Dark Matter

by Rachit Agarwal

Based on a Story by Harshvardhan

Previous drafts by Rachit Agarwal, Harshvardhan

1

INT. BEDROOM - NIGHT It’s one of those bachelor pad bedrooms. Messy, unordered, with just the master of the house knowing where things are. The walls are all adorned with POSTERS. Classic movies. Rock bands. All with people on them, no cars or bikes for the master. And the largest, J.M. Flagg’s celebrated UNCLE SAM POSTER. It’s hanging right next to the only WINDOW in the room, which opens onto the busy street outside. Right now, gentle streetlight is pouring in through it. In the middle of the room, against the wall perpendicular to the window, is a DOUBLE BED. Why double bed for a bachelor? Well...for moments like these. What moments? Ah...on the bed are two forms. We can vaguely make out that it’s a man and a woman. Both naked, of course, save for the BED SHEETS protecting their modesty. Must be around 20 years, but age can be deceptive these days, you know? The man, JAI ARORA is his name, is riding the woman or KAVISHA ANAND, with amazing familiarity. And, KAVISHA seems to be enjoying it, as evidenced by the way she moans and lovingly calls out his name time and again, egging him on. You might think of me as a pervert, but there’s something rather pleasant and soothing watching a young couple go at it like this. The grace with which these young lovers are, well, making love, makes one wonder why a filthy term like “man’s carnal pleasure” has been used to describe sex. And then, KAVISHA lets out one joyous shriek and you know they’re about done. CUT TO:

2 3

TITLES. INT. BEDROOM - CONTINUOUS A. MCU of KAVISHA and JAI (SIDE PROFILE) JAI leans down a bit and lightly pecks KAVISHA on her forehead. And then, as an afterthought, goes for her lips. Only, KAVISHA, being the tease she is, will have nothing of it. Oh well, no tease goes on forever, and KAVISHA finally relents. (CONTINUED)

2.

JAI opens his mouth to say something, but then stops. He thinks a little, and thenJAI (with hesitation) Was I good, Kavisha? KAVISHA clutches at his HAIR, pulls him towards her and tongues him voraciously. KAVISHA (playfully) Does that answer you, Tiger? JAI gives a somewhat eerie grin. JAI It might. Got a real answer, though? KAVISHA (mock sternness) Is this a ploy to get laid again, Master Arora? JAI doesn’t answer. KAVISHA (CONT’D) (slutty) ...‘coz I would gladly oblige anyway, as you so deliciously know... JAI licks her entire face, crazily. And between licksJAI Answer me, Kavisha...was I...good? Out on the street, a siren can just about be heard. KAVISHA (joking, for all the world to see) You know, Dev was rougher, of course. And she smiles playfully. B. POV of KAVISHA JAI sits up, shocked. He then gets up and goes to the WINDOW, disgusted.

(CONTINUED)

3.

KAVISHA (CONT’D) (offhand) Since you’re up anyway, mind getting me a light, Tiger? C. POV of KAVISHA JAI gives her a disgusted, angry look. And the cop car passes the window at this moment, bathing the room in RED for a fraction of a second. JAI turns his back to KAVISHA, taking a moment to contemplate. Then he storms into the KITCHEN, a rabid urgency in his step. D. POV of BEDPOST KAVISHA, alarmed at this rather “shocking” turn of events also sits up, covering herself with the BED SHEETS as she does so. KAVISHA (CONT’D) (calling out after JAI) Come on mister, quit being so serious! I’m just kidding! Now you coming back, or do I have to wiggle my tits again? JAI enters the bedroom, the same determined man, holding a length of TWINE in his hand. E. MS of KAVISHA JAI leaps onto KAVISHA rather brusquely, covering her mouth with one hand and pushing her down with the other. The camera also FALLS ON ITS SIDE, tracing JAI’s movement. F. CU of KAVISHA’S HANDS In one swift motion, he ties her hands to the BEDPOST very tightly. G. ECU of KAVISHA’s WRISTS A red tinge comes onto her wrists. H. MCU of JAI’s HANDS JAI violently rips one of the sheets and gags KAVISHA.

