY ORDER "We are well. POST OFFICE . I get a little money from a Swiss organization.FAVORING OWNER OF HAND The girls with the cricket equipment (and Margareta. and puts the envelope into the mail slot. Max and Joan sit at a table. seals the money order with the message in an envelope. it was just a whim in the beginning really -.DAY A scribe finishes writing a note home for Hasari. JOAN We just need a few more hands on this little life raft we've set afloat here. Hasari pays the scribe.TEA SHOP . though. Now it's become a bit more than I can manage. the teacher). Max pops little boiled candies into his mouth from a dish on the table. Manooj does not go in the cinema. JOAN Oh." RESUME With great pride. JOAN Well. so you'll owe me three.44. ANOTHER ANGLE .DAY (DUSK) Surya plays his zither. junior. EXT.to try to convince them not to be so bloody passive. EXT. that they could pull themselves up on their own. MAX It's got to be like trying to drill a hole in water. The hand belongs to Joan Bethel. scribe hands it to Hasari. It is my honor to send you this. I am earning my living as a rickshaw wallah. SQUARE (CITY OF JOY) . (CONTINUED) The . INSERT .
The clinic's part-time doctor. (a beat) Generous young man. aren't you? MAX One of us sure as hell is. MAX Has it occurred to you that this obsession with charity is really a flaw in your character? JOAN Charity! It's not charity. God bless. (CONTINUED) MAX . earthly idea. then around the square.okay. You're pretty much outta my league. JOAN There are really only three actions open to a person. Shambu has become one of Surya's tea boys and refills their tea. MAX Only three -. A pleasure to meet you.45. Dr. SUNIL I'm off for home. You're very badly twisted around. SUNIL See you day after tomorrow. Doctor. CONTINUED: They stare at each other. it's love. thought-wise. SUNIL DASGUPTA. they? And what are JOAN To run. Loeb. to commit. JOAN You know what I've come to think in my middle age. to spectate. dear child. Sister Joan. The same. no. Max peers at her a moment. Max? MAX Nope. JOAN Good night. comes out of the clinic after a very long day.
as Manooj knocks Shambu down at Max's feet. El Max. there is the doctor from America. explaining excitedly. MANOOJ Do you go to the cinema in America. their eyes touch again. CONTINUED: As he watches Sunil head away. Max produces a boiled sweet. SHAMBU Daddy. Shambu runs to his father. shy. Max almost knocks the fire over. he jumps up.46. MANOOJ Are you the American doctor? you coming here to help us... ANOTHER ANGLE Ram and Hasari return home.. I'm the visiting American soccer star. Max senses something coming at him from the side. handles the ball athletically. MAX No. little guy.. El Max? MAX When I was your age -.two movies.. A soccer ball almost hits him.. Shambu leaves his post in the tea shop to join them. apologetic. Daddy! Shambu pries his father's fist open: seeds. SQUARE He begins to play with Manooj and several other children. He saw two movies every Saturday. (CONTINUED) .. as Manooj lets out a cry at the sight of their father. MAX There you go. plus cartoons every Saturday. What's in your fist? Open. Aloka looks at him.. Aloka and Amrita are cooking on an open fire bucket. Hasari can hardly walk. Max scoops the little boy up. Aloka watches this with a smile. what's this? Ut -Are Reaching behind Shambu's ear.
.. piles of vegetables. I'll be able to pay off the moneylender in my village and go home and open a grocery shop. RAM Another few months. EXT.UPSTAIRS Children leaning down as smoke wafts up.. CONTINUED: Seeds? Why? SHAMBU HASARI So we can watch something grow. Max is watching this "family" huddled around the father. I'll lie on my back beneath the trees sniffing fresh aubergines. RAM'S HUNT NIGHT . he goes there -. Amrita is terribly embarrassed.. MAX That's only 40 dollars. HASARI Amrita. isn't it? HASARI If you have it. aromatic spices. Aloka and Amrita laying the food out. I saw a beautiful wedding sari today.47. Shambu rubbing his father's aching legs as Hasari and Manooj plant the seeds in Hasari's little tea caddy full of earth from home. He laughs at the impossibility of the price. Hasari smiles. Ram laughs.home. All around me sacks overflowing with all kinds of dal and rice. This beautiful picture burrows into Hasari's mind. a moment. RAM If my wife will let me come within a hundred miles of the place where she herself resides.. We FOLLOW the smoke DOWN TO Max's cigar. (CONTINUED) For . and at night.. to the village. RAM It was six hundred rupees only.
makes his way along on a small wheeled board. the higher the number the more the swelling sinks. who expels his breath. perhaps. ahead of SAID. so carefully waters the tea box. Max has to laugh. CONTINUED: MAX I'll send it to you from America when I get home tomorrow. I myself would be willing to accept a gift. Out from behind Said steps Poomina. ANOTHER ANGLE It's an amazing sight. Hasari ever RAM Doctor Big Brother.. his terrified eyes directing our attention to. thank you.48. Could you give me five rupees in a note -ten. at an amazingly fast pace. My ankle is badly swelled. POOMINA Joan Di.. mute leper. They stop some feet away. How much? Now everyone's attentions is taken by a CRY from Shambu. MAX Repayment for punching you in the nose. a huge. owe you. Lepers aren't often welcome. HASARI That's very generous but no. unmarked face. Two lepers: ANOUAR. HASARI You have repaid me by sharing our supper. my sister! (CONTINUED) RAM I'll . bearded with a sharp intelligent. MAX I don't have a cent on me. Joan indicates that Max should let it go.
JOAN Max. POOMINA Meeta will die. CONTINUED: She sees Max.. A pregnancy gone awry.he starts to speak. Sunil. Sunil. Could you have a look? Max is clearly thrown by the sight of the lepers. could he help. The midwives don't know what to do! Dr. MAX I don't have any experience with leprosy. gasps. . It's too far.. JOAN It was Poomina who brought you to us. who hasn't heard the exchange. but it's an emergency.49. ANOTHER ANGLE Joan turns to Max. what is it? She moves to them. It's a leper. Poomina. perhaps? JOAN Dr. It's all right. JOAN Good Christ. throws herself behind Said. Sunil isn't here. I wouldn't ask. she points a finger that silences him. Anouar. But something is wrong. Joan looks at Max -. because she's a leper doesn't mean she's not built like a woman! HASARI I can run and get Dr. (CONTINUED) JOAN They're all three badly out of breath. son. She has herself and her sister to support. WITH JOAN AND LEPERS ANOUAR It's Meeta! It's her time.
ALOKA I've had three RAM You can't do that. uninterrupted MOAN. Aloka and Hasari following. impulsively. (CONTINUED) .everyone fixed on Max. There are murmurs of assent from the others. Her face runs with sweat. Her ragged sari is pulled up to her middle. I could help.50.. A few shadows materialize. HASARI You're a doctor. plastic sheeting.NIGHT The little procession arrives outside the three rough huts. Lepers -staring silently. Said and Poomina running with him. Anouar propels his board with astonishing agility along the path. Meeta sends up a SOFT. CONTINUED: Suddenly. slipping and sliding on the rough ground with its puddles and sewage.. how can you not help? EXT. HUT . PATH-NIGHT The moon reflects off the dark puddles of muddy water that line the side of the railway tracks. A girl with black eyes is fanning her with a piece of wood. they're unclean. made of bamboo. Joan and Aloka precede Max inside. carrying a first aid bag. cloth. Max forgets to bend and bumps his head. INT. Joan.NIGHT The only light is the feeble waver from a candle. Oh nonsense! JOAN It's not contagious! A beat -. The blind Meeta lies on a rough mattress on the ground. They're outcasts. wood and cardboard. EXT. Anouar points into a hut. Max. RAILWAY LINE .LEPER HUTS . A wedge of blood-soaked cloth is between her legs. her hair is plastered to her face. babies.
way over here.. The child is breached. who's this coming' down the lane? Why it's -. Aloka reaches out instinctively.. uh-oh. wipes the sweat from his eyes. This gesture seems to free him. scissors. he stays frozen.51. with her fine hand. CONTINUED: A middle-age leper is leaning over her -. Aloka speaks softly to Meeta as Max takes Meeta's arm.'s of Coramine. alcohol. he looks at her. but then he pulls off the blood-soaked bandages. MAX I'm going to have to turn it -the baby. His breathing becomes shallow. Between Meeta's legs he can just make out the bottom of a foot.. He comes to a stop.yes. Tell her she has to relax these muscles as much as she can.. Hands the syringe back to Joan and begins to work at turning the baby. Aloka at his side.is it possible -. MAX Uh-oh. Maybe already dead. in India -.c. encouraging Meeta with a string of commands in their own language. He nods at Aloka. Everyone stares at him. Meeta moans. He hands the flashlight to Aloka as. ALOKA . Joan has opened the first aid kit. He doesn't finish the sentence.. makes a tourniquet.. Aloka takes Meeta's hand and it's a moment before we realize Aloka. Max kneels. etc. it's Mr. For a moment. is holding Meeta's fingerless palm. Will she die? Max goes into reflex actions. she illuminates the scene. There's a flashlight among the medicine. compresses. looks at the room and its expectant. trusting faces. MAX (to Joan) Pull me two c.a midwife. Joan hands him the syringe and he injects. Choke.
It's coming. Be alive. with her new sari. Aloka does the same to Meeta. Aloka wipes the sweat away again. Anouar drinks off the tea.52. Everyone hangs close to the door. Yeah! (CONTINUED) . OUTSIDE A small group waits. He coughs. suppresses it. Anouar pours tea from a pot on the small fire. And suddenly Max has the baby turned. All right! MAX Now. Only Hasari remains apart. tell her to push. Again. the little Aloka translates. we've got it. Come on. wipes the sweat away again. Meeta pushes. be alive. doesn't want to touch the cup. INSIDE Sweat pours down Max's face into his eyes. seated on a tree stump in the middle of the quad. come on. girl. little baby. No one is sitting now. INSIDE MAX I've got the head. Hasari stares at the cup. his voice squeezed out through his teeth. offers the cup to Hasari. MAX We've got it. Aloka leans forward and. but more than that. OUTSIDE Yes! MAX Again. The midwife. doesn't want to be impolite. He demonstrates. be alive. Aloka lean forward. little baby. He shakes it out. Meeta tries to cooperate. He looks at her. trying to determine from the sounds what's happening inside. smiles. Max nods thanks. He shakes his head. MAX Tell her again to breathe in short little bursts now.
Aloka. (CONTINUED) . Max is fairly overwhelmed by the life in his hands. I just don't. Think about it -. Poomina steps close. But now there's JOAN Max. She goes into Ram's hut. MAX You could make a helluva nurse. MAX Can't do it. EXT. Joan. a smile on her lovely face.NIGHT Max. open moment between them. and a very uncomfortable Hasari alone a moment. no one's ever paid her that kind of compliment. won't you change your mind? We desperately need another doctor. that was pretty practiced.just give us a couple of months. LANE . Aloka and Hasari walk in silence down Nizamudhin Lane. ALOKA Thank you for allowing me to go with you. and touches the baby in Max's hands. Outside the clinic. Aloka. Then he gives a last gentle tug and a CRY squeezes out of the little piece of life in his hands. She takes his hand. A little smile comes over her face. JOAN Then what do you want? What are you going to be when you grow up? Good night. leaving Max. they stop. please. It's a warm. CONTINUED: He seems as released as Meeta. JOAN For a non-practicing doctor. leaving Max and Hasari now. Joan goes inside. MOANING. MAX Never been so scared in my life. Maybe you've got it in you to be a saint. Hasari. the ongoing desperation of her needs. Full-time. and a TRANSISTOR RADIO nearby playing a popular song. There is only the mingled sound of COUGHING.53.
O. V.) Yes.DAY A busy. my brother.. CALCUTTA AIRPORT .O.. JOAN'S AND THE PAL'S (ALTERNATE) .. yes. Om.. urban airport as opposed to the small country airport in which we saw Max earlier..S.S. JOAN (O. MAX listens. you who I am trying to believe are the light and salvation of the puking world . EXT.) Please see that we are living in madness and darkness here.) . He runs down the alley. swallowing up the distance between here and the world beyond the City of Joy in great gulps. CONTINUED: HASARI I think perhaps you are a good man. THE PALS Aloka sits huddled with her husband while their children sleep. BETSY (V. yes! I turned in your ticket! ..S. that's right./INT. Suddenly.ESTABLISHING .. Hasari brings his hands together and goes inside. JOAN (O. yes. JOAN (O.) Jesus..54. om and amen. and we need help. his stride stretching out..NIGHT Max hears Joan praying inside. they listen. Jesus. we hear. EXT. he hurtles into motion..
INT. He mimes a kind of (CONTINUED) . BETSY Then prove it. He's trying to woo and charm her. MAX Good -. Max! MAX They're calling our flight.55. Betsy love to do financially -MAX BETSY Use your credit cards. Betsy Ilene Kahn. BETSY Buy yourself a ticket. it's sweltering. It's.name it. I want to go home with you. it's not a very private place. you never have. I got a refund! MAX But I want to go home with you. Because I have a vision.DAY It's a small place. BETSY I bought it.. as we see by the number of people watching Max and Betsy. BETSY You want to go home with me? Yes.how -. MAX What credit cards? You know I maxed them before we left. Though Betsy's trying to be discreet. house shape.. but I'm embarrassed at the that. boy would I just that. MAX I would love to do Ilene. AIRPORT . Oh. Just lend me -BETSY No! You won't pay me back. and it's packed with hundreds of families shoulder to shoulder.
