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1. MAIN CHARACTERS TUSHAR Tushar is a young pessimistic male, an outsider among the rich circles of Gulshan.

He was orphaned at a young age when his politicalreformist father and mother were assassinated with a car bomb. Tushar's fiery writing sets off the riots in Korail. Tushar is colorblind with occasional exceptions (i.e. Taas' dress, his yellow pamphlet, etc.) PAHAR An incredibly charismatic, attractive young man, Pahar is the man of the hour among his class. Pahar seemingly soft, likeable persona is counterweighed by a profound goodwill towards man that shows itself in his actions during the riots. TAAS Attractive and intelligent, Taas refrains from glamour, adding to her subtle charm. She speaks softly and occasionally smiles sardonically. She contrasts with Pahar, her boyfriend, but has many similiraties to Tushar. Tushar and she had been acquainted long ago, but suddenly broke apart. NESSA The antithesis to Taas, Nessa is glamorous without restraint, supremely attractive, and the town belle. JOKER The Joker wears neon clothing and running gear and performs urban acrobatics on nightly runs in (MORE)

2. Joker (CONT'D) Gulshan. He speaks little but shows a great compassionate side during the riots. MASUD An elderly badaamwalla, Masud is cynical and sets up shop on the Gulshan roundabout in the middle of the night simply to avoid customers. RWALA An elderly rickshawala, Rwala is friend to Masud and has only a slightly more optimistic outlook on life. TOM A foreigner, Tom speaks rudimentary Bangla and refuses to speak English despite difficulties. Tom is perhaps the only person the Tushar would call a friend. COMMISSIONER Head of the newly founded Political Bahini that uprooted the Old Police, the Commissioner is a portly man past middle age who carries a strong authority. He is a regular at the Cathay. HAIDER One of the Commisioner's loyal officers, Haider is aggressive and carries a brutal mentality. MUSHARRAF/TAHMID Haider's counterpart, Musharraf/ Tahmid (both names exist in this version of script) carries a strong resentment to the Political Bahini and yearns for the return of the Old Police. TOMAL

3. A Cathay waiter, Tomal is sardonic, serves calmly and is eventually killed by the Comissioner for collaborating with Tushar. ABU BAKR A middle-class man, Abu Bakr is baby-faced and mild-mannered. His wife is the more outgoing one in the relationship by far. MRS BAKR Abu Bakr's wife, Mrs Bakr is charismatic and makes up for her husband's shyness. She is emotional but has tremendous human strength that appears throughout the story. ROBIN Pahar's butler, Robin is stoic, much in the same way as Tomal, and does his duties diligently. RAT SQUAD A small armed unit that forms during the riots consisting of defecting, pro-Old Police officers. Led by Musharraf, the Rat Squad recruits Tushar amidst a violent clash between security and demonstrators. EXT.SMALL STREET.NIGHT JOKER runs in empty street. EXT.SMALL STREET.NIGHT JOKER runs in empty street. EXT.SMALL STREET.NIGHT JOKER runs in street with a few rickshaws. EXT.SMALL STREET.NIGHT Car honks at JOKER, who moves out of the way.

4. EXT.LARGE STREET.NIGHT JOKER runs on sidewalk. JOKER jumps off sidewalk towards oncoming traffic. INT.CAR DRIVER sees JOKER on the road and honks furiously. EXT.LARGE STREET.NIGHT JOKER doesn't get out of way. Starts trotting towards oncoming car. INT.CAR DRIVER honks again. Growing concerned. DRIVER What the hell? EXT.LARGE STREET.NIGHT JOKER starts running full speed at car. WIDE: SIDE SHOTS OF JOKER JUMPING AND CAR CHARGING (TO BE COMBINED IN POST-PRODUCTION) DRIVER squeals girlishly. INT.CAR DRIVER comes to screeching halt. JOKER rolls off back of car (seen through rear windshield) EXT.LARGE STREET.NIGHT JOKER lands behind the car and continues running. DRIVER gets out of car, shocked by encounter. GS JOKER runs at bright headlights of oncoming traffic. GS JOKER coasts on top of an automobile. EXT.SMALL STREET.NIGHT

5. JOKER reduces speed to a trot on an empty road. EXT.GULSHAN II RA. NIGHT JOKER runs into largely empty intersection and slows to a stop by a peanut stand. EXT.PEANUT STAND.NIGHT JOKER places a hundred taka note on the stand. MASUD smiles. MASUD I'm glad to see that you haven't been run over by a truck yet. JOKER smiles. MASUD Someday son you'll stop that stupidity. You'll get yourself killed. Are you doing it for the people? (Joker shakes his head but Masud doesn't notice) They don't give a damn about you. You get squished under a bus and they'll go about their day just the same as before. You're trying to please a heartless crowd. Those films that the Indians make, I haven't been to one since the bastards started putting white-skinned girls in the background--what, brown skin isn't beautiful anymore? Those girls burn themselves by the beaches to look like us and--well anyways, the Bollywood films, the bystanders all stand around the center. Guys in the middle could tearing each other's hearts out and everyone would stay standing around in the damn circle. Not brave enough to stop the whole nonsense or decent enough to let them handle their own business. It's a terrible system. It's you today, some shitty singer (MORE)

6. MASud (CONT'D) with a drug addiction next week, and there's nothing to be gotten from the whole damn thing. A rickshaw rings its bell off-screen and begins braking. Doesn't stop completely until making slightest contact with the peanut stand. MASUD (Doesn't look up) One day your brakes won't work. RICKSHAWALA dismounts and stands at the stand next to MASUD. R'WALA begins packing a newspaper pouch full of peanuts. RWALA That was a lesson for our friend here. Now, son, imagine that you're the stand. Except you're made of glass. And instead of a rickshaw you had an army tank. What I'm trying to say is that people are starting to bet on when you're going to try to jump your last bus. I've got next Thursday at 2 a.m. so if you want to make me a very rich man, you know what to do. MASUD takes a nut from RWALA's side of the stand. RWALA You son of a bitch. MASUD Watch your language around the boy. RWALA I wanted that peanut. MASUD This is my stand. RWALA I hate you.

7. MASUD freezes, staring angrily. RWALA tries to stare back but eventually breaks. RWALA Alright, I'm sorry, goddamn it. MASUD It's ok. RWALA You're the best badaamwalla Gulshan sees past midnight. RWALA waves arm across the roundabout, where no other peanut stand is open. MASUD Thank you. RWALA Except for the nights Ali Mia shows up. Man! He has the best stories. MASUD Ali Mia is a old crank and deserves to be beaten with a tree branch. RWALA He isn't that bad. MASUD You don't know him like I do. JOKER slowly backs away and runs off through roundabout as MASUD and RWALA continue arguing. RWALA He's a good kid. MASUD Never says a damn thing. RWALA That's mostly why I like him. EXT.LARGE STREET.NIGHT

8. JOKER makes a sharp turn and grazes TUSHAR. TUSHAR steps back. RWALA (voiceover) You know, I met a strange boy today. EXT. DARK ALLEY. NIGHT TUSHAR walks through dark alley. RWALA (voiceover) I was passing Korail of all places. EXT. TIN SHACK. NIGHT A rickshaw pulls up infront of tin shacks. RWALA (voiceover) He was coming out a tea shop. Wearing a suit. A really nice one. TUSHAR walks out of a tin shack. RWALA (voiceover) I'd heard of this boy before. Someone from Gulshan. Definitely not a Koraili. INT. TIN SHACK. NIGHT TUSHAR sits among FIVE KORAILIS, listening to their passionate, inaudible please. TUSHAR nods and shows sympathy. RWALA (voiceover) He's got a reputation in Korail. MASUD (voiceover) Why? RWALA

9. (voiceover) I don't know. EXT.PEANUT STAND.NIGHT MASUD waits for RWALA to finish his thought, but he doesn't. RWALA Well, I'm sure some overweight man somewhere needs me. I'm like a superhero. RWALA takes his pouch of peanuts and gets back on the rickshaw. MASUD Are you going to pay for those? RWALA rides off. RWALA (shouts) Put it on my tab! MASUD takes out the tab. It has over fifty entries. MASUD (whispers) Bastard. EXT.SMALL STREET.NIGHT ABU BAKR sits on the edge of the sidewalk. RWALA pulls up next to him. RWALA Are you upset boss? ABU BAKR pants, out of breath, pained look on his face. RWALA Ah! There's no shame in it, boss. Everyone gets tired every now and then. Not me though. I live on a diet of roshogolla and tea. Haven't slept since five this morning. Or (MORE)

10. RWALA (CONT'D) was it last night? The days start to blend together... Anyways, I'll probably live to be two hundred. Want a ride? ABU BAKR (relieved) Absolutely. Thank you so much. ABU BAKR gets on the rickshaw. The seat creaks precariously. RWALA Don't worry if you break this one. I've got four more at home. ABU BAKR I'm sorry. RWALA No, don't be! My legs need the exercise. Besides, you seem like a good guy. What business are you in? ABU BAKR Accounting. RWALA Ah... ABU BAKR Yeah. RWALA Good money? ABU BAKR Just enough. RWALA Wonderful. The two don't talk for a moment. ABU BAKR What's it like, being a rickshawala?

11. RWALA Interesting question. It's kind of like riding a bicycle with three wheels for people who pay you once they get to the place that you two agreed was the destination. It's wonderful stuff, really. I'm writing a book on it, it'll be called: "Freedom Sings!: The Sound of the Rickshaw." It'll be great, I'll send you a copy. The rickshaw comes to a stop. RWALA And here you are boss. ABU BAKR Will this cover it? ABU BAKR hands RWALA a fifty taka note. RWALA Sure will. Have a good night, boss. INT. STAIRWAY IN APT BUILDING. NIGHT ABU BAKR struggles up the stairs, taking them one at a time. INT. DOORWAY TO APT. NIGHT ABU BAKR takes keys out to unlock door. MRS BAKR opens door. She is smiling, glad to see her husband. MRS BAKR I couldn't sleep. INT. APT. LIVING ROOM.NIGHT ABU BAKR sits on the couch. MRS BAKR brings two cups of tea and places them on the coffee table. MRS BAKR takes a seat. MRS BAKR Darling. (She gently places her hand on his) I don't want you to think I'm upset. I'm really not. (MORE)

12. MRS BAKR (CONT'D) You've been busy, and your job has kept you out so late every night that I can't, and don't, blame you. There is a silence. ABU BAKR has a quizzical look on his face. MRS BAKR smiles. ABU BAKR puts his face in his palms and realizes what he has done. ABU BAKR I am so sorry. MRS BAKR I know you are. ABU BAKR It's just that work... MRS BAKR I know. ABU BAKR And my boss... MRS BAKR I know. ABU BAKR You know I love you, right? MRS BAKR I know. ABU BAKR Let me make it up to you. Let's go out to eat. MRS BAKR But it's so late! And darling I've already eaten, in fact I left a plate for you in the fridge. ABU BAKR I'll have it tomorrow. Please. I can't believe I forgot. I love you so much. MRS BAKR

13. I know you do. I love you too. ABU BAKR goes to the verge of tears. MRS BAKR We could go for a walk! Maybe see if that ice cream parlor's open. ABU BAKR (regaining composure) That'd be wonderful. I'm so sorry. MRS BAKR Honey. (smiling) It's just fine. INT. STAIRWAY IN APT BUILDING. NIGHT ABU BAKR struggles to walk down the stairs, MRS BAKR walking ahead of him. EXT.SMALL STREET.NIGHT ABU BAKR and MRS BAKR walk on the sidewalk of an empty street. ABU BAKR How long has it been. Five years? MRS BAKR Five wonderful years. ABU BAKR (remorseful) I'm so sorry. MRS BAKR Oh, stop it! It's just fine. I love you too much to let this matter. ABU BAKR smiles, and is calmed. EXT. CLOSED STORE. NIGHT MRS BAKR Aww. Looks like they're closed. ABU BAKR looks down the road at a glow of red light.