(CONTINUED)

4.

I. MCU of KAVISHA’s FACE Under the gag, we can just about make out a hint of a smile. We can hear her struggle to free her hands, but she’s still smiling too. We see a shadow appear on her face as JAI lowers himself onto her and under the BED SHEETS. Then a slight grimace as he begins. The bed starts shaking, slowly first, then more violently, as JAI goes about his business. J. POV of BEDPOST (FISH EYE) JAI is facing the camera, his face red with effort, an animalistic anger on it. He’s pounding her really hard now. KAVISHA is struggling more violently against her bonds. The bed is making louder creeks. KAVISHA lets out a little yelp. JAI roughly places on of his hands on her mouth to shut her up. And then KAVISHA starts gasping for air. But to JAI, it sounds almost like an orgasm. And he goes harder. KAVISHA is tugging very, very hard against her bonds. K. MS of LOWER HALF OF THEIR BODIES We can just about make out KAVISHA trying to fight JAI off under the covers. We also hear her tugging against the ropes, and her desperate attempts at catching her breath. L. POV of BEDPOST (FISH EYE) There’s a little writhing, and thenAll is calm. JAI still thrusts. ButAll is calm. With all his might now. ButAll is calm.
(CONTINUED)

5.

JAI slows his pace down, suddenly aware that KAVISHA isn’t responding. And he stops. He looks down at her, a little worried. He sits up a bit and slaps her on the face. ButAll is calm. JAI (concern) Kavisha? No answer. He sees the red wrists. He sees the dilated pupils. He slaps her more violently now. JAI (CONT’D) (frantic) KAVISHA? No answer. M. HANDHELD, behind JAI JAI stumbles back in shock. His hands are shaking. He gets off the bed, almost buckling under his guilt. A solitary tear drops down. He starts crying. JAI (CONT’D) Fuck! Fuck! FUCK! He leaps onto her again. Presses his lips against her, trying to resuscitate her. Presses down on her chest, then blows into her mouth, then chest, then mouth. N. ECU of KAVISHA’S EYE The PUPIL is dilated. We can hear JAI still trying desperately trying to resuscitate her. O. MS of JAI JAI’s got his back to the camera. Presses again. Blows again. And(CONTINUED)

6.

In one fluid motion, KAVISHA sits up, while gulping a huge amount of air. SMASH CUT: 4 INT. LIVING ROOM - LATER THAT SAME NIGHT A. ECU of JAI’s RIGHT EYE JAI jerks opne his eye. Red. Fearful. Continuously blinking, and shifting from one spot to the other, as if searching for something. We can hear JAI breathing very heavily, and in the distance, the random cars passing by out on the street. B. POV of JAI In front of him, a LEATHER COUCH facing a TELEVISION which is placed against the wall on his right. A SIDE TABLE with a LAMP and a TELEPHONE placed next to the COUCH. Behind the couch is a WOOD PARTITION separating the living room from the bed room. JAI’s breathing starts settling down into a normal pace. C. MCU of JAI JAI’s left shoulder is leaning against a BAR CABINET. His back is against a wall. He’s crouched in the corner. There’s the MAIN DOOR to his right. JAI is looking a little dazed, trying to calm himself down. He’s almost like a caged animal, sitting in that corner. His breathing is more deliberate now. He gets up a little and peeks over the BAR and into the BEDROOM. D. POV of JAI We see a form lying on the BED. It’s KAVISHA. She’s lying absolutely still, dead. E. MCU of JAI Similar framing to that of Shot C. JAI crumbles into the corner, scared. His breathing again quickens a trifle. We see him trying desperately to regain his composure. It takes him a couple of seconds and a few very deep breaths.
(CONTINUED)

7.