CONTINUED: MAX I see you and me.you don't understand! MAX How could I possibly not understand a conversation as easy as this one.56. nibbling toward each other through a quarter pounder with cheese. Betsy Ilene Kahn. Betsy Ilene. MAX I want. MAX What should I call you? my significant other -My girl. Besty Ilene Kahn! He fires a strike through the watching crowd. chugalugging a frosty light beer -. stop it! You have no earthly idea what you want. my Lord Amighty. Max! And stop calling me Betsy Ilene Kahn.so what? BETSY See -. Oh.. MAX Isn't that your name? BETSY You call me Betsy Ilene Kahn like you just met me yesterday. I want so many American things -BETSY Oh. BETSY Don't get cute! You get cute and I swear to God --.. (CONTINUED) MAX BETSY .you told me once I look like my mother! MAX You do -. I hate you! Na ya don't.great taste! Less filling! Bowling! I want to go bowling.
TOWARD THE GATE MAX Will you at least call my mother and ask her to empty my savings account and wire -BETSY Do it yourself.! She hands her ticket and boarding pass over and she's through the gate. What have I been thinking all these years -. I've found my light and I'm free of you. BETSY Why? It was never working. BETSY But you've taught me something. Max.that you'd change? You're the most self-pitying.. I quit. Max turns to find the audience fixed on him. Well. You should have called her weeks ago anyway just because she's your mother! (to herself) White light.. You never finish anything. self-destructive. Max. Call her collect.. people parting to give her a wide berth. (CONTINUED) MAX MAX . so she abates. self. She can't find anything fierce enough. tries to get it together to make a dignified exit.. She heads for the gate.57. CONTINUED: BETSY I stood by you for three years! I know. BETSY I supported you through your internship! You did. white light. MOVING SHOT .
. Dr. Anouar. folks. Inside is a good deal of money.58.. ANOUAR Then perhaps I am having visions. Anouar appears at Joan's waist. and several instant offers of rupees. beat. Aloka is walking beside her with a fistful of depressors and a bag for disposal.. 'All the world's a stage. but Dr. Swallowing his incredible embarrassment. ANOUAR Please buy the medication for us. Loeb would come to us. At this moment. . Hasari and Ram are getting ready to leave. Loeb said many of us could be helped. Joan opens the paper.. ANOUAR Good morning. If we cannot come here to receive it. Many smiles. perhaps Dr. there is only his cherished memory.DAY (EARLY MORNING) The line is long. SQUARE . Joan is checking a child's throat with a tongue-depressor. then. JOAN I'll be happy to buy the medication... Anouar hands Joan some newspaper in which something is wrapped. that all it would take is money for medication. Loeb is not part of this endeavor. Anouar's focus is up the lane.' Don't know if that word reached you here yet. Joan Di. CONTINUED: MAX Guerilla theater. to: Joan follows his focus A .. If you'd care to show your appreciation by a small donation. what the hell.. EXT. Max takes the money. MAX Aw.
59. THEIR POV Max approaches. A buzz about Max's heroics; hands coming together. Max raises a hand in benediction, makes the sign of the cross. Max claps Hasari on the shoulder; Hasari brings his hands together and gives Max a genuinely pleased smile. Children circle and touch him, Manooj and Shambu among them. BACK TO SCENE MAX Good morning! Good morning! Heckuva morning! Getting ready to practice medicine without a license, Sister Joan? You don't see me soliciting conversions, do you? JOAN Well, well, well, I do so love to be surprised. MAX Okay, for starters, pick me out someone with something easy I can heal, make me look good. (to Aloka) Aloka, you're my assistant, let's go. Aloka smiles, she nods, she accepts. JOAN Max, knock it off, give us a bit of hush. (as he does) What happened? MAX I changed my mind. JOAN And I'm a bloody bathing beauty. MAX Okay, so I got left. JOAN Smart girl... So how long am I stuck with you? MAX Two weeks -- or until Mom sends me a ticket. (CONTINUED)
60. CONTINUED: JOAN Not worth the aggravation of your prattle every day. Six months -and not a day less. MAX No way. Six weeks -- and that's my best offer. JOAN Two months -- and that's my final offer. MAX (a beat) Done. JOAN Jesus and Mary. The Lone Ranger rides again. And now smiles creep onto all their faces as Max goes inside, followed by Joan... and then Aloka -- after she looks at Hasari, gets his nod of encouragement. Too late, Joan says... Watch your -Thud! MAX Thanks -- got it. The children titter. The teacher, Margareta, admonishes them to pay attention and be polite... as we -FADE OUT. FADE IN: EXT. SCHOOL GIRL'S HOUSE - HASARI'S WHEELS - DAY (TWO WEEKS LATER) The wheels spinning furiously and then stopping abruptly. Hasari, dripping with sweat, panting. The School Girl comes running toward him. After her, in the b.g., her MOTHER. SCHOOL GIRL Hasari, where have you been? I've been waiting almost five minutes. (CONTINUED) JOAN
61. CONTINUED: HASARI I'm sorry, forgive me. happen again. It won't
SCHOOL GIRL We're not going to school today. You're taking my mother and me to the Bara Bazar. I'm getting married! HASARI Oh, I am so pleased for you! Panting helplessly, Hasari smiles... as he helps the School Girl's Mother into the rickshaw. MOTHER Good morning, Hasari. HASARI Good morning, missus. Briskly, he takes up the shafts and sets off. MOTHER Turn right at that corner, Hasari. HASARI It's farther that way, missus. MOTHER No, not really. Turn there, please. Obediently, Hasari turns (as Ramatullah, heading the other way, passes; they wave) and Hasari pulls AWAY FROM us. EXT. SECOND WEDDING SHOP - DAY He helps them out of the rickshaw in front of an expensive-looking bridal shop. SCHOOL GIRL You must remember this shop, Hasari, when it's your daughter's time. This is the nicest in the city. The Mother gives the School Girl a withering look and hustles her into the shop. Hasari can just barely hear... (CONTINUED)
Hasari springs toward his passenger. Hasari starts for his rickshaw. ASHOKA Keep working.. a look of determination coming over his face. CONTINUED: MOTHER (O. Babu. but Ashoka hangs on to his ear for another uncomfortable moment. ASHOKA You have a daughter? Yes. He's never going to be able to buy anything here. Poomina clings to the wall. Now he hands Hasari a sealed envelope and turns his ear loose. Suddenly a pair of fingers takes hold of his ear. (CONTINUED) HASARI HASARI .) Don't say things like that. MARWARI (O.62. ANOTHER ANGLE Ashoka. twisting his face painfully. Give this to Sister Joan and your friend the doctor when you go home. EXAMINING ROOM .. INT. ON HASARI He watches from outside. ASHOKA Not working? How will my father eat this evening? I was just. as he slips a rupee into Hasari's shirt pocket.DAY Max with his stethoscope to Meeta's baby.S..) Rickshaw wallah! Called to work. with The Goonda and two henchmen.S. in the b. Meeta in a brightly-colored sari and a lot of bracelets and Aloka looks on..g.
rolling his sleeves down. then quickly begins to wipe Max's face with a clean rag. smiles a small smile. It's okay. but she's doing it before she has time to think.. Not all.DAY (EARLY EVENING) Sunil stands outside the clinic.. coos to it playfully. (CONTINUED) . Aloka pushes her. Aloka translates quickly. Poomina. She looks at him. Psst. The baby pees all over him. He peeks up under. SUNIL Good night. SQUARE . MAX Tell her to give all the milk to the baby.63. Anouar waits at a polite distance. and the baby out. ALOKA Most.. MAX Good night." Sunil looks at his American colleague. Aloka does so as Max bounces the baby. Meeta clearly swears she's giving the baby the milk. in Philadelphia. MAX MAX EXT. So does she. and then she becomes suddenly self-conscious and she backs off. He smiles. Max finds himself conscious of her closeness to him.A. This isn't something she's accustomed to doing. ducks her head. Aloka soothes Meeta as she hustles her. Max singing Chuck Berry to the woman's embarrassed delight: "They're really rockin' in Boston.. Poomina can't help laughing. Sunil. CONTINUED: MAX He's just malnourished. Exhausted but exhilarated. Is she giving him the milk we gave her or selling it? Aloka asks Meeta in Hindi. Max and Aloka emerge with an elderly woman patient. P. Max reminds Meeta that that's once for each of the two weeks of the baby's life. Meeta starts apologizing. I'll see you day after tomorrow.
Joan has the Pal kids in hand. eat. Doctor Big Brother! you stay? Will MAX Wish I could.. HASARI It's more than a father could hope. you know how patient we are. indicates she's cooking dinner. Hasari returns home with his rickshaw. SELIMA Very special supper for you tonight. Selima." Manooj and Shambu come charging at Max with the soccer ball. MAX (to Aloka) You're not tired. I think we've got three very good potential scholars here. around the Frisco Bay. Selima waves at Max. Joan wanders out of the school as the kids are released and go charging through the square. Between Hasari and Aloka... are you? ALOKA Not if you're not.64. JOAN Given him some time here. Behind the children's backs. Eat. I have to go with my man Anouar tonight. hoping to engage him as a playmate. JOAN Well. there's just a flicker of tension. he'll be good enough for a proper school. Deep in the heart of Texas. no. (CONTINUED) . Joan joins them with the Pal children. CONTINUED: ". this has become Max's (and her) normal day. evidently. because I'm sure hungry! Sixteen hours of pestilence and misery always make me famished. she points at Manooj and indicates the kid's really got a head. But he's also worried about the note from Ashoka. I've got lepers to heal! ANOUAR No..
playing on an old RADIO. Acha! Now we see Max and Joan seated on cushions before the godfather.) GHATAK Looks GHATAK I understand that you're interested in expanding your clinic and free school. A moment later. (CONTINUED) . She catches a glimpse of Max as she disappears past a door. Sticks of burning incense send off trails of smoke. Max's attention is pulled ASHOKA (O. back to the godfather. Joan opens the envelope. in association with Dr. Maxwell Loeb. INT. Amidst instant concern.OLD RADIO . We hear the sound of BANGLADESH MUSIC. The godfather. one of whom is Poomina. HASARI (giving her the note) From the godfather's son. Manooj Pal.S. wipes a tear from his eye. her head peeks around the door frame. Hasari is swept up in this little reverie... tea in hand. Florida. JOAN We'd like to better serve the entire community.65. and that you intend to start treating lepers in the City of Joy.DAY The MUSIC is of days gone by. Ghatak. For you and the doctor. GODFATHER'S "THRONE ROOM" . MR. Max catches a glimpse in an anteroom of several thugs with several young girls. GHATAK. Looking infirm. She brings her hands together. Mr. CONTINUED: MAX Fifteen years from now: Miami. then remembers reality. For a moment. at Max. You! Poomina quickly disappears. Dr.
That's very good. but isn't this protection money money we're paying you to protect us from you? GHATAK We live in chaotic times. Ghatak. (MORE) (CONTINUED) . but a very fragile miracle. I control the City of Joy and maintain it as a model of harmony. what will I tell others? JOAN But we can't afford it! GHATAK Surely if you can expand. Miss Bethel. more potential trouble. Doctor.how do you reason with this man? MAX Am I stupid. you can pay more. It's a miracle. CONTINUED: GHATAK Of course. Joan throws up her hands -. Miss Bethel. JOAN I understand the rent would have to go up if we rent larger quarters from you. Admirable. Strangers. but why should we have to pay more protection? GHATAK More people. MAX And how are we threatening your miracle? GHATAK I admire your courage in choosing to work in such a violent place.66. Mr. If I don't charge you. And we'd be pleased to rent you suitable space. But you must understand that certain payments will go up.
we see him listening to his music and pottering in his garden. MAX (to Ashoka) I like your taste in neckwear. Only the ruthless prevail. The Goonda hurries forward to help him. we won't have any money for supplies.. do you like our music? MAX Well. My son will make the arrangements with you. Ashoka seems just the slight bit uneasy dealing with Max and so keeps trying to direct himself to Joan. He smokes a long Indian cigarette.. GHATAK It's difficult to appreciate what we don't understand. (CONTINUED) .. who wears Max's necklace and chai. He dispatches a globule of spit into the copper urn next to his right toe. JOAN If we pay you that.g. but because they know you're under my protection... isn't it? Let me put it another way: The world is a terrible place. Joan puts a cautioning hand on Max's arm. they're given to violence. and tries to get to his feet. There's a long pause as the two of them take the other's measure. GHATAK Doctor. I can promise you they won't like having lepers among them. Max finds himself face to face with Ashoka. CONTINUED: GHATAK (CONT'D) Your neighbors in the City of Joy. ASHOKA The entire package we're proposing will cost you three thousand rupees a month. I can't say I've developed a craving for it yet.67. As Max and Joan turn. they're not educated. in the b. where. One of the thugs helps the godfather outside. Joan is taken aback by the sum. to meanness.