14. ABU BAKR What's that over there? MRS BAKR Over where? ABU BAKR There, down the street. MRS BAKR Oh! Well I've never noticed that before. ABU BAKR Do you want to go there? MRS BAKR Really?! ABU BAKR Yea. MRS BAKR You know I love new places! EXT. RESTAURANT ENTRANCE. NIGHT MRS BAKR Darling, this place looks expensive. ABU BAKR Well... that means they must have ice cream. MRS BAKR But can you afford... ABU BAKR (hesitates) Sure I can. INT. RESTAURANT There are many people, all old males, in the restaurant. Conversations quiet down as PATRONS turn to look at the underdressed couple.

15. ABU BAKR and MRS BAKR walk up to the HEADWAITER. HEADWAITER pays no attention, writing in an account book. ABU BAKR Excuse me. HEADWAITER looks up. HEADWAITER Oh. Hello! Welcome to the Cathay. There is an awkward silence. MRS BAKR We would like a table, please. HEADWAITER Oh. Of course. (leans forward and whispers) I have to inform you, sir, that there is a dress code for this establishment. The madam is fine, but you must put on a suit coat, at least. ABU BAKR But mine is at home. HEADWAITER Ah. We have a special coat for situations like this. Please, come with me, and we'll see what we can do. INT. RESTAURANT BACK ROOM HEADWAITER brings a suit coat. HEADWAITER Here you are, sir. Our extra coat for situations like this. ABU BAKR tries to put on the coat. It is tight and too small to put on completely around his portly figure. ABU BAKR takes it off. HEADWAITER

16. I'm sorry, sir. I wish we had a larger one. (leans forward) I'm sure that if you take it off once you're seated, no one will complain and you won't be breaking the dress code. INT. RESTAURANT ABU BAKR and MRS BAKR walk back into the main area following HEADWAITER to their table against a wall. HEADWAITER A waiter will be with you shortly. HEADWAITER returns to front desk. ABU BAKR struggles to take off his coat, then places it on the back of his chair. A waiter, TOMAL, brings two menus. TOMAL Welcome to the Cathay, my name is Tomal. Can I start you folks off with a bowl of our famous Thai soup? MRS BAKR Hello, Tomal. Say, (leans forward and whispers) are we in the wrong place? TOMAL (whispering back) I ask myself the same question. Unfortunately our clients are quite rich and powerful so I try my best not to touch their egos. You folks will be fine. Don't let them bother you. MRS BAKR (whispering) We won't. (Back to normal) We'll leave the Thai soup for another night. May we see the dessert menu? TOMAL

17. Certainly. It is in the back of the menu. Please, take your time and I will be back shortly. PATRONS continue to occasionally stare back at ABU BAKR and MRS BAKR. ABU BAKR Honey. Maybe we should leave. MRS BAKR Oh, don't be ridiculous! We just got here. (opens menu) Oh, look: Mango! That's my favorite. ABU BAKR I know. That's what you got the first time we went to an ice cream parlor. MRS BAKR (smiling wide) You remembered! TOMAL returns. TOMAL Would you folks like some more time? ABU BAKR Two mango ice creams, please. TOMAL Wonderful. I'll have that for you in a moment. CUT TO: ABU BAKR and MRS BAKR eating ice cream. MRS BAKR ...and then my mother calls back, saying that there's a chicken on the roof! (laughs) My poor dad had no idea what to do! PATRONS grow agitated and stare with more intensity and frequency.

18. CUT TO: ABU BAKR playing with MRS BAKR'S hands on table. PATRONS stare. CUT TO: MRS BAKR feeds ABU BAKR a spoon of ice cream. From a large table, A patron, the RAILROAD tycoon, rises and walks over to the HEADWAITER. HEADWAITER walks over to ABU BAKR and MRS BAKR. HEADWAITER I'm very sorry to interrupt. A few people in the restaurant are upset by the volume of your conversation. MRS BAKR What? HEADWAITER They think you're being too loud. Also, they are upset by the public displays of affection. MRS BAKR That makes no sense. We weren't doing anything inappropriate. HEADWAITER I'm sorry, madame, I must attend to other customers. HEADWAITER leaves. MRS BAKR is visibly upset. ABU BAKR Honey. Let's go. MRS BAKR I'm not finished with my ice cream. MRS BAKR grows more and more upset. MRS BAKR I'm going to go apologize. ABU BAKR What? Why? MRS BAKR

19. Because I was raised right and if I bothered somebody I must apologize. MRS BAKR gets up and walks up to the large table from where the complaining patron rose. MRS BAKR Gentlemen. I'd just like you all to know that I am terribly sorry for the noise I was making. It's our anniversary and I must've gotten carried away--anyways, I am sorry. COMMISSIONER Do you always talk to strangers at a restaurant? MRS BAKR (taken aback) Why--no. Not at all. I was merely apolo-COMMISSIONER (stands up) Waiter! HEADWAITER speeds over. HEADWAITER Yes, sir? COMMISSIONER Why did you let these people in? HEADWAITER Well, sir, they seemed perfectly alri-COMMISSIONER (enraged) Do you want to lose your customers?! It's your job to keep cockroaches out of our food and rats off of our tables. Look! The fat husband isn't even wearing a coat. What is this? Some tea shop in a slum?

20. ABU BAKR leaves two hundred takas on the table, gets up and stumbles over to MRS BAKR, who is shocked and on the verge of tears. ABU BAKR grabs MRS BAKR's arm and takes her outside. COMMISSIONER And stay out! Stay in your little hut, you rats! Never come back! Uncivilized swine... ABU BAKR and MRS BAKR leave the restaurant. EXT. RESTAURANT ENTRANCE. NIGHT MRS BAKR breaks down in tears. ABU BAKR tries to comfort her. INT. RESTAURANT PATRONS return to their dinners. COMMISSIONER takes his seat. COMMISSIONER (calmed and seated) These rats. I never understand them. Look, they've made me lose my appetite. RAILROAD You have a place in society and you should stick to it. What about that can't they comprehend? COMMISSIONER Headwaiter. I don't want to see anything like this again. If you're going to let people like that in, we'll have to take our business elsewhere. HEADWAITER Won't happen again, sir. COMMISSIONER It better not. At the far end of the room, TUSHAR sits in his booth, writing on a napkin, with an enraged look on his face.

21. TUSHAR looks out onto the PATRONS and observes them closely. TUSHAR returns to writing on napkins. INT. RESTAURANT BACK ROOM The WAITERS are gathered, whispering to each other. WAITER 1 --just yelled at them. WAITER 2 For what? WAITER 1 I don't know. WAITER 3 A woman hasn't been here in years, maybe he got startled. WAITERS chuckle. HEADWAITER comes in. HEADWAITER Get back to work! You don't get paid to gossip. WAITERS return to work except TOMAL. TOMAL stares at HEADWAITER. HEADWAITER leaves. TOMAL returns to work. INT. RESTAURANT TUSHAR in his booth, writing on his napkin. TOMAL comes by with a bowl of soup. TOMAL The best bowl of Thai soup we have, sir. TOMAL places bowl on table. TUSHAR Any idea what all that was about? TOMAL Men like them don't usually need a reason. TUSHAR

22. They ever talk to you like that? TOMAL I'll leave the day they do. Are you still considering coming over for dinner someday, sir? TUSHAR How about tonight? TOMAL (taken aback) I'll tell my wife to ready the oven. TUSHAR I'll leave the ingredients under the seat. TOMAL Excellent, sir. TOMAL leaves. TUSHAR returns to his napkin. EXT. RESTAURANT ENTRANCE. NIGHT PAHAR and TAAS enter the Cathay. INT. RESTAURANT PAHAR and TAAS walk up to HEADWAITER. HEADWAITER Welcome to the Cathay. PAHAR Hi. Pahar. I made a reservation for two. HEADWAITER Of course! I'm very happy you made it. Also, I'm glad to see that you two are in our dress code. We had a little problem earlier tonight that I'd like never to repeat. HEADWAITER nervously glances over at COMMISSIONER who is talking with other PATRONS.

23. PAHAR People should follow the rules! Makes life a lot easier. HEADWAITER Exactly my point! CUT TO: TUSHAR in his booth, looking up. He catches a glance of TAAS' face. FREEZE: On TAAS' smiling face. INT. MOVIE THEATER TAAS and TUSHAR are talking to each other in an empty movie theater. TAAS What's the name of the place? TUSHAR Sajan. A beautiful little place up in the hills. TAAS doesn't respond. TUSHAR They said they'd take me whenever I wanted. They're awfully nice and I think they can teach me a lot. TAAS I'm sure they will. TAAS tries to put on a smile. TAAS Will you call? TUSHAR Of course. INT. CLASSROOM TUSHAR sits at a large table amongst STUDENTS, engaged in a discussion on philosophy. STUDENT Z

24. But I think, like, there's a huge importance to the words he uses. Like, you know? STUDENT A But, it's so obvious that he's trying to play with their minds. Like, as a Greek he believed in democracy and all, and this was, like, a way for him to--you know? STUDENT C (making rapid arm movements) No, no, I understand completely! To build off of that, there's this--I feel--this whole complexity behind the whole situation. There's just so much stuff that has gone on and Socrates was just way too, like, offensive to the whole establishment. TUSHAR wears a quizzical look on his face. He looks at STUDENT Y and they exchange looks acknowledging the uselessness of the conversation and both smile. INT. STUDY. NIGHT TUSHAR leafs through book after book, taking notes. INT. CLASSROOM Back amongst STUDENTS, TUSHAR is exasperated by the conversation. STUDENT Z I mean, like, the whole idea is flawed. "Every man minds his own business and everything's all right." Yeah right! STUDENTS laugh. TUSHAR does not. STUDENT C (making hand gestures) The whole shadows thing--I think-is just wrong!

