Dhobi Ghat Script — Movie Script


Чтобы посмотреть этот PDF файл с форматированием и разметкой, скачайте его и откройте на своем компьютере.



1

EXT. CAB ON MARINE DRIVE
-

EVENING (D.V.FOOTAGE)

1

A digital camera is on in a cab which is stuck in

traffic, inching its way along Marine Drive in the rain.

Music plays on the cabbie’s radio, and there is angry

honking from impatient drivers.

The cabbie

looks at the person who is filming in the back

seat through the rear view mirror. He is a portly man

with greying hair, and kind lines around his eyes.

CABBIE

Nayi aayi hain
mumbai

mein?

GIRL (O.C.)

Ji paanch mahine ho gaye. Phir bhi sab

naya hi lagta hai
!

CABBIE

Kahan ki hain aap?

GIRL (O.C.)

Malihabad, U.P.

CABBIE

Accha? Main bhi U.P. ka hoon. Jaunpur.

Jaunpur jaanti hain aap?

GIRL (O.C.)

Haan. Ja chuke hain vahan.

Cabbie nods, looking pleased. The camera pans to the

window, and the girl opens it, lettin
g a spray of water


umbrellas trying to cross the road between cars, the

churning grey sea. The camera work is amateur. We catch a

glimpse of the girl in the rear view, not enough to see

her clearly.

Th
ey pass Girgaum Chowpatty.

GIRL (O.C.) (CONT’D)

(into camera mike in a

whispered voice)

Dekho Imran, yehi voh mashoor Chowpatty

hai Marine Drive par. Har din yahan bohot

log aate hain
-

bhel puri khane, pav

bhaji khane. Mere khayal mein zyadatar

log yahan
ki khuli hawa khane aate hain,

jiski badi kami mehsoos hoti hai! (pause)

Samundar ki hawa kitni alag hai. Lagta

hai isme logon ke armaanon ki mehek mili

hui hai..




2.



(sadly)

Didi do rupya do

na, roti khayega..

He notices the camera.

STREET KID (CONT’D)

Arre tum shooting kar rah hai?

(shouts to the others)

Eh Raju!

(to her)

Mera bhi photo lo na didi. “Pardesi,

pardesi, jaana nahin, mujhe chhod ke..”

The cabs pulls away, as the kid continues to

dance in the

rain while the other kids join him.

TITLES OVER THE FOLLOWING SCENE:

2

EXT. BUILDING UNDER CONSTRUCTION
-

EVENING

2

A bunch of construction workers work on the fourteenth or

fifteenth floor of what is on its way to becoming a

mammoth building
. They look thin, poorly clad, and poorly

equipped
-

few helmets, no harnesses, just one or two

with scruffy caps at jaunty angles.

Crows and kites fly and perch, as down below traffic

snarls its way slowly around Bombay’s congested roads at

home
-
going rus
h hour.

One of the workers, Selva, squats near an edge to light a

bidi. He finds he doesn’t have a light and asks a co
-

worker in Telugu for matches. He is tossed a light, as

the guys all share a joke. He lights his bidi, and looks

out over Bombay. The hig
hrises all around, the sea in the


construction workers children as they play in the rubble.

The sun is setting.

3

INT. A FLAT
-


3

Arun and his broker Rakesh open the door of a disused

apartment. Arun is
around 35, a thoughtful looking man,

attractive in a bookish, serious sort of way. Rakesh

tries a couple of light switches but nothing comes on.

There’s a little light from the fading sun.







3.

Rakesh, a weasly 23 year old umbilically attached to his

cell
phone, tries to push open a window which is firmly


ear and shoulder.

RAKESH

Nahin nahin madam, bohot accha hai,

exactly aapke layak... haan hai, gas

connection hai, day
-
night security hai...

ab aaj ke

zamane mein phone kisko

chahiye... haan pani hai mostly, subah ko

to zaroor hai... aap dekh to lijiye

madam! Bohot accha hai... ok, chhe baje..

Ok madam.

He has the window open and he turns around expectantly.

RAKESH (CONT’D)

To kaisi lagi, Arun ji?

Arun
looks around him and wanders round the room.

RAKESH (CONT’D)

Arre perfect hai. Thodi si painting aur

ye bilkul nayi lagegi. Aap to painter

hai, aapko idea hogi, hain?!

Arun gives him a look to say stop bullshitting me.

RAKESH (CONT’D)

Nahin, soch lijiye, y
ahan vo gyarah

mahine ka chakkar nahin rahega, unlimited

lease, aur yeh hai vo “bombay view” jo

aapko chahiye tha. Vo dekhiye, vo hai Aga

Khan ka tower. Station nazdeek hai, aur


building mein normally nahin rehta hai.

Ha
an kitchen small hai, par aap kahan

khana banate hain!

Rakesh’s phone rings and he answers it while Arun looks

out at the view. There are old buildings all round in

stages of disrepair. The street below is busy and there

is a neon hoarding on the terrace o
f the opposite

building.

As they leave Arun sees a lady sitting outside her flat

on a chair, with an unseeing expression on her face.

4

INT. SALIM’S SLUM ROOM
-

NIGHT

4

Salim (22) and Munna (20) are watching a David Dhawan

comedy on tv, smoking cigarettes
and drinking rum.




4.

While Salim is an overweight affable sort, Munna is a

good looking, smart boy, with a twinkle in his eye and a

sense of style. Salim’s mother (50) also watches in


Salim’s young
er brother Karim (16) is studying from a

text book. Much laughter. We can hear trains in the

background.

SALIM

Behnchod, yeh hasa hasa ke maar dalega,

saala! Dekh, dekh!

MUNNA

Yaar, kya actor hai, yaar! Main usse

milna chahta hoon..

SALIM

Johnny Lever se?
Chal main milvata hoon

na!

MUNNA

Chal! Chootiya...

KARIM

Amma, jab main exam mein fail ho gaya na,

aap Salim aur Munna ki class lena, mera

nahin!

MUNNA

(mock serious)

Theek kaha. Salim chup kar na yaar.

Paanchvi fail! Tu dekh, saale, apna Karim

padh likh k
ar ekdum top class gentleman

banega, maloom kya? Hai na Karim? Eh

Karim, bol na! Correct na?

Karim gives him a glare. Munna gets up to go with a grin

and wink.

SALIM

Kidhar ko nikla? Kaam pe? Tera yeh kaam

itna ghatiya hai na, kayko karta hai

Munna? Main b


MUNNA

Tere jaisa kaam nahi karna hai! Chor

saala! Mera hi kaam accha hai, kyun

khala?


grinning. Khala doesn’t react, she’s used to this kind of

banter. Mun
na playfully pokes his stick in Salim’s ribs,

and Salim throws it off.




5.

SALIM

Chhi! Hut saale!

Munna leaves grinning.

5

EXT. SLUM ON THE RAILWAY TRACKS
-

NIGHT

5

Munna crosses the rail tracks.

6

EXT. MAIN ROAD
-

NIGHT

6

Munna darts across the road and
a car swerves to avoid

him causing a little confusion. Munna continues to walk,

and the driver swears under his breath. We cut inside the

car to Shai, 29, very attractive and stylish, and Pesi

(32). The windows are up and Shirley Bassey is on the

stereo.

S
HAI

Shit! What did he think he was doing?

Crazy!

PESI

Shai, don’t act the NRI now, huh! You’ve

forgotten traffic here or what?

SHAI

And we are so late, Pesi! My mum left for

the show an hour ago.

PESI

Babe, nothing remotely interesting in

Bombay starts bef
ore ten, darling. Now I

really need to educate you in Bombay


Shai rolls her eyes in a good humoured way.

7

INT. ART GALLERY
-

NIGHT

7

Its a modest sized, interesting gallery, opening the new

works of T. Arun; paintings, etchings and some small

i
nstallations. Well heeled so
-
called art lovers mingle,

as wine, champagne and hors d’oeuvres do the rounds.

Press photographers take pictures. Shai is being

introduced to some people by her mother Pravin, while

Pesi talks to a serious looking man. Later Sh
ai looks at

the works.




6.

The installations, which have an Escher
-
esque

construction about them, are made from what seems like

scrap and waste materials. Shai looks around, a bit


there. Arun walks in.
She sees him and keeps looking at

him, finding him attractive.

PESI

Oh there’s Arun! Finally! He can’t even

make it in time for his own show!

Actually I like this new work, what do

you think Jatin?

Jatin, carefully weighing his words.

JATIN

Well, its hard
to be apolitical when

you’re referencing the working classes,

because the discourse goes into areas of


which belies its larger context, really.

Pesi nods, thinking hard what he should say.

SHAI

Which one is Arun.

Pesi

points him out. She looks at him and widens her eyes


catching on.

Vatsala calls everyone to attention.

VATSALA

Ladies and gentlemen, the artist has

decided to make an appearance!

(claps all round,
some

comments and laughter)

I take great pleasure in presenting

“building”, Arun’s new work. I don’t

really need to formally introduce Arun,

do I?

(more comments and laughs)

Well the ignorant can read my expensive

brochure! Now is the moment Arun hates

the

most! Arun come and say a few words!

Everyone, T. Arun. Arun, be nice!

(much clapping)

Arun steps up and looks at the crowd.




7.

ARUN

Well, there’s not much to say, I think.

This is my most transparent work. Its my

tribute to the people from Rajasthan,

T
amil Nadu, Bihar, U.P. and elsewhere who

build this city in the hope that someday

they will find a rightful place in it.

So, to Bombay, my muse, my whore, my

beloved...

He raises his glass as a toast, the crowd raises their

glasses in a ‘salut’, and Arun k
nocks back his drink and

hurries into the crowd. Then there’s clapping and

bravo’s.

Shai and Pesi also clap and the party is resumed. Pesi

looks about him animatedly, as if for a victim.

PESI

There’s Feroz. Bastard owes me five

lakhs!

SHAI

Babe, he’s beaut
iful.

PESI

Who Feroz?! He’s not in the.. Oh, him.

(following her gaze to Arun)

He’s strange. Too deep and dark for me,

baba!

SHAI

Thank god for that! At least one boy in

Bombay is available then!

Elsewhere Arun has been cornered by a lady in big

diamonds.

LADY DIAMONDS

Ha, ha! You know? But tell me, do you

think you’ll ever do commissioned work?

Like I need something for my house in

Alibaug, something quite big, in that old

style you used to have, you know? Very

abstract with lots of writing and things.

Aru
n is looking tortured. A bespectacled corporate
-

looking man comes up to them.

MAN

Hello, sorry to interrupt, hi Mona!

(airkisses Lady Diamonds)

(MORE)




8.

MAN (CONT'D)

Arun, I am Miraj Husain from the Indian

Council for Art. I’ve been talking to

Vatsala

about taking some works of yours

for a group show to Munich, Brussels,

London and Madrid.

Arun nods, a little high and wanting to escape. Mona

drifts away, bored.

MIRAJ

Well, I’m not sure if Vats discussed it

with you?

Arun nods a negative, vaguely lookin
g around.

MIRAJ (CONT’D)

Anyway, its in September, and she says

your next solo is much later, so it

should work out. Its a great showcase for

contemporary Indian art, and is sure to


Huge publicity, probably a high prof
ile

auction at the end. You know? Very big

names involved.


rapidly. Behind Miraj he can see someone writing a phone

no on his brochure, resting it on one of his pieces. Just

then Pesi comes up to them wit
h Shai.

PESI

Hi all! Miraj, you fraud, you were

supposed to call me years ago!

Miraj makes some sheepish excuses.

PESI (CONT’D)

Anyway, Arun this is Shai.

(winking at her)

Enjoy, love!

Pesi engages Miraj in conversation, freeing Arun. Arun

sigh, smiles at Shai and looks relaxed

again.

SHAI

That bad?

ARUN

You have no idea! Bless Pesi. Arun.

SHAI

Hi, I’m Shai. Yes I thought you looked a

bit stricken..




9.

Both laugh. He knocks back his drink, she’s vastly

amused, and he looks at her with warm
th. They share some

sort of secret now.

ARUN

So are you an artist too?

SHAI

No, no, I’m an investment banking

consultant.

ARUN

Means what? Something to do with money

right?

SHAI

(laughing)

Yes, broadly speaking! Essentially I

study investment trends in sou
th Asian

economies.

ARUN

Here in Bombay?

SHAI

No, in New York. I’ve moved back here for

a bit though.

ARUN

Oh. Why?

SHAI

Well, I just needed a break from

things... A new perspective, some fresh

air in my head.

ARUN

And you’re planning on getting that in

Bo
mbay!

SHAI

(laughs)

Maybe just a change of scene then. Some

new faces, no New York winter, and no

talking about figures and projections...

ARUN

Cool. I could do with a holiday too.

SHAI

Actually, its not a holiday, I’m on a

sabbatical!




10.

ARUN

Accha...
means what?

SHAI

Means I’ve got a research grant to submit

a project about small and marginal

business and shifts in traditional

occupations. Basically I have to write

some papers, and do what I love doing

best
-

taking photographs.

Arun raises his eyebrow
s as he keeps swigging his rum and

coke. There’s a squawk from someone, then a shriek and a

ripple of panic runs through the room as a rat scurries

to find safe refuge. Shai is knocked against in the melee

rts

laughing and Shai, though irritated can’t help laughing

as well, wiping her shirt with a proffered napkin.