. About twenty kids sit in a line. asshole. MAX I think I see a solution. His eyes on Max. Are you trying to get yourself killed? MAX I don't think so.. INT. she knocks his hands away. but with me. you. he stays right on her. you. JOAN Stop it. you nudnick! He doesn't stop. tickling away.. Doctor? MAX Beats the hell outta me. he tickles her again.68. any duplicity is possible. . But you've obviously found a way. Ashoka puts the cigarette out against the back of his hand. and smiles at Max. JOAN Have you gone right off your rocker!? These people don't have a sense of humor. May I? What if we were to work out a profit-sharing arrangement? We give you a share of our net profit..DAY It's dark and claustrophobic.. The question would seem to be whether Ashoka will have Max killed here or outside the house. No one can hear his neighbor. back to back. CONTINUED: ASHOKA I'm told you're very resourceful. EXT.DAY Joan is furious. He tickles her. manipulating a series of lethal and unprotected lathes and polishers... GODFATHER'S HOUSE . METAL PIECEWORK SHOP . and as she storms off down the street. The air vibrates with the SQUEAL and CLATTER of METAL.. ASHOKA How do you expect to make a profit off of lepers and the poor.
leaving Hasari.. he notices. He gives Hasari's ear a last tug. As he looks inside. Manooj fixes his father with a hard look.. An ambassador car swerves in front of Hasari. ANOTHER ANGLE Hasari. SIDE STREET . jolting the kids.NIGHT Leaning over. EXT. and the car continues on.. He catches Amrita's eyes. listening. . taking in the aroma of. ashamed to have been cowed. forcing him to jam to a stop. He looks at his children. Hasari leans close and Ashoka takes him by the ear.KIDS . with Shambu in the rickshaw. ON HASARI But he can't help but smile. who carves his fingernails with a switchblade knife. JOAN'S ROOM .. EXT...69.ABOVE . ASHOKA Who gave you your rickshaw? HASARI The Godfather.DAY The three kids in the rickshaw. The Goonda sits in the back seat with Ashoka. He crooks a finger at Hasari. HASARI'S POV Not far from Amrita sits a handsome boy (Subash). At the same time he's reminded moment to moment of his various obligations. Remember: ASHOKA Loyalty. ASHOKA Who provides the food you eat? HASARI The Godfather. arrives to take the children home. Amrita is sweetly embarrassed to find her father staring at her.
SALADDIN The Godfather is at least civilized. flick at him. Aristotle John. But I think we have to be very cautious. Aloka. You have to risk everything. Hasari is stretched out. They'll throw us out. MEHBOUB Saladdin's right. Eyes ASHISH What do you say.70. Anouar. He sits slightly apart from Joan. hear me out.the Molotov coctails.. INT. the blows with iron bars. We won't be able to find anyone else to rent to us. (MORE) (CONTINUED) . Surya. Hasari. Doctor Big Brother? SUNIL I think we must try to break the Godfather's hold on us. We have to pay. Selima. Margareta. MAX How the hell do you proceed with caution against these people? You can't. Sunil. Throughout the following. Remember the last elections -. We'll just have to agree to pay what he wants. The son is vicious.. SUNIL Please. He shakes his head. and Said. Aloka rubbing his screaming legs. SALADDIN. Neither nature nor the people with the power have any conscience. A sigh escapes Surya. ASHISH and Shanta. This is startling and is met with a babble of cautious agreement and dispute. JOAN'S ROOM Max's cigar. their eyes meet and deflect. Ram. MEHBOUB.
Many of them want to buy his commitment. MAX I'm not wrong. SALADDIN Yes. he'll own you for the rest of your lives. I'm telling you. Still. if you don't stand up to that little pimple face now. this is not American gangster television. ANOUAR Even though I am invisible to some of you and I don't have a complete set of legs to stand on. she silently urging him to speak. he's clearly piqued a lot of support. SUNIL You know. Aloka and Hasari's eyes bang off of each other. Everyone stares at him. I guarantee it. I stand with the Doctor Big Brother. We show them we're strong and the'll just move on to easier pickings. the giant mute. they'll eat you alive. You bow your heads. they got no guts. if you're wrong. but clearly he's agreeing with Anouar. Max. You put up with this nightmare as if there were no choice. CONTINUED: MAX (CONT'D) You try to negotiate with these people.71. you don't have to be here. they're cowards. mades an unintelligible sound in his throat. you make compromises with them. but don't we? Said. (CONTINUED) . He's deeply conflicted and deeply frightened. Underneath. We? ASHISH You have an airplane ticket. There's another large sigh from Surya. you plead with your Gods to do what you won't do yourselves. Maybe nature doesn't have a conscience or those with the power. Stand up against them now and they'll fold.
until Aloka and Hasari's meet again and. Surya sighs again. I say we must stand up.. Each of us has to decide for himself. His sighs. out of his terrible fear and conflict. I think Max has hit on the heart of what we're trying to build here: a self-help society. There's still dissension. Eyes flick at the old man. With great difficulty.. Hasari says his piece. really. As for me. but somewhat more support. that if the bastards are going to suck us dry. SUNIL Sister Joan. we have never had such friends. have been a building commitment. I suppose I think. But many of us owe a great debt to the Godfather. unintelligible supportive sound. But we must choose. this is our home. (CONTINUED) . though. everyone assumes he is preparing a heated refutation of the resisters. really? JOAN Well.. I think it's worth the chance. I trust my Big Brother. HASARI I want my children to be educated and cared for. he says very shyly. I'd like to get in a couple of good lefthanders before I turn the other cheek.72. HASARI Is it permitted to speak? There are quick nods around the room... CONTINUED: MARGARETA I agree with Anouar and Max Daddah. Said makes a fierce. what do you think. SALLADIN But who will rent to us! Surya clucks his tongue and shakes his head. He is strong and could kill us.. Silence.
DAY A) Two cows are shooed out of the ramshackle building as bustling activity on the new clinic begins.INT. wishing he were elsewhere. and not a rupee less. Finally he says he'll stand still and she should go around him. holds up a heavy beam while Hasari tries to secure it. shows Max an enormous hole in his shorts and hits Max for ten rupees. prepared under direction of Selima. G) As Max puts medicine into a cabinet. stands in the middle of the room. F) Max and Aloka do one of those dances where two people with arms loaded try to go around each other. CONTINUED: SURYA I have a property I will rent you for two hundred rupees a month.. with the strength of three men. A finger pokes Max on the back. Max leaps to Hasari's side. D) The whole group shares a meal. C) We see that Max and Hasari are thrown together again in some carpentering task in uneasy camaraderie. The beams starts to slip. the separate singing several E) Equipment from the old school/clinic being moved from the square down here. H) A small truck carrying a charitable organization's logo on the side is being unloaded of powdered milk and various other things. He turns to find Poomina holding out two cups of tea. COWSHEDS . Joan and Margareta pick it up. Hasari watches. Max. MONTAGE . They both laugh. As for protection. though the lepers remain from the normals. smelly. and hating the place.73. Many of the faces are uncertain -. hot./EXT. B) Said. nods his approval. (CONTINUED) . Anouar leads the lepers in a song.. "helpfully" passes Max something Max can reach just fine himself. Ram peeks in. you are on your own. as do other of the normals.Hasari's notable among them. Debris being torn out. Cleaning the place. hurled into a pile in the street.
CLINIC . who indicates Manooj should light it. CONTINUED: I) UPSTAIRS AND STAIRWELL Hasari and Max move the last cot upstairs and into place beside a window that will come into play at the end (It looks down on the street). J) THEIR POV Everyone gathered as Shanta and Ashish put a banner above the door: "You are invited to the festival of this world and your life is blessed. adults and children. Manooj looks at Hasari. aren't you going to smoke your evening cigar? Max points at his trumpet. accompanying Surya on his zither. indicating he should look. Shambu holds a match to it." The assemblage applauds and embraces. Manooj takes out a cigar and a clip. (CONTINUED) RAM MANOOJ .74. Max indicates his pocket. passes it. Everyone watches as if this were a major event. who takes it. Manooj takes a puff. offers the cigar to Mehboub. enjoys the peacefulness of the smoking and the aroma wafting upward. Hasari nods to Max. Clips the cigar. MANOOJ Doctor Big Brother. who nods. Manooj hovers over Max. K) UPSTAIRS Hasari smiles at Max. Please. RAM It has come to me tonight to write a letter to my wife. EXT. but doesn't embrace the doctor. continues playing. puffs.envelope. Please. holds it out to Max.NIGHT Everyone lingers. Ram produces a mangled one piece letter -. brings his hands together. Everyone relaxes. Ram taps at Max's elbow. and keeps playing. chokes. Max plays his trumpet.
We FOLLOW it. The cigar reaches Ram. Max Daddah. I want that word in the letter. Manooj.when land is watered. Well? Well? MAX What would you like to say to your wife? RAM I don't know. If I knew what to say to my wife. with canals? "Irrigation"? RAM Yes.. This is not his home. CONTINUED: He thrusts the paper at Max.what is the word -. yes.shott.that word -.75. MAX Okay -. Max looks at him. waits. MAX Max takes a pen from his . nods.. I'd never have left home. Hasari's eyes flicking at both of them.. Doctor Babu? ALOKA Because he doesn't live here. Ram takes a large puff and blows a huge ring out of his mouth. As Max starts to write. that word. as Aloka's eyes come to Hasari. Everybody laughs. A look between Max and Aloka. Manooj slides in beside him. waits. pocket.. though Ram's remark hits Max on a deeper level. RAM MAX Ram stares at Max. RAM Yes -. MANOOJ Why do you have to go home.
haven't we.of course. Hasari. ABOVE A whole row of faces on rooftops enjoying the cigar. Meeta. This as we: DISSOLVE TO: EXT. I didn't get the concept -. GREEN ACRES . (CONTINUED) . she's never been sightseeing before. not lepers. we are pretending not to be lepers. is blind. Max climbs into the rickshaw beside the two lepers and Hasari pulls away. get in. please.DAY THROUGH the WHEELS we see Max come briskly out of the hotel carrying his doctor's bag. Anouar laugh. Max.THROUGH RICKSHAW WHEELS . I'll just trot alongside Hasari. please. I have only one question: Why are you here? ANOUAR We've come to take you to the dispensary in grand style on this special day. HASARI MAX You're incorrigible. HASARI No. ANOUAR Meeta's very excited by this ride through Calcutta. I think you're going to fool a lot of people. MAX Oh. He's met by the sight of Hasari between the shafts of his rickshaw and Anouar and Meeta perched on the seat. MAX On no! Lepers! Lepers in my neighborhood! ANOUAR Sshh! Doctor Big Brother. Hasari? Yes. MAX Na. oh. of course.76. Anouar. You see.
several other kids and.CLINIC . I know. Manooj. ASHOKA You taking that to the clinic? (as she nods) You like it there? (as she nods) And they love your smile. CITY OF JOY . gestures to indicate the incredible turn-out.many mothers with small children in their arms. all carrying water on their heads toward the City of Joy. THEIR POV .DAY Aloka comes TOWARD us leading a group of lepers. He grabs her.77. LEPER WOMAN It is too beautiful to believe. The normals at the end of the line turn to look at the approaching LEPERS. the water pitcher crashes to the ground. we hear Anouar and Max LAUGHING. Suddenly. SIDE STREET . at the end of the line. yes. As the rickshaw disappears into the sea of people and vehicles. stops. (CONTINUED) And . EXT. he puts his knife into her mouth and lays her face open on both side with his knife.DAY Margareta. someone whispers to Poomina. thank you very much. Her hand goes to her mouth. don't they? She's fearful now and doesn't respond. CONTINUED: ANOUAR Yes. One of Ashoka's thugs. EXT. Shambu.FROM DISTANCE Two hundred normal people lined up outside the gaily bedecked dispensary -. Poomina. Shanta sees Aloka. Shoba. She glances after Margareta and the other kids who are turning a corner and steps into: ALLEYWAY Where Ashoka waits.
And as he does. Urdu. He grabs her much harder.78. As a reflex he raises his hand. English: "We Don't Want Lepers Here!" There's a sudden uneasy silence. (CONTINUED) Max . keep their distance. GOONDA Good morning. Said growls and pushes forward. backed up by a group carrying banners with slogans proclaiming in Hindi. Joan elbows the Goonda and tires to westle free of him. take them inside. Bhose? GOONDA Those people aren't coming into this neighborhood. Mr. confused. b. Behind the thugs a short distance is the policeman who harassed Max earlier and another cop. ANOTHER ANGLE Hasari arrives with Max. Joan hurries forward. you waster! Joan is seized by a sudden fury and grabs the Goonda. and Meeta. their path is suddenly cut off by the Goonda and a commando of thugs. ANOTHER ANGLE Max (with Hasari in the b. GOONDA That was a mistake. conficted). Anouar. Several thugs turn. armed with sticks and iron bars. JOAN Go ahead. Aloka. The policeman in the JOAN Take your hands off her. step in to neutralize him. slings the Goonda against the side of a truck. The Goonda puts his hand on Aloka. JOAN Yes. CONTINUED: As if indeed she were right. Doctor.g. You have no right to stop them. it's seized. JOAN They are going to be treated at the dispensary.g.. Sister to the poor.