25. STUDENT chuckle. TUSHAR does not. TUSHAR looks over to see that STUDENT Y's chair is empty. STUDENT C (making hand gestures) I mean, he's chained one second and then he's not! How does that make any sense? How did those chains come off? EXT. GRASS PATCH STUDENTS are sitting on the grass as TUSHAR walks by. They stop talking and stare at TUSHAR momentarily. TUSHAR puts on a wiry grin and walks on. INT. CLASSROOM Conversation continues. STUDENT A And then there's like, you know, the whole thing about the weapons, which, honestly, I just don't get. STUDENT C Right. STUDENT A I mean what's he trying to get at? I mean there's an obvious answer but that doesn't work for me and honestly I think it's a little-TUSHAR stands up. STUDENTS go silent. TUSHAR walks out of room. EXT. BUS STAND. DAY TUSHAR is dropped off at bus stand with one bag in hand. INT. STAIRWAY. DAY TUSHAR walks up stairs with bag in hand. INT. TUSHAR'S BEDROOM. DAY TUSHAR sits on his bed. His bag is not unpacked.

26. EXT. SMALL STREET. DAY TUSHAR rides a rickshaw, holding a bouquet, wearing the same clothes he had on when got off the bus. EXT. APT BUILDING GATE. DAY TUSHAR hesitates pushing the bell. After a moment, he decides against it. He leaves, handing the bouquet to a elderly female STREETSWEEPER, and walking away promptly. INT. MOVIE THEATER TUSHAR sits in an empty movie theater, watching by himself. INT. RESTAURANT UNFREEZE: From TAAS' smiling face. TUSHAR looks back down at his napkin and continues writing. HEADWAITER Right this way, folks. I'll take you to your table. TAAS Wait. Is that--Tushar? TUSHAR doesn't look up. TAAS and PAHAR walk to the booth. TAAS It is! Tushar! TUSHAR looks up and fakes a smile. TUSHAR Taslima. It's been a long time. TAAS It has. Tushar, this is Pahar. PAHAR extends his arm over the table. PAHAR We're brothers in name. TUSHAR shakes his hand unenthusiastically. TAAS

27. We were just out on a walk and decided to see what this place was like. I didn't know you were a patron. TUSHAR They have good soup. PAHAR That's what I was telling her! I've heard they have a fantastic Thai soup. TUSHAR They do. A silence. TUSHAR Would you two like to join? PAHAR Wonderful! PAHAR begins to get into the booth. TAAS But-PAHAR stops. TAAS Only if we aren't bothering you. PAHAR Oh, right! Only if we aren't bothering you. TUSHAR puts on a fake smile. TUSHAR Not at all. CUT TO: TUSHAR, TAAS and PAHAR seated in booth, drinking Thai soup. TAAS How was the Academy?

28. PAHAR Academy? TAAS Tushar was accepted to an university up in the hills. PAHAR Is that right? Which university? TUSHAR Sajan. PAHAR The one that only teaches philosophy? TUSHAR That's the one. PAHAR Incredible! I've heard a lot about the place. Must've been great. All those great ideas and sharing them and understanding them better. TUSHAR (grins) It was fantastic. TAAS Aren't you back a little too soon? TUSHAR Yea. Place wasn't for me. TAAS I'm sorry to hear that. PAHAR Oh. Let me guess: self-righteous pedants with more passion for hearing their own voices that learning? TUSHAR is taken aback. TUSHAR

29. Ye--Yeah. PAHAR I've met their type before. I was hoping that wasn't the case with Sajan's. Terrible shame. TAAS Academic types tend to gather around books. Then they put them on pedestals, because god forbid they should actually apply some of the teachings to their own lives. PAHAR I for one believe in a policy of silence. TAAS But you talk a lot! Not that I'm complaining. PAHAR Yes, but never about important things. You won't catch me going around like Socrates, talking philosophy with just anyone else. TUSHAR It's personal. PAHAR Exactly! It's a problem of language. How can I tell you what it's like to be oppressed or have your heartbroken. TAAS Never thought about that... PAHAR I once talked to a man on a bus for two hours with nothing but small talk. Near the end, we both realized that we were playing a game. Hired the man and now he's my butler.

30. TAAS Robin? PAHAR That's how we met. TAAS He's a good man. PAHAR One of the best. TAAS Has he found a wife yet? PAHAR No, but a love interest. I'll have to see how he's doing on that. I try to give him days off, but the resilient bastard insists he works full time. TAAS You two will have to excuse me. TAAS gets up and leaves towards the back room. PAHAR So. TUSHAR is lost in thought. Dulled big band music begins from another room. TUSHAR Benny Goodman. PAHAR taken aback. PAHAR You know Benny Goodman? TUSHAR doesn't respond. PAHAR My father and I listen to him whenever we're together. TUSHAR

31. Moonglow. This is my favorite tune. INT. BATHROOM TAAS sits on the counter, playing with her fingers. INT. RESTAURANT PAHAR Is that the kind of music you're into? TUSHAR A few other things. PAHAR Like? TUSHAR Edith Piaf. Nat King Cole. PAHAR (eager) You know, Taas is going to spend tomorrow with her family. Nights like that I usually go up to my roof and listen to music on my record player. You should come over. TUSHAR contemplates his response. TUSHAR Sure. TAAS returns. TAAS Tushar, it was wonderful to see you again. Pahar, would you like to walk me home? PAHAR I can't think of anything else I'd like to do more. PAHAR gets up and looks back at TUSHAR.

32. PAHAR It's on the north side of the Irish Embassy, huge blue gate, you can't miss it. TAAS and PAHAR walk out the door holding hands. TUSHAR notices their interlaced fingers, and then the COMISSIONER and CRONIES sitting around table laughing. TUSHAR wears an angry look and returns to writing on his napkins. TITLE ROLLS OVER TUSHAR SCRIBBLING ON NAPKIN EXT.LARGE STREET.NIGHT The JOKER is out on a run. INT. CAR. NIGHT Four POLICEMEN wait in their car with binoculars. POLICE 1 He'll be here any minute. POLICE 2 You've been saying that for two hours. EXT.LARGE STREET.NIGHT JOKER makes a sharp right onto another large street. INT. CAR. NIGHT POLICEMEN energized, see JOKER coming down the road. POLICE 2 There he is. POLICE 1 Easy, easy. Don't start until I say so. POLICE 2 He's turning boss. EXT.LARGE STREET.NIGHT

33. JOKER senses that something isn't right. He turns right onto another, smaller road. INT. CAR. NIGHT POLICE 2 Damn! Alright, move up to that corner. POLICE 2 slowly accelerates to the corner. EXT.SMALL STREET.NIGHT JOKER runs. His suspicion grows and he stops. He looks behind him at the seemingly calm street. INT. CAR. NIGHT POLICEMEN lie in reclined seats, making no noise. EXT.SMALL STREET.NIGHT JOKER squints at the car to see a policeman's hat on the dashboard. JOKER sprints down the road, at the car. INT. CAR. NIGHT POLICE 1 slightly raises his head, only to see the JOKER running at him. POLICE 1 What the hell? POLICE 1 watches as JOKER jumps on hood and over the car. POLICE 1 Damn it! Turn the car around! EXT.SMALL STREET.NIGHT CAR tries turning around but the road is too narrow. CAR has to eight-point, taking up time. EXT.ALLEY.NIGHT JOKER runs through a narrow alley, slightly panicked about being followed.

34. CAR pulls up at the end of the alley. JOKER comes to a screeching stop and runs to the right, through another alley. POLICEMEN, except POLICE 2, get out of car and beginning running after the JOKER. POLICE 1 Meet us around the corner! CAR screeches off ahead. EXT.GULSHAN II RA. NIGHT MASUD is at his stand, polishing peanuts. POLICEMEN running on foot stop at the stand. POLICE 1 Have you seen a bastard running down this road? MASUD (ponders) I've seen three of them. POLICE 1 Smart mouth for a badaamwala. We'll be back to talk to you later. MASUD (smiling) Can't wait. CAR pulls up, with POLICE 2 driving. POLICE 2 Any luck? POLICE 1 Son of a bitch is too fast. POLICE 2 (points towards Gulshan 1) I think I might've seen him go down this road. POLICE 1 Everyone, get in! We're catching this rat tonight.

35. POLICEMEN get in car and drive off. JOKER gets up from behind the stand. MASUD That's the third time this week. You'd think they'd find something else to do. MASUD hands JOKER a bag of peanuts. JOKER eats them slowly. EXT. ROOFTOP. NIGHT ROBIN (off screen) Sir, let me help you. PAHAR walks onto the rooftop, carrying two chairs and a small table. PAHAR Robin, I've told you seven times, "Go home." ROBIN But you pay me to be here 'til midnight. PAHAR As a precaution! I didn't mean for you to stay this late every damn night. PAHAR places chairs down. PAHAR Robin. You take a break tonight. Or you're fired. ROBIN Sir... PAHAR Robin... ROBIN (reluctantly)

36. As a courtesy to you, I will take my leave early tonight. ROBIN leaves. CUT TO: PAHAR bringing up a music box and two bottles of cola. He arranges the chairs and table and puts the music box on the table with two bottles of cola on each side. TUSHAR comes on to the roof. TUSHAR This is an awfully nice set for a rooftop. PAHAR Well, I wanted to make a good impression. The chairs are in perfect symmetry with the table. Impressive, huh? TUSHAR Very. CUT TO: The two seated in chairs, looking out at Gulshan as music plays on the box. TUSHAR Who's this? PAHAR Art Tatum. Know him? TUSHAR No, but I like him. PAHAR Greatest pianist of all time. There was a man visiting New York and he had a reputation for playing the best Classical music in the world. This man went to a dirty little club where Tatum was playing and when Tatum finished, he said, "if this man ever start's playing Classical music, I'll be out of a job."

37. TUSHAR I can see why. TUSHAR and PAHAR listen to the music in silence. TUSHAR How'd you meet her? PAHAR (smiles wide) That's a good story. INT. AUDITORIUM WIDE: A large class lecture. TAAS sits in the row infront of PAHAR. There are many STUDENTS in the auditorium. PAHAR (voiceover) A class on Modern Chinese Politics. She sat in the row infront of me. She was obviously intelligent, much smarter than me. I was intimidated. Had no idea how to get her attention. CUT TO: Chinese PROFESSOR, lecturing class. STUDENTS have difficulty understanding him and some giggle. PAHAR (voiceover) The professor was from Guangzhou. He seemed like a smart man but his Bangla was weak. Some of the people in the class would laugh but that didn't seem right. INT. LIBRARY PAHAR leafs through a book, taking notes. PAHAR (voiceover) I went and got a Chinese-Cantonese--dictionary. Learned the basic stuff: good morning, how are you?, I am fine.