SHAI (CONT’D)

Shit.

ARUN

Now my show is truly open! Cheers!

They toast and drink together.

8

EXT. RAILWAY TRACKS
-

NIGHT

8

Munna walks along the

his hand. He has a towel and a soap in the other. His

clothes have patches of brown dried blood on them, and he

looks sleepy but not exhausted. Its probably 4 a.m. There

are lights on in some of the rooms of the slum, as pe
ople

rise early for their jobs.


huddled shapes in the semi darkness doing their morning

jobs. A drunk is lying with his head on the tracks. Munna


feet away, who mutters irritably, and then carries on.

He puts his bucket down at a point, takes off his dirty

clothes and begins to splash the cold water on himself,


himself. Soaping himself all over, he
washes his hair,

then later sits in his towel with a

lota

to do his

morning job.

As he heads back, clean and sated, the grey dawn breaks

and smoke curls out of the shanties.




11.

9

INT. MUNNA’S ROOM
-

MORNING

9

The trains begin their rumble past Munna as
he lies down

on his sheet inside his slum room (where another young

boy is sleeping), and falls asleep.

10

INT. A FLAT
-

DAY (D.V. FOOTAGE)

10

The digital camera is shooting the world waking up

outside an apartment window. A big gulmohar tree covers

half t
he window and there is activity on the street below

-

the milk vans, people on their way to work..

The camera zooms in to a window in the building opposite,

where a woman in her nightie hurries to get breakfast and

tiffins ready in a kitchen. The pressure
cooker whistle


a pan as she pours out tea into cups. Her husband, in a

dhoti with the morning paper, comes in and gets his tea,

and they exchange some inaudible words. Over these images

we hear the s
ame Girl’s voice, whispered.

GIRL (O.C.)

Subah subah itni jaldi rehti hai sabko..

jaise din sirf chaar chand ghante ki ho!

Dekho kitni jaldi salan banati hai yeh.

Lagta hai ki speed ke marks milte hain

yahan! Phir zayke ka kya? Kaun jane..

Humare yahan bhi

ek ‘Bai’ aati hai
-

yahan kaam kaaj wali ko Bai bulate hain.

Haay, kya speed hai uske! Jhat se bartan,

kapde, saphai, sab khatam! Do minute

zyada nahin thehregi! Humari Zubeda khala

se itni alag, voh to peeche pad jaati thi

ki aao baalon mein tel daal doo
n, zara sa

maalish kar doon! Bechari. Kaisi hai voh?

Use mera salaam kehna.

11

INT. ARUN’S APARTMENT
-

DAY

11

Its late morning. Shai opens her eyes looking up at an

unfamiliar fan, naked under a sheet. She hears sounds

from the kitchen. She shuts her eyes
and smiles,

snuggling back into the pillow.

12

INT. ARUN’S APARTMENT
-

LATER

12

Arun is standing at his window drinking tea, fully bathed

and dressed, looking out onto a noisy Bombay day.




12.

His apartment is small, and in a mess. Cartons lie

around, and

things look makeshift. There is an empty

whisky bottle on the floor, and two glasses. Arun looks

worried.

He turns around when he hears a click of a camera. Shai

is in the room in an oversize man’s shirt over the

pants/skirt she had been wearing to the ar
t opening. She

has her camera in her hand.

ARUN

Hi.

SHAI

Hi.

Shai walks into the room and looks around, realizing

there isn’t really any place to sit.

SHAI (CONT’D)

You been up long?

ARUN

An hour or two.

(an awkward pause)

Tea?

SHAI

I’d love some. Listen I

just helped

myself to a shirt that was lying on your

chair, because mine was trashed with that

wine stain..

ARUN

(interrupting)

Its fine.

Arun goes to the kitchen and she follows. He puts on the

electric kettle and rummages in the cupboard for a cup.

SHAI

I haven’t stayed up so long talking in

years! And I don’t think I’ve ever danced

to... what was it? “Sexy Sadie”!

(laughs)

You, my friend, are quite the dancer!

ARUN

Milk and sugar?

SHAI

Yes please.

(she watches him)

I had a lovely time last night.




13.

She looks at him fondly, but his smile is embarrassed and

he avoids looking at her. He washes the cup and hunts

around for the sugar. He pulls out a sachet from a bag of


milk. Shai wanders out into
the living room and looks

around. She sees a little sketch/personal item of Arun’s

that she quickly puts in her pocket, checking to see if

he saw. She sees a painting on the bookshelf of a black

and white photograph of a couple. The man is in army

uniform
and the lady is a south Indian beauty in wedding

finery. The photograph has been painted on, with scraps

and bits stuck on
-


SHAI (CONT’D)

(calling out to him)

Are these your parents?

s against the


a chair.

Arun looks at the painting, and nods, with a half smile.

SHAI (CONT’D)

So your father was in the army, was he?

ARUN

Yeah.

SHAI

Do they live with you?

ARUN

No, in Wellington. It
s in Tamil Nadu.

SHAI

Tell me do you usually live like this,

out of boxes?!

ARUN

No, I’m moving house.

SHAI

Really? Why?

ARUN

Lease has run out.

SHAI

Oh... so you’ve found another place have

you?




14.

ARUN

Yeah.

SHAI

You know I found your opening last nig
ht

quite an experience. Are they all like

that, these art events?

Arun shrugs.

SHAI (CONT’D)

My mom loves these arty dos! She’s quite

a collector. We have a lot of art at

home. In fact we’re running short of

walls!

(no reply forthcoming)

Have you always li
ved in Bombay?

ARUN

No. Been here eight years now.

They sit in silence for a while.

SHAI

Are you hung over?

ARUN

No.

SHAI

You’re so quiet today...

Arun looks distinctly on edge.

SHAI (CONT’D)


Arun looks away.

ARUN

Well, actually...

Shai, I’m sorry about

last night. I was so drunk, and...

Shai is taken aback.

SHAI

Hey... What’re you sorry about? Don’t be

sorry, I had a great time!

ARUN

No, actually I’m a quite a loner, I keep

to myself and I don’t normally...




15.

SHAI

Hey, it’s coo
l. I’m glad you don’t

normally do this! I mean, hey! I don’t

either! I guess we shared something with

each other which was... I don’t know..

special.

ARUN

No what I mean is, I’m not the

“relationship” type at all, so I’m sorry

if I somehow led you to belie
ve it was


SHAI

More serious than a shag?

She gets up and starts putting her things into her bag,

ready to leave.

ARUN

Look, Shai I’m sorry..

SHAI

Will you stop fucking apologizing? Jeez!!

ARUN

No, Shai I...

SHAI

Hey, I have no idea w
hat’s going on in

your head, okay, and I’m not sure I want

to know.

She turns and opens the door.

ARUN

Shai!

She stops and turns around. They look at each other. Arun

looks distraught. She relents.

SHAI

Arun, you know what, it’s cool. Take

care. See you ar
ound.

She gives him a false smile and shuts the door behind

her. He’s left staring at the closed door.

13

INT. LANDING OUTSIDE ARUN’S APARTMENT
-

DAY

13

Shai is waiting at the elevator, angry tears welling up

in her eyes.




16.

She presses the call button,

then jabs it several time

angrily, then hits it saying “Shit!” and hurries down the

stairs.

As she disappears the lift reaches the landing, and Munna

emerges with a bundle of clothes, humming a tune.

14

INT. LANDING OUTSIDE ARUN’S APARTMENT
-

DAY (CONT’D)

14

Arun opens the door with an expectant expression, which

falls when he sees Munna. He scans the landing behind

Munna, then turns back disappointed. Munna is smiling,

like he’s used to Arun being vague.

ARUN

Munna. Aao.

Munna walks in, opens the bundle a
nd carefully places the

washed and ironed clothes on the one available clear

surface.

MUNNA

Saab kapde?.. Saab?

ARUN

(distracted, thinking)

Huh?.. Er haan.. Oh nahin, Munna main

kuch din mein ghar badli kar raha hoon.

Vahan aayega na?

MUNNA

Haan kyun nahin
, saab. Aap address likh

ke do, main dhoond lega.

Arun smiles at him with affection.

15

EXT. GATEWAY OF INDIA
-

DAY (D.V. FOOTAGE)

15

The digital camera is shooting the gateway, as tourists

mill around taking photos. The camera is handheld and

there’s a ma
n, around 30, talking on a cell phone wearing

dark glasses a little distance away who seems like he is

with her.

GIRL (O.C.)

(whispering)

Yeh Gateway of India. Sabse mashoor jagah

hai, bombay mein.

The man finishes his call and walks up to her.




17.

MAN

C
halein?

GIRL (O.C.)

Chaliye... Ek minute! Ek photo to le lein

ek saath, Imran bahut khush hoga.

MAN

(impatient)

Arre ab kise poochenge? Chhodo.

A man has been hovering around them, trying to sell them

postcards.

POSTCARD MAN

Madam postcard? Lovely lovely p
icture
-

Gateway of India, V.T. Station, Rajabhai

Tower, High Court, only twenty rupees,

madam. Good price madam. You like?

GIRL (O.C.)

Bhaiyya humara photo lenge?

POSTCARD MAN

Haan dikhao. Kaise lene ka?

He takes the camera as its rolling.

GIRL (O.C.)

Bas


hum?


pose next to him.

POSTCARD MAN

Haan. Very nice! Now smiling please!

Okay.

She walks over and takes it back.

POSTCARD MAN (CONT’D)

Madam, please take postcard.

Bohni ho

jayegi madam, aapki jodi salamat rahe,

sirf bees rupay mein dus postcard madam,

best quality ke. Is daam mein aapko kahin

nahi...

The camera is switched off.




18.

16

EXT. BUILDING UNDER CONSTRUCTION
-

DAY

16

Selva and the other workers take a br
eak to eat some

lunch. They sit in ragged groups, with their children

around them, wearing their work clothes and eating with

chalky hands.

17

INT. SHAI’S APARTMENT
-

DAY

17

Shai is on the phone in her affluent Worli seaface

apartment, lounging in a chair
in her balcony overlooking

the sea.

SHAI

No, I guess you’re right, but I don’t

know, Pesi. I really thought he was

special, you know, we really got on the

night before, and had such deep

discussions..and...

The doorbell rings. She ignores it.

SHAI (CONT’D)

You know, about stuff... art, money,

Bombay, and...

(laughs)

OK, yes, great sex! Really good sex...

Well basically Dale and I left it open

ended, so that’s not so much

that

, but

its just I’m so mixed up in my

head

right

now, you know?... No but it wasn’t

just

the sex, you know Pes..

It rings again.

SHAI (CONT’D)

(shouting in the direction of

the door)

Agnes!

(back into the mouthpiece)

Its just that it seemed like there was


slow

danced

, for chrissakes! Who does

th
at these days!..

The doorbell rings again. She makes a sound of irritation

and gets up to open it. She talks as she opens the door.




19.

SHAI (CONT’D)

Like he was really into me the night

before, he was really intense... hold on

a sec.

The door opens to M
unna, carrying a bundle of clothes.

Shai looks at him blankly.

SHAI (CONT’D)

Yes?

MUNNA

Main, dhobi.

SHAI

Oh. Accha. Andar aao. Agnes! Pesi, babe

I’m going to have to call you back, this

dhobi guy is at the door and Agnes has

disappeared on me... yeah soon
. I

promise! Okay, bye!

They head in. Shai looks a bit lost, but Munna is

familiar with the routine. He unties the bundle and

places the neat pile on the side board.

MUNNA

Barah kapde the. Gin lijiye.

Shai begins to count them (Arun’s shirt is among them)

when she sees her white art opening shirt looking a pale

blue. She pulls it out.

SHAI

Oh my god! Yeh.. Yeh to neel ho gaya!

MUNNA

Madam uspe bada daag tha, to thoda bleach

karna pada..

SHAI

Oh shit! Maine Agnes ko bolna chahiye

tha, ise laundry mein dena t
ha! Its

completely fucked, now!

Munna’s face falls. He puts his hand out to take it back.

MUNNA


SHAI

Nahin, nahin, god knows what colour it’ll

become next!




20.

MUNNA

Madam. Galti ho gayi, main theek kar ke


S
he look at him and realizes that he is feeling hurt, and

feels guilty for being so rude. She gives it back to him,

and looks at him as if for the first time as he turns to

go.

SHAI

Hey, aapka naam kya hai?

MUNNA

Mun.. er, Zohaib.

SHAI

Zohaib, main Shai...
I’m ..

But he’s gone.

18

INT. THE FLAT
-

DAY (D.V. FOOTAGE)

18

On the video camera its raining. Grey day, and the sound

of pouring rain. The camera catches shots of people

hugging the shade of the awnings, while some are braving

the downpour with umbrellas

and raincoats. Men on cycles


Then a car comes and does even more damage.

GIRL (O.C.)

(softly)

Yahan ki baarish bilkul alag hai. Na


hai, bas girti jaati hai
. Sshhhhhh....

Raat ko iski awaaz jaisi lori ho, jo hume



mujhe bura lagta hai Bai ke liye, jiska

saara ghar paani se bhar jaata hai. Kehti

hai use ek ek mug paani utha utha kar

bah
ar phenkna padta hai...

After a moment the camera catches a familiar car pulling

up by the curb.