. knocking her to the ground. Aloka starts forward. gets caught up in the melee. and through the smoke Max sees. she decides talk isn't going to do it. helps her up.79. The noise brings everyone out of the square.. Shanta runs inside for help. sends her toward the clinic. CONTINUED: MAX The mistake's yours. Hasari hurls himself on top of Anouar. the children from the school. Anouar is chopping at the legs of one of the thugs working on Said. She's stopped by a sudden blow from the Goonda's stick across her shoulders. She grabs a piece of lumber and starts to fight. A stampede of those waiting outside the dispensary and those normally in the crowded alley ensues. demanding the violence stop. scattering anyone who remains in the area of the dispensary doorway. bleeding from the neck. The Goonda goes down and violence erupts. . One of the thugs pours gasoline over Anouar and lights a match. those lined up at the clinic. Max swings around on the Goonda and for the first time we realize how strong he is. She's hit from behind. Max reaches Aloka. Hasari goes down under several bodies. He tears an attacker off of Hasari and they fight back to back a moment. rolling him in the dirt and against his own body to put out the flames. Joan shouts. The massive Said tears free and starts to beat the crap out of the two thugs holding him. A SECOND EXPLOSION near them. Hasari kneels beside Aloka when he sees the match ignite the tiny leper. and that he knows how to box. leading the lepers. Without thinking. Sunil comes flying out of the clinic. (to Aloka) Get these people inside. putz. Hasari bolts for his wife. badly wounding Mehboub.. ANGLE ON DISPENSARY An EXPLOSION in the doorway.. More people with sticks. Shopkeepers barricade their shop windows.
. go home! White Monkeys. Slowly. but she staggers into the mob. from this day forward. Max picks up an iron bar of his own and starts for Ashoka. Max sweeps her up in his arms. ANOTHER ANGLE Ashoka astride his motorcycle. not bothering to choose sides but merely enjoying the release. Joan is suddenly beside Ashoka. People chant: "White Monkeys. little girl. I can assure you nothing like this will happen again. Ashish steps in and slashes the assailant with his own weapon. Hasari fights his way to the woman. little girl. there's a DETONATION followed by a BLAST of air so fierce. heads for the clinic. with more thugs. fist cocked to find Poomina. go home! No lepers here! No lepers here!" The thugs cock their iron bars and bricks and Molotov cocktails. A bottle of GASOLINE has EXPLODED just behind him. Hasari seizes the attacker and hurls him backward. Suddenly. ready to raze the clinic and school and the surrounding neighborhood. From all over the lane. and the fighting stops as suddenly as it began. everyone needs protection. He turns. Max knocks down one of the thugs only to have another hand grasp his shoulder. even repelling Hasari.80. behind his dark glasses. The combatants are breathing heavily. Hasari lunges for a woman under attack by a boy. The sides of her face have been laid open. protect us! Ashoka raises a hand. ASHOKA In a world such as ours. MAX Oh. As the assailant is about to strike. young fighters have come and joined the fray. she takes hands away. arriving too late to stop the boy from plunging his knife into the woman's belly. The Goonda blows a whistle. so by all means. JOAN We'll pay! All right then. He's enveloped in smoke. Max is thrown to the ground. her hands holding her face together. startling. For the fee we discussed. (CONTINUED) . Sunil drags Mehboub inside. An assailant bears down on Joan with a cutlass. these with Molotov cocktails and pickaxes.. There is silence but for the groans and cries of the wounded and grieving.
INT. MAX (a litany) I hate this place. sutures Poomina's awful facial wound as Aloka prepares a compress. I'll try..MAX. Sunil squeezes through the packed courtyard and hallway. ASHOKA You. ALOKA. the scarring will be minimal. MAX Don't goddamn try.. Hasari steps into a doorway. his hands putting her back together. He REVS his MOTORCYCLE and SCREECHES away.. Saladdin is at Joan's shoulder. EXAMINING ROOM . a finger at Hasari.. Mehboub's chest is bandaged. I hate this place. will it. ALOKA Will she. CONTINUED: A beat. You have to stay here. I warned you about the company you keep. Max breaks the contact.81. Max looks at the doorway and he locks eyes with Hasari. .. us WITH him. POOMINA Max. Hasari stares at him as we hear the godfather's MUSIC on the RADIO. INT. blood crusted on her face. Joan! do it! Goddamn JOAN Ashoka points Poomina peers through her pain at Max. COURTYARD . Her face. (to Joan) You make her stay here.. Ashish carrying a wounded woman behind him. I hate this place..DAY People peer in through every opening.. MAX If she's very careful and doesn't do anything to open the wound. (to Poomina) Do you understand? You can't. leaving Hasari staring after him in his dust.
you are off the list! You will leave your rickshaw here.82. (It's difficult for him to show Ashoka the respect his inherited position gives him. listening to the radio. Hasari is near tears. Ashoka looks up. The Goonda is slouched near the table. Well. stares impassively at someone. ASHOKA What have you got to say? HASARI Please. we can see the evermore enfeebled godfather in his "throne room. taps against a ledger.HAND AND PENCIL . picking absently at his face. his arm twisted painfully behind his back. The Goonda stops him and. The air is filled with the MUFFLED SOUNDS OF the STREET. grabs his ear. where it will be reserved for a man who deserves our trust. ASHOKA From this minute. GODFATHER'S COURTYARD . He stands up." wrapped in a cashmere. HASARI I told them that your father provides us with a great deal and that -Ashoka slams his hand on the register. tap. Ashoka jumps at Hasari. EXT. we see who Ashoka's speaking to. ASHOKA My father's ill! You are speaking to me! (CONTINUED) . Ghatak! Hasari starts for the house. FROM here.) The Goonda has a bruise under one eye from his altercation in the City of Joy yesterday. I have to speak to Mr. smoking a cigarette and fiddling with a thin switch..DAY A hand tap. Babu. this is as if the ground has opened up. ANOTHER ANGLE For the first time. quickly. has Hasari on his knees.. COURTYARD Ashoka sits behind a little table.
Stumbling. as if he were her son. brings him beside her on the cot. You did the best you could. out of words. Two men are pulling his rickshaw into the courtyard.HASARI Numb. I don't want to.JOAN'S ROOM . (CONTINUED) . CONTINUED: HASARI I have a family! ASHOKA The decision is made.NIGHT Flickering candlelight illuminates the "Raft of Medusa. Joan reaches out and takes Max to her. EXT.. ANGLE THROUGH BAR ."RAFT OF MEDUSA" . Better than many. I don't want to care! I don't want to care this much! I just don't want to be invested in you people. defeated. GODFATHER'S HOUSE . peers through.. Perhaps the low point of INT.DAY The side gate opens and Hasari is shoved out. cutting his livelihood from sight.83. his life. JOAN Not everyone's cut out for this. he runs to the fence. It's all right." Max rails at Joan. Beneath the "Raft of Medusa. Now get out before I have Mr. He gives Hasari's ear a vicious twist and slams his head against the table. compromised. MAX I just don't. Hasari watches as a steel shutter is pulled down." she sits with an arm around Max. In people! I became a goddamn doctor because my goddamn father wanted me to be a goddamn doctor because he was a goddamn doctor! He was the goddamn king of doctors! It's too goddamn hard! Out of breath. CLINIC . I have made it... Bhose break your legs.
The children sleep. go home. and go with my blessing and my eternal friendship. Aloka sits outside. It's a terrible moment for Max. Max comes out.. Hasari peers at Max with his drunken gaze. meets Aloka's eyes and looks away. a group relive the day's events. JOAN Then. but. Aloka's hand flies to her mouth. Neither speaks. others only to endure. The candlelight flickers against them as they sit side by side.NIGHT At the tea shop. CONTINUED: MAX I didn't do the best I could! I did what I always do! I shot my big mouth off and did a half-assed job. Hasari. worried about Hasari. EXT. drunk. It's all in the individual spirit. heard the conversation.84. to commit. Max. Max. isn't it? MAX Got it: To run.. the fact is from the minute we're born we're shipwrecked.TEA SHOP . Some see that as a lifetime of drowning. (CONTINUED) She's Face to face with . And what I want to do now is I want to go back to America and make money and live a life without entanglements and demands and people hanging on me. RAM'S HUT . to spectate. (raises his hand) Running spectator. by all means. of fear. comes down the slope. JOAN (a beat) You know. HASARI They took away my rickshaw. but to triumph.
The thought of using the dowry is yet another awful blow to Hasari's hopes. Because this isn't my fight. Aloka comes to HASARI I don't know how I'm going to pay the rent.85. At the tea shop. RAM What I earn is yours.get it back for you? Max takes away a step. CONTINUED: MAX So what do you want me to do about it -. Ram joins them. Hasari stares at Max. Stops. And you will not have anything to do with the clinic or those people anymore. HASARI The children must leave the school. they'll have to work. MAX I'm sorry. that was your goddamn mistake! Max walks away. the children listen. the late-night talkers listen. I'm going home. okay? Because I'm a coward. this is what I do. (CONTINUED) . leaving Hasari desolate. I get in over my head. MAX All right. him. On the roof. too. MAX Well. ALOKA We have what is saved for Amrita's dowry. I let people down. I got one person to look after -me. how we're going to eat. I'm running out. this is me. HASARI But I trusted you. I run.
. EXT. Through his woozy haze. but has to stop. he spots his tea caddy in which he planted his seeds over a month ago. BLOOD BANK ..RAFIK Waiting. lean against a wall.86. nods. Hasari starts down the street. Take more.DAY The needle injected. who shrugs. his face again broken out in perspiration. watching his blood leave his body. he thinks he sees an apparition. CONTINUED: HASARI You can't support all of us. BLOOD DISPENSARY . He bends over to tenderly touch the growing shoot and water the earth. Hasari's blood flowing into a bottle. The Attendant starts to pull the needle out. You have a family in your village. He looks up and the three children are staring at him. and allows the blood to flow on out of Hasari's body. Hasari stops his hand. The Attendant looks at Rafik. Take more. What will their father do now to keep them alive? INT. HASARI HASARI . The Attendant shakes his head. his thoughts distant. HIS POV . RAM'S HUT Alone in his pain.HASARI His face immobile. too.DAY Barely ambulatory.CLOSE ON HASARI'S ARM . ANOTHER ANGLE Hasari seated on the stool. Hasari touches his friend and goes into: INT. BACK TO SCENE .
Does that mean that I shouldn't survive? Huh? When a man is struggling in a rough sea. yes. recognizes him. you're angry at me. I'm touched. yes. GANGOOLY Ah. to position himself for a getaway. your beautiful children. yes. well.I am full of regret about that. I remember you. Hasari blocks his egress.. ANOTHER ANGLE There. everyone eats. Gangooly gives Hasari an appraising look for a moment.87.your little family. then. brother? HASARI Still stealing from refugees? Gangooly looks at Hasari. GANGOOLY My friend. is Gangooly. You don't look so well. have a cup of tea or a little something stronger. yes. GANGOOLY Not well. and gives him an amazing smile.. I wondered if that was still on your mind -. GANGOOLY Well. unsmiling. in the entrance to a building. And tell me immediately. Seeing a potential victim. even a little tormented. of course -. Gangooly starts to move.hello! I am delighted to see you -. we must celebrate. he swoops in. HASARI I lost my rickshaw.yes. please -. Come. he clutches onto what he can or he drowns. I am lame and I am poor. (CONTINUED) HASARI . What can I say? I have the spirit of an eagle trapped in the body of a crow.
MOVING SHOT . I have a friend who sold his kidney -. GANGOOLY Remove the children from the school -. CONTINUED: GANGOOLY Ach! I have an offer. .. For she has given you two eyes. the father. A repulsive smell almost makes Hasari gag. which he owns. listen! Shiva be my witness. EXT. Crouched among the bones and packing crates are men working. rib cages.JUDAS DOOR .DAY Hasari and Gangooly enter. Gangooly takes Hasari's arm and steers him through the gloom.. A line of skeletons arranged along the walls. why? When you. Each skeleton sports a label with a price in U. They scrape and clean and decorticate. That smile. Tables stacked with bones: skulls. No. INT. EXT.S. Gangooly. this is the truth -. EXPORTERS) .DAY Gangooly guiding Hasari onward.DAY A forbidding face appears at the grill.. spines. Nature has foreseen your plight.88. STREET . some have masks over their faces.no. Please. Hasari discovers the origin of the smell. and two kidneys. stares out. SKELETON WAREHOUSE . Or my name is not Mr.and now -. it is.he lives in a brick home. HASARI Which. yes. fortunately. hands and feet. But. you have need of one only. SKELETON WAREHOUSE (MITRA & CO.believe me. I can help. Some smoke.this one -. dollars. can make a small sacrifice. emotionless but like artists.. They skillfully assemble their grisly creations. you must at least think about this. To live.