38. INT. AUDITORIUM Pieces of paper are being passed around by students, starting with PAHAR. PROFESSOR walks in, places briefcase on desk. STUDENTS (in unison) Zou shan ba ba. PROFESSOR Zou sha-PROFESSOR is startled. Goes on teaching lesson. PAHAR (voiceover) We started building off of that. We learned some more complex lines. Eventually we even memorized entire poems. CUT TO: STUDENT 1 stands up in class. STUDENT 1 cong4 cin4 ming4 jyut6 gwong1 CUT TO: STUDENT 2 stands up. STUDENT 2 ji4 si6 dei6 soeng6 soeng1 CUT TO: STUDENT 3 stands up. STUDENT 3 geoi2 tau4 mong6 ming4 jyut6 CUT TO: STUDENT 4 stands up. STUDENT 4 dai1 tau4 si3 gu3 hoeng3 CUT TO: PROFESSOR walks into auditorium. Places suitcase on table. PAHAR (voiceover)

39. One day he recited a poem of his own. PROFESSOR (in fractured Bengali) Forget me not, O Mother, Should I fail to return, To thy hallowed bosom. Make not the lotus of thy memory, Void of its nectar Madhu. EXT. ROOFTOP. NIGHT PAHAR She noticed me. I still had to try hard though. Dear God, did I have to try hard. EXT. APT GATE. DAY PAHAR holds a carnation outside her gate. TAAS is confused and quickly takes the flower, puts her nose to it, and walks away. PAHAR is stunned. INT. LIBRARY SHELVES PAHAR is standing in a section, reading a comic book and chuckling to himself. TAAS walks up to him, takes a book from the comic book shelf and walks away. INT. PIZZA SHOP PAHAR and TAAS are seated next to each other among FRIENDS. PAHAR (voiceover) Turns out that we had a few friends in common. We ended up going to the same pizza shop. TAAS looks away from PAHAR. PAHAR takes a piece of paper and makes an origami bird out of it and places it infront of TAAS. TAAS hesitatantly looks at it, and smiles. PAHAR gets out of his seat. PAHAR Folks, I'll see you all later. TAAS keeps playing with the bird after he leaves.

40. FRIEND F1 (leans over to TAAS) He's cute! FRIEND M1 (leans over to TAAS) You want to see him again? TAAS smiles, holding the origami bird. EXT. ROOFTOP. NIGHT TUSHAR and PAHAR seated. PAHAR And that's how it happened. They listen to Art Tatum. TUSHAR Do you love her? PAHAR (smiles wide) More than words can express. INT. LIVING ROOM. RAINY DAY TUSHAR sits on a couch watching TV at a low volume. At the opposite end of couch is little NIECE, face planted in the cushion. TUSHAR uses remote to turn TV off. NIECE still asleep. TUSHAR gets up. INT. KITCHEN TUSHAR turns on the stove, puts water in a pot, throws some rice in. INT. DINING ROOM NIECE is sitting at dinner table. TUSHAR brings out two plates with rice, etc. CUT TO: The two eating. NIECE doesn't eat and instead makes shapes with her food. TUSHAR Don't play with your food.

41. NIECE No. TUSHAR Okay. NIECE Can we go for a walk? INT. KITCHEN TUSHAR places plate in sink, followed by NIECE putting her plate in the sink. INT. ELEVATOR NIECE stares up at TUSHAR. TUSHAR What? NIECE Nothing. NIECE continues to stare. EXT. SMALL STREET. GLOOMY DAY TUSHAR and NIECE walk on sidewalk. NIECE What's Canada? TUSHAR It's a country. A big country north of America. Why? NIECE Prity said that her family is going there. CUT TO: Infront of a pharmacy. NIECE What's this place for? TUSHAR Medicine. They sell medicine.

42. CUT TO: Walking infront of Fried Chicken store. NIECE Can we eat there? TUSHAR No. CUT TO: Side of a lake. TUSHAR and NIECE both have scoops of ice cream. TUSHAR How are you? NIECE Good. TUSHAR How are your friends? NIECE Good. CUT TO: TUSHAR and NIECE walking back home. NIECE You're my favorite uncle. TUSHAR Really? NIECE Yes. TUSHAR (hesitates) Thanks. INT. APT. LIVING ROOM.NIGHT TUSHAR sits on a couch, reading a book. Door unlocks and COUSIN and COUSIN'S WIFE walk in. COUSIN'S WIFE There he is! (hugs TUSHAR) Our saviour. COUSIN

43. The movie. Was. Terrible. COUSIN'S WIFE Well they all are nowadays. COUSIN Satyajit must be rolling in his grave. TUSHAR She's already in bed. COUSIN'S WIFE That's wonderful! You know we love it when you come by. TUSHAR She's a smart girl. COUSIN Will you be coming back next week? TUSHAR (forces smile) Sure. INT. ELEVATOR TUSHAR descends in the elevator. INT. BUS TUSHAR stands amongst passengers on a moving bus. EXT.GULSHAN II RA. NIGHT TUSHAR gets off the bus. Roundabout is quiet. TUSHAR walks over to MASUD at the peanut stand. TUSHAR This place is dead. MASUD Sleeping. Probably dreaming of the money to be made. They'll be back in the morning. TUSHAR puts five hundred on the stand.

44. MASUD Are you trying to buy my stand? TUSHAR Supply and demand. You're the only badaamwala out and I want a peanut. You could charge me a thousand if you want to. MASUD I see someone likes peanuts. MASUD begins to fill up a large pouch. TUSHAR The small one, please. MASUD sieves through the nuts on his stand and individually picks out the best peanuts and puts them in a small bag and hands the bag to TUSHAR. TUSHAR Thank you. TUSHAR walks away. At the opposite end of the square he sees TOM, sitting on stairs. TUSHAR walks over. TOM raises his head when he comes close. Initially, neither says anything. TOM I'd heard that you went off to the mountains. TUSHAR There are plenty of rumors but no mountains in this country, foreigner. I'm glad to see your Bangla has gotten better. TOM Don't joke. It's god-awful. The little kids won't stop making fun of me. TUSHAR I'm sure there are other reasons. TOM

45. I knew you were back when they talked about a boy who smokes a pipe on rickshaws-EXT. SMALL STREET. NIGHT TUSHAR lights a pipe while riding a rickshaw. EXT.GULSHAN II RA. NIGHT Back to TUSHAR and TOM. TOM some guy who wears a suit and drinks tea in Korail. INT. TIN SHACK. NIGHT TUSHAR and KORAILIS drink tea. EXT.GULSHAN II RA. NIGHT TOM Oh, and the best--a guy who promised to last four rounds in a ring with a boxer. INT. BOXING GYM TUSHAR and BOXER toeing around each other, gloves raised. BOXER lands a few clean punches. Bell rings and TUSHAR is given water. Bell rings again and TUSHAR lands a few good punches. Bell rings, back to corner. TUSHAR's face shows bruising. Bell rings again, TUSHAR is beat with heavy punches. EXT.GULSHAN II RA. NIGHT TOM (continuing) Lasted nine. TUSHAR You should believe lies like that. I lasted seven and there wasn't a promise in the first place. TOM stands up.

46. TOM Want to get some ice cream? TUSHAR Sure. EXT. ICE CREAM STORE. NIGHT TUSHAR and TOM walk out of store. TUSHAR holds a cup of ice cream. TUSHAR Delicious stuff. TOM How are you still not finished? TUSHAR Taking my time, bud. TOM Hey. (points at building across the street) Remember when we used to go there? TUSHAR Sure do. Terrible times. TOM Let's go back. TUSHAR No. TOM Come on, the place might've classed up a bit. TUSHAR See, I know you don't believe that. TOM Well, there's only one way to find out. INT. CLUB

47. Loud music blares in the smoke filled room. GIRLS in shiny dresses move in and out of another room in the back. An ATTENDANT leads TUSHAR and TOM to a hookah booth to the side. TUSHAR and TOM take a seat. ATTENDANT (shouting over the loud music) Can I get you anything?! TOM What?! ATTENDANT (leans forward) I said: Can I get you anything?! TOM A pack of cigarettes for me! TOM looks over at TUSHAR who makes a sipping gesture. TOM And a cup of tea for my friend! ATTENDANT shows a thumbs up and walks off. A group of THREE GIRLS takes the booth across the aisle from TUSHAR and TOM. Both stare at the girls, who laugh at the attention. ATTENDANT returns with a cup of tea and a pack of cigarettes and gives them to TUSHAR and TOM. TUSHAR (leans over to TOM) I didn't know you smoked! TOM There's nothing else to do in this town! TUSHAR and TOM look back at the THREE GIRLS. TOM looks at TUSHAR and makes a gesture towards the girls. TUSHAR thinks about it, looks at the THREE GIRLS. The THREE GIRLS stand up, and wait at their booth. TOM gathers himself and gets up. TOM gestures at TUSHAR, implying "let's go!" TUSHAR doesn't get up. One of the THREE GIRLS grabs TOM's arm and takes him off. TUSHAR slowly gets up and walks out the door of the club entrance.

48. EXT. CLUB. NIGHT TUSHAR is walking out the door of the club when he hears LAFANGA having a conversation with NESSA. LAFANGA is standing with an arm over NESSA, obviously hitting on her. LAFANGA --all over the world. My father even has connections in Switzerland. Have you ever been to Switzerland? It's a really nice country. TUSHAR (walking by) No one cares. LAFANGA (enraged) Ey! What did you say to me? TUSHAR stops, walk back to LAFANGA, and stops just before his nose touches LAFANGA's. TUSHAR (gritting his teeth) No. One. Cares. LAFANGA You better get going. TUSHAR Lay a finger on me. A SMALL CROWD gathers around the entrance. LAFANGA storms off back into the club. SMALL CROWD disperses. NESSA Impressive. TUSHAR looks at the girl LAFANGA was talking to. He realizes that it is NESSA and lets out an exasperated sigh. NESSA Oh don't be like that! Half the boys in Gulshan would be more than happy to talk to me.

49. TUSHAR Is that so? What about the other half? NESSA Already tried. TUSHAR I'm going now. TUSHAR begins to walk away. NESSA Why do you hate me? TUSHAR (without turning around) I don't hate you. NESSA Then why does it seem like you hate me? TUSHAR (turns around) It's not you I hate. NESSA Then what is it? TUSHAR (walks up to her) 10 million taka cars and cigarettes. Slums and hip-hop. The black fumes in this city and the black souls in Gulshan. I don't hate you. I hate everything around you. And you are their hero. How many businessmen are ready to leave their wives for you? How many college boys want to take you away to--to what--Switzerland? This whole town is dirty; corrupt. Not just with money. Down to its core. That's what I hate. Don't take it personally.

50. INT. PRINTING SHOP. NIGHT PHOTOCOPYIST uses a photocopier. ASSISTANT collects copies and staples them together. EXT. ROOFTOP. NIGHT TUSHAR and PAHAR sit, listening to music. PAHAR Something like that could've broken her heart. TUSHAR I know. EXT. ALLEY. NIGHT MAN hands out copies to FIVE ACCOMPLICES. EXT.LARGE STREET.NIGHT TUSHAR walks on the sidewalk alone, heading off to the distance. EXT. TIN SHACK. NIGHT TUSHAR arrives at the tea shop and goes in. INT. TIN SHACK. NIGHT FIVE KORAILIS sit around a table, unusually quiet, all reading from copies. Around them stand BYSTANDERS. KORAILI 1 (to TUSHAR) Take a seat, son. KORAILI 2 This is incredible. BYSTANDER 1 What does it say? KORAILI 2 I'll read it in a second. Let me finish it. I'm getting goosebumps.