GIRL (O.C.) (CONT’D)

(softly)

Ab main chali, lagta hai voh aa gaye.

Khaana garam karna hai aur roti banani

hai. Aaj maine chukander gosht banai hai,

jo ammi ne

sikhai thi! Dekhte hain unhein

pasand aata hai ya nahin.

(MORE)




21.

GIRL (O.C.) (CONT’D)

Phir hum thodi TV dekhenge, kyunki yeh

zyada bolte nahin hain. I hope ki TV par

koi acchi film aa rahi hai...

The camera is switched off.

19

EXT. DHOBI GHAT
-

DAY

1
9

There’s busy activity. Salim is sitting next to where

Munna is washing clothes. He is talking on his cell

phone, its some kind of property deal. Munna looks

through the clothes. Shai’s white one is right on top. He

notices a cool striped shirt in the pil
e. He looks at the

size, it seems right, so he puts it aside. He picks up

Shai’s shirt and looks at it with concentration.

20

INT. THE FLAT (A)
-

DAY

20

Arun has finished unpacking. The apartment has been

freshly painted. All the furniture is gone barring
a

large dining table in the corner, on which Arun has put

his computer and lots of books. Siddheswari Devi is

singing thumri on his computer. In the drawing room there

are two hooks for fans, but only one has a fan. There’s a

stack of cartons that he carri
es around looking for a

loft. He finds one, pulls a stool and tries to open it.


chips it open. In the light of his torch he finds a

couple of broken pieces of furniture and a small cloth

potli. These he
throws on the ground, and stuffs the

cartons in.

He sits at the table and opens the cloth potli. In it

there’s a photograph of a girl (16) and boy (10) with an

old lady, all smiling in a studio against a background of

a garden with tulips. There’s also an
old surme daani, a

ring on a chain and three DV tapes. The tapes have

written on their spine
-

Pehli Chitthi, Doosri Chitthi

and Teesri Chitthi, along with Yasmin Noor on each.

21

INT. CIRCUS
-

DAY

21

Shai is taking pictures of the circus artists from the

wings. It seems like an impoverished troupe, and the

clowns are not very funny. Even the children aren’t

laughing. The artists are so keen to pose for Shai, one

of them (a juggler) forgets his cue. They tell her how

the circus has lost its shine without th
e animals.

There’s also a Wonder Dog, an old Pomeranian who stands

on his hind legs and balances a ball on his head.




22.

She gives one
-
woof and two
-
woof answers to questions the

comic dog trainer asks her.

DOG TRAINER

pyaar

hai ki nahin?

The dog answers with one woof, and the crowd titters.

DOG TRAINER (CONT’D)

Arre! Kaise ho sakta hai! Phir se socho,


Sach sach bolo nahin to aaj Uncle ki

jamke pitai hogi!

ested, and scratches vigorously

behind her ear and at some escaping flea on her back.

DOG TRAINER (CONT’D)

Come on, Sweety, good girl! Telling the

truth, OK? No lying. Does the Uncle and

Aunty have love together?

e Dog Trainer

bows and gives her a good pat.

PESI

Babe, please. I can’t deal.

SHAI

Pesi, tell me you’re not loving this?!

Pesi fixes Shai with a ‘look’. Shai laughs.

SHAI (CONT’D)

Okay, we’ll leave in a minute. A movie on

me after this, okay?

22

INT. THE F
LAT (A)
-

NIGHT

22

Arun is on the phone. The flat looks like its in order.

ARUN

Rakesh, yeh jo koi pehle rehte the na

yahan, unka kuch saaman reh gaya... kuch

tapes, ek anguthi... nahin chandi ki...

kyun, makaan malik ko de do na... accha

voh log poochenge

to?... Theek hai yaar,

phenk deta hoon. Par baad mein maangna

mat... chalo.

He disconnects, then looks around and walks to the

window.




23.

In the flat across from his the lady is cooking dinner.

The TV seems to be on there, and a young boy runs in with

another boy, talks to her and runs out. On the other

side, he sees a building under construction (which is

where Selva works). There is a big light on and workers

are still working.

He looks around at his new space. He picks up his drawing

s a bit of the view from his

window/doodles, then gets up, stretches and looks around.

He sees the stuff from the potli on the table. He picks

up the photo and looks at it. There’s a great warmth in

the faces bathed in clear light. He picks up the tape and

looks at the cover, turning it around in his hand.

23

INT. MULTIPLEX
-

NIGHT

23

Munna stands in the foyer of a theatre with two smartly

dressed girls. He is wearing the cool striped shirt we

saw him hold up earlier, and is toying with his cell

phone, tryi
ng to look casual. Salim comes up to them

balancing two bags of popcorn and a coke.

SMART GIRL ONE

Salim, hum itna popcorn nahin kha paenge!

SALIM

Kisne kaha tum log ke liye hai?

Salim and Munna laugh. Salim hands one of the girls a bag

of popcorn and the
girls laugh as well.

SMART GIRL TWO

(to Munna)

Toh kaun se college mein padte ho?

MUNNA

Main.. college nahin jata.

SALIM

Arre college ke liye kiske paas time hai!

Aur yeh Munna filmon mein kaam karta hai.

The girls look very impressed. Munna stares at him,

but

plays along with aplomb.

SMART GIRL ONE

(a bit disbelieving)

Accha? Kaun kaun si filmein kee hain?

MUNNA

Maine.. er, ek picture aayi thi, Sanjay

Dutt ke saath, jiska naam...




24.

Just then he spots Shai coming towards the entrance with

Pesi (who goes

off towards the counter to buy them some

popcorn), and he tries to turn away so she doesn’t see

him. But she does and she comes right over.

SHAI

Zohaib right? Hi!

MUNNA

Er..hi.

SHAI

Kaun si film dekhne aaye ho?

MUNNA

Yehi, “Partner”..

SHAI

Hum bhi vahi de
khne ja rahe hain. Mera

life mein yeh first hindi movie hai!

Chalo, bye!

As she heads in to the theatre, Salim turns to Munna with

a raised eyebrow. Munna’s stock value appears to have

appreciated.

SALIM

Zohaib?

MUNNA

Er.. Meri friend hai re, Shai.

They al
l begin to head in to the movie hall.

SALIM

(knowingly, teasing)

Achhaa! Meri friend Shai, huh?.. Tu andar


24

INT. CINEMA THEATRE
-

MOMENTS LATER

24

Munna’s eyes follow Shai as she and Pesi find their

seats. Salim not
ices this and smiles. The lights go down.

25

INT. THE FLAT
-

DAY (D.V. FOOTAGE)

25

There’s black on the screen. Then static. Then a very

messed up image. The digital camera is looking around a

room. Its a bed room. The Man sitting on the bed is the

same on
e we’ve seen in the video and photograph.




25.

GIRL (O.C.)

Yeh on ho gaya hai kya?

MAN

Lal batti jal rahi hai? Haan, ab record

ho raha hai.

The man is sitting on a bed, looking at a phone book,

while the girl with the camera walks towards him.

GIRL (O.C.)

Arre vah!

(giggling)

Kuch kahiye na! Aap ka photoo le rahi

hoon!

MAN

(disinterested)

Kya kahoon?

GIRL (O.C.)

Bas hasiye!... yeh to bahot accha hai!

(pans around the room, goes

to the dressing table mirror

and we see her, the same

Girl as in the photograph
)

Bilkul badhiya hai! Par ek baat bataiye,

yeh hum Imran ko bhejenge kaise? Hum to

photo bhejna chah rahe the, hum dono ki.

The man is deep in thought, not really listening, leafing

through his book.

GIRL (O.C.) (CONT’D)

Yeh tape dekh sakenge voh, apni TV
pe?

MAN

Hmmm.


book open at one page. The image cuts.

26

INT. THE FLAT
-

DAY (D.V. FOOTAGE)

26

Static and drop outs. Comes on again with the girl

walking to the sofa after putting the camera on, and thi
s

time she is looking very pretty, all dressed up and very

excited.

GIRL

Salaam aleikum, Imran bhai! Sab

khairiyat?

(MORE)




26.

GIRL (CONT'D)

Humne kaha tha na, hum apni photo

bhejenge? Par humare paas camera nahin

hai, to unhone yeh video vali dilai. To

humne socha hum yehi bhej denge, aap apne

TV pe dekh lena! Ammi aur Abbajaan ko bhi

dikhana!.. Main kaisi lag rahi hoon?

Bilkul vaisi na? Bombay ne ab tak to

badla nahin mujhe, main vahi Yasmin

hoon!.. Ab to aapke exams shuru hone wale

hain do hafton mein.

Khoob padhna,

bhaijaan, phir acche nambar paakar idhar

aajana. Aap itne saalon se Bombay aana

chahte the. Ab main hoon yahan, khoob

mazaa karenge! Bhel puri khayenge, Juhu

beach jayenge!.. Main soch rahi thi ki

main isi video se aapko thoda Bombay ki

sair

karati hoon! Kyun, hai na accha

idea?

(the doorbell rings)

Accha abhi ke liye khuda haafiz!

She goes over and switches it off. Static.

27

INT. THE FLAT (A)
-

MOMENTS LATER

27

We see Arun sitting there with the camera connected to

the TV, looking amazed. H
e turns off the TV and looks

around him. The same room, the same dining table. He

realizes that Yasmin lived in this very house. He is

intrigued by that, and starts thinking about it.

28

INT. LOCAL TRAIN
-

NIGHT

28

Its the late night train from Churchgate
to ____. Munna

and Salim are sitting in an almost empty compartment.

Salim is clearly high and emotional.

SALIM

Nahin meri baat sun. Tu mera bhai jaisa

hai. Main nahin chahta ki tujhe kuch ho

jaye. Tu apna ye kaam chhod de.. Main

teri dekh bhaal karoonga!

Munna grins and rolls his eyes.

SALIM (CONT’D)

Tu sochta hai main joking? No I not

joking! Amma ki kasam. Life mein bas tu

aur meri amma, only two peoples I am

liking!




27.

MUNNA

Accha? Aur Mallika?

SALIM

Kaun?

MUNNA

Mallika re, Sherawat! Teri favorite!

S
ALIM

Haan, also Mallika. Only three peoples I

am liking.

Munna laughs.

SALIM (CONT’D)

Huh? Tu hasta hai? I really serious,

brother! Accha bata, kaun thi voh? Kya,

Shai, na?

MUNNA

Arre klayen hai re meri.

SALIM

Klayen matlab?

MUNNA

Uske ghar mein kapda deta

hoon.

SALIM

(teasingly)

Accha? Kitni acchi tarah se jaanta hai?

MUNNA

Chhod na yaar! Bakwaas karta hai!

Munna gets up and walks to the door of the compartment.

The city rushes by, in pools of dark and light and neon.

SALIM (O.C.)

Arre kahan jata hai! Isme

sharmane ki kya

baat hai? Matlab ab tak sirf kapde deta

hai, utarta to nahin hai!

(begins singing a love song)

Munna smiles and looks out.

29

INT. SHAI’S APARTMENT
-

NIGHT

29

29 A

Shai is in her dark room
-

a converted bathroom
-

where

29 A

she hand proce
sses and prints pictures.




28.

She puts down some negatives to process, then pulls off a

picture that’s hanging on the line to dry. Its a black

and white picture of Arun looking out of a window, big

buildings behind him in profile, his eyes focussed on

so

The phone in the house rings and goes onto answering

machine. Its her boyfriend Dale from New York.

DALE

(a little crackly)

Hello?.. This is Dale from New York for

Shai... Shai, I guess you’re not around.

I tried your ce
ll phone too. Just wanted

to tell you I’m back from Japan and

checked on your place. The house is okay,


And Kubla is just fine, Stella’s been

feeding her and everything, if anything

she’s fatter! ...and... listen, I
wanted

to say that I’d love to talk to you... I

don’t know if you’re ready to talk,

but... I miss you, and I’m sorry that

things turned out the way they did...I

think of you a lot and wonder sometimes

if I made the right decision. Anyway...

Hope this time
out is helping... Talk to

you soon. Bye..

29 B

We see her in the well appointed kitchen, looking in the

29 B

fridge for something to eat. There’s food in different

dishes, but she spots a large watermelon on the counter.

She chops it with a large knife, ge
tting juice all over

her, and begins to cut wedges out.

She is sitting on the bar stool in the kitchen eating

watermelon. The TV is on (a small one on a high swivel)

and she is watching a game show where contestants who are

eliminated are crying and its al
l very dramatic/a soap

where frantic zoom
-
ins to women with yard
-
long sindoor

match the dramatic score.

30

EXT. BUILDING UNDER CONSTRUCTION
-

NIGHT

30

One bright light illuminates the top of the building

where work still continues. Our worker is laying bri
cks

and cement (or some work), and one can see the lights of

suburban Bombay around them.




29.

31

INT. THE FLAT (A)
-

MORNING

31

Arun wakes up with a crick in his neck. He had fallen

asleep watching the video, the TV is still on and he has

the remote in h
is lap. Daylight streams into the flat. He


see the same lady in the flat opposite, except her son is

almost a teenager now. The lady is instructing the maid

now, and she has henna in her hair. Its a Su
nday morning,

and things are relaxed. Arun looks radiant, charged in a

way.

He turns to the TV thoughtfully, looking at the house

with new eyes. Then he puts the kettle on for tea.