. The way clears and we CLOSE IN ON Max. almost in mime. TAXI . INT. and smiles. take some time. Gangooly winks. Max empties all the money out of his pockets. parents greet a young man returning from college abroad. Max looks at Joan. 15. MAX This is for Poomina. glass. willing to pay./EXT. Joan. POV . interior window. we FIND Max. think about it. anxiously waiting. we see.DAY THROUGH a dusty.DEPARTURE AREA .WIDE SHOT . peers at Hasari with a single eye.000 for an eye. INT. People all over the world.. (CONTINUED) . MANAGER'S OFFICE With a smile. Max looks at the back of Joan's head a moment. AIRPORT .000 rupees for a kidney. then looks at Aloka. He'd be very angry if he knew she was seeing you off. and Aloka. When I get He thrusts the money on Joan and Max offers his hand. As we FOCUS. the manager produces some papers. Joan gazes out the window of the taxi. she goes through the hand to embrace Max. also with their thoughts.ROAD TO AIRPORT . GANGOOLY Of course. Joan.89.MANAGER'S OFFICE . Aloka.DAY Heat haze on the road. She deflects his eyes forward. Then Max and Aloka look at each other. the manager examining Hasari. Hasari shakes his head. JOAN Hasari has forbid her to have anything more to do with us. Gangooly stops him. who sits between them. Looks out the window. home. a tiny island in this sea of people at the moment of their parting. INT. 25. starts for the door.DAY First we see joyous people greeting arriving passengers.
CONTINUED: ALOKA You did good things. Goes into Ram's hut. over a cup of tea. MAX What were those three choices again? Their faces..ALOKA AND JOAN . FADE IN: EXT. COMPOUND . Standing inside the departure doorway. CAFETERIA .DAY Sparsely populated. INT. Yet. and Max. And now Max heads out the door.. but manages) Thank you for coming to our country.90.. then get up. And his with just a wistful version of his old grin. The two men stare at (CONTINUED) .DAY Hasari returns. ANGLE ON DOOR Max. each other. (chokes up.. ALOKA We should go. Joan puts her arm around Aloka and they turn to go. RAM'S HUT .. so I'm not persuaded we have to wait for the plane to actually take off.. The looks on their faces suggest they've come face to face with something startling. and we -FADE OUT. INT. They sit in isolation at a table JOAN It's not like he's royalty or anything.DAY He finds his family. No. they remain another moment.
they. he moves to a mat and lies down. ALOKA Maybe he's right. HASARI It's not a question of money. the patients.. MAX I have a little money. CONTINUED: MAX I need Aloka at the clinic. you've become an American wife and then you'll do as you please! HASARI Stay away from them. of course. The clinic is for everyone and if I am needed -Hasari bolts up. a line of patients outside a door. Why take the kids out of school. Aloka indicates Max should go. And he does.DAY The small colony alive. After some moments of silence. That's it. a look of anger on his face we've never seen. The children. LEPER COLONY (DAWN) . . Aloka are frozen. (as Hasari stares) All right. this is between you and me. Hasari lies back down.... HASARI No! I'm your husband and you'll do as I say! Unless. man. I can get it from the States. Hasari lies with his back to Max. We'll survive on our own.91. (as Hasari stares) Come on. They are not part of us. They will only be good to you as long as you please them. his back to Max. EXT. she very close to tears. again turns his back on them. She's a good nurse. But Max doesn't go. why punish your wife? Hasari holds his anger in. need her. After another moment.
She's not there. please. Anouar waits.92.DAY Max comes out with his last patient. LEPER COLONY . thanks. that's fine. (CONTINUED) . ANOUAR Max Daddah. MAX Scissors.No. Anouar takes off down the lane and disappears quickly into a little building.DAY Max follows Anouar past bubbling cauldrons and heaps of animal skins. ROOM . Said is acting as his nurse.. The place stinks fiercely. INT. Said fumbles through the instruments. He demonstrates.. MAX Hand me the scissors.. picking up the scissors by the ends. MAX Not that end -. We stole it from them. Points at his instruments. TANNERY . Looks around for Aloka. A SMALL YARD Two young men (the two pullers Chomotkar and Ramatullah) . RAMATULLAH The police. Anouar and Max exit into. Sahib. Max following.DAY Max unwraps a bandage from a leper's partial limb. you are finished? (Max nods) Follow me. they stole it. Helpfully Said hands him the tweezers. I've got it. MAX You didn't steal this. EXT. and something covered with a tarp. INT. scissors..
CONTINUED: The pullers whip the tarp off. (CONTINUED) . part resentful. How much? EXT. and three other boys playing. the springs poking out of the seat. part touched. SQUARE . Max stands in front of Hasari. Light flashes. He indicates a corner. You're good with yours. Surprised by the light. shafted light. A battered rickshaw.CLINIC The sound of a PADLOCK being UNLOCKED. Shambu. a few rats scurry off. A beat as Hasari fixes Max with an empty stare and the family waits to see if Hasari will respond. MAX Go on. Go ahead.DAY Max comes into the square. Manooj. THE RICKSHAW Piled up in its ruin. DARK SCREEN. COURTYARD AND STORAGE SHED . one shaft broken. Ram is trying to jolly Hasari.93. the broken wheels lying in the body. MAX I'd like to show you something. Max and Hasari appear in the doorway. Slated. Somewhere a dog BARKS. HASARI If I were to go on the street with this machine. MAX I'm good with my hands. who's deep in his own reverie. I would end up in a gutter with my throat cut. Aloka and Selima are preparing meals. MAX EXT. the finish scarred and gouged. Just take a minute. What do you say? Hasari looks at Max.
she ducks her head. I came back.94. bathing in the fountain.. Max steps aside. heading for the square. an enormous smile on his face.it'll have nothing to do with the Godfather. rather naturally. though there is not even a glimpse of her nakedness as she moves her clothing around. and a carton of medical supplies. it's yours if you want it. cleansing this area. HASARI But can you be trusted? I hope so. You know the license.ALOKA . You'll own this -. HASARI Doctor Daddah. Hasari starts to leave. He glances at his wife in the water. ANOTHER ANGLE Max. MAX You didn't want me to quit. He carries several bottles of distilled water. all that can be fixed.. MAX Hasari can see the hope and desire in Max's face. With him. Don't try to tempt me again with big thoughts. he brings his hands together in the Indian salutation. the cops. LATRINES . then that. He lifts a hand in greeting. He turns and continues on coming face to face with Ram. Hasari. The process is extremely sensual. Hasari bends his head and makes off. Well. She glances up to see. CONTINUED: MAX Well. EXT. Leaving Max and a small sigh of disappointment. his eyes hook on Aloka's.FOUNTAIN . a large value pack of bar soap. After a moment. As he passes.DAY (DAWN) She takes her morning absolutions. I'm just a small man. After a moment. Max blocks his way. MAX (to Hasari) Going to look for work? (CONTINUED) . in an Indian shirt.
but look at this. wondering if it's time to sell part of himself. Ram takes them and goes.he finds himself face to face with Aloka.HASARI'S FACE . Max and Ram glance after him. yes... EXT. MAX Are you taking your medicine? RAM Yes.. Hasari is RAM .. It's several seconds before she says. Ram has a small coughing fit. ALOKA He's very proud.two friends. the rim is cracked.95.. Without a word.. before Hasari even has the chance to ask for work. The foreman shakes his head. No! We see on his face a look that tells us he will not be beaten. no. METRO CONSTRUCTION SITE . DOCKS .EXTREME CLOSEUP . Hasari emerges from the ground. EXT. CONTINUED: When Hasari doesn't answer. They walk on in silence -. Hasari walks on. SKELETON WAREHOUSE . Max digs out several rupees. EXT. Yes. he is. locked out.FROM THE GATE . Stops him. separated by a gulf.. they start walking side by side toward the square. turned away without work.DAY Men moving like ants into the bow of the ship.. He points at the wheel of his rickshaw. When he turns.. ANOTHER ANGLE . sunlight streaming through steel girders across it.DAY Then we see he's standing outside Mitra & Co. looking for someone. staring at it. Scornfully. Max looks after the two men as they disappear.DAY A huge gouge in the black mud.
The padlock is hanging on its chain. EXAMINING ROOM FROM BEHIND. TAP. to the accompaniment of Surya's zither. Indeed. Of course. and then sneaks into the shed. followed by The Goonda. Do you understand? A beat. EXT. And you stay here.. TAP. Still no running. JOAN Come with me. It's Manooj. The door is half open. Max did a fine job. we watch Max take a wrapping off of Poomina's wound. ACROSS THE COURTYARD Manooj. INT. Ashoka extended Poomina's smile on either side of her mouth. twenty or so girls are doing some Indian classical dancing. looks this way and that. The scars are healing as nicely as could be expected. Across the way. in the other room. comes over her face. CLINIC .COURTYARD .. Joan leaves. Max works carefully at the fine line of scabbing on Poomina's scar. picking up anything heavy. Max begins singing "Sweet Little Sixteen. Children peer out of one room now as. jumping. Sister. A boy is writing on the board. . EXT. We see that Shambu is in the same class. some children are translating Bengali words into English.. TAP. but then something takes his attention. You're going to help Sister Joan and you're going to school. Joan assisting him. please. But now a look of abject fear The Goonda stands in the doorway. SHED .96. under the eye of a young Indian teacher. with a small tin of food. Poomina nods." The Goodna stares impassively at Max.DAY The street children's school now takes up two rooms. MAX You must have had a good doctor..DAY We hear a. THE GOONDA Time to collect the rent. Max opens the door.
Max brins his hands together and starts for the door. The half light is broken by thin beams of light that dance with dust. The two men look at each other. Manooj moves to his side. The Godfather has more eyes than a pineapple. Hasari picks up one of the worn seat boards. and then Hasari gets on with his work. caught in the middle of straightening the wheel rim of the old rickshaw. On the screen in front of them. (CONTINUED) He . INT. looks at Hasari.. Is it all right? HASARI (a beat) If a man makes a promise. Hasari nods and goes for the other wheel. MAX I promised Manooj and Shambu I'd take them to the movies. hefts the carcass. Hasari is wearing a wet dhoti.. Hasari looks at Max. MOVIE THEATER . then moves to put the first wheel on. pleased. as does Manooj. a "medieval era" sword battle between the great Kumar Kapur and a legion of bad guys. INT. Manooj moves around to the other side.. HASARI Close the door! Max is very surprised but. Max quickly closes the door. Instinctively. Max brings his hands together and starts to go. there will come a day when he will no longer be able to stand upright. STORAGE ROOM Startled. frightened. Hasari slips on the second wheel.. needless to say. looks at the rickshaw.NIGHT We're TRACKING WITH a moving bag of peanuts behind a row of boy's heads.97. takes hold of the rickshaw so Hasari can slip the wheel on. Hasari studies Max a moment. HASARI I was saying to Manooj that if a man bows down too many times. Hasari presses himself against the wall. HASARI Close the door.
MAX Time out. all of the sword-fighting against Max. MAX I wish my father loved me like your father loves you. en garde! As the battle continues. takes Manooj by the shoulders. Max smiles. the boys dancing around each other.. each kid dipping into the bag in his turn. the bright beams of a truck come at them.98. acting out the fight sequences. guys. Poomina and Amrita looking on shyly. CONTINUED: We hear the sound of CRACKING NUTS as we MOVE FROM Manooj to three kids we've seen in the neighborhood (two boys Manooj's age and Shoba. I wish my daddy were as much fun as you. men.) The bag arrives. EXT. who's Shambu's age) and then to Shambu. (CONTINUED) We hear . NUTS CRACKING. as El Max fights to save their honor. Finally: Max's (and on the other side of him.NEAR CITY OF JOY . Max stops the fight. STREET . who battles them all over the street. MAX (whispering) Thanks. Off the street till this truck passes. MAX Ha ha! You can be both! Manooj Pal.NIGHT Max and the boys walking home after the movie. in and around cars. Who wants to go for more peanuts? No one. We're talking about rapt attention. Your dad's a very special man. swashbuckling physician! MANOOJ You're so much fun. MANOOJ I can't decide if I want to be Kumar Kapur or a doctor. El Max. Amrita and Poomina. And now. empty..
DAY (EARLY EVENING) He pounds along. others in the square hurtle out of of the the the MAX I can't do anything here. He shouts for the kids to get out of the way.HASARI'S FEET . urging people out of his way. Hasari and Aloka watch as Max argues with the drivers. sending little boy flying. EXT. They won't take a bleeding passenger. SQUARE . EXT STREET . He turns to Shambu.. ahead of everyone as he charges into Ram's for his father. the wheels wobbling and squeaking. Max Aloka. PARK STREET . calls to him.NIGHT Manooj runs hut. crying others. as truck just misses Max and clips Shambu hard.FROM THE RICKSHAW . but tries to run across street. but to hit them. EXT. Aloka sits on the seat with Shambu. whose quiet moaning fills her ears. he hemorrhaging. We've got to get to a hospital -. The look on Max's face lets us know he senses something terrible is in the offing here. Blood drips down the rickshaw. CONTINUED: The kids move toward the wall of the building they're passing. . But in a panic. He's got a compound fracture. Behind Manooj come the carrying Shambu in his arms. shoving the kids closest to him into a doorway. their huts. who's behind him. Shambu doesn't move into the shelter the building on his right. seeming not to intend to pass.99.. Max runs alongside Hasari. Ram.. but the truck seems to turn toward them.MOMENTS LATER The race to the hospital continues. Max leaps for the little boy too late. Hasari and Joan.DAY Several taxis waiting for clients outside a row of restaurants..now! JOAN You'll never get a taxi at this hour. SAME STREET .