51. KORAILI 1 (to TUSHAR) A man has been going around saying he's supposed to hand these out to people who can read. When was the last time a man gave out a pamphlet in Korail? EXT. ALLEY. NIGHT MEN stand quietly, reading the pamphlet. INT. TIN SHACK. NIGHT KORAILIs finish reading the pamphlet. KORAILI 2 (to a BYSTANDER) Get everyone here. BYSTANDER 1 Who? KORAILI 2 Whoever you can find. BYSTANDER 1 leaves to do as he was told. KORAILI 2 This is going to be an interesting night. EXT. APT BUILDING GATE. NIGHT PAHAR mimics a military march outside of TAAS' building. TAAS comes out the gate. PAHAR stands still, enjoying the sight. PAHAR Do you want to got dancing? TAAS shakes her head. PAHAR Movie? TAAS shakes her head.

52. PAHAR Ice cream? TAAS smiles. EXT. APT BUILDING GATE. NIGHT JOKER bends over and ties his shoelaces tight, sprints off. EXT.LARGE STREET.NIGHT JOKER runs until he comes to an alley and stops. In the alley are a GROUP of people, quickly reading something in their hands. JOKER resumes running. EXT.LARGE STREET.NIGHT ABU BAKR and MRS BAKR are driving down the road in their old red car. INT. CAR. NIGHT MRS BAKR plays with ABU BAKR's hair and looks at him tenderly. INT. SWEETSHOP. NIGHT The SWEETSHOP OWNER is holding the pamphlet, surrounded by a group of SEVEN MEN. SWEETSHOP OWNER As soon as you bastards are quiet, I can start. EXT.POLICE STAND.NIGHT SHORT policeman and TALL policeman stand at a police checkpoint near the sweetshop. SHORT extends his arm, and an old red car slows down infront of him. In the car are ABU BAKR and MRS BAKR. SHORT leans over ABU BAKR's window. SHORT I'm going to have to see your license, boss. ABU BAKR fumbles through his wallet, visibly nervous. ABU BAKR

53. It's gotta be in here... ABU BAKR finds the license and hands it to SHORT. SHORT takes a long look at the license. He sniffs it, holds it under the light. SHORT leans down and takes a quick look at MRS BAKR. SHORT I'm afraid this here is a fake license. ABU BAKR (startled) That can't be ri-SHORT I hope you're don't think that I am stupid, or that I haven't had proper training. This is a fake license. You are driving with a fake license. ABU BAKR Bu-but, officer, I got this from a license office. They told me it was real. SHORT And I'm saying it isn't. Are you calling me a liar? ABU BAKR (mutters) No, sir. SHORT (louder) I said, "Are you calling me a liar?" ABU BAKR (louder) No, sir. I am not. SHORT

54. I am going to have to ask you to get out of the car. ABU BAKR (petrified) My wife? SHORT Her, too. TALL taps on SHORT's shoulder. TALL Is this necessary? SHORT (agitated) What do you think? Go see what those bastards are roaring about over there. TALL reluctantly walks over to sweetshop. INT. SWEETSHOP. NIGHT SWEETSHOP OWNER is reading from the pamphlet to the SEVEN MEN. SWEETSHOP OWNER "And this is not a gift from a politician. This is your birthright, as a Bangladeshi. They can give you nothing. You are simply taking what was promised to you." SEVEN MEN show approval. MAN 1 Mashallah. MAN 2 Mashallah. TALL walks in. OWNER and SEVEN MEN go silent. TALL

55. What are you gentlemen meeting about? EXT.SMALL STREET.NIGHT JOKER runs in a light trot on an empty road. All of a sudden, THREE KIDS begin to follow him. JOKER picks up speed but the THREE KIDS breathlessly keep up. EXT. SMALL STREET. NIGHT THREE KIDS run by but the last of the three stops and sees the JOKER hiding against a nook in the wall. KID 1 He's over here! JOKER runs off. EXT.POLICE STAND.NIGHT ABU BAKR and MRS BAKR stand infront of their car. SHORT Put your hands on the hood. ABU BAKR is terrified. He looks at MRS BAKR who is equally afraid. SHORT I don't have all day! ABU BAKR and MRS BAKR turn around and put their hands on the car. SHORT opens the passenger door of the old red car and retrieves MRS BAKR's purse and brings it back to the hood. SHORT (rummaging through MRS BAKR's purse) The crime rings in this city have no shame. (he picks out an item from the purse and drops it on the ground) They'll do anything to smuggle in drugs, (drops another item) weapons. They use animals, (drops another item) children, (drops entire purse) even women.

56. SHORT grabs MRS BAKR's waist. MRS BAKR Don't touch me! ABU BAKR grabs SHORT's rifle from his shoulder. SHORT reacts by pulling on his rifle strap. ABU BAKR uses the pull on the strap to drive a knee into SHORT's ribs. SHORT lets go of the strap and cringes. ABU BAKR uses the butt of the rifle to strike SHORT down. From off-screen, ABU BAKR is shot through the shoulder and buckles to the ground. MRS BAKR lets out a scream. INT. SWEETSHOP. NIGHT TALL lowers his rifle and turns around to see the SEVEN MEN and SWEETSHOP OWNER staring at him in rage. The SEVEN MEN leap on TALL and proceed to beat him. EXT. POLICE STAND.NIGHT ABU BAKR frantically applies pressure on ABU BAKR's wound with her scarf. MRS BAKR (hysterical) Don't die! Don't die! EXT.SMALL STREET.NIGHT JOKER hears gunshots and stops running. THREE KIDS stop right behind him. JOKER (to THREE KIDS) Look, you have to go back home. THREE KIDS don't respond and simply smile at the JOKER. JOKER It's not safe out here! Please go home! JOKER is anxious as angry shouting is heard off in the distance. JOKER

57. If I give you this (JOKER points to his neon armband) will you guys go home? THREE KIDS look at one another and nod. JOKER takes off his armband. EXT. SMALL STREET. NIGHT PAHAR and TAAS hear gunshot and stop walking and get off the sidewalk and hide in a nook in the walls. Shouting can be heard in the distance. PAHAR takes out his phone and quickly dials a number. PAHAR (on the phone) Robin. INT. KITCHEN ROBIN answers on his cellphone. ROBIN Sir? EXT.SMALL STREET.NIGHT PAHAR (on phone) There's something going on out here. Bring the car, please. ROBIN (heard over phone) Where should I bring it, sir? PAHAR (reads a placard) Road 17, House 14. INT. KITCHEN ROBIN (on phone) I'll be there in three minutes. ROBIN hangs up the phone.

58. INT. GARAGE ROBIN hurries down the stairs. DARWAN stands up to see what is the matter. ROBIN Open the door damn it! DARWAN goes off to open the door. EXT. SMALL STREET. NIGHT JOKER runs down a narrow road. EXT. POLICE STAND.NIGHT JOKER arrives to see MRS BAKR struggling to get ABU BAKR into the car. MRS BAKR Help me! JOKER rushes over and helps her. EXT. LARGE STREET. NIGHT. OWNER and SEVEN MEN, two of them holding rifles, march down the street as a MOB begins to form behind them. The MOB begins to shatter windows, but OWNER and SEVEN MEN keep marching resolutely ahead. EXT.SMALL STREET.NIGHT PAHAR and TAAS stay in the nook. Car pulls up with ROBIN driving. ROBIN stops the car and immediately gets out. ROBIN Are you all okay? PAHAR Just fine, Robin. Thank you for coming so quickly. ROBIN Not a problem. ROBIN tosses PAHAR the keys and opens the driver's door. PAHAR gets in and ROBIN rushes to the other side to hold

59. the door for TAAS. He himself then takes a rear seat. EXT. LARGE STREET. NIGHT. JOKER arrives at the entrance to a large street. He is horrified by the destruction left by the mob. In the distance he can hear police sirens and decides to run off. INT. APT. LIVING ROOM.NIGHT TUSHAR comes home. He turns the light on puts his keys on a table. He goes to the kitchen and looks in the fridge and finds nothing he wants. He opens a cupboard and finds something he likes. INT. BEDROOM. NIGHT TUSHAR undoes his tie and takes his suit coat off. INT. BATHROOM TUSHAR showers behind a curtain. INT. KITCHEN TUSHAR boils spaghetti in a pan, wearing an A-neck and a lungi. INT. LIVING ROOM TUSHAR takes a seat on the sofa with a bowl of spaghetti in his hands. He turns the TV on. REPORTER Police are saying that this was not planned by any political party. Regardless, both parties are saying that this demonstration was one of theirs. ON TV REPORTER walks backwards through a large street with windows broken and small flames scattered about the street. REPORTER

60. The agitation lasted for only an hour before police put down the mob. It is still unclear what caused this incident. POLICE SPOKESPERSON All we know is that two of our finest officers are dead as of tonight. We will find what caused this disturbance, and we will punish those that are responsible. INT. LIVING ROOM TUSHAR mutes his TV and sits, visibly distressed by the newscast. EXT. ROADSIDE FLOWER SHOP. DAY PAHAR bends over and takes in the scent of a carnation. He nods at the FLORIST and the FLORIST takes that flower out of the bunch. INT. ELEVATOR PAHAR holds the carnation, going up in the elevator. INT. OFFICE LOBBY. DAY RECEPTIONIST looks up to see PAHAR and smiles. PAHAR points towards the end of the hall. RECEPTIONIST nods. INT. OFFICE PAHAR walks in on two people, TAAS and EDITOR, in the middle of a meeting. PAHAR Oh! I'm so sorry! I thought she was free. EDITOR We were just having a quick chat about some story ideas, but (looking at TAAS) it seems you have another appointment. TAAS

61. (embarrassed) Yes. Sir. Apparently I forgot about this one. EDITOR gets up. TAAS makes faces at PAHAR. While leaving through the door, EDITOR turns around. EDITOR And Taas. TAAS (regaining composure) Yes, sir? EDITOR This seems like an especially important client. I suggest you take him out to an extra long lunch. Make him pay though. We don't want his business that bad. EDITOR leaves. PAHAR smiles at TAAS who is still furious. INT. OFFICE LOBBY. DAY PAHAR and TAAS are leaving. PAHAR (whispers to RECEPTIONIST) She wasn't free! RECEPTIONIST (whispers in return) It's more romantic that way! INT. RESTAURANT. DAY PAHAR and TAAS sitting at a table in a restaurant. TAAS What's the matter? You look worried. PAHAR What was that last night? TAAS Probably a hartaal.

62. PAHAR They're saying it wasn't political. TAAS People in the newsroom were talking about a pamphlet or something. PAHAR Hmm. TAAS It that what you're worried about? PAHAR I don't want to see people hurt. TAAS places her hand on PAHAR's. TAAS Everything's going to be fine. PAHAR forces on a smile. TAAS Are you excited about tonight? PAHAR A little. TAAS It's quite an honor being elected. PAHAR How did you know? You don't even like these things. TAAS Word goes around fast. PAHAR Will you be coming? TAAS (smiling hesitantly) Sure. PAHAR Really?