32

INT. SHAI’S APARTMENT
-

DAY

32

Shai is holding up her shirt which had th
e stain. Its a

spotless white, as good as new. She turns and smiles.

Munna avoids her gaze, but one can tell he’s pleased.

SHAI

Chai loge?

Munna nods, trying to look casual.

Agnes who is standing near the two of them looks taken

aback at the exchange.

SHAI

(CONT’D)

Agnes, please do cup chai banana?

Agnes leaves, not at all happy. Shai walks to the

balcony, gestures to him to follow.

Munna looks around the house. Sees himself in a mirror,

and adjusts his hair. He wears a cute Doors t shirt. They

sit in chair
s on the balcony and look out to sea. Shai’s

camera is on a table, which she has taken apart.

SHAI (CONT’D)

(pointing to his t shirt)

You like The Doors?

Munna smiles and nods like he knows what she is talking

about. There’s a little awkward pause.

MUNNA

A
ap photographer hain?




30.

SHAI

Nahin, bas photo lena pasand hai! Main

bank ka kaam karti hoon. America mein.

MUNNA

America chhod ke kyun aai? America yahan

se bohot aage hai, na.

SHAI

Yeh kisne kaha? Kucch areas mein, haan

definitely aage hai.. Lekin...

Shai thinks about it, and nods slowly, with ambivalence.

SHAI (CONT’D)

Tum Bombay se ho?

MUNNA

Nahin, Bihar. Darbhanga zilla.

SHAI

Tum kyun aaye Bombay?

MUNNA


SHAI

Sara family yahan hai?

MUNNA

Nahin main akela aaya.
Aath saal ka tha.

Chacha ke saath rehne aaya.

SHAI

Jaate ho vaapas, milne?

MUNNA

Nahin, kabhi nahin gaya.

SHAI

Kyun?

Munna shrugs.

SHAI (CONT’D)

Unki yaad nahin aati?

Munna clucks his tongue in a negative.

SHAI (CONT’D)

Ghar pe accha nahin lagta tha kya?




31.

MUNNA

Theek tha. Par khaane ko kam milta tha.

Bahut bhook lagti thi, har vaqt bhook.

Main jab Bambai aaya, to chacha ne pehle

hotel mein kaam dilvaya. Vahan mein khoob

khata tha
-

khana bhi aur thappad bhi!

Shai laughs at the joke. Munna is pleased.

S
HAI

Par vahan kya farming... kya kehte

hain... kheti nahin thi tum logon ki?

MUNNA

Nahin hamare paas zameen nahin hai.

Hamara jaat chamaar hai.

Shai nods, processing what that means. Munna thinks for a

moment and then decides he should ask.

MUNNA (CONT’D)

Aap mera photo le sakti hain?

SHAI

Kya? Sure.

She reaches for the camera.

MUNNA

Nahin, nahin! Aisa nahin. Aap portfolio

photo le sakte hain?

SHAI

Kyun? Model banna hai kya?

Shai says it jokingly, then realizes that he is serious.

MUNNA

Nahin actor banne ka

hai.

SHAI

Accha... Haan, main try kar sakti hoon...

I’ve never really done that sort of

thing.

MUNNA

Kya cheez?

SHAI

Main le sakti hoon, sure.

Munna looks pleased.




32.

SHAI (CONT’D)

But tumhe mere liye kuch karna padega.

Mujhe tumhara photo chahiye, tum

jab apna

kaam kar raha hai.

MUNNA

Kya kaam?

SHAI

Arre dhobi ka, what else. Okay?

He nods, happy. Agnes comes in with one glass and one mug

of tea. Shai looks at her pointedly, and takes the glass,

giving Munna the mug. Agnes also holds up a shirt which

is

Arun’s, shaking it at Munna.

AGNES

Eh Munna, yeh kaun sa shirt laaya hai?

Saab bole unka nahin hai. Zara dhyaan se

kapde diya karo..

At the same time both Shai and Munna speak.

SHAI

Oh yeh mera hai...

MUNNA

Arre yeh to Arun saab ka hai...

Shai looks at Mu
nna in amazement.

SHAI

Tum Arun ko jaante ho? Artist Arun?

MUNNA

Haan.

SHAI

To tumhe maloom hai ki uska new house

kahan par hai?

MUNNA

Haan.

SHAI

Mujhe dikhaoge please, mujhe yeh shirt


MUNNA

Laiye main de deta hoon...

SHAI

No, mujhe use

surprise karne ka hai.




33.

Munna nods, understandingly.

SHAI (CONT’D)

Tumhara naam Munna hai?

MUNNA

Haan. Aap mujhe bula sakti hain.

Munna grins at her. They are friends. Agnes looks

disgusted.

33

-

DAY (D.V. FOOTAGE)

33

Yasmin
is walking through the Oval, shooting the Rajabhai

Clock tower, the High Court and University.

In a later cut we see the tall buildings at Nariman

Point.

YASMIN

Itni oonchi imartein! Pata nahin in logon

ko dar kaise nahin lagta! Yeh sab daftar

hain, aur lo
g subah subah train, bus,

gaadi le kar pahunch jaate hain. Saat

baje se raaston par itni gadiyan! Yahan

to kaam nau baje shuru ho jaata hai!

Vahan ke tarah nahin, jahan nau baje

Khalujaan apni pehli pyali chai ki

mangatey hain!

34

INT. THE FLAT (A)
-

NIGHT

34

Arun is sitting in front of the TV, watching the tapes.

35

EXT. ARUN’S BUILDING
-

NIGHT

35

Shai and Pesi are sitting in Shai’s car, and Pesi is

trying to roll a joint.

SHAI

Pes, you have so totally forgotten how to

roll a joint, we’ll have to smoke the

floormats!

PESI

That’s why I do coke! It’s so much

easier! And anyway why are we here since

you claim that you’re not really into

him?




34.

Shai slumps back in her seat and sighs deeply.

SHAI

Who knows. There’s something we left

unfinished I think.

PESI

Ooh a couple of positions you didn’t

try?!

(Shai glares at him)

So go na, up there and ring his doorbell.

SHAI

I can’t. I.. I don’t really know him. And

who knows, he may have someone up there

with him.

PESI


lots of a
ction, huh. Though he’s a bit of

a dark horse. And he lives also in this

slightly crummy part of town.

Shai looks around. There’s a building under construction

opposite Arun’s, and it says “Edulji Developments” on the

asbestos sheets around the property. S
elva walks out and

sees them in their parked car.

SHAI

Oh, this is one of our buildings.

PESI


posher then. Oh, wait, there he is. Isn’t

that him?

Shai jerks up, then with a squawk ducks down and watches

as Arun wal
ks down the road, lost in his thoughts.

PESI (CONT’D)

What? What happened?

SHAI

(whispering)

Get down! He’ll see us!

PESI

He’s not that cute also, huh.

SHAI

Sshhh!




35.

She watches as Arun walks down the road, and at one point

goes into an udipi restauran
t that’s open late.

SHAI (CONT’D)


PESI

What? To that madrasi joint? No thanks,

it’s pure veg types, idli saambar and

all.

SHAI

Ufff, who’s going for the food?

PESI

I am, baba. I can’t do all this 007
-
giri

on an empty stomach, hu
h. A nice steak is

in order. I’ve already got the munchies!


I’ll find you a hot parsi boy, ney, bahu

saaru, who’ll be Oxford educated and

filthy rich, who’ll take you for holidays

in Belize and St. Tropez, be a so
-
s
o

lover but well versed in Nietzsche and

opera....

All this as Shai glares at him, and Pesi hands her a

lighted joint and drives off into the Bombay night.

36

INT. MUNNA’S ROOM
-

NIGHT

36

Munna is working out on the mat. He’s doing crunches,

lifting dumbbe

carries on in the background. His cat comes in, sits and

grooms herself.

37

INT. ARUN'S APARTMENT
-

NIGHT (DREAM)

37

Shai dreams of Arun. The sequence is abstract, with

visuals of their lovemaking, reading a book

,

Shai tracing his backbone, all layered on with paint. A

visual collage.

38

INT. LOCAL TRAIN
-

DAY (D.V. FOOTAGE)

38

Yasmin is in a packed train at rush hour. The women have

no sympathy for her camera, and the frame is shoved

around.




36.

She li
fts the camera up till it is at head level, and she


her. They are not amused. One of them gives her a baleful

look.

IRRITATED LADY

Kya? Kya shooting karta hai? Huh?

YASMIN

Kuch nahin. Bombay mein nayi
hoon, to...

IRRITATED LADY

To kya? Yeh sab allow nahi hai maloom?

Other ladies get interested. They aren’t as discouraging.

NICE LADY

Naya hai? Bombay dekhne aaya hai?

YASMIN

Haan.

NICE LADY

Dekho, dekho! Dekhna to free hai na!

She pans around the compartm
ent, filled with women on

their way to work. Some reading, some sleeping, others

praying. A station comes, and a surge of women enters

giving Yasmin no room to film. The camera is turned off.

39

INT. SHAI’S CAR ON THE STREETS
-

DAY

39

Munna is dressed in n
atty clothes but he doesn’t look

happy. Shai’s driver drives through maddening traffic, as

Munna looks sullenly out of the window.

SHAI

Kya problem hai, Munna?

MUNNA

Main chahta tha studio mein karenge, vahi

accha rahega.

SHAI

Studio bohut artificial lagta

hai, baba,

yeh better rahega ki main natural photos

loon.

MUNNA

To kya raste pe lenge?




37.

SHAI

Haan, natural, jaise tum chal ke ja rahe

ho, kahin khade ho, kahin baithe ho...

MUNNA

Arre, nahin nahin! Aap please studio mein

lo na! Main kharcha bharta ho
on!

SHAI

Arre kharche ki baat thodi hai. Yeh sabke

portfolio se different hoga, bohut fresh

hoga!

MUNNA

Bhai hume fresh
-
vresh nahin chaiye! Aapko

lena aata hai ya nahin model photos?

Shai is forced to laugh despite her irritation, and she

takes out her pho
ne.

SHAI

Ashish?... Hey... Listen, I need your

help, man.

40

INT. PHOTO STUDIO
-

DAY

40

Its a small run
-
down studio with a few umbrella lights,

used mainly for portfolios. A couple of studio hands look

at them suspiciously. Shai puts her kit down and looks

around. She sees all the photography lights that are

triggered by the flash which she is totally unfamiliar

with.

SHAI

Aapke paas koi light hai jo on rehta hai?

Not flash?


feeling out of her depth, but

seeing Munna with his

expectant expression she perks up for his sake.

SHAI (CONT’D)


MONTAGE: Munna smiling, Munna looking like the sweet boy
-

next
-
door, Munna with typical ‘hero’ expression.. At some

point she takes the old
wooden chair that the attendant

is sitting on and makes Munna do things with it.

SHAI (CONT’D)

Munna, ab smile mat karo, just seedha


(MORE)




38.

SHAI (CONT’D)

Ab thoda sa sir ghumao, nahin us taraf,

haan very good..

She looks a
t her results. He looks very good with the

unsmiling, sexy expression.

SHAI (CONT’D)

Accha, aur koi T shirt hai? Yeh bohut

bright hai..

MUNNA

Nahin... main T shirt utar doon?

SHAI

OK, utaro, try karte hain.

He peels off his T shirt. He has a beautiful body
. Its

suddenly harder for Shai to give instructions, she finds

him very attractive. She takes a whole series of him, in

beautiful half light.

41

INT. THE FLAT (A)
-

DAY

41

Arun is watching the tape and looks like he hasn’t moved

from where he was for the p
ast few days.

42

INT. YASMIN’S FLAT LANDING
-

DAY (D.V. FOOTAGE)

42

Yasmin is filming the lady in the flat next to hers, an

old lady who doesn’t speak or appear to move, who sits

with her chair facing the door.

YASMIN

(to the lady)

Hello Aunty! How are you
?

(whispering into the mike)

Imran yeh mere flat ki bagal vali flat

mein rehti hain. Pata nahin kyun yeh kuch

nahin kehti. Nahi unke chehere ka rukh

kabhi badalta hai. Kuch hua hoga inke

saath. Bechaari.

43

INT. THE FLAT (A)
-

MOMENTS LATER

43

Arun’s cell p
hone rings. Arun picks up the phone.

ARUN

Hi Vatsala.




39.

VATSALA

Hello stranger. Which floor do you live

on?

ARUN

What do you mean? Fourth floor. Why?

VATSALA

Mangal Nivas, na?

ARUN

Ya, why?

VATSALA

Tell me did you speak to Andy Lau after

that day, like

I’d asked you to?

ARUN

No, V, I just haven’t had the time... I

meant to but...

The bell rings, and Arun jumps with a start and turns off

the tape in a hurry. He opens the door to Vatsala as she

says,

VATSALA

So, what have you been up to?

She grins at his
guilty expression, and walks past him

into the house. She sees the paraphernalia of the tapes

around the TV.

VATSALA (CONT’D)

Ha, should’ve known, holed up at home

watching porn!

ARUN

No, no, mad or what.

VATSALA

Then what is that?

ARUN

Some stuff.

VATSALA

(teasing)

What stuff? Huh? Why being so cagey?

ARUN

I’m not being cagey. Its just some...

research material.




40.