DAY The wards are full.R. you're an American. Max is arguing with a porter who tells him he can't help him.. He wants more. The Attendant is smart enough not to push any further.. MAX We haven't got any more! The Attendant doesn't move. tells him to take him to the person in charge. Aloka smooths the sweat from his brow. (CONTINUED) . as are the corridors. until he sees Max is about to explode. Max grabs the money and shoves it at the Attendant. MEDWAR PINE MEMORIAL HOSPITAL . Aloka holds out a fistful of rupees. Then Max is back.SIDE ROOM . indicating it's a paltry sum. MAX If this child dies while you stand here. standing over her with another man.NIGHT The arrive at the gates of the huge. In a side room. Victorian hospital. EXT. I'll kill you.CORRIDOR . ATTENDANT Not possible. HOSPITAL . You can't give care.100. I gave him all I had. Shambu is fading. I need an X-ray room and I need an O. Do you have anything? ALOKA Sister Joan gave me this. INT. trying to keep Shambu alive by force of will and love. The Attendant blows through his lips. You must be an Indian doctor. but we have to pay for the blood. It may take a moment before we recognize the ATTENDANT from the Blood Bank. MAX They'll admit him. Patients on beds and stretchers everywhere. nurse. Max slaps some rupees into the porter's hand. MAX Now. Most have at least one member of their family to look over them. People sleep outside the gates.
Max scoops Shambu up and rushes down the corridor behind the Intern. HASARI You're my wife. ANOTHER ANGLE Max hurtles down the corridor with a young INTERN in tow. They want to keep him today. Couple of months. each takes Max's hand. he'll be better than ever. holds out a palm for them to slap. Gimme five. CONTINUED: MAX Then take me to one! As Max takes flight with the Attendant. you and my children are all my wealth.DAY The whole community is here. Almost a kid. CLINIC . The two Pals stare at MAX We pinned his leg.101. you may go to them. him.COURTYARD . Max comes out of the hospital. EXT. He smiles. People are starting to move about.DAY (DAWN) Hasari and Aloka wait. unsure what this means. But he's going to help. We're a good team. Aloka. EXT. Aloka strokes Shambu and Hasari hovers. please. But if Max Daddah and Big Sister Joan have need of you. leaving Hasari and Aloka looking after him. around the tree. (CONTINUED) . HOSPTIAL . His arm comes around her shoulders. INTERN This way. They look at the palm. he's been up for days. We CLOSE IN ON Shambu's inanimate face and HOLD a moment. Yet.
very important. CONTINUED: JOAN I don't think it was an accident. I know this: It's the son.CLOSE ON TWO PAINTBRUSHES . Ram on Max. Ram nods nervously. Ram thrusts an envelope into Max's hand. HASARI Max Daddah is our friend. quickly close the door. MAX A letter from your wife. We must stand by him as one. So? (CONTINUED) RAM . INT. please. The two pullers focus on the rickshaw. then they're trying to harm all of us. So. RAM Doctor Daddah. SHED .102. I think they were aiming for Max. He wears an ankle to hip cast. only one moment. He's mad. Max looks at the postmark as he slices it open with a finger. The boys look on as the two men paint an intricate design on the shafts. Aloka is putting out a tray of food. If they're trying to harm him. MAX This is going to cost me every rupee I didn't make today. and Chomotkar slip in. Ram. Ramatullah. what we have to ask ourselves is whether his presence is endangering all of us. Manooj is spelling words and urging Shambu to follow suit. MAX This is postmarked six weeks ago. Shambu sits in the rickshaw seat.NIGHT dip into a little box of paints. ANOUAR Even from my low vantage point.
' RAM Oh. his hands twisting each other. The pullers shake their Notices RAM RAM MAX Listen. they're worried for him. heads. MAX 'My dear husband. I'm in love! My words brought tears to her arid eyes! (then fearful) What does that mean -. CONTINUED: MAX So. what have you been doing -incubating it? I was afraid. your letter irrigated them. the finish work on the rickshaw. Ram waits. This gets everyone's attention. CHOMOTKAR This is a puka nasgar. I don't want you to think I'm crazy. but I don't think that truck was an accident.' RAM Oh that's very hopeful so far! MAX 'Your words brought tears of joy to my arid eyes. crushes it to his heart. (MORE) (CONTINUED) .103. Aaah! He snatches the letter.arid? Manooj throws his hand up. MANOOJ MAX Correct. I know! Dry. What a curse that you can't use it.. Her eyes were dry.. HASARI I'm going on the streets tomorrow.
. Suddenly. The Goonda backs off. They start down the street. comes threateningly at Hasari. The Goonda jumps out of the car. We're WITH the car. I beg you. hear my words! As the Goonda is about to land on Hasari we hear a feeble. please.. They stick needles in me. study them. HASARI May I say first. EXT. You can bet he'll be after you too.. Babu. Wait.DAY Ghatak is literally carried out of the house by an orderly and placed into his car. take pictures of my insides. CONTINUED: MAX CONT'D) I think Ashoka was after me. I wish you long life and good health. Max at his shoulder. Hasari brings his gleaming rickshaw to the window of the car. Can I go with you if I shut up? A beat. and Hasari gives him a small nod. MAX Can I go with you? I'll go with you. The Godfather waves Hasari and Max close. and then tell me what I know. GHATAK Acha! They take me now to the scientists. HASARI I'm going to speak to his father. There's a driver and there is the Goonda.. the driver slams on the brakes and from: ANOTHER ANGLE We see Hasari and Max blocking the street with the new rickshaw.104. HASARI Babu. GODFATHER'S HOUSE . (CONTINUED) GHATAK .
Your son thinks I have been disloyal. GHATAK It is very beautiful.DAY The manager stares at Hasari. I have my family.105. CONTINUED: The Godfather stares at Hasari. He reaches a shaking hand out toward a shaft. With my friend.thank you. INT. The old man rubs the shaft. HASARI When you gave me work. Babu. He took my rickshaw. HASARI Thank you. MANAGER'S OFFICE . then our bodies betray us. The old man looks at the rickshaw. (CONTINUED) . EXT.DAY Hasari enters. at this unlikely team of refurbishers. you may take your rickshaw out. I swore I would be as your youngest brother. The Goonda gets back into the car and the car pulls away and we are left with Hasari and Max as moment. I have remade this one. our sons betray us. We struggle to build something permanent. Babu -. Waits. at the obvious care that went into its renovation. Hasari stares at the contract before him. flicks his eyes at Max. (to Hasari now) Yes. If you can face up to my son. SKELETON WAREHOUSE (MITRA & CO) . Gangooly hovers like a crow. it has an allure. The Godfather stares at Hasari. GHATAK The world is chaos. HASARI An allure. then at Max. GHATAK If I may say. I beg you to let me go again onto the streets. Hasari brings it close. as he consumes a pot of rice and vegetable curry.
GODFATHER'S HOUSE . HASARI I must provide for my family. Hasari bends to the contract and laboriously signs his name. it's a noble fate. it means death!" The street is so packed with rickshaw and pullers now that cars can't get through. Hasari stares through the window at the row of skeletons. If indeed your wheel ceases to turn. continues chewing. we see umbrellas. ASHOKA Do you know how much it costs to change the spoke in a wheel? Or how much baksheesh I have to pay the police? Impulsively. drivers scream. (CONTINUED) . GANGOOLY Oh. Cries from pullers: "Who will be the victims of this madness? You?" "Hell no!" "You don't need the six rupees each old crate brings you per day to fill your belly! For us. Among the passersby. EXT. what do you think becomes of his soul? The manager turns his palms up. CONTINUED: HASARI If a man dies and he's not burned. He's backed up by the Goonda and a dozen of his thugs. as the people on the street try to combat the incredible heat. There are several dozen rickshaws. you will help educate somewhere in this great world a fine doctor.106. Hasari moves forward. HASARI What's going on? CHOMOTKAR The Godfather ill! The son is raising the rent! Ashoka is on his front steps with a loudspeaker before a growing crowd of pullers. The loudspeaker lifts Ashoka's voice above the anger.DAY Hasari arrives to an outcry of anger. A chorus of HORNS HONK.
CHOMOTKAR The only thing that matters is the bundle of rupees we take to the munshi each month to feed and to answer the daily needs of our children! RASSOUL steps up on a telagarhi with a loudspeaker. Police arrive in vans. Inkalabad zindabad! Long live the revolution! Rickshaw Workers Union zindabad! A strike? No income at all? The slogan is taken up by a small percentage of the assemblage. RASSOUL Listn to me! Listen now! Listen to me! (when the pullers quiet) Friends! I ask you to vote for an unlimited strike. HASARI Friends! The Godfather at least is a caring man! This one. Fear and doubt on many faces. though. get to work! Customers are waiting! ON HASARI Something detonates in him and he jumps onto the telagarhi and grabs the microphone from Ashoka. the son -A signal from Ashoka and one of the thugs knocks Hasari down.107. his eyes on Ashoka. (CONTINUED) . ASHOKA That's what I thought. All right. CONTINUED: RAMATULLAH We haven't been breaking our backs between the shafts of our rickshaws in order to weep for you! Hasari continues forward.
Get on the streets now! Or turn in your machines! Hasari gets up and tries to speak. HASARI Friends -. But I am proud to be one of the human horses who carry my countryman from place to place and I am thankful for the opportunity to make a living. beat and arrest many of the demonstrators. a place to live! This is how he shows his gratitude. The room has a barred cage running all around its edge. A number of the pullers come forward and a riot starts. The Judge bangs his gavel. Ramatullah and Chomotkar try to help Hasari.DAY Birds flying below ceiling. BONSAL COURT . day after day. his face covered with blood. elsewhere. Our feet blister and burn up from the boiling asphalt. HASARI The life of a rickshaw puller is not one a man would choose if he had a choice. Ramatullah starts to applaud. FADE IN: INT. the cage is filled to near overflowing.108. (CONTINUED) . the Goonda. Life is hard enough. Hasari stands before the JUDGE. and several of his thugs. CONTINUED: ASHOKA We helped this man! We gave him a job. At the back of the room. But I will not keep silent anymore and I will not be cheated and threatened anymore. No more. The police move in. Max and Aloka.don't! If we stand -He gets hit again. our noses burn from the fumes of countless motor cars and buses. his body a mass of aches and welts. but they are descended on by cops who hurl them aside and beat Hasari senseless until the: SCREEN GOES BLACK. Rassoul follows suit. Ashoka. our backs curve permanently from the loads we carry hour after hour.
Cheers from the pullers. JUDGE I haven't finished these proceedings. The Judge. RASSOUL Hasari! Now a dozen voices call his name and a dozen hands reach through the bars with rupees clutched in their fists and press the money into Hasari's hands. Hasari! And now another hand with several rupees reaches through. Max turns. HASARI Fifty rupees. CLOSE ON ASHOKA ON his face. And I will make a restraining order against Mr. Ghatak.109. Max and Aloka. a hand suddenly protrudes into the cage through the bars. The Judge bangs his gavel. I fine the defendant 50 rupees. and certainly Ashoka watch this in amazement. As he reaches into his pocket for his screw of money. Your Honor? That's -JUDGE Pay at this time or spend seven days in jail! Seven days in jail will cost him far more than fifty rupees. For his part in this disturbance. The Judge bangs his gavel. we see pure hatred for these two men. CONTINUED: JUDGE Silence! (when it's silent) This man will be permitted to use his rickshaw without let or hindrance. RAMATULLAH . shoots a little finger gun and winks at Ashoka.
EXT. There's thunderous applause. Saladdin.DAY Amrita. THUNDER sounds. Shanta. women rush out fully clothed. Rain starts to fall. and Shambu. Ashish. Manooj. causing her to flush. Staff and several patients come out of the examining rooms -.a boyfriend. Everyone in the courtyard crowds around them. CLINIC . (CONTINUED) AMRITA . Joan. People run outside of workshops and huts.Joan.DAY Hasari is locking his rickshaw into the shed.NIGHT Rain. laughing and encouraging the dancer/singers on. Joan's metal cross jumping about as if it were beating out time. From his balcony.. Mehboub. CITY OF JOY . Poomina. Subash flirting with Amrita. Ram. The rain falls. HASARI Really -. Amrita? No! Amrita whacks Manooj. Poomina. and people in the lane are dancing. They all look up. The kids run toward the clinic/school. he begins to hum and sing as he jumps over the balcony to the ground and takes off in a wild. Bandona. Margareta. The number builds to an extraordinary climax with Max sliding through mud to an exquisite finish at Joan's feet. Men tear off their shirts. improvished. and the other members of the committee sharing a meal. INT. "The rains. With them. a new teacher. Max. They're all swept up in dancing." Suddenly. Max emerges with his trumpet and plays the first bars of "Singin' In the Rain. the WIND HOWLS. The Pals. but damn good version of Gene Kelly's dance in the rain. CLINIC COURTYARD .. praising the beginning of the monsoon season. Bandona.110. crying. Swarms of naked children run about. Anouar." Everyone looks his way. bringing Anouar on his cart in as his dancing partner. a THUNDERCLAP shakes the earth and rain begins to bombard them. the rains. Sunil. Anouar. her students come out of the classrooms. EXT. singing. Meeta and the Baby. Aloka. incurring the wrath and admiration of her brothers. Margareta and her students.