He again gets up a little, scared, and peeks over the BAR and into his bedroom. F. LOW ANGLE CU of UNCLE SAM POSTER It appears as though UNCLE SAM is glaring and pointing at JAI knowingly. G. ECU of “I WANT YOU” line H. MCU of JAI Again, framed similarly to Shot C. JAI again crumbles into the shadows, rattled. He clutches at his hair, and starts crying, helplessly. I. ECU of TEAR A tear forms, dripping down his cheek, drops down and splashes onto the ground. CUT TO: 5 INT. LIVING ROOM - SAME NIGHT, LITTLE LATER A. MCU of PUDDLE The solitary tear on the ground from the last shot has now turned into a puddle of drool and tears. PAN UP to reveal JAI still in that same corner, asleep, knees pressed tightly against chest, leaning against the WALL and the BAR. He has just been crying, and his breathing reflects that. B. ECU of CORNER of JAI’s MOUTH More drool formes at the corner of his mouth and drops onto the ground. C. MCU of JAI Showing him in the corner. Out in the street, a siren is heard approaching. D. ECU of JAI’s RIGHT EYE JAI jerks open his eyes. Red. Fearful. He looks in the direction of the WINDOW in the BEDROOM out of the corner of his eyes (top right corner of screen).
(CONTINUED)

8.

The house is bathed in red for a fraction of a second as the siren passes by. E. CU of JAI’s FACE He’s still looking in the direction of the WINDOW. He looks dead center, raises his EYEBROWS, as if in deep thought. Again looks towards the bedroom, with the same thoughtful expression on his face. F. MCU of JAI Frame like Shot C. His gaze starts roving frantically around the living room, as though looking for something. We TRACK BACK, PANNING 180 degrees and ZOOM out simultaneously to reveal the LIVING ROOM. We’re now facing towards the SIDE TABLE. JAI crawls into frame. G. CA of DIRTY HANDPRINT on the FLOOR The dirt on his hands mixes with the drool and tear puddle, making dirty stains on the white marble floor as JAI crawls. H. POV of TELEPHONE Shallow depth of field. JAI crawls to the COUCH and props himself up. His LEFT HAND comes into focus to pick up the RECEIVER. I. ECU of JAI’s FINGERS As he dials the number. 1-0-0. J. ECU of JAI’s LEFT EAR He places the RECEIVER against his ear. We hear the call get connected. Ring once. Twice. Thrice. And again. And again. K. HANDHELD MCU from BEHIND JAI The PHONE is still ringing.

(CONTINUED)

9.

We are gradually moving towards JAI, so that by the TENTH ring we are within an arm’s distance of him. The phone rings for the tenth time, when JAI jumps up in fright, drops the phone and turns his head back, as if poked on his RIGHT SHOULDER from behind. L. ECU of PHONE’s EARPIECE The PHONE is swinging by its CORD after being dropped. Someone picks up the call at the other end. POLICEMAN (grumpy. Over the telephone) Police department. Who the hell is that? M. LOW ANGLE MS of JAI He’s still looking to his right, towards the shadows around the BAR. The phone is still swinging by its cord. N. LOW, DUTCH ANGLE WS of the LIVING ROOM JAI is still transfixed on the COUCH. There’s a MAN, similarly built as JAI standing in the shadows in front of the BAR (20 paces away from JAI). The MAN’s just a silhouette. Just his LEFT HAND is slightly visible through the shadows. There’s a ROCKS GLASS full to the brim with WHISKEY and ICE in it. An unopened bottle of JACK DANIELS and an ICE BUCKET lie on the BAR COUNTER behind the MAN. The MAN is almost nodding his head, goading JAI to come to him. POLICEMAN (CONT’D) (more forcefully) WHO the FUCK is that?! HELLO? JAI gets up and walks over to the MAN, almost in a trance. The POLICEMAN bangs the phone down. O. CU of JAI’s LEFT HAND JAI takes the GLASS in his LEFT HAND. Slowly. With great fear.