63. TAAS Yeah, sure. It might be fun. PAHAR I'll just do my speech and say hi to a few people and then we can leave if you want to. TAAS Wonderful. WAITER brings two plates of food. INT. CONFERENCE ROOM COMISSIONER sits at the head of a table with four OFFICERS on each side. COMISSIONER reads a small stack of paper, scoffing and occasionally grumbling disapprovingly. COMMISSIONER Did this have anything to do with it? OFFICER 1 We think that pamphlet caused all of it. OFFICER 2 We all know that the policemen that night, specifically the short one-what's his name-OFFICE 3, 4 AND 5 (simultaneously) Kabir. OFFICER 2 Right. Officer Kabir had many harassment cases filed against him, all having to do with that stand-OFFICER 1 Anything even close to being killed my a mob? COMMISSIONER So, this pamphlet is the cause?

64. OFFICER 1 Yes, sir. OFFICER 2 Sir, it's a symptom. This pamphlet wouldn't mean anything if those policemen hadn't misbehaved. OFFICER 1 Look at this--college boy preaching ethics to us. OFFICER 2 What's that supposed to mean? OFFICER 1 Exactly what I said. COMMISSIONER You two calm down. I haven't seen a thing like that before last night. Hartaals, I can handle--but this? I don't want a repeat of this tonight. Haider (i.e. Officer 1) you're in charge of this one. HAIDER Thank you, sir. MUSHARRAF (i.e. OFFICER 2) stands up in outrage. MUSHARRAF Sir! You know that he will use excessive force. HAIDER (stands up) And you think you can handle it? All officers in the room stand up to prevent any violence. COMMISSIONER Sit down! All of you! Does this look like a playground? All take their seats. COMMISSIONER

65. Haider, use riot gear and take as many men as necessary. MUSHARRAF But, sir! COMMISSIONER Shut it, Musharraf! Don't you dare interrupt me! Tonight is no time for your tactics. Haider has used a strong arm before and showed himself to be good at it. He's in charge of this one and since you can't respect him, you're not a part of tonight's effort. MUSHARRAF gets up in anger and leaves the room. COMMISSIONER (leans over to HAIDER) Keep an eye on the slums. HAIDER nods approvingly. WIDE SHOT: EXT. KORAIL. NIGHT EXT. SLUM ALLEY. NIGHT Police in heavy boots walk through the slums. INT. TIN SHACK. NIGHT KORAILIS drinking tea are surprised by a group of five POLICE barging in. POLICE 1 Stand up, every one of you! POLICE 2 You too, old man! KORAILIS stand up and are pushed by the POLICE to a side wall. POLICE 1 Pamphlets! Do any of you have one? No one responds.

66. POLICE 1 I know you have them! EXT.PEANUT STAND.NIGHT Two POLICE walk up to MASUD at his peanut stand. POLICE 1 What're you doing out this late, boss? MASUD Is that a trick question? POLICE 2 What? MASUD I'm selling peanuts. POLICE 1 Can't anymore. There's a curfew. MASUD What'll happen when a man comes around here wanting some peanuts? POLICE 2 How many people even eat peanuts this late at night? MASUD How's that any of your business? POLICE 2 Give me a hundred. MASUD Why? POLICE 1 He said, "Give him a hundred." MASUD And then I asked, "Why?" POLICE 1

67. Do you see anyone around here who can help you? MASUD I'm an old man. God helps me. POLICE 1 Either pay or get off this road. EXT.SMALL STREET.NIGHT MASUD pushes his cart with much effort down the road. MASUD (grumbling) Damn bunny-babies. I don't even want to be out tonight anyhow. All these pigs stinking up the place... CUT TO: MASUD getting exhausted pushing the cart. CUT TO: MASUD sitting by his cart on the road, exhausted. A rickshaw comes to a stop near MASUD. CUT TO: MASUD and RWALA both pushing the cart. EXT. KORAIL SHACK. NIGHT POLICEMEN thump on a shack door. POLICE 1 Open up! Open this door or I'll knock your whole damn shack down, you rats! INT. FAMILY SHACK. NIGHT A FATHER stands holding his SON at one side and the hand of his WIFE at the other as POLICEMEN turns his shack upside down, flinging things all over the place. EXT. CLUB. NIGHT PAHAR stands outside the club, waiting for TAAS. JOKER runs by. PAHAR (calls out to JOKER)

68. Hey! JOKER comes to a stop and looks back at PAHAR JOKER Sir? PAHAR I've always wanted to meet you! You're a legend around here! JOKER (hesitant) Thank you. PAHAR Hey! You know what'd be great? Come on up! Say hi to my friends! They'd love to meet you. JOKER No, thank you. PAHAR Oh. Why not? JOKER I don't belong up there. JOKER returns to his run, leaving PAHAR standing at the entrance bewildered. PAHAR's phone rings and he answers. PAHAR (on the phone) Hey, Taas, where are you? TAAS (heard over the phone) I got caught up with work. PAHAR Oh. TAAS I'll be there in an hour. I'm really sorry. PAHAR

69. Oh. Hey, it's no problem. I guess I'll give my speech then. TAAS I'm really sorry. PAHAR It's no problem. I'll see you soon. Bye. TAAS Bye. PAHAR hangs up. EXT. RESTAURANT ENTRANCE. NIGHT TAAS closes her phone, standing at the entrance of the Cathay, wearing a gorgeous dress. EXT. ALLEY. NIGHT POLICE harass a group of YOUNG MEN, confiscating pamphlets from some of them. INT. CLUB PAHAR walks in to the CROWD's raucous applause. The lighting is a deep blue and everyone is wearing white. CUT TO: MALIK stands atop a table. MALIK (shouts) Ladies and Gentlemen: Cicero Night has begun! CROWD cheers wildly. INT. RESTAURANT TAAS walks up to TUSHAR sitting in a booth. TUSHAR You shouldn't have come here. TAAS I wanted to talk to you.

70. TUSHAR doesn't respond. INT. CLUB MALIK and PAHAR stand on a table in side the raucous club. MALIK (shouting over crowd) Now, you all know how this works. Our guest of honor receives his salute and gives us speech. Pahar? Are you ready? PAHAR wears a wide smile and steps forward. INT. RESTAURANT TAAS sits across from TUSHAR in his booth. TUSHAR I shouldn't have come back. TAAS Don't say that. TUSHAR I shouldn't have left. TAAS That--I wish you didn't. EXT. ALLEY. NIGHT A YOUNG MAN pulls a gun on TWO POLICEMEN. Other MEN take those POLICEMEN's rifles. INT. RESTAURANT TUSHAR and TAAS at the booth. TUSHAR He's a good man. TAAS I know. TUSHAR Smiles a lot.

71. TAAS I know. INT. CLUB Raucous CROWD at the club raise their fists to the air. CROWD (in unison) Ave Caesar! Morituri te salutant! CUT TO: PAHAR on the table. Begins speech. PAHAR Friends! Romans! Countrymen! INT. RESTAURANT TUSHAR and TAAS at booth. TAAS You can tell me anything. TUSHAR I don't have anything to say. TAAS Please. Just say something. INT. CLUB PAHAR I come to bury Caesar, not to praise him! INT. RESTAURANT TUSHAR People will die tonight because of me. TAAS What? EXT.KORAIL ALLEY.NIGHT JOKER lightly jogs in the area.

72. INT. RESTAURANT TUSHAR I didn't mean for anyone to get hurt. TUSHAR goes to the verge of tears. INT. CLUB PAHAR When the poor cried, Caesar hath wept! INT. RESTAURANT TAAS and TUSHAR move their hands closer on the table. INT. CLUB PAHAR O judgment! thou art fled to brutish beasts, and men have lost their reason. Bear with me; my heart is in the coffin there with Caesar, and I must pause till it come back to me. EXT.KORAIL ALLEY.NIGHT JOKER runs in an empty road. Occasional shouting can be heard around him. JOKER takes a sharp turn and then another. He stops, wondering where all the people are. INT. CAR. NIGHT HAIDER and DRIVER are going around in their car. HAIDER receives chatter on his walkie. POLICE 1 (via walkie) Second quadrant refusing to cooperate. Requesting additional backup. POLICE 2

73. (via walkie) Quadrant 1 is bogged down. Cannot assist. Korailis not cooperating. Over two hundred pamphlets recovered, all by force. OFFICER 3 Sorry, Quadrant 2, Quadrant four is facing heavy resistance. Wish we could help. Locals are highly agitated. HAIDER turns his walkie off. HAIDER These undisciplined rats. Their asking to be squashed. HAIDER talks through his walkie. HAIDER Ishtiaq? ISHTIAQ (via walkie) Sir? HAIDER Launch the turtles. EXT.KORAIL ALLEY.NIGHT JOKER takes a sharp turn and then another. He stops and his eyes widen. A POLICE SQUAD with shields slowly moves down the alleyway. JOKER turns around and sprints a hudred yards and hides against a shack's tin walls, breathing heavily. CUT TO: POLICE SQUAD slowly marching down the alley. INT. SHACK WOMAN holds a large knife and stands to the side of the doorway as POLICE SQUAD marches by. EXT. SHACK WALL. NIGHT JOKER stays flat against the wall. THREE MEN, holding various weapons, walk by infront of him. One of the men

74. makes a "Shhh" gesture at the petrified JOKER. INT. CAR. NIGHT HAIDER listens to the walkie. POLICE 1 (via walkie) The turtle is making its way down. Asking permission to spread out. HAIDER Not yet. Let the rats get scared. POLICE 1 (via walkie) Yes, sir. INT. SHACK MAN grips a weapon, staying out of sight as POLICE SQUAD walks by. INT. SHACK MAN and WOMEN grip their weapon, waiting for the squad to pass. INT. CAR. NIGHT HAIDER listens to his walkie. POLICE 1 (via walkie) Sir. Something isn't right here. I think they're hiding. HAIDER That's what we want them to do, you idiot. POLICE 1 (via walkie) No, sir. They've--they seem to have organized. Sir, I--I request that we be allowed to withdraw back to safety. There is something wro-CHRIST! (Gunfire.) CHRIST!

75. Walkie cuts off. HAIDER (frantic) Officer! Respond! What is the situation? Officer! Officer? EXT.KORAIL ALLEY.NIGHT CLOSE UP: JOKER horrified. Tears well up in his eyes. Ferocious sounds in the background. JOKER backs off slowly, then runs at full sprint. INT. CAR. NIGHT HAIDER is disheartened. HAIDER (to DRIVER) Babu. This is going to be a long night. INT. CLUB Music blares and the CROWD dances. PAHAR gets congratulated. NESSA finds her way through the CROWD to PAHAR. PAHAR holds her hand and NESSA talks while they dance. NESSA Where is Tushar? PAHAR (unable to hear over music) What? NESSA (louder) Where is Tushar? PAHAR leads her out to the lobby. PAHAR Wow, it's loud in there! What were you asking me? NESSA Aren't you friends with Tushar?