When I woke I thought it was the tree I'd married. His father owns the workshop.MAX'S BATHROOM . HASARI Then I must speak to his father and I must complete your dowry. HASARI Is there someone you care about? The look in Amrita's eyes tells us indeed there is. RAM At my wedding I became so frightened. INT. His head is slammed down underwater and he's held there struggling.111. CONTINUED: MANOOJ Yes. I still love that tree. He reaches a loving hand to her. my father gave me things to drink to calm me down. ON MAX He sleeps. she does. Suddenly he's grabbed. Hasari smiles at Amrita and then at Aloka. (CONTINUED) . his eyes spring open in fear. The scene is illuminated dimly by a flashlight with fingers over the beam.TUB FAUCET . His name is Subash Ghosh. I went out to piss and fell asleep under the village tree. Amrita squeezes close to her mother. GREEN ACRES . Hands yanks him out of bed. But Hasari's attention is on his daughter. and joyous.NIGHT A rag has been wrapped around the faucet and water runs slowly and silently down into the nearly filled tub. And I shall drop tears of joy. slam him up against the wall. then hurtle him across the room and into: BATHROOM Where the tub has been filled. This is serious HASARI You will make people sigh at how beautiful you are. The laugh.
I've come home. carrying his belongings. EXT.NIGHT He bangs on Joan's door. She steps aside. PARK CIRCUS . CITY OF JOY . A beat.. the private cars. Ram. the streetcars. past a sleepy old watchman. Chomotkar look at the stalled buses. and through the gate. Doctor.SQUARE . One look at him.NIGHT Max on the run through the rain.wielder's neck. he's slammed down into the tub of water again and held there until it seems his lungs will explode. he steps in. INT. ASHOKA Go home. illuminated by a flashlight. Well. EXT. CONTINUED: His head is yanked up and through bleary eyes he sees a knife at his throat and the Hewbrew letter chai dangling from the knife . Hasari.112. She opens the door in her Indian pajamas. Then he's dumped backward. The rain pours down.DAY The rickshaw station. Before he can respond. the taxis. Ramatullah. People clambor for rickshaws. CLINIC He pounds through the puddles. JOAN What's happened? MAX Ashoka ordered me to go home. CHOMOTKAR What a joy it is to survey this disaster! We will all make a fortune! (CONTINUED) . COURTYARD .. gasping for breath. The line moves forward as fast as the pullers can take on passengers. and the door closes him safely inside.
HASARI What's the matter? RAM I'm wet and I'm cold. Chomotkar touches Hasari. I want to go home to my wife. flicking his eyes at the Goonda as he goes. Hasari! It's Hasari's turn. . He can't stay to talk with Ram now.113. Hasari sets out with great difficulty -.and greater determination -. who isn't a part of the joking. MARWARI #4 How much to the market? Eight rupees. RAMATULLAH There.I'll pay. let's HASARI The price just went up! rupees! In advance. we see the Goonda and two thugs. CONTINUED: HASARI The monsoon is the great Durga's gift to the human horse! Hasari glances at Ram. Your daughter is getting married. He has to go. nods across the street. Ten The Marwari hesitates only as long as it takes him to dig in his soaking wet pants and to slap the bills into Hasari's hand and climb aboard. No! go! MARWARI #4 Take me -. What! MARWARI #4 I won't pay it! I am HASARI HASARI Who else needs a ride? available at a price! Several others crowd and shove toward him. Time is passing.through the floodwaters.
HASARI How can I help? EXT.NIGHT Water pouring from above. Hasari selects them from a crowd. Margareta. for a moment. our FOCUS VARIOUSLY IN NORMAL AND SLOW MOTION ON his feet. Joan. the RAIN AGAINST the CANOPY of the rickshaw. CLINIC ROOM Hasari enters. He drags up with an entire.GUTTERS . Aloka. Max looks at him. We PAN UP to the clinic. FROM HERE we see Hasari inside. INT. (CONTINUED) B) C) . CLINIC COURTYARD Water pouring off the room into the courtyard. well-to-do family of six. the gutters overflow with refuse. WEDDING SHOP . we hear only his breathing. CIRCULAR ROAD . attention to Max. Hasari locks his rickshaw into the shed and turns out. EXT. He stumbles to a stop outside the emergency entrance to the hospital. We WATCH the owner look after him with a touch of disdain as he comes into the window and takes down the beautiful green and gold sari.DAY Water pours down. CLINIC . pushing -.114.pushing. doesn't like the look of the obviously exhausted man.DAY An Anglo couple jockeying for preference. his tensed muscles. INT. putting money down in front of the shop owner and then hustling back into the rain and taking up his shafts. EXT. Mehboub. several others trying to patch leaking roof tiles and keep supplies high and dry. A) He runs AT us from different directions with riders -. Poomina.FISTFUL OF RUPEES (RUNNING MONTAGE) .the water getting higher. carrying a mother and her sick child. packed into the rickshaw. This is the beginning of RUNNING MONTAGE. the sound of his feet on the pavement.
but given a choice between one and none. Max is working on Anouar. LOW ANGLE The first impulse of each is to touch the other's head. LEPER COLONY . I will accept the one. laughing together under the rickshaw's canopy. now. their hands freeze short of touching. you ought to be good for another few days. Maybe she should perform this surgery on her own. Send in the next patient. Simultaneously. . Four uniformed school children huddled.DAY The rain continues. an umbrella protecting him against the harsh elements. Meeta and the baby (now 6 months old) in the b. We COME WITH Max and Aloka UP.115.MEETA'S ROOM . MAX Okay. CONTINUED: D) E) An upper-crust Brahmin dressed in crisp white.g. ANOUAR Yes. they bend to pick it up and bang heads. Max and Aloka both turn to the instruments lying on the table and knock a pair of scissors to the floor. we see a pair of bare feet. embarrassed. Aloka ducks her eyes. Max Daddah. Several months ago. as does the work in the clinic. Anouar scoots out. Aloka assisting. there is friendship and affection. But almost simultaneously. Max might have tried to kiss her. FROM here. ANOUAR I think Aloka would have a gentler touch than you. Max lifts Anouar off the table and places him on his cart. MAX Last time you told me you were more than two women could manage. INT. though.
He looks at his brothers. yes. GHOSH And I a partner in the workshop where your daughter is employed. ROOM . MR. THROUGH which we see a doorway. that's correct. Amrita half hidden behind them. a deeply concerned look on his face. GHOSH (SUBASH'S FATHER) You're a rickshaw puller.116. am I correct? HASARI Yes. who stands politely and hopefully before them. SUBASH'S HOUSE . INT. Slowly his hands come forward. Subash turns to smile a shy smile at Amrita. Outside he can see two Sikh merchants at his rickshaw. Hasari is standing. ANOTHER ANGLE Shoba. INT.NIGHT Aloka and three women huddled beside a window. He is clearly exhausted. He hurries toward the door. on either side. POST OFFICE . In the doorway. PAST him now. my daughter told me. Were you aware of that? HASARI Yes. The Ghoshes are all seated on low chairs and stools.NIGHT Mr. looking around in the rain for him. Here! HASARI I'm here! INT. He puts the parrot on the examining table. surly men with hair matted with mustard oil. and puts it into the slot. MR. we see Hasari facing SUBASH'S FATHER and three UNCLES. I was.DAY Hasari seals a letter and a money order into an envelope. We PAN ACROSS a staircase TO another window. holding his parrot. him. with a broken wing. thank you. he shrugs. seals. (CONTINUED) They look at . Ghosh and the Uncles stare at Hasari.
Ghosh raises his palms. UNCLE #1 Perhaps some inducement? that be of any help? Would MR. EXT. The brothers huddle. CONTINUED: MR. Ghosh shakes his head. Other people in the neighborhood rush to rebuild it. He's pouring sweat. Margareta. GHOSH Yes. whisper just loudly enough for Hasari to hear. (CONTINUED) The huddle breaks. The wall caves in. Hasari slumps against the rickshaw and. Ghosh shrugs. shrugs his palms. perhaps a dozen others trying to raise the level of the low wall at the entrance with bricks. They arrive at a cross street. in fairness. mouth half open. perhaps you can tell me why I would permit my son to marry your daughter. Aristotle John. while he awaits his next rider.117. well then. Joan. All five men . He has never looked more like a horse. It's all over as far as UNCLE #1 Just a moment. pulls a huge Marwari. his eyes are bloodshot. counts his crumpled pile of notes and coins. we should find out. flecked with spume. STREETS . EXT.DAY Max. stare at Hasari. But perhaps. Mr.DAY Hasari. Mehboub. CLINIC . The Marwari gets down and pays Hasari. Mr. GHOSH (considering this) What could he possibly offer? UNCLE #1 Probably nothing. UNCLE #1 Are you saying there's no way you'd consider this match? Mr. he's concerned. please.
Joan begins to laugh. wiping his muddy hands on his pants. query each other as to what's funny about that. A big puddle separates them.. of you. He offers a semi-clean hand to each in turn. (CONTINUED) . MAX It's very nice to see you.we have guests. muddy paw. He sloshes through the water to them. their car parked at the entryway to the clinic. it's just occurred to me what inspired me to stay here. MAX I'd throw my cape down. but that was actually quite witty. MARGARETA What's that. Everyone turns to. Thinking he's about to make some cogent remark about this unified effort. She whacks him on the shoulder with a wet.. JOAN Ut-nobody laugh.118. it's a natural disaster -. Doctor Big Brother? MAX The opportunity to acquire waterfront property at a reasonable price. the others don't get it. Vijay wanted to send some things.. ANOTHER ANGLE Manubai and Ravi. CONTINUED: MAX (shouting to the others) My dear friends. but I'm all out of dry capes. junior.. Both RAVI We heard you were still here. JOAN I hate to admit it.
several others in the rickshaws. I really didn't think you'd stick it out. MUD BANK . MAX Shall we unload the car? RAVI Yes. Ramatullah-Joan. HASARI It's too deep! (CONTINUED) She smiles back at him. SALADDIN We can't let them drown. Max Daddah? EXT. CONTINUED: She indicates the car. leaving Max and Manubai alone a moment. . followed by Hasari and a phalanx of rickshaw pullers: Chomotkar. Rassoul. can we? Eh. People come and start unloading it. No one will put up with it.119. Meeta and her baby are on a roof. Manooj. EXT.DAY Anouar on Said's shoulders. Max whistles. The big mute runs. ARISTOTLE JOHN Where can we take them? We can't take them back to the clinic. Aloka flicking her eyes at the two of them. which is packed with dry food and such. Aloka. MANUBAI I'm surprised. He smiles a sweet smile at her. by all means. sometimes they even grow up. The parents have put their children on the roofs and the relatively ablebodied lepers are piling charpoys one on top of another to protect the sick and the infirm. yes. The mud bank is too slippery to get the rickshaws down and back up. LEPER COLONY . each with his doctor bag -.all of them running in silhouette along the embankment in the rain. Max and Sunil.WIDE SHOT . Ravi showing the way. indicates the car.DAY The leper colony is submerged. MAX People grow older.
SAME DAY . Max is lifting one child. CONTINUED: A beat. We're here! MAX We're here! ANOUAR MEETA Chomotkar holds the door up as Meeta holds the baby out in the direction of Max's voice. who clings to him. ANOTHER ANGLE Max. Hasari and Rassoul have a door on their shoulders. EXT.PAIR MUDDY. Rassoul. a sick leper woman. Joan. (CONTINUED) . LEPER COLONY . the two of them leading a terrible ensemble version of "Hound Dog. and Chomotkar up to their necks in water. Anouar! Max Daddah! ON MEETA AND BABY The hut starts to come apart under them. ON MUD BANK Aloka." An air of festivity among lepers and rescuers. Max and Chomotkar quickly move to the house with another door. Max catches the baby as the house slips down.SOME MINUTES LATER A leper clings to a rope as several of the human horses pull him and others up the mud bank. then another onto the door. PARTIAL HANDS . MUD BANK .DAY Hasari pulling the lead rickshaw.120. EXT. then grabs Meeta. The two pullers make their way slowly toward the mud bank. on top of the door. helping lepers into rickshaw. Hasari. Anouar on Max's shoulders. They come to a bridge made of two planks over rushing water.
It looks for all the world like he's going to drown. and he explodes a stream of black liquid out of his lungs. Aloka quickly clears Max's mouth and begins to administer mouth-to-mouth resuscitation.121. Dives a third time. He dives again. "All that is not given is lost. she blows. Then suddenly bursts out of the filth. Aloka supports his forehead as Max retches again and then comes still. Save Doctor Big Brother! Aloka passes a baby to someone and helps Hasari push Max up onto the bank. disappears.passing bowls of rice in a simple communal meal.lepers and normals -." Everyone in the room stares at the words. She blows. Yet. After some moments. The density of the filth makes his effort to surface ineffective. she breathes. .. Is down. People crowd in. Said takes the cloth and tacks it to the wall. comes up somewhere else. On the floor in the b. though.. Aloka goes on. she breathes.g. Instinctively. blows. his body erupts in spasm. she breathes. breathes. CLASSROOM .. suddenly the ground gives way beneath Max's feet. A beat. spitting the filth out of his mouth. More people have gathered. Hasari surfaces. too. CLOSE ON ALOKA AND MAX And now Max gags. Cries of: OTHERS It's the doctor. dragging the unconscious form of Max Loeb into the air. more determined still. ON OTHERS Max has disappeared. It seems. Anouar is writing something on a slightly damp stretch of cloth with a child's crayon. Singing a religious song quietly. someone grabs him. Hasari dives into the maelstrom. INT. Anouar falls free. Is down. But now Hasari doesn't know what to do and turns to his wife. that by his stillness and by the looks on people's faces that Max is dead. He. Aloka blows. but a blackish stream rushes into Max's mouth and in an instant he's swept beneath the gurgling filth. What Anouar has written is this.NIGHT We PAN ACROSS members of our group -. Is down. CONTINUED: Several rickshaws go across but as Max and Anouar start over.