(CONTINUED)

10.

P. WORM EYE of JAI JAI takes a small sip. Then, emboldened, gulps the drink down, and continues gulping for quite at least 10 seconds. Q. CU of GLASS JAI bangs the still full glass down on the BAR COUNTER. We TRACK BACK, ZOOM OUT and PAN RIGHT to reveal: a) The bottle of JACK DANIELS is now half. b) JAI reel back and fall onto the COUCH, clutching his stomach. As he falls, weFADE TO BLACK. 6 INT. LIVING ROOM - NIGHT, FEW DAYS LATER A. ECU of JAI’s CHEEK Everything’s out of focus. Slowly, we change focus to reveal a slight STUBBLE on JAI’s CHEEK. B. WS of LIVING ROOM On the left is the COUCH with JAI on it, face towards us, in a FOETAL POSITION. On the right, we can faintly make out the outline of the TELEVISION. Right in front of us, there’s a small RED LED flashing on the SIDE TABLE. The PHONE starts ringing. After 3 rings, the ANSWERING MACHINE takes over. JAI’S MOM (on the phone. almost unemotional tone) Hello, Jai? This is your mother. Call me. C. TOP ANGLE of the TELEPHONE The RED LED is flashing on it. On the display counter, we can see that there are 20 NEW MESSAGES. JAI’S MOM (CONT’D) Why wouldn’t you call me?
(CONTINUED)

11.

And then the click as the call is disconnected. D. WS of LIVING ROOM Same frame and set up as Shot B. After 6 seconds, an aggressive grunting starts coming from the BEDROOM. E. CU of JAI’s FACE JAI jerks open his LEFT EYE. Then the right. F. WS of LIVING ROOM He sits up a bit. And then he hears swearing from the BEDROOM. It’s his voice. He looks to his right, towards the source. JAI (O.C.) (from the bedroom) Fuck! Fuck! FUCK! A blurry form enters the frame from the left, in the foreground. G. POV of JAI He sees a clean shaven version (we’ll call him JAI#2) near the BAR, crawling in from the BEDROOM, towards the shadows between the BAR and the MAIN ENTRANCE. JAI#2 is sobbing uncontrollably. We follow JAI#2’s movement right into the corner. We see him fall asleep for a fraction of a second. H. MS of JAI JAI just stares at JAI#2 in amazement. I. POV of JAI We see JAI#2 jerk his eyes open, slowly get up a little and peek over the BAR, into the BEDROOM. JAI also starts leening a little forward. J. POV of BAR We’re looking at JAI, and we see him lean a little forward to look beyond the WOOD PARTITION, into the BEDROOM.

(CONTINUED)

12.

K. POV of JAI We see another clean shaven version of JAI (JAI#3) in the BEDROOM, trying to resuscitate KAVISHA. We continue looking at his efforts, until JAI#3 slowly starts fading away. L. POV of BAR JAI’s still leaning forward. Then, slowly, he starts leaning back. There’s a blank look on his face, unsure of what to make of it all. M. WS of LIVING ROOM JAI lies down, curls up into a FOETAL POSITION again, and goes off to sleep. Then suddenly, JAI jerks his EYES open. He sits up a bit. N. POV of JAI, slightly DUTCH FRAME There’s a MAN, similarly built as him, standing in front of the BAR, a ROCKS GLASS filled to the brim with JACK DANIELS and ICE in his left hand. The MAN’s just a silhouette. The MAN’s almost nodding his, goading JAI to come to him. JAI gets up slowly, as though in a trance and walks to the man, and takes the glass from him. O. WS of LIVING ROOM JAI is standing next to the BAR. There’s no sign of the MAN. JAI gulps. He continues gulping till he falls down on the floor in front of the BAR. P. ECU of GLASS We follow the movement of the GLASS, just half drained, as it falls and breaks by JAI’s side. Q. WS of LIVING ROOM JAI’s lying on the left of the frame. A RED LIGHT is flashing on the ANSWERING MACHINE. FADE TO BLACK.