Vatsala walks over and picks up a tape and starts reading

the spine.

VATSALA

“Pehli chi..”

Arun grabs it back from her. She lunges and picks

up

another and starts reading it as he struggles with her to


ARUN

Stop it V, give it back!

VATSALA

Who’s ‘Yasmin Noor’?

A small chase ensues. Finally Arun pins her down in the

kitchen and wrests it from her. They are in an intimate

lock. Vats
ala reaches forward to kiss him, but he moves

back.

VATSALA (CONT’D)

What? Not in the mood?

He walks out of the kitchen. She’s left there,

thoughtful.

44

INT. RESTAURANT
-

LATER

44

Vatsala and Arun wait as their order comes. Arun is in

his own world, foldi
ng his serviette into neat triangles.

VATSALA

We didn’t sell much.

Arun nods.

VATSALA (CONT’D)


hoping we’d do better. This slot at the


okay?

ARUN

Ya. Never been better.

VATSAL
A

You hardly talked to anyone at the show.

Except that girl with Pesi. Who was she?




41.

ARUN

Oh Shai. She’s... I don’t know, a banker


VATSALA

Oh Shai... she’s Pravin Edulji’s

daughter. Pravin bought more art than

anyone I know last year. I
hope you

charmed her?


ARUN

This is much easier to do with paper.

VATSALA

You didn’t ask me why I came.

ARUN

Why did you come?

VATSALA

I’ve wangled a show for you. Guess where.

Arun is busy folding.

VATSALA (CONT’D)

Sydney.

Arun looks up, suddenly interested. Vatsala smiles

triumphantly.

VATSALA (CONT’D)

I wanted to surprise you! There’s this

gallery I’ve been in touch with about

Medha’s work and Gagan’s work, and with

it I slipped in a catalogue of your work.

They s
eem to really like it! They want to

open their India section with you!

Arun seems very happy.

VATSALA (CONT’D)

This will launch you internationally!

I

am SO excited!

ARUN


VATSALA

Tsk, of course Arun, duh! Where are you?

It’ll be fabulo
us! We’ll be on the world

map!




42.

Arun sobers down at the ‘we’.

VATSALA (CONT’D)

And of course you’ll get to see Shiv. How

old must he be by now?

Arun thinks and calculates. Then grins broadly.

ARUN

Almost six.

And he places a napkin
-
airplane in front o
f her.

45

INT. SHAI’S APARTMENT
-

DAY

45

Munna is looking at prints of pictures that Shai has

taken. Shai is looking at him and his reactions. He is

looking at the pictures very carefully.

SHAI

To? Tumhe mera kaam kaisa laga? Accha

laga?

MUNNA

Ab main kya
boloon. Mujhe to bohut

badhiya laga.

SHAI

Great! Thank heavens. Chai?

Munna nods a yes and she gestures to him to follow her.

He follows her to the kitchen, looking around him at the


mugs.

SHAI (CONT’
D)

Tum mere first client ho, to main nervous

thi!

MUNNA

Nahin, aap ka kaam to badhiya hai.

(pause)

Par aap bhi batao...

SHAI

Kya?

MUNNA

Nahin... main aapko kaisa lagta hoon?

She looks up at him.




43.

MUNNA (CONT’D)

Photos mein...

SHAI

Er... mujhe to bohut

acche lage. See this

one.. and this.. I prefer this attitude.

Munna nods like he understands.

MUNNA

Matlab aapko lagta hai mere liye koi

chance hai?

Shai hands him the tea.

SHAI

Of course chance hai. Jab tum famous

actor ban jaoge, mujhe yaad rakhna, ok?

Munna smiles.

SHAI (CONT’D)

Haan, aur ab tumko mujhe le jaana padega.

Dhobi ghat.

Munna smiles in acquiescence. He looks around the drawing

room they’re sitting in. There’s assorted photographs of

Shai and her brother Veer with her parents.

MUNNA

Yeh aapka

bhai hai?

Shai nods.

MUNNA (CONT’D)

Vo bhi America rehta hai?

Shai nods. Munna thinks for a long while.

MUNNA (CONT’D)

Main bhi America jaana chahta hoon.

Inshallah main bhi jaoonga ek din.

SHAI

In
-
sha
-
allah...

(turning it around on her

tongue)

Munna grin
s at her and nods.

MUNNA

Inshallah.




44.

46

-

NIGHT (D.V. FOOTAGE)

46


(Crawford/Mohammed Ali Road/ Null Bazaar), where bulbs


clothes, ‘farsan’
, and then bangles. The camera stops at

the bangle seller, and attempts to get through the thick

of girls trying on the discs of colour. She finally

reaches the front, and we see the spread of designs and

colours. The bangle seller is not the very patient
kind.

BANGLE SELLER

Haan, bibiji, kya dikhaoon?... kaanch ke

chahiye?... arre main nikalta hoon

bibiji, aap bas dikhaiye kaun sa!

Meanwhile Yasmin is pulling out the ones she likes. The

bangle seller is curious about her camera, as are the

other girls ther
e. They smile at her and giggle when she

turns towards them.

BANGLE SELLER (CONT’D)

Kya TV ka program hai? Hain?

YASMIN

Yeh vale kitne ke hain?

BANGLE SELLER

Yeh chhatees rupay darzen. Laiye main

pehna doon..?

YASMIN

(whispered into the mike)

Baap re! Suna

Imran!

(to the bangle seller)

Nahin bhaiyya, nahin chahiye, bohot

mehenge hain.

BANGLE SELLER

Arre kya baat kar rahi hain, bibiji, yeh

to sabse saste hain! Chaliye thoda kam

kar dete hain. Pehen ke dekhiye to

sahi... Haan madam, kaun se? Yeh vale?..

There
’s much fumbling with the camera as she puts on the

bangles. Then she lifts them up to the lens. They look so

pretty in the light. She shakes her hand and they clink

and wink in frame. Night life bustles around her.




45.

47

INT. THE FLAT (A)
-

NIGHT

47

Cu
t to the TV on which the footage is playing. Arun

presses stop, making a sort of postcard image of the

place and begins to pace excitedly around the room. He

takes out a piece of paper and begins to draw on it. His

phone rings, but he ignores it. He rewind
s and watches

the section again.

48

EXT. BUILDING UNDER CONSTRUCTION
-

NIGHT

48

Shai is watching Arun through her camera lens from a

vantage point of a building terrace opposite. She trains

her lens at him, watching as he watches Yasmin on his TV,

s going very close to the TV screen, his

expressions, him pouring himself a drink, smoking a

cigarette... We see Selva and a few others, skulking

about behind her, trying to see what she’s doing, but she

turns to look at them, and they shuffle off.

Her pho
ne rings.

SHAI

Hi Dadda... yes I’m here, that guy,

what’s his name? Your site manager? I


out for me... Yes its great thanks pops,

I’m getting some great shots...

49

EXT. ROAD NEAR THE DHOBI GHAT
-

NIGHT

49

Munna is wa
lking along and admiring his pictures. He hums

and breaks into a song, singing to his photo as his

lover. He is very happy.

50

EXT. DHOBI GHAT
-

DAY

50

Photographs of Munna washing clothes at the dhobi ghat.

The photographs document the whole process of wa
shing


on the lines by the sea, ironing, and the bundles of

clothes taken to peoples’ homes. A photo montage, while

we also see how Munna is trying to impress Shai, and how

she is charmed by this. Shai

also talks to some other

dhobis who tell her the problems in their trade.




46.

51

INT. BUILDING LIFT
-

DAY

51

In a small, cramped lift in a south Bombay apartment

building, Munna, Shai and the dour, bored elevator

attendant are heading upwards. Shai is t
aking pictures of

Munna, while the lift man watches curiously. He can’t

stop staring at Shai and particularly at her chest. Munna

sees him doing this.

MUNNA

Kya dekh raha hai?

LIFTMAN

Huh?

MUNNA

Kya dekh raha hai?

LIFTMAN

Camera dekh raha hoon.

MUNNA

Aage
dekh, bolta hoon. Camera pehle nahin

dekha hai kya?

LIFTMAN

Accha tujhe kya, main kahan bhi dekhoon?

MUNNA

(standing in front of Shai

protectively, threatening

tone)

Mujhe hai. Tu aage dekh bolta hoon.

The lift man looks in front reluctantly, picking his

t
eeth with a pen.

52

INT. BUILDING LANDING
-

LATER

52

Munna rings a doorbell. Shai looks at Munna as they wait.

He is still irritated by the impertinence of the lift

man.

The door is opened by a young girl, who looks surprised

to see Shai. She puts her hand
s out to take the clothes.

MUNNA


lena chahti hai.




47.

She leaves the door open and disappears into the flat. A

couple of moments later the lady of the house comes to

the door. She eyes Munna in a proprietary way and

Shai

with displeasure.

MUNNA (CONT’D)

Yeh kapde lene ka photo lena chahti hai.

MADAM

Kyun? Tu andar aa.

SHAI

Ma’am, I am shooting him at work, you

know from washing to delivering, so if

you don’t mind can I shoot him handing

over the clothes?..

The lady g
ives her a barbed look, and walks away saying

to the maid over her shoulder:

MADAM

Le le kapde.

Shai shoots the maid take the clothes in the hall, bring

the soiled ones, note it down in a book and Munna tie

them up in a bundle. As they turn to go, the maid

stops

Munna.

MAID

Madam ne tumko andar bulaya hai.

MUNNA

(brusquely, embarrassed)

Bolna aaj main jaldi mein hoon, kal

parson aake milta hoon.

They leave.

53

INT. BUILDING LANDING
-

MOMENTS LATER

53

They stand waiting for the lift. Munna looks up into the

lift shaft restlessly, clearly avoiding talking about the

lady.

SHAI

Baap re, aise dekh rahi thi jaise mujhe

maar dena chahti thi!

MUNNA

(short laugh, avoiding

looking at her)

Chodiye use!




48.

SHAI

Par voh shayad tumhe nahin chodegi!

mbarrassment, and the lift arrives to

relieve him. They get in and descend.

54

INT. THE FLAT (A)
-

DAY

54

Arun takes out the tape that says “Doosri Chitthi”, puts


55

INT. THE FLAT
-

DAY (D.V. FOOTAGE)

5
5

A skinny young Maharashtrian Bai is standing facing

camera. She looks uncomfortable.

YASMIN (O.C.)

Haan, ab thoda haso na bai!

BAI

(muttering, shuffling)

Kaay tumi...

YASMIN (O.C.)

Arre haso na! Tumhare sundar daat to

dikhao! Chota smile, please! Please!

BAI

(laughing by now)

Kya tum karta hai!


missing.

YASMIN (O.C.)

Aur Vanitha kidhar hai? Vanitha, saamne

aao! Arre aao na, kuch nahin hota..

A young girl (14 yrs) comes and shyly stands next to her

mo
ther, giggling.

YASMIN (O.C.)(CONT’D)

Imran bhai, yeh hain Latabai aur unki


(to them)

Mere bhai ko hello bolo!

LATABAI

Pan kidhar hai tumhara bhai?




49.

VANITHA

Te camera madi hello bolnaar, didi photo

record karoon pataite tenala bhaukade.

LATABAI

Ohh...

YASMIN (O.C.)

Vah, yeh Vanitha toh bohot samajhdar hai,

bai. Vanitha kaun se class mein ho?

VANITHA

Class seven. English medium.

The bai looks very pleased.

YASMIN (O.C.)

Accha? To phir english mein kuch bol ke

sunao?

Vanitha thinks but is
struck by shy giggles.

LATABAI

Bol na. Te kavitha sang..

Vanitha thinks for a moment, then commences in a singsong

cadence.

VANITHA

“The Brook“ by Alfred Lord Tennyson.

”I come from haunts of coot and hern,

I make a sudden sally

and sparkle out among the f
ern,

and bicker down the valley.

By thirty hills I hurry down,


by twenty thorpes, a little town,

and half a hundred bridges.

Till last by Philip’s farm I flow

to join the brimming river,

for men may come and men may go,

but I go

on forever.” Uske baad mein

bhool gayi.


and done some tobacco rolling in her palm.

YASMIN (O.C.)

Vah! Bai yeh to bohot hoshiyaar hai!

LATABAI

(secretly very proud)

Haan, kuch zyada hi hoshiyaar hai!




50.

Vanitha comes and hugs her mother, suddenly shy again.

LATABAI (CONT’D)

Isko accha nachna
-
gaana bhi aata hai. Hai

na? Poora time TV pe hindi gaane, aur ye

naachti hai! Isi liye uske ab marks bhi

kam hone laga hai! Eh, didi la dakhao,

nachoon? Huh?

Van
itha has buried her head in her mother’s pallu, and

refuses to dance.

LATABAI (CONT’D)

(winking conspiratorially at

Yasmin)

Chalo agle baar, theek hai didi?

YASMIN (O.C.)

Theek hai!

56

INT. THE FLAT (A)
-

MOMENTS LATER

56

Arun pauses the tape and thinks.

5
7

EXT. ARUN’S BUILDING
-

DAY

57

Arun has cornered the building watchman.

WATCHMAN

Ab kya pata saab, duty humri badalti

rehti hai. Kab aapke flat mein koi madam

thi, mujhe nahin maloom.

ARUN

Accha to Latabai naam ki kaamwali ko

pehchante hai aap?