. MAX Oh..NIGHT Max opens his eyes to find Joan. Jesus. instinctively reach out to him. Froze. He stares up through bleary eyes at all of them with utterly open love. He is a little delirious. Aloka.122. Amrita holds out a small gift to him: It's a banana leaf. sshh. Hasari. RAM'S HUT . holding a small scoop of rice and surrounded by little decorative leaves. No pressure. (a beat) I love you guys. First time I'm the lead surgeon on a case. kneel at his side.. We FOCUS on the growing flower in the tea caddy in the window and then go THROUGH the window into: . MAX Want you guys to know something. Had to have somethin' easy. You're all right. junior.TWO MONTHS LATER . sshh! No heroics. The boys come close. sunny afternoon. peering into the hut. I'm all right. I am. I choke.. Quit. telling him with a touch that it's all right. the guy went to sleep when he was supposed to be working? I gotta get up -He tries to get up. (a distant laugh) Yeah. JOAN Sshh. and the children keeping a vigil. Just one. Wanted to be the world's greatest heart surgeon. Went into radiology. EXT. Hasari reaches out and touches Max. MAX All right. You. My teacher.MAX'S ROOM . Lay back. Joan pushes him back down. just one better than my dad. INT. Wasn't too nuts about myself. MAX You people. Had to take over for me. CLINIC .DAY A group gathered on a dry. The chief made me step aside. About me. the main guy. Photography.
if that works out.. spectating. the local Hara Giri. Ghosh and the four Ghosh uncles crammed into the tiny room. I'll add two dhotis. PIUS SCHOOL . seated between Hasari and Max.. in full habit. two vests. Then she peers up at. That's all? all? MR.123.. INT. HASARI I can offer no more than I've offered! No more! All right. GHOSH Did he say that's HASARI My daughter's qualities will make up for what is lacking. The air is close. Ghosh lights up a bidi. and a punjabi. Mr. HASARI That's robbery! The child of a rajah might be worth that. Members of our group jam the doorway. ST. looks over a sheaf of test scores. We'll start you off with a few classes. it won't do! I am firm in requiring for my exceptional son the bicycle. SUBASH'S FATHER Well. PALS' ROOM . INT. But that's all. Mr.DAY Sister Cecilia. ANOTHER ANGLE Manooj.HEADMISTRESSES' OFFICE . SISTER CECILIA Well. looks at his brothers.. we'll make a proper student of you. wrinkles his brows at Hasari. 1000 repees. indeed I think Sister Joan is right -. (CONTINUED) .DAY Hasari. and one ounce of gold. Max (dressed quite India). and I'm not even sure of that! Impossible! We linger on Shambu a moment.we've got a prospect here.
ASHOKA Oh. Subash flirts with Amrita. and Manooj coming toward them. They turn to find two men.124. The kids stop. grins. I do what I please. (CONTINUED) . Manooj sits frozen. No one else is visible on the street. Subash. Max. the Goonda. NARROW LANE . Our policeman disappears into a doorway as shutters close up and down this little street. crosses his legs as if he might want transport. Amrita.NEAR CITY OF JOY .. huddle instinctively together in fear. one of whom has slammed a stick into Hasari's spokes. CONTINUED: Hasari can't believe his ears. and Shambu heading home from the workshop. my father's dead. You see. trying to cool things. Ashoka. Behind him. haven't you? MAX Don't do this. Shambu's cast is gone. and that clinic and school will close. shouting that he's going to the school. begins to slice up the newly covered seats of the rickshaw. They see Hasari. But now he whips out a narrow bladed knife. don't do this. has arrived. The two men stare at Hasari a moment. Retribution. VOICE Well. I'm in charge now. So you will get off my streets.DAY Amrita. Max looks around. Manooj runs to them. and still staring at Hasari. smiling. Then one gets into the rickshaw. come on. Max EXT. Shambu congratulate him. HASARI AND MAX Suddenly the rickshaw wheels jam. MAX Hey. it would seem. you will leave my country. what's the problem here? They turn.. There are thugs at both ends. ASHOKA You've become very brave of late. Subash.
no. the knife comes out of Ashoka's pocket. don't touch her. when he's hit hard from behind. glints in the light. Ashoka puts out his hand with its rings. Babu. Come. Yes. He tries to rise and is hit again. Now. MAX You can't do this! He takes no more than a step at Ashoka. don't touch her. Jesus Christ. come forward. Please. CONTINUED: Why? ASHOKA My father was weak. his eyes bouncing off the Goonda's impassive face. Goes to his knees. HASARI (to the kids) Get back! Stay back! ASHOKA No. The Goonda remains unmoving. His hand comes away from the back of his head with blood. It's over. watchful. (CONTINUED) . snaps open. ASHOKA What did you say? HASARI I said. and strokes Amrita's cheek. a hand coming up. ASHOKA She's going to give someone a lot of enjoyment. MAX MAX Ashoka glides toward the petrified Amrita. ASHOKA What a little woman already.125. He let you and your European friend give these little people ideas. Hasari glances over his shoulder. hey? HASARI Please.
straddles Ashoka. And now Ashoka reaches out and we FOLLOW CLOSE on his hand as it moves ever so slowly through space to settle on Amrita's breast. he starts to whimper. He clutches Hasari hard to him.. Shambu sees something on the ground where the first blow was delivered to Ashoka's chest. HASARI Life is hard enough. outstretched across their path. sending Ashoka to the ground. Holds him. stares down at Ashoka. The Goonda steps between Ashoka and Max and Hasari. ASHOKA Bhose. Hasari backs off. The Two Thugs make a move to come to his rescue. Ashoka stumbles and falls to one knee. leaving Ashoka cowering in a doorway on his knees. leans against a wall. but a curious thing stops them: the Goonda's arm.126. don't touch her?' The Goonda stares at Ashoka. sending the knife skidding across the ground. ASHOKA (to the Goonda) He said 'please' didn't he? 'Please. GOONDA You won't be bothered again. realizes this man is out of control. And now Hasari explodes. slams his palm into Ashoka's chin. He bends and closes his fist around something. Manooj and Shambu stare at their father in awe. his hands in tight against his body. (CONTINUED) .. Ashoka's nose pours blood. Everyone has moved slightly to one side. Leave us alone. No more. help me! Hasari unloads a punch into Ashoka's face... including the Goonda. A look from the Goonda and the Thugs vanish. Hasari grabs the knife. his eyes alerting them not to proceed. Hasari struggles. CONTINUED: There's a moment of unbearable tension as everyone. He hits Ashoka. But he can't do it. A hard punch to the chest. Max lurches to his feet unsteadily. about to kill.
Ashoka suddenly bolts. the Children on the bed beside their father. The kids charge toward Hasari. Poomina. people begin to appear again in doorways and windows. Out here. Margareta. THE ROOM Beneath "The Raft of the Medusa. FROM HERE . He watches Hasari breathing. Max is fixed on Hasari. Then everyone freezes. CONTINUED: Shutters start to open. Aloka sitting close to the bed. He looks up at "The Raft of the Medusa. MAX'S ROOM . I'll Sunil nods.127.NIGHT From here we can see Hasari on Max's cot under "The Raft of the Medusa" in the little room overlooking the street. Fearing for his life. Max grips Sunil's hand strongly. Anouar.." Hasari Pal speaks to his family and Max.. MAX'S ROOM . stay with him. Meeta. his hand going out for a "five" from Hasari.THE BALCONY Through the open door. praying quietly. EXT. Hasari lists to his right side and blood starts to pour from the knife wound in his abdomen under his pressing arm. the two doctors are alone. MAX Why don't you go on home." INT. we can just see Joan. (CONTINUED) . He lets up a scream of exultation. Surya. Max moves to Hasari's bedside.NIGHT (SEVERAL HOURS LATER) A thin stream of dawn light coming through the halfclosed shutters. Sunil goes down the steps. and Max standing close.UPSTAIRS BALCONY . Close around her.
And you have to remember that you can never give up. But it's a mist. now we hear the dim sounds of RICKSHAW BELLS. that we will be kings. a friend. When we arrived. He smiles. When the window opens. COURTYARD .128. We pray that life will bless us. one for the other. OUTSIDE The many hands with their ringing bells. HASARI I was dreaming the sound of rickshaw bells. HASARI A city so big. HASARI Are they here for me? Unquestionably. we didn't have a place to live. Max opens the windows. CONTINUED: HASARI A man's journey to the end of his obligations is a very long road. the only thing that makes it possible to endure life is our love. with possessions and money that we can rule over all around us. Max Manooj helps his father sit up. all the Pullers start ringing their bells and the room is full of their music. CLOSE ON WINDOW The tiny figure of Shambu joins Max in the window. And (CONTINUED) . the family and Max tightly bound together. bends close. they are. A beat. there are rickshaw pullers filling the courtyard and spilling out into the street.THEIR POV Outside. and now I hear them.
(CONTINUED) MAX . Max Daddah. From within. we DIMLY HEAR the negotiations continue. though this sound of dismissal different. RAM'S HUT .129... Joan Di -.is she a good reader? MAX What do you mean? RAM She read this letter to me. MAX But that's great. I have nothing more to give! OUTSIDE THE HUT Everyone crowded around the door. I've agreed to the 1000 rupees! I can go no further. MAX How's it going? RAM All that stands between them now is the ounce of gold.DAY Hasari mirrors Max's expression of dismissal! HASARI Get serious! I've agreed to the bicycle. She said my wife writes that irrigation has come to our village.HASARI'S FACE . Get serious. INT. Max approaches from the clinic. CONTINUED: SHAMBU (whispering) Is my father going to die? Max makes the same sound he made in the ashram at the beginning of the movie. Shambu slips down the steps from above as. ( he shows Max) But I think she must have read it wrong.
what if I go home and find I don't love her from there.FLOWER We see the fully blossomed flower in the tea caddy and then Hasari's fingers come INTO THE FRAME. SHAMBU Do you think this is pretend gold or real? MAX AND SHAMBU Max stares at the little boy's hopeful face. Shambu takes him by the hand and tugs him quickly to the edge of the tea shop. And Shambu brings his fist up from under the CLOSE ON SHAMBU'S HAND He opens his hand to disclose what he scooped off the ground during the fight: Max's necklace and Hebrew letter. yes. (CONTINUED) . MAX I thought that's why we've been writing all these letters. CONTINUED: RAM But it means I should go home to my wife.130. but. table. I love her from here. Father and daughter are alone. He carefully snips the flower free of its stalk. Max leans down. RAM Yes. right? Max nods. He hands her the flower and adjusts her veil tenderly. PAL'S ROOM . The little boy indicates Max should bend close. of course. INT. SHAMBU Daddy needs gold. ANOTHER ANGLE Amrita is dressed in the beautiful sari her father bought her.
Meeta. Everyone who's become part of the family is present. EXT.DAY (DUSK) The procession arrives and enters. as Subash is motioned forward by the Pujari. the flower against his curved back. EXT. THE CEREMONY A flame. Subash and his procession make their entrance.DAY . Smoke from the chulas. SQUARE . Selima. You were only lent to me by God until you marry and continue the wheel of life. HASARI I would be pleased if you would stand with me in the place of honor to the right of my daughter.EARLY EVENING The procession to the courtyard begins when a BRASS BAND strikes up. Amrita stares at her loving father and slowly her arms come up around his neck. accompanied by singing and shouting. The shyness of bride and groom as the ceremony proceeds with the winding of the red thread. Joan. Aristotle John. A ritual veil is fixed to Subash's face. Deeply touched.131... Tiny lights have been strung over the street. Anour. Manooj and Shambu. Tears fill Hasari's eyes. Hasari looks on with unspeakable pride. We see Max and Manubai. Said. Hasari turns to Max. etc. Surya.. CLINIC COURTYARD . Margareta and a group of children. Light from a half dozen lamps. Subash sits beside Amrita. . Max nods. CONTINUED: HASARI You never did belong to me. Joan with Poomina. We see the faces of all our family again: Aloka. Poomina. The Pujari waves for Hasari to come to his place. but a smile graces his lips. Max beside him. and the two men step forward..
circle the flame. As Amrita and Subash. its teeming streets -. joined by the thread. Now we see the clinic and school and the surrounding area.Calcutta. THE WHEEL Turning. THE END . we see the entirety of the City of Joy and then beyond -. FADE OUT.132... the alleys full of people and activity. as we PULL BACK AND UP.life continuing as the sun sets against an infinite sky and we ROLL END CREDITS. As we continue to PULL BACK.
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