76. PAHAR I think so. You can never tell with him. NESSA Do you know where he is? PAHAR He's probably at a place called the Cathay over on Road 5. NESSA Thank you. You're a wonderful dancer, by the way. PAHAR Oh, that? That wasn't even dancing. NESSA smiles and walks away. PAHAR returns to the back room. INT. HEADQUARTERS HAIDER stands infront of a group of FIVE COMMANDERS. HAIDER Gentlemen. You all knew as well as I did, this day was coming. It's war. There will be no compromise. All agitators will be either arrested or put down. Call up every single man in reserve. You have full authority to fight the aggressors. INT. RESTAURANT NESSA walks into the lobby and is greeted by the HEADWAITER. HEADWAITER Welcome to the Cathay, madame! In the background, NESSA can see TUSHAR and TAAS. They, too, notice her. TAAS gets up and quickly leaves, walking past NESSA. NESSA wears a grin on her face and looks back at TUSHAR, who is sulking in his booth.

77. NESSA walks over to the booth but TUSHAR doesn't react. NESSA (playfully) Well. What was that about? TUSHAR doesn't answer. NESSA That was Pahar's friend, wasn't it? NESSA takes a seat. TUSHAR still unresponsive. NESSA Let me guess: an old love, really powerful. You both are intelligent--quiet. She's incredibly beautiful. I'm sure it's very difficult. TOMAL comes by with a menu. TOMAL Can I get you anything to drink, madame? NESSA No, thank you. In fact, I'll order right now if that's alright. A bowl of thai soup. I hear it's wonderful here. TOMAL It is. NESSA Say, what's your name? TUSHAR looks up at her. TOMAL Tomal, madame. NESSA Ah, Tomal. That's wonderful, I hate calling someone "waiter" as if all they are is their job.

78. TOMAL I'll have the soup out for you in a minute, madame. (to TUSHAR) And, sir, may I have your napkin. TUSHAR lifts his elbow and lets TOMAL take his napkin. TOMAL heads back to the kitchen. NESSA Why'd he take your napkin? INT. PRINTING SHOP. NIGHT TWO OFFICERS beat the PHOTOCOPYIST. OFFICER 1 Who brought it to you? (punches COPYIST) Answer me! INT. RESTAURANT COMMISSIONER sits at his table when his phone rings. He picks up. INT. PRINTING SHOP. NIGHT OFFICER 1 is on the phone. OFFICER 1 Sir! We have news. INT. RESTAURANT COMMISSIONER listens on the phone. OFFICER 1 (via phone) A waiter at a restaurant. Goes by the name of "Tomal." Works at a place called the Cathay. COMMISSIONER Thank you. COMMISSIONER hangs up the phone. He gets up slowly and walks over to HEADWAITER. He whispers something in HEADWAITER's ear and HEADWAITER points at TOMAL who is bringing in the soup for NESSA.

79. As TOMAL places the bowl on the table, TUSHAR sees COMMISSIONER walking up from behind him. COMMISSIONER slowly pulls out a pistol. TUSHAR lunges at the COMMISSIONER though he pulls the trigger in time to shoot TOMAL through the head. TOMAL collapses on the table while NESSA screams. TUSHAR punches COMMISSIONER in the face, comes back to NESSA, grabs her arm and the two run through the back room. INT. RESTAURANT KITCHEN WAITERS gesture at NESSA and TUSHAR to escape through the back door. TUSHAR leads NESSA as both sprint out to the street. EXT. ALLEY. NIGHT TUSHAR and NESSA sprint down the alley. Shouts are heard in the direction of the Cathay, followed by gunshots. TUSHAR and NESSA both look terrified. INT. CLUB PAHAR sits with a few FRIENDS as TAAS enters the club. Music is thumping in the background though the lobby itself is sparse. PAHAR Taas! You look wonderful. I'm so glad you could make it. TAAS (forces a smile) Absolutely. PAHAR's phone rings. PAHAR One second, darling. (answers phone) Hello? INT. CAR IN GARAGE ROBIN sits in his car, talking on the phone. ROBIN Sir.

80. INT. CLUB PAHAR Yeah, Robin, what is it? INT. CAR IN GARAGE ROBIN Sir, I got a call from my brother in Korail. Things are getting out of hand. Apparently people have been killed. INT. CLUB PAHAR What? ROBIN (via phone) Killed sir. I'm ready to bring the car to you any moment. PAHAR looks at TAAS. PAHAR Yes, bring the car. I'm at the lounge. ROBIN (via phone) I'll be there in four minutes. PAHAR hangs up, with a quizzical look on his face. EXT. DARK ALLEY. NIGHT TWO POLICEMEN chase TWO CIVILIANS. OFFICER 1 Come back here! Stop! TWO POLICEMEN shoot their guns. EXT. SMALL STREET. NIGHT TUSHAR and NESSA stand close to a wall. A rickshaw, driven by RWALA, holds MASUD in the back seat holding a sack.

81. MASUD (advertising) Peanuts! Peanuts! Crispy, crunchy, your only friend. RWALA Masud! Looks like we might have some customers. Rickshaw stops infront of TUSHAR and NESSA. MASUD I apologize for not having a stand, folks. Damn thing was too heavy. RWALA Too damn heavy. MASUD But I assure you I am an excellent badaamwala and that these are some of the finest peanuts around--Oh hey! I know you. Five hundred takas! Here, have a bag. MASUD tosses a bag of peanuts to TUSHAR. RWALA drives off. MASUD (fading) Peanuts! Get your peanuts! Your one and only friend. TUSHAR and NESSA are left dumbfounded by the encounter. EXT. APT BUILDING GATE. NIGHT TUSHAR walks NESSA to her door. TUSHAR offers her the bag of peanuts. NESSA is visibly angry and ignores the gesture. She stares at him for a moment before turning around and going in. TUSHAR (after she leaves) Be safe. INT. CAR. NIGHT

82. ROBIN drives, PAHAR and TAAS are in the back seat. PAHAR talks on the phone. PAHAR (on phone) Thirty-two officers?! Jesus Christ. EXT. APT BUILDING GATE. NIGHT Car, with ROBIN as driver, pulls up. Back doors open. PAHAR walks TAAS to her gate. PAHAR I'm sorry we couldn't spend more time together. TAAS It's okay. I'm having kind of a weird night anyways. PAHAR Ah. I'll call you tomorrow. TAAS Do that. TAAS goes in. PAHAR stands for a moment, then gets in the car. INT. GARAGE Car parks. ROBIN and PAHAR get out. PAHAR Take the night off, Robin. ROBIN Okay, sir. PAHAR Promise you'll be safe. ROBIN Promise, sir. ROBIN leaves through the gate. DARWAN stops PAHAR. DARWAN

83. There's a guest for you, sir. He's waiting on the roof. EXT. ROOFTOP. NIGHT TUSHAR stands as PAHAR walks in. PAHAR Hey. I didn't know we were hanging out tonight. TUSHAR We weren't. I'm in trouble. PAHAR Seems like the whole town's in trouble. TUSHAR That's what I'm in trouble for. CUT TO: PAHAR reading from a pamphlet. PAHAR (looks up in anger) Is this what caused it? TUSHAR nods slowly. PAHAR Fucking Che Guevara. EXT. ALLEY. NIGHT POLICMEN and AGITATORS shoot at each other, taking cover behind dumpsters. EXT. TIN SHACK.NIGHT Handcuffed KORAILIS sit against a tin wall, bloodied and bruised. EXT. ROOFTOP. NIGHT PAHAR People are dying tonight. TUSHAR

84. I know. PAHAR What the hell were you thinking? TUSHAR doesn't respond. PAHAR Christ. You should've had more fun as a kid or something! Danced a little more. Gotten a goddamn dog! Anything! TUSHAR A dog. I should've gotten a dog. PAHAR (leaving) You can stay the night. I don't want anything to do with all this. INT. BEDROOM. NIGHT TUSHAR lies in the guest bed wide awake. After a moment, he sits up straight. INT. DOORWAY TO APT. NIGHT TUSHAR slowly closes the apartment door behind him. EXT. LARGE STREET. NIGHT. TUSHAR walks down the road leisurely. At the far end he hears someone speaking loudly. TUSHAR is intrigued. He walks closer. EXT. PLAZA. NIGHT In the plaza infront of a market, a massive CROWD of lowerclass workers has gathered. TUSHAR first watches from a distance and then decides to walk closer. Some in the CROWD wave at TUSHAR to come closer. TUSHAR joins in on the crowd and takes a seat. A PREACHER yells indistinctly, waving the pamphlet. His preaching isn't clearly audible but the crowd responds with cheering whenever he raises his fists in the air.

85. HAIDER arrives with two police trucks and jumps out. HAIDER (over loudspeaker) Disperse immediately. This is an illegal gathering. You have been warned. Disperse immediately. PREACHER (shouts) We are peacefully demonstrating. You cannot evict us. This is our right. HAIDER wordlessly reenters his van and the two police vans drive off. CROWD cheers at the apparent victory. INT. CLUB WINDOW. NIGHT CROWD dances in club. From inside the club a huge armada of police vehicles can be seen marching. The music is too loud for any of the clubgoers to notice. EXT. PLAZA. NIGHT PREACHER stops preaching as four police trucks pull up outside the gate. Without a word, POLICEMEN surround the plaza. HAIDER gets out of his car. HAIDER (over loudspeaker) Disperse immediately. CUT TO: Members of the CROWD gripping each other's hands. HAIDER Troops! Move in! POLICE begin to slowly approach CROWD. CROWD refuses to break and some members are snatched by groups of POLICE and subdued. The tension increases and CROWD begins to fight with POLICE. In chaos, TUSHAR sees a SQUAD OF SEVEN heading off calmly towards a corner. TAHMID, leading THE SEVEN, waves at TUSHAR to come join them. TUSHAR hurries over to them, escaping the chaos.

86. EXT. PLAZA CORNER. NIGHT THE SEVEN and TUSHAR stand in a small circle. TAHMID Gentlemen. In approxiamately two hours they will begin using heavy weaponry. (shouting in the chaos behind them) If you think this is aggression, you are in for quite a nasty surprise. SEVEN A What're you planning to do? A POLICEMAN charges at the group in the corner. TAHMID gives him a swift kick to the face, and takes the POLICEMAN's gun and shows it to THE SEVEN and TUSHAR. TAHMID Do any of you gentlemen have a problem using one of these? INT. MALL. DAY It is morning. THE SEVEN and TUSHAR navigate through the halls in the mall, occasionally shooting a few rounds. INT. PRINTING SHOP THE SEVEN and TUSHAR hide in the small shop. TAHMID The good thing is that the bastards are chasing us now and leaving the rest of the people alone. The bad thing is that the bastards are chasing us now and leaving the rest of the people alone. SEVEN B We need some place to hide. TAHMID Some place close. Any ideas? TUSHAR thinks about it.