The watchm
an looks doubtful.

WATCHMAN

Latabai.... Naam to sune hain, lekin

theek pata nahin.

ARUN

Aap pata karo, theek hai? Yehi building

kaam karti thi vo. Okay?


and gives the watchman both. The watchman nods
. It starts

to rain, and Arun ducks back into the building.




51.

58

INT. THE FLAT (A) LANDING
-

DAY

58



He smiles at her and nods a hello, but

she is just

vacant. He feels a bit disturbed by this and hurries into

his flat.

59

EXT. DHOBI GHAT
-

EVENING

59

Munna has put away the last bundle for washing the next

day. Shai is wrapping up her equipment.

SHAI

Thanks, Munna.

MUNNA

Aapko bhook nahin lag
i hai?

SHAI

Bohot lagi hai!

Munna picks up her equipment bag and walks, Shai looking

after him amused. He turns and looks at her like “come on

then”. She follows him.

60

INT. IRANI RESTAURANT
-

NIGHT

60

They are eating kheema and pav at an Irani restaurant
.

SHAI

Arun ko kitne saal se jaante ho?

MUNNA

(shrugging)

Kyun?

SHAI

Just... jaanna chahti thi..

MUNNA

Kuch chaar saal se.

SHAI

Always akela rehta tha voh?

MUNNA

Nahin pehle biwi aur ek baccha bhi the.

Shai stops eating shocked.




52.

SHAI

Kya? No way!

MUN
NA

Haan! Kyun? Do saal se voh nahin hain.

Divorce ho gaya uska. Bura haal tha thab

uska. Darwaza hi nahin kholta tha. Ek din

maine bola “kholo darwaza! nahin to

police ko bulata hoon!”

SHAI

Phir?

MUNNA

Phir usne jaake khola. Maine bola zinda

hai shukar hai
. Chai banaya uske liye,

dono piye, aur main nikal gaya.

SHAI

Phir?

MUNNA

Phir kya. Theek ho gaya voh... Aur ek

macchi

fry mangaoon?

SHAI

Mmmm... share karoge, to. Poora nahin kha

sakungi.

Munna orders a fish fry.

SHAI (CONT’D)

Uski wife kaisi thi?

MUNNA

A
cchi. Gori. Lambi, Arunbhai se bhi

lambi!

Shai nods, not particularly happy at the praise.

MUNNA (CONT’D)

Aapki shaadi nahin hui?

Shai laughs and shakes her head.

MUNNA (CONT’D)

Aur koi boyfriend?

SHAI

Tha. No more... Aur tum? No?

He also shakes his head.




53.

SHAI (CONT’D)

Kyun? Tum itna handsome hai!

Munna blushes.

MUNNA

Kya karein. Koi hume acchi nahin lagi. Ab

tak.

Shai grins, knowing she’s embarrassing him.

SHAI

Koi mil jayega..

MUNNA

Gi! Mil jayeGI!

SHAI

Koi mil jayegi! Inshallah...

He grins. They ea
t companionably.

61

-

NIGHT

61

Munna is carrying Shai’s camera bag and they are hurrying

to her car in the rain. Her driver opens her door for


tells him to go ahead, but he just stands th
ere smiling

at her, watching the car as it leaves.

62

EXT. BUILDING UNDER CONSTRUCTION
-

NIGHT

62

The workers and their families are sitting in the

unfinished drawing room of a flat, some playing cards,

some sleeping or reading the paper. Outside it pours.

Its

a happy environment, like a school rain holiday.

63

INT. SHAI’S APARTMENT
-

LATER

63



She goes into the TV room to find her parents, Pravin and

Manek Edulji watching
the late night news, as Manek flips

through The Economist/WSJ. They are distinguished, in

their early 60s, with a ring of old money about them.

PRAVIN

Hi darling! Are you sopping or what?





54.

MANEK

Hello Shai Edulji. Stop looking like

you’re seeing ghosts. We aren’t, not yet

anyway.

She goes over and kisses them.

SHAI

Hey! I thought you guys weren’t expected

till early next week?

PRAVIN

The Jalals are having a party tomorrow

night, sweetheart, so they asked us to

come back. You’re invi
ted of course, and

you really must come.

SHAI

Cool. Look, the monsoon is here! My first

in... ten years! Has it started raining

in Alibaug yet?

PRAVIN

You know it looked terribly worrying when

we got in the boat, and we pretty much

made it in the nick of t
ime, didn’t we

Manek?

MANEK

I’d say. We have to get a covered speed

boat that’s bigger. I’m tired of your

mother looking like a she’s in purdah

trying to save her hairdo.

SHAI

You married a beauty queen, Manek Edulji,

now pay for it!

MANEK

So you’ve been o
ut shooting have you?

SHAI

Yeah. Went to the Dhobi Ghat today. It

was just fascinating!

PRAVIN

(shuddering)

Oh dear. Darling you shouldn’t do these

things, god knows what kind of infections

you could pick up there.

SHAI

Tsk, ma! You’re just paranoid.




55.

Shai sits at the edge of the sofa.

PRAVIN

Darling don’t sit there, you’re all wet!

Why don’t you go and change.

SHAI

Yup, and I’m going to bed.

(over her shoulder)

Thanks for letting me shoot from the

building, Dadda.

MANEK

I hope its coming along quickly
, that

project. The labour are really dragging


SHAI

Good night.

MONTAGE

64

INT/EXT MUNNA’S ROOM
-

NIGHT

64



matting. He quickly

goes outside, gets an old crate, stands on it in the rain

and patches up the crack. Then he is back inside in dry

clothes, dries his hair and sits at his window for a

while. He gets into bed but can’t sleep.

65

INT. THE F
LAT (A)
-

NIGHT

65

Arun stands at the window, watching the rain, listening

to Siddheswari Devi, the rain is coming in but he doesn’t

mind. He paints as the music plays and it pours outside.

He looks happy, content.

66

INT. SHAI’S APARTMENT
-

NIGHT

66

Shai
comes out of the shower, all washed and clean. She

turns on the A/C. Her windows are shut, and the rain

pours down the panes, which cloud up. She looks at

herself in the mirror as she brushes her hair. Then she





56.

67

INT. ARUN'S APARTMENT
-

NIGHT (DREAM)

67

A dream
-

Arun, similar to the earlier collage.

68

-

NIGHT

68


stick in his hand. Its
dark and some dogs bark nearby. A

lonely radio plays a song in bhojpuri, its crackly tenor


light from one or two houses partially illuminates the

ground. He slowly walks towards a heap of dry waste ly
ing

on the ground. He gently moves a sheet of plastic that is

covering something and WHAM! He slams his stick down time

and again...

69

EXT. ARABIAN SEA
-

DAY (D.V. FOOTAGE)

69

The day has a dream like quality. The ocean is smooth and

greeny
-
blue. Bombay c
an be seen though a faint haze. The

sky has puffy clouds, and the boat rocks gently.

YASMIN

(whispering)

Imran, voh dekho Bombay. Door se itna

shant lagta hai..

Suddenly the boat engine grinds to life. The camera

swings round, and Vanitha comes up to the c
amera.

VANITHA

Start ho gaya, didi! Engine mein problem

tha.

The boat courses forward. The camera shoots the people on

the deck; villagers, tourists.. A young couple stand near

the railing, whispering to each other, the boy with his

arm around her. She is
trying to push him away a little,

but he pulls her close, saying things to her which make

her giggle. She spots Yasmin’s camera and nudges him and

tells him. He turns and looks at it, then takes her hand

and walks to a less visible spot.

She turns the came
ra to the water. The foam of the

churning water, the light refracting in its depths.




57.

70

EXT. ELEPHANTA CAVES
-

DAY (D.V. FOOTAGE)

70

We see Yasmin framed against the beautiful Trimurti in

wide shot as Vanitha is filming her. She has thrown back

the n
aqaab of her burkha and is looking up in awe,

completely absorbed. Vanitha zooms in to her face.

71

INT. MUNNA’S ROOM
-

DAY

71

Munna is sitting on the floor, carefully sticking on

little stickers on the backs of the portfolio pictures

that say “Zohaib Shai
kh, 5’10”, Moblie no. 9871412223”.

The cat is asleep in a corner and the rain makes a low

drumming sound on the roofs. Munna has put a vessel under

a leak in his roof. Salim comes in from the rain and

slumps down. He is in a rotten mood. Munna notices but


it and begins to smoke.

SALIM

Voh saala, Raju, saala ek number ka

haraami hai. Mera 50000 ka dhanda kha

gaya! Main uski madad kar raha tha aur

saala, voh! Maine chaar laaphe maare use

aur warning de k
e chod diya ki Kaale bhai

ko bataoonga! To hava tight ho gayi uski!

Saala... Lambu ka bhai hai to apne aap ko

Don samajhta hai...

Salim drags on the cigarette and calms down, then he

turns to Munna.

SALIM (CONT’D)

Munna, kuch paise chahiye yaar. Voh

Jogesh
wari mein flat book karne ke liye

dus hazaar aaj dena tha.

(he pulls out a bundle of

notes from his pocket)

Dekh mere paas saat hazaar hai. Teen de

na yaar, agle mahine lauta doonga.

MUNNA

Tune mere pehle ke chaar bhi nahin diye

Salim, ab main nahin de sak
ta.

SALIM

Is baar pakka re, tu tension mat le. Agle

mahine Bhai mujhe bada kaam dene vala

hai, aur Raju se bhi loonga main do

mahine ka hafta. Pakka.




58.

Munna gets up and takes out three thousand rupees from

takes his

pictures and begins to look through them. He laughs

uproariously.

MUNNA

Kya? Has kyun raha hai?

SALIM

Abey! Yeh tere mem ne liye! Kya lagta hai

re tu!

He laughs like mad and drags on his cigarette. Then he

recovers. Munna snatches them back, he’s

irritated. Salim

relents.

SALIM (CONT’D)

Nahin, solid lagta hai tu, sachi, par

tere photo dekh ke mere ko jaane kyun

hasi aaya! Pan lagta tu hensum hai.

Sachi, saala! Body bhi acchi banai, huh?

Munna gives him the money.

MUNNA

Ab to vo producer se milvao.

Kuch to kar

mere liye, Motey!

SALIM

Kya samajhta hai, main nahin milvaoonga?

Chal, kal milvata hoon, pakka! Theek hai?

Munna is thrilled but just smiles.

SALIM (CONT’D)

Teri yeh memsaab acchi nikli, huh? Chal

ab bol daal, kya darne ka, usne to tujhe

aadha

nanga bhi dekh liya!

MUNNA

Chal hut!

Munna mock kicks him, and they have a little mock fight.

72

EXT. CHOWPATTY
-

EVENING (D.V. FOOTAGE)

72

Yasmin is filming the sea coming up to froth against her



She zooms in to her toes, as she digs them into the


Arabic, with pretty flourishes, and loses it in the tug

of one wave.




59.

This time she quickly writes her name, and as she

finishes it, the wave

takes it away. Then she writes her

full name
-

Yasmin Noor
-

and then its erased. Then as a

kick she writes
-

(a+b)2 = a2 + 2ab + b2, and then its

gone. She laughs.

YASMIN

Yahan kuch nahin tik sakta. Aur yeh

samundar sab kuch leke chup rehta hai.

Main ise

kuch bhi keh sakti hoon, apne

saare raaz bata sakti hoon, aur voh sab

samundar ke gehrai mein kho jaayenge. Voh

kisi ko nahin bataega.

73

INT. SHAI’S APARTMENT
-

DAY

73

Shai is fixing herself some lunch in her kitchen. She has

got some cold cuts and salad


she’s making a sandwich with Agnes hovering around her.

AGNES

Give me, I’ll do it Shai baby.

SHAI


AGNES

Then what I will do? You are doing all

the work!

SHAI

I’m used to this, Agnes. I do all my own

work in
New York.

AGNES

Arre but you use machine for everything

no there! My brother told me, in Dubai



ten minutes dinner ready!

Shai laughs. Agnes relaxes and watches her slice

tomato
es, cucumber and cheese.

SHAI

So Agnes how’s your daughter?

AGNES

She alright, baby. Doing all the time

tuitions. From school she straight go to

tuition class! Tuition fees are double

school fees!




60.

SHAI

Really? What does she want to do finally?

AGNES

She now in tenth so time is there. But I

think she may join a call center from

next year.

SHAI

And your husband? Still drinks and beats?

AGNES

Oh no! Thank Jesus he went away! Took my

twenty thousand rupees and ran off! Some

other woman he found to beat I
think!

SHAI

Bastard. Good riddance.

She puts her sandwich onto a plate, pours herself a glass

of lemonade and picks up her plate to leave.

AGNES

Shai baby, you stay away from this dhobi

boy I think.

SHAI

Really? Why?

AGNES

He’s not a good boy. He just extr
a smart,

got no education, total faltu type.

Thinks too much of himself. Not from a

good background you know, these type

people.

74

-

DAY

74


Edulji building opposite Ar
un’s with her camera

equipment, wearing big shades, when she suddenly spots

Arun walk down towards his building. She ducks her head

and tries to hurry into the Edulji building, trying to

look the other way, panicking that he might see her. And

he does.

ARU
N

Shai? Hey, Shai!

She stops and turns, and feigns surprise at seeing him.

He crosses the road and comes up to her.