13.

7

INT. LIVING ROOM - NIGHT, FEW DAYS LATER A. TOP ANGLE of JAI JAI is lying on the floor, where he’d collapsed, in a FOETAL POSITION. There are smudges of ROTTING PUKE and DRIED BLOOD around him. His stubble is now a BEARD. His eyes are open. The lower half of his body is in the shadows. The CLOCK TOWER across the street chimes TWICE. He sits up a bit. He is now facing the MAIN DOOR. B. HANDHELD POV of JAI He looks at his hands. There are various DEEP GASHES on them. His eyes change focus to the UNREAD MAIL littered under the MAIN DOOR. He turns his head to his right. There’s a thin film of dust on the BAR. He starts turning his gaze to his left, towards the TELEVISION, taking everything in. Everything has a thin film of dust. C. MS of JAI (LEFT PROFILE) He’s turning his gaze, and then suddenly stops. A look of horror is on his face. SWISH PAN LEFT to reveal the UNCLE SAM POSTER kept midway between the MAIN DOOR and the TELEVISION. There are BLOOD STAINS on its edges. D. LOW ANGLE CU of UNCLE SAM’s EYES E. ECU of UNCLE SAM’s FINGER We hear the sound of something scrambling away. SWISH RIGHT and QUICK ZOOM OUT to see JAI crawling off and hiding behind the WOOD PARTITION. F. MCU of JAI Panting. Scared. Looking slightly upwards. Pressed against the WOOD PARTITION. Hiding from UNCLE SAM. Still panting, he turns his gaze turns towards the walls.
(CONTINUED)

14.

G. DUTCH ANGLE of WALLS Now bare. No sign of the posters. H. MCU of JAI He’s still looking around, bewildered. Panting, yet at the same time, easing up a bit. He turns his gaze directly at the camera, and stops. A tender look comes onto his face, which quickly turns into sadness. I. POV of JAI It’s KAVISHA. Lying on the bed, obviously dead. J. MCU of JAI He opens his mouth to call out her name, while at the same time lifting up a hand, as if to reach out to her. But, his body fails him, and he starts crumbling into a heap. K. POV of JAI Falling, crumbling into a heap, whileFADE TO BLACK. 8 INT. BEDROOM - SAME NIGHT, CLOSER TO DAY THAN EVER BEFORE A. ECU of JAI’s RIGHT EYE He jerks open his eyes. Red. Fearful. Starts roving it around, as though looking for something. Stops, so that he’s looking somewhere to the bottom right corner of the frame. B. ECU of FLY Slow ZOOM INTO a FLY on JAI’s RIGHT ARM. C. POV of FLY Slow ZOOM INTO JAI’s face as he’s looking down at the FLY. D. ECU of FLY E. POV of FLY JAI’s still looking at it, almost zoned out.
(CONTINUED)

15.

Suddenly, he jerks his head up, towards where KAVISHA is lying. It’s as though he’s just realized something. F. POV of JAI We see KAVISHA’s lithe form lying on the BED. But, this time, we also notice around 20 FLIES. G. CU of FLIES on KAVISHA We see FLIES on various parts of KAVISHA’s body: a) Her RIGHT ARM. b) Her RIGHT SHOULDER. c) Her LIPS. H. SNORRICAM on JAI He snaps into an alert position, and runs towards the BEDSIDE TABLE. There’s anger writ all over his face. He grabs a LAMP from the BEDSIDE TABLE, and starts flaying at the flies like a mad man. It’s almost as though he wants to beat every last one of them to a pulp. He attacks them with an animalistic anger. Almost like the ape attacking the skeleton from 2001: A Space Odyssey. We can make out that the FLIES have started scattering away by how the rage within JAI begins to subside and how his beating action becomes slower. He finally stops and lowers his arms. He turns his gaze towards KAVISHA and a helpless yet loving look comes on. I. CU of JAI’s HAND The LAMP falls out of it in slow motion, and we track its motion as it falls to the ground. J. POV of KAVISHA JAI’s looking down at her with the same expression. K. POV of JAI Slow zoom into KAVISHA, and then abrupt turn, as if JAI’s realized something and needs to be somewhere else.