87. EXT.SMALL STREET.DAY PAHAR runs from shuttered store to shuttered store on a deserted road. PAHAR Anyone in there? I'm here to help! Do you need food or medicine? No response. He goes to another store. PAHAR Anyone in there? I'm here to help! Do you need food or medicine? No response. PAHAR waits for a moment and begins to walk away. CLERK (from inside the store) Medicine! PAHAR (hurrying back) What kind? CLERK The kind that cures knife wounds. PAHAR I'll be right back! PAHAR begins to run off but comes back. PAHAR How deep is the wound? CLERK What? PAHAR Is it a flesh wound, or is it deep? CLERK I didn't know blood could be this black. PAHAR runs off to a pharmacy nearby, also shuttered.

88. PAHAR (slams on the shutters) Hello? I need medicine. Please. There's someone with a knife wound at a store down the road. Please! Some antiseptic or bandaging? No response. PAHAR begins to walk off. Just then the shutter rises slightly with a BROWN ARM outstretched, holding a small paper bag. PAHAR (hurrying back) Thank you! God bless you. PAHAR begins to run off. BROWN ARM (from inside) Hey! PAHAR looks back to see the BROWN ARM waiting for payment. PAHAR puts money in his hand and turns around. Three GOONS face PAHAR with angry faces. PAHAR Shit. GOON 1 hits PAHAR in the head with a pipe. PAHAR blacks out. EXT. BACK DOOR. DAY TAHMID tries to open the door. TAHMID Damn thing's locked. SEVEN D starts climbing up to the upper level window. TAHMID (to TUSHAR) You sure this place is worth the effort? TUSHAR They won't search here for weeks.

89. TAHMID Let's hope we won't have to wait that long. SEVEN D opens the door from the inside. TAHMID leads the rest in. EXT. LARGE STREET. DAY PAHAR wakes to the sweltering sun. He struggles to get up. In the distance, yells and synchronized footsteps tell of a police march. PAHAR gives up on trying to get up. Something tugs strongly at his collar. It's the JOKER and he tries to pick PAHAR up on his shoulders. PAHAR resists. PAHAR What're you doing? The police are coming, they'll send me to hospital. JOKER (unrelenting) Not today, boss. Trust me. They aren't taking any prisoners. INT. CLUB WINDOW. DAY The SEVEN and TUSHAR wait by the window. TAHMID Gentlemen, we might just make it out alive in this one. If the mob's smart--if the mob was smart than they wouldn't have formed a mob-anyways if they're not complete idiots they'll have dispersed by now. We'll have to wait it out and leave when civilians are back on the street. EXT. BACK DOOR. DAY ENDER, a police officer, is patrolling the alley. ENDER (talking to himself playfully)

90. That's an awful lot of footsteps. Oh! And that window's open! INT. LOBBY. DAY SEVEN and TUSHAR hear the conversation out back in horror. ENDER (from outside) Tarique! You fat bastard. Bring a few guys. I think we have some rats in this cupboard. EXT. BACK DOOR. DAY TARIQUE and FOUR POLICE come and meet ENDER infront of the door and check their guns. INT. LOBBY. DAY TAHMID Well, gentlemen, I don't have to tell you that this is not going to end well. Tushar, is there a way out. TUSHAR thinks for moment. TUSHAR There's a route to the roof. TAHMID Excellent. You gentlemen take that route. It's been an honor fighting with you. Before anyone can stop him, TAHMID stomps off to the back room and begins to fire. TAHMID (heard from the back room) Come on you bastards! (shoots) Here's your rat! EXT. ROOFTOP. DAY THE SEVEN disperse quickly. Shootout continues down below. TUSHAR doesn't know what to do. After THE SEVEN climb down

91. from the roof, gunfire is heard, causing TUSHAR even more distress. TUSHAR picks a corner of the roof and sits there, his gun drawn. INT. RESTAURANT KITCHEN PAHAR sits across from MASUD and RWALA in a darkened kitchen. MASUD So. Is there a girl in your life? PAHAR Why, yes--yes I do. MASUD (smiling) Oh. That's nice. MASUD and RWALA continue to smile at PAHAR. PAHAR feels uncomfortable. PAHAR Do you want me to tell you about her? MASUD Ah, well-RWALA I don't really-MASUD (to RWALA) No? RWALA No. MASUD No. PAHAR Oh. MASUD Unless you want to talk about her, in which case we're all ears.

92. PAHAR She's wonderful. MASUD Oh! That's nice. MASUD and RWALA revert to smiling wide, much to the discomfort of PAHAR. JOKER enters, carrying TOM on one shoulder. MASUD Oh, thank God! This conversation was getting a bit boring. No offense, son. PAHAR None taken. JOKER He's got a cut on the left shoulder. After we clean it out, we have to get going. It's getting less and less safe out there. EXT. ROOFTOP. DAY TUSHAR sits in the same corner, anxiously looking at the door up to the roof. Gunfire is heard in the alleyways down below. EXT. ALLEY. DAY JOKER, MASUD, RWALA, TOM, and PAHAR hide in a nook. RWALA (to JOKER) What's the matter? JOKER Which way should we go? MASUD Baridhara! It's just on the other side of the bridge. JOKER I have a bad feeling about it.

93. PAHAR Banani. It's residential. Might've been spared. MASUD Boy's got a point. EXT. ALLEY. DAY JOKER and the rest run cautiously through the alleys. EXT. ROOFTOP. DAY TUSHAR sits holding his pistol. He hears a rumble on the street down below. WIDE: EXT. GULSHAN AVE. DAY TANKS emerge from the far end of the second roundabout. TANKS march in file down the road. EXT. ALLEY OUT TO GULSHAN AVE. DAY JOKER and the rest come to the the Avenue and stop immediately. The tanks are rolling down the street. TOM Shit. RWALA Well, let's go! They're not going to shoot from that far off. JOKER hesitates and then leads the rest out on a sprint across the road. All but the JOKER make it to the other side. The JOKER stands in the middle of the road, looking at the far end. CUT TO: THREE BOYS throwing pebbles at the tank. One wears JOKER's neon armband. CUT TO: JOKER standing in the middle of the road. PAHAR at the other end waves at him to come over. JOKER shakes his head no and sprints towards the THREE BOYS and fast approaching TANKS. PAHAR and the rest are stunned. Slowly they continue on their track to Banani. EXT. ROOFTOP. DAY

94. TUSHAR sits in his corner, loosely gripping his pistol, hearing the rumbling of tanks on the road below and occasional spurts of gunfire. EXT. ROOFTOP. DUSK TUSHAR still sits in his corner. He hears vividly the shouting of the mob, the occasional firing of the tanks, the screams of agony among the wounded, the futile pleas for peace. Eventually, he tosses his pistol away, resigning himself to whatever is to come. EXT. APT BUILDING GATE. NIGHT PAHAR, TOM, RWALA and MASUD arrive at PAHAR's gate. PAHAR gestures for them all to come up. INT. LIVING ROOM. NIGHT PAHAR fixes a bandage around RWALA's ankle. RWALA (pain in his voice) Looks like I might have to find a new line of work. INT. KITCHEN MASUD teaches TOM how to cook a meal. MASUD (in English, pointing to a tomato) Cut! You cut. TOM (in Bangla) Alright. MASUD (in Bangla) Well, I'll be... INT. BEDROOM. NIGHT PAHAR sits on his bed and pulls his phone out. He calls TAAS.

95. PAHAR Hey. TAAS Hey. PAHAR Are you safe? TAAS Yes, I'm fine. Why, is everything alright in Gulshan? PAHAR Umm--yea. Yea, everything's fine. I think there might be a hartaal or something. TAAS Oh. Listen, I'm really sorry I didn't come earlier last night. PAHAR Don't worry about it. TAAS When the city's a bit calmer, do you want to go get some ice cream? PAHAR I'd like that. TAAS I love you. PAHAR I love you too. PAHAR ends the call. INT. LOBBY. DAY TUSHAR descends from the roof. EXT. CLUB. DAY TUSHAR walks out of the club, walking among debris.

96. WIDE: EXT. KORAIL. DAY Korail flattened. INT. APT. LIVING ROOM. DAY TUSHAR walks in to empty apartment. INT. BEDROOM. DAY TUSHAR falls into his bed and stares at the ceiling. INT. LIVING ROOM. DAY ROBIN walks in to find TOM, MASUD and RWALA sitting at the couch reading newspapers and eating fruits. ROBIN, though stunned, nods at them and goes about his business. INT. BEDROOM. SUNSET TUSHAR still lies in bed. FLASHBACK: INT. SCHOOL HALLWAY YOUNG TUSHAR peeks around a corner then sprints. EXT. BUSY STREET. DAY YOUNG TUSHAR walks amongst a huge crowd. EXT. SLUM. DAY YOUNG TUSHAR finds himself in the middle of a slum. He notices the peculiarities. He sees some parts of slum life that almost bring him to tears. INT. BEDROOM. SUNSET YOUNG TUSHAR, still in school uniform, lies in bed. INT. BEDROOM. SUNSET TUSHAR lies in bed in his suit. After a moment, he sits up. EXT. FLOWER SHOP. NIGHT TUSHAR picks out a flower. He pays the FLORIST. EXT. SMALL STREET. NIGHT

97. TUSHAR hails a CNG. INT. CNG. NIGHT TUSHAR lights his pipe. EXT. CHECKPOINT. NIGHT ENDER and TWO OFFICERS are at the checkpoint. ENDER Sorry to bother you folks! But I'm going to need some ID. TUSHAR wordlessly hands him his ID. ENDER checks and returns it. ENDER You're free to go. As the CNG is pulling away, ENDER recalls TUSHAR's face. ENDER and his TWO OFFICERS step out of the checkpoint and fire their rifles at the CNG. The CNG comes to a slow, sputtering stop. EXT. APT BUILDING GATE. DAY PAHAR sits on a box, tuning a guitar as TAAS steps out. PAHAR Wait! Wait! I've almost got it. PAHAR finishes his tuning. PAHAR Okay. Take a seat. TAAS sits on the box infront of PAHAR. PAHAR begins his song. Song plays until end of film. INT. HOSPITAL ROOM. DAY MRS. BAKR holds ABU BAKR's hand as he lies in a hospital bed. ABU BAKR wakes up and MRS. BAKR is overjoyed. INT. COACH BUS. DAY ABU BAKR sits next to MRS. BAKR on the moving bus.

98. INT. COTTAGE. DAY MRS. BAKR and ABU BAKR walk into the cottage which seems quite old and unused. CUT TO: MRS BAKR and ABU BAKR working to clean the place up. EXT. BEACH. DAY Holding hands with their BOY and GIRL, ABU BAKR and MRS BAKR walk onto the Cox's Bazaar beach. CUT TO: ABU BAKR and MRS BAKR smile at each other as they sit on longchairs watching their children play. EXT. APT BUILDING GATE. DAY Song ends. FIN

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