61.

ARUN (CONT’D)

Hi!...

SHAI

Oh, hi...

ARUN

Nice to see you again! How’ve you been?

SHAI

I... I’ve been good. How are you?

ARUN

I’m good
, very good. Moved house, working

on a new project.. Really good. I live

right here in fact.

SHAI

Oh really. I’m... I was just going in

here... this building...

He points to her gear.

ARUN


SHAI

Yeah, I’m just, you know
, shooting here,

this construction work and all that. Its

one of my dad’s sites.

ARUN

Oh, that’s cool.

They are struck by awkward silence. Then together..

SHAI

Well I should...

ARUN

Why don’t you...

They laugh, and it’s more relaxed. He gestures that she

g
o first.

SHAI

I should be going.

ARUN

Okay. Cool. It was nice seeing you.

They look at each other. She nods and smiles, still

reluctant to leave. They smile.




62.

ARUN (CONT’D)

Do want to have a coffee before you go?

Do you have the time?

SHAI

Er... yeah,

actually, I do have time for

a coffee.

ARUN

Do you want to come up to my house?

SHAI

Yeah, okay.

75

INT. THE FLAT (A)
-

MOMENTS LATER
-

DAY

75

Shai is looking through his window, trying to see how

much of the opposite building she can see. He comes in

with

coffee.

ARUN

So. How’s the ‘sabbatical’ been going?!

Shai smiles at the reminiscence.

SHAI


ARUN

Been seeing a lot of the city?

SHAI

Yeah kind of.

ARUN

Have you been to Mohammed Ali road and


Shai shakes her hea
d.

ARUN (CONT’D)

(excited)

You must go. And Haji Ali? And these mill

areas? Actually there’s so much to see in

Bombay.

SHAI

Is there really? I guess one needs a

guide then, to see all this local stuff.

ARUN

Yeah, one needs a guide...




63.

SHAI

And you? Yo
u’ve been working?

Arun grins.

ARUN

Yeah. Well kind of. I have this...

something I’m kind of excited about.

SHAI

That’s great. You seem a lot happier, I

have to say.

Silence.

ARUN

Listen Shai. I really want to apologize

for being an asshole the last time r
ound.

SHAI

Oh no. Not more apologies. Just forget

about it okay? It was no big deal,

really. So I found you hot, so I slept

with you! Its cool! Its... that’s all it


ARUN

Phew! Thanks, I was feeling so shitty for

ages after tha
t day, thinking, you know,

I hurt your feelings and all that!

He relaxes.

SHAI

Yeah, well you were a real shit that day,

but whatever. No, I wasn’t hurt. I was

just really pissed off for a while.

ARUN

That’s just me at my best. Pissing

everyone off. I have

a way with that. And

when I’m drunk I do all kinds of random

things! Its really embarrassing.

Shai laughs.

SHAI

I know what you mean! I’m hoping you

don’t remember half the things

I

did!

ARUN

Apart from the headstand you mean?!




64.

The doorbell rings. A
run’s laughing as he opens it to

Munna. Munna sees Shai cosy on the sofa and Arun all

laughing and goes still. Shai freezes, looking almost

guilty.

ARUN (CONT’D)

Munna! Kya haal hai yaar.

(taking the clothes)

Aaj kapde nahin hai, kal aana, okay?

Chal.

He s
huts the door.

76

INT. THE FLAT (A)
-

MOMENTS LATER
-

DAY

76

Munna is still looking at the shut door, frozen. He turns

around slowly, sees the lady
-
of
-
perpetual
-
blankness, and

walks down the stairs. He looks shaken up.

77

INT. THE FLAT (A)
-

MOMENTS LATER

77

Shai is still frozen, feeling like she was caught out.

Arun hasn’t noticed.

ARUN

So? What else did you do that I shouldn’t

remember?

Shai smiles a tight smile. She looks at her watch.

SHAI

Hey look I gotta go. Thanks for the

coffee.

ARUN

So soon? Oh oka
y... See you. Show me your

pictures sometime. I’m curious to know

what kind of stuff you shoot.

Shai smiles and hurries out the door.

78

-

MOMENTS LATER

78


him, trying to

catch up with him. Finally she does.

SHAI

Munna!




65.

He stops and looks at her. She looks thoroughly guilty.

They look at each other.

SHAI (CONT’D)

Kahan ja raha hai?

MUNNA

Kaam hai.

SHAI

Kya kaam? Aaj tumne bola tha tum mujhe

Nagpada le jayega... Aur t
um vo movie

dikhayega, that “Hulchul” or whatever.

Munna shakes his head, resisting her charms.

SHAI (CONT’D)

Come on, Munna, you promised. Chalo na,

maine tickets bhi le liya.

Munna looks at her, slightly mollified.

79

EXT. CROWDED ALLEY
-

EVENING

79

Shai

is finishing taking pictures of an attar maker in

his tiny workshop, while Munna looks on half
-

territorially, half
-
admiringly. The man who makes attar

has been telling her how his trade has all but closed

down with the advent of bottled perfumes, mostly
cheap

fakes. And how his son has no interest to learn what his

ancestors practised. He wants to do a job in marketing.

Shai and Munna leave, walking along companionably.

MUNNA

Aap yeh sab kyun kar rahi hai?

SHAI

Mujhe janna hai... dekhna hai...

MUNNA

Kya d
ekhna hai? Yeh sab gandi jagahein?

America ki sadkein kuch zyada hi saaf

the, isiliye!

They both laugh.

SHAI

Par main nahin aati to yeh sab kahan

milta! Tum kahan milte!

Munna glows.




66.

MUNNA

Haan voh to hai.

They walk along companionably.

MUNNA (CONT’D
)

Aap Id ke din humare chachi ke ghar

aayenge?

SHAI

Wow! Haan of course.

80

EXT. CHOWPATTY
-

AFTERNOON (D.V. FOOTAGE)

80

There are masses of people on Chowpatty beach as it is

Visarjan day. The camera is weaving its way through the

crowd and drum beats get

louder and louder.

81

INT. THE FLAT (A)
-

DAY

81


He stares at the canvas for a long while. Then he

suddenly remembers Yasmin’s chain. He puts down his brush

and gets out the chain and the ring. He g
ently examines

the ring, turning it round in the light. It is a delicate

pearl set in silver which has become tarnished. Arun

smells it, looks at it, then tries it on one of his

fingers. It doesn’t fit any.

He takes the ring and chain into the bathroom and

puts

them into a mug of soapy water. Then he uses his

toothbrush to clean them.

82

EXT. CHOWPATTY
-

EVENING

82

Arun is wandering around the beach in the afternoon, the

drumbeats playing in his head. His beard has grown. He

walks around, observing, and we
see a chain around his

neck. It is Yasmin’s chain with the ring on it. He takes

off his shoes and wiggles his toes in the sand. He draws


looks happy.

83

EXT. MOHAMMED ALI ROAD
-

NIGHT

83

It’s time for If
tari and Shai and Munna are walking along

(Shai, for a change in a salwar kameez), through groups

of people eating and shopping. Shai is taking lots of

pictures, and is very excited.




67.

She chooses the kebabs and other popular dishes, and

Munna insists
on paying for everything. He is very

protective of her, as well as explains things to her.

They don’t notice Arun, who is also among the crowd,

looking around.

84

INT. MULTIPLEX
-

EVENING

84

Shai and Munna are walking towards the theatre. Salim and

a girl
are standing close to the entrance. Munna rolls

his eyes, thinking “Shit, what’s he doing here”.

SALIM

Abey. Kya.

(to Shai)

Hello.

SHAI

Hi!

(to Munna)

Yeh tumhara friend hai na, us din bhi he

was here.

Munna nods and hurries her into the theatre, very self

conscious. Salim notices his odd behavior.

85

INT. CINEMA THEATRE
-

LATER

85

The movie is under way. Munna seems to be in a battle

trying to decide whether he can put his arm on the shared

armrest or not. Shai leans closer to ask him what


who some actor is, and he is so aware of

her. He finally puts his arm on the armrest and their

arms are touching. Shai is unaware, absorbed in the film.

Munna is on a cloud of bliss.

A KAJRI BEGINS TO PLAY OVER THE FOLLOWING MONTAGE:

86

INT. THE FLAT
-

NI
GHT

86

It rains outside while Arun is painting. In the

background Yasmin is walking to and around Haji Ali. He

is doing a big canvas, and he seems completely absorbed,

stopping from time to time to drink tea and watch the

tape.

87

EXT. HAJI ALI
-

EVENING (
D.V. FOOTAGE)

87

Yasmin is walking to and around Haji Ali.




68.

88

EXT. MULTIPLEX
-

NIGHT

88


Munna hanging behind. She gestures to him to get into the

car. He does.

89

INT. SHAI’S APARTMENT
-

LATER

89

Shai and Munna are in the balcony of her apartment. Shai

has rolled herself a joint, a very funny looking one, and

she laughs. He is a bit scandalized, but goes along with

it, happy to be there. It rains outside.

90

INT. THE FLAT (Y)
-

NIGHT (D.V. FOOTAGE
)

90

We see a segment where Yasmin has bought herself a

birthday cake, and has lit candles on it. She places it

in front of the camera, cuts a piece and smilingly feeds

it to the camera (her brother). Arun pauses the tape and

comes very close to the TV as
if to eat the cake.

91

INT. SHAI’S APARTMENT (DARK ROOM)
-

LATER
-

NIGHT

91

Shai is in her darkroom, showing Munna how she makes

prints. He is fascinated by her, and she knows it.

92

INT. SHAI’S APARTMENT (BALCONY)
-

LATER
-

NIGHT

92

Later she brings a bot
tle of single malt and two glasses.

She offers him one, he refuses, she presses him so he

takes one and takes a sip. It tastes ugly to him, and she

is vastly amused. She is mildly flirtatious in her

manner.

Later she has fallen asleep. Munna comes very clo
se to

her and looks at her face as she sleeps. He bends over as

if he’s kissing her lips, seeing what it would be like if


93

EXT. BUILDING UNDER CONSTRUCTION
-

MORNING

93

The morning after the rain a few pud
dles are left in the


them.

Selva chews on one of those sticks one uses to clean

teeth.




69.

He has a radio with him, which has crackly songs playing

in bhojpuri or some other language. He looks at the c
ity

around him, stirring. People in their flats, some out for

walks. The poor on the street are waking up.

94

INT. SHAI’S APARTMENT
-

DAY

94

Shai sits in her balcony as Agnes hands her tea. She has

just woken up and is in the same place she fell asleep.

A
gnes is very disapproving, as she picks up the bottle of

whiskey and the two glasses. Shai looks out to sea

blankly. The phone rings somewhere in the house. After a

bit, Agnes brings it to Shai.

AGNES

Mummy ka hai.

SHAI

Hello... hi ma... yeah good, good. A
nd

you?... Okay... well, yeah sort of, still

doing my mad shooting!... well I’m done

with dhobis, ear
-
cleaners, the circus,

and I’m soon going to do the night rat

killers!... No, no kidding!... Of course

I’ll be fine, ma. When are you coming

next?... Oh gr
eat, see you soon then...

bye!

95

INT. THE FLAT (A)
-

DAY

95

Arun takes out the tape that says “Teesri Chitthi”. He

rubs his hands in anticipation and puts the tape in. He


96

INT. THE FLAT (Y)
-

DAY (D.V. FOOTAGE)

96

Yasmin has put t
he camera on and she sits fairly close in

front of the camera. She looks downcast.

YASMIN

Bhai, dus din mein Bakrid hai aur tumhe

pata hai hum bakrid se kitna darte hain.

Hume always bura lagta hai, ki vahi jinhe

itne pyaar se bada karte hain, unhi ki

kurb
ani deni padti hai... Ghar mein main

kaise chhup jaati thi...

(thinks, then a little more

upbeat)

Voh to hain nahin Bambai mein, par yahan

unki khala ne hume bulaya hai Bakrid ke

din.

(MORE)




70.

YASMIN (CONT'D)

To humne soch liya hai ki kaun si bimari

ki

vajah se hum nahin ja paenge...

Julaab!

(giggles)

Yaad hai, jab maulvi saab aate the, kaise

hum pet mein dard, sar mein dard, bahane

banakar nikal jaate the! Yeh khala ka

maamla kuch vaisa hi hai!... Chaliye abhi

ke liye itna hi. Itne din ho gaye, lekin

h
um yeh tape khatam hi nahin kar pa rahe

hain! Saari kahabar tab tak baasi ho gayi

hogi! Khair, ‘better late than never’,

hai na?

97

INT. POSH RESTAURANT
-

NIGHT

97

Shai, her friend Suhana and Pesi are drinking at the bar

of a busting nightclub. They are al
l a bit high.

SHAI

What rubbish!! I couldn’t have said that!

No way!

SUHANA

You totally did, na Pes? “When I grow up

I want to be a nun”! And we were all like

“whaaaat?!” Such a chamchi of those

Sisters you were!

PESI

While we were all like ‘astronaut’ and

‘doctor’!

SUHANA

Pes I remember you said you wanted to be

race jockey. We were quite impressed huh!

PESI

Ya, now look at me! Don’t remind me babe,

its too depressing.

SUHANA

Ya, imagine if I had become a doctor!

PESI

Thank god at least Shai didn’t become
a

nun!