(CONTINUED)

16.

L. POV of KAVISHA We see JAI charge towards the LOO. M. SNORRICAM on JAI A determined look on his face, as he charges towards the LOO. N. ECU of KAVISHA’S LEFT EYE MATCH CUT TO: 9 INT. BEDROOM - DAWN A. ECU of KAVISHA’S LEFT EYE B. POV of WOOD PARTITION JAI is sitting on the bed, at KAVISHA’s feet. There’s a WET SPONGE in his hand. He slowly and meticulously wipes KAVISHA’s face with it. He bends down. C. MCU of TUB A TUB full of WATER is lying at JAI’s FEET. JAI dips the SPONGE into it. He shakes off the excess water off the SPONGE, and straightens. We TILT UP, following his action as he wipes KAVISHA’s bare SHOULDERS with it. There’s something, loving about each action of his. Almost as though KAVISHA weren’t dead, merely bedridden and he were caring for her. He gets up. D. HANDHELD tracking in front of JAI JAI picks up a bottle of WOMEN’s DEODORANT from the BEDSIDE TABLE. He opens the cap, raises his the bottle over his head and sprays the deodorant around the BED. He returns to the BEDSIDE TABLE and picks up KAVISHA’s PERFUME from it and proceeds to spray it on KAVISHA’s NECK. E. CU of KAVISHA’s NECK Sprays it lightly once on the left. Then once on the right. We hear JAI get up and pick something else up.
(CONTINUED)

17.

F. CU of KAVISHA’s EYES Dilated PUPILS. JAI applies a little MASCARA to her EYELASHES. We hear things being exchanged from hand to the other. G. CU of MID THIRD of KAVISHA’s FACE A little ROUGE on her CHEEKS to hide the rotting flesh. Again, we hear things being exchanged between hands. And then the harsh sound of a COMB brushing back matted and tangled hair. H. LOW ANGLE MCU of JAI He’s brushing her HAIR back. Concentrating very hard. He gets up, walks out of frame. We PAN RIGHT, 180-degrees. He’s right next to the BEDSIDE TABLE. He takes a GLASS of WATER, kneels down next to KAVISHA. I. BIRD’S EYE of KAVISHA’S FACE and SHOULDERS Apart from the extra dry lips, KAVISHA looks rather pretty. JAI is kneeling down beside her, GLASS of WATER in left hand. With his RIGHT HAND, he first moistens her lips, then pries them open a bit, and forces a little water down. He keeps the GLASS back on the BEDSIDE TABLE and gets up. J. LOW ANGLE of JAI He longingly gazes down at her. It’s equal parts love and sadness, as he (probably) wonders about the “what ifs” of that night. Behind him, the first light of day is just about streaming in through the window. He moves a little towards KAVISHA, and lies down under the BEDSHEET, on top of her. We follow his movements. He bends down to kiss her on her forehead. K. CU of KAVISHA’s SIDE PROFILE He kisses her lightly on the forehead.
(CONTINUED)

18.

L. POV of KAVISHA JAI straightens a bit. And then, as an afterthought, starts leaning in for another peck, this time on her lips. M. ECU of KAVISHA’s LIPS (SIDE PROFILE) He pecks her lightly on the lips and straightens up slightly. N. MCU of KAVISHA and JAI Their faces are very close to each other. The WINDOW is right behind them, and the light is getting brighter. JAI is looking tenderly at KAVISHA who just stares emptily back at him. JAI leans in for another, more passionate kiss, just as the light get brighter, brighter, andFADE TO WHITE. 10 CREDITS. END.

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