SHAI

Actually now I wish I had! With all the

luck I’ve had with men...!

(sighs)

(MORE)




71.

SHAI (CONT'D)

I’m not cut out for relationships I

think.

PESI

Like your that verny painter?

Shai rolls her eyes.

PESI (CONT’D)

Fuck him ya! He was super wei
rd anyway.


The others murmur “what?”, “now?” etc.

PESI (CONT’D)

Yeah the house is gorgeous now in the

rains!

SHAI

I can’t babe, Munna is taking me to that

Dongri place tomorrow.

PESI

Uff, whats with this Munna fixatio
n man!

How much you hang out with your dhobi!

SHAI

Yeah.. So?

SUHANA

So... nothing. It’s just a bit weird no?

Suhana and Pesi are amused, but Shai isn’t really.

PESI

No, I’m sure you have lots in common and

all, but

babe

... You know?... I mean

after a poi
nt its like “Kitna kapda dhoya

aaj” no?!

Suhana laughs like mad. Shai is forced to smile.

PESI (CONT’D)

Oh ho, we’re kidding babe! Listen enough

now, huh, its time for some fun!

Shai looks quizzical.

98

INT. SUBWAY
-

NIGHT

98

Salim and Munna are walking al
ong the Haji Ali subway.




72.

SALIM

Tu badal gaya hai, maloom.

MUNNA

(distracted)

Hmmm?

SALIM

Tumko na, pyar ho gaya hai.

MUNNA

Hut! Chutiya.

SALIM

Tu bola hai usko? Huh?

Munna is quiet, dismissive but smiling.

SALIM (CONT’D)

Pan uske ma
-
baap nahin manega
. Tereko

bhaag jaana padenga.

MUNNA

Arre tu kahan pahuch gaya!

SALIM

Haan, sorry, pehle tu bol daal na!

Munna shakes his head but continues to smile. Salim’s

phone rings.

SALIM (CONT’D)


an laya hoon

is baar... Aap bolo kahan, main pohunch

jaata hoon... aadhe ghante main...

Brittania ke paas na?... ok sir, milte

hain.

Salim looks much happier. He looks at Munna with

affection.

99

-

NIGHT

99

Salim is standing nea
r a street corner, talking on the

phone, and Munna is beside him. He is directing someone

to where he is. A swank Land Rover stops beside him with

Pesi driving and Suhana beside him. The back windows are

tinted, so Munna can’t see Shai. Shai sees him and

s
tiffens. Suhana’s window goes down and Salim steps up to

them.




73.

SALIM

Kya saheb, hame bhool gaye aap!

Pesi and Suhana are disinterested in him. Pesi is

counting some notes.

PESI

Kitna bola tha tumne?

SALIM

Saat hazar.

Pesi looks at him sharply. Salim
tries to mutter that

that’s the rate.

PESI

What nonsense, beech mein main usse le

raha tha, kya naam hai, Rajesh, aur voh


yeh lo paanch aur paanch dus, 2 ke liye.


th
ousand. Samir pays, the window is slid shut on Salim’s

face.

PESI (CONT’D)

Now we’re set for some partying!

And they drive off. Shai doesn’t say a word. She looks at


Back on the sidewalk:

MUNNA

Main cha
lta hoon. Kaam pay jana hai.

SALIM

Arre phir vohi kaam! Aaj main chudvaoonga

tera yeh kaam. Chal aaj party karte hain!

MUNNA

Nahin yaar, mujhe jaana hai.

SALIM

Dhut saala, chutiya! Ja, kar! Kabhi nahin

manega! Ek din khud tujhe samajh aayegi!

Salim walks o
ff, leaving Munna staring after him.




74.

100

INT. STD BOOTH
-

NIGHT

100

Selva is in an STD booth in a crowded part of town. With

great concentration he dials the long STD code and

number. After a while he seems to have got through. He

speaks to his wife
who has delivered a child, while


he’s done he pays after painfully counting every rupee.

101

INT. THE FLAT (A)
-

DAY

101

Arun picks up a pad and pencil and settles down to watch

the tape.

The tape plays
.

102

INT. THE FLAT (Y)
-

NIGHT (D.V. FOOTAGE)

102

YASMIN

(sitting in front of the

camera, looking very

downcast)

Pata nahin logon ko yeh sab shaadi ka

chakkar kyun accha lagta hai. Mujhe

shaadi karni hi nahin chahiye thi. Lekin

meri kisine nahin suni. Mai
n kitni khush

thi... Ek baat bataoon? Unki aur koi

aurat hai.

(looks down and away)

Mujhe kuch poochna tha unse, to mobile ka

nambar ghumaya, to ek aurat utha kar

kehti hai “tum kaun?” Humne kaha unki

Missus. Voh hansne lagi, aur unko bulate

hue kaha
-

“ba
di bholi maloom padti hai!

Kahan se laye usko?!”

She covers her face with her hands for a long moment.

Then she looks up at the camera. She smiles, a little

sad.

YASMIN (CONT’D)

Khair chhodo in baaton ko... Us din phone

par main itni khush ho gayi ki bohot

sari

baatein poochna bhool gayi. Exam mein

kitne number mile? Aur Chhoti kaisi hai?

Ab to aam aane lag gaye honge baag mein!

Yahaan ke aam mein voh taste kahan!...

She smiles at the memory.




75.

103

INT. THE FLAT (A)
-

MOMENTS LATER

103

Arun’s phone ring
s.

ARUN

Hi V... yes, its going well... I’m not

sure but maybe in a month or two?... no,

I can’t be done faster than that...

listen, Vatsala, I... No I don’t know...

listen, I can’t work to these deadlines

anymore, okay? I can’t. I’ll let you know

when I’m
done and you can come and take

these, okay? Till then please quit

hassling me!

He hangs up and throws his phone onto the sofa. He takes

a deep breath. The phone begins to ring again. He


mad. He takes
the call, and as he hears Vatsala say

“hello? hello?” at the other end, he drops the phone into


phone drown with satisfaction. Then he goes to the


104

INT. FLAT OF

MRS. SHAH
-

DAY

104

Munna is standing at the window of the flat which looks

on to the sea. Mrs. Shah is lying on the bed, resting on

one elbow and looking at him. She looks very irritated.

MRS. SHAH

Nahi aana chahta hai to mat aa! Maine kab

zabardasti kiy
a hai! Achanak tumko kya ho

gaya hai, kya maloom.

Munna stays silent.

MRS. SHAH (CONT’D)

Tera us ladki ke saath kuch to chakkar

hai.

MUNNA

Ab kuch bhi bol rahi hain aap.

MRS. SHAH

Kuch bhi kya. Tujhe usse pyaar ho gaya

hai, yehi baat hai. Sahi to keh rahi

hoon. Idiot kahin ka...

Munna turns to face her, anger in his eyes.




76.

MRS. SHAH (CONT’D)

Arre sach baat sunne se sab darte hain!

Us amriki ladki ne tujhe thoda kya bhaav

de diya, tu lattu ho gaya! Arre Munna

apni aukat dekha kar, samjhe! Ab nikal

ghar
se, aur vapas mat aana jab voh tujhe


She turns over and reaches for the TV remote. She puts on

some television drama and presses a buzzer by her

bedside. The young maid appears.

MRS. SHAH (CONT’D)

Ek thanda coke le kar

aa, ice bhar ke.

Aur suno, aaj se Munna nahin aayega kapde

lene. Watchman ko bhi batana aur koi aur

dhobi dhoondh lena.

The maid leaves. Mrs Shah continues to watch TV ignoring

Munna. Finally Munna leaves the room.

105

EXT. SUBWAY
-

LATER
-

NIGHT

105

Munn
a is heading back with Salim, Salim ribbing him about

his ‘mashooqa’ and Munna is in high spirits. They are

walking along the lane, laughing and joking.

A weasly looking man steps out of the shadows and stops

Salim.

JACKIE

Eh Salim, Kaleybhai ne tumhe bula
ya hai.

Salim looks at him with distaste.

SALIM

Main busy hai. Kya kaam hai usko?

JACKIE

Pata nahin. Shayad iftari karni thi

tumhare saath.

SALIM

Arre, abhi?! Abhi to kuch ghante main

sehri hai!

JACKIE

To main keh doon kya, ki tu busy hai?

Salim isn’t happ
y.




77.

SALIM

Kahan milna hai?

JACKIE

Station ke peeche shed pe.

SALIM

Theek hai main aata hoon.

Jackie leaves. Salim readies to part ways with Munna.

MUNNA

Main bhi chaloon?

SALIM

Nahin, main jaldi aata hoon. Tu apna

ghatiya kaam nipat ke aa, phir sehri

karte hain!

They part.

106

INT. THE FLAT
-

DAY (D.V. FOOTAGE)

106

Yasmin is shooting a plane flying over the buildings. It

sounds very loud, flying low over the skyline. She

follows it till its out of sight.

ration;

some people are pushing along their god on a small cart

amidst drums and dancing.

107

INT. THE FLAT (A)
-

NIGHT

107

Arun is painting as the tape is playing. There’s snow on

the screen as it seems the recorded portion is over, and

Arun has just left

it to run to the end.

Suddenly an image appears on the screen. Arun turns to it

surprised, and comes closer to it to see. Yasmin has put

the camera on the table and she goes to sit in front of

it. She looks depressed and smiles sadly.

108

INT. THE FLAT (Y
)
-

DAY (D.V. FOOTAGE)

108

YASMIN

Yeh mera akhri khat hai. Pata nahin yeh

tum tak pahunchegi ya nahin. Allah tumhe

khush aur salaamat rakhey. Mujhse gussa

mat hona. Maine bohot koshish ki hai.

Ammi aur Abbu ko bhi samjha dena.




78.

She has tears in her ey

camera off.

109

INT. THE FLAT (A)
-

MOMENTS LATER

109

Arun is weirded out. He rewinds and watches the segment

again. His expression changes when he realizes what she

is trying to say. He gets up, panicky almost, and paces

a
round. Then he calls Rakesh.

RAKESH

Haan Arunji!

ARUN

Rakesh, yahan ka maalik kahan rehta hai?

Kya naam hai uska?

RAKESH

Kyun? Aap mile the na us din. Vidyadhar

Patil.

ARUN

Patil nahin. Usne kisi se kharida tha.

Uska naam kya hai?

RAKESH

Pata karna padega.

Kyun?

ARUN

Pata karo. Jaldi Rakesh.

RAKESH

Kya problem hai Arunji?

ARUN

Rakesh, time nahin hai! Jaldi pata karo!

110

-

NIGHT

110

Shai is armed with her camera. She follows a man into an

alley. He is wearing Municipal khaki shorts a
nd a shirt

and carrying a torch and a book.

BMC MAN

Yeh area bohot bada hai. Do aadmi rahenge

yahan.

They walk past ramshackle homes, children lying on

tatters outside huts, and garbage.




79.

BMC MAN (CONT’D)

Voh dikhta hai ek Worker.

There’s a figure in
the moonlit shadows ahead. As they

approach, the figure is slowly skulking around, as if on

a hunt, looking this way and that. The BMC man motions to


stick which he holds aloft and suddenly swings it dow
n


camera and takes a picture on motor drive and the man is

illuminated in a surreal strobe like flash, and we see it

is Munna.

The BMC man shines a bright light and Shai sees Munna and

he stares at h
er in shock, his clothes all bloodied, and

a mangled rat in his hand.

SHAI

Munna?

She is bewildered to see him there. Munna looks at her,

shocked, shame written all over him, and then runs off

into the shadows.

BMC MAN

Aap isko jaanta hai?

SHAI

Munna!

111

-

MOMENTS LATER

111

Munna is running, as if he’s scared Shai will run after

him. He looks shocked, he’s almost crying.

112

INT. THE FLAT (A)
-

LATER

112

Rakesh has called.

RAKESH

Haan Arun saab, unka naam Ahmed tha. Last

year Patil ko becha. B
ade jaldi mein tha.

ARUN

Kahan milega voh?

RAKESH

Voh to Dubai migrate ho gaye.




80.

ARUN

Arre unki biwi hai, Yasmin, usse milna

hai. Address chahiye unka.

RAKESH

Unka address to nahin hai Patil ke paas.

ARUN

Arre kuch to idea hoga! Aaj kal flat lene

ke l
iye full paperwork karna padta hai!

Koi contract to hoga?

RAKESH

Nahin Ahmed ko full black mangta tha, to

Patil ne kisi tarah khila
-
pila ke

register karva liya.

ARUN

Rakesh yeh bohot important hai! Kisi

tarah pata karo!

RAKESH

Kya ho gaya Arunji? Aap koi p
roblem mein

aa gaye?

Arun hangs up in frustration, slumps down on his chair.

He throws his head back and closes his eyes. When he

opens his eyes he sees the ceiling and notices that one

of the fan hooks has no fan on it. He finally realizes

what happened,
and is shocked. He almost thrashes around

helplessly, his grief and shock too much to bear. He

stumbles out of the flat where he sees the lady of


looks at her and breaks down crying.

113

EXT. DHOBI GH
AT
-

SAME NIGHT

113

Munna sits in the deserted dhobi ghat, by the light of

the moon and some street tube light, and stares blankly.

His eyes are dark hollows, and the freshly washed white


A young man comes running in an
d sees Munna and stops.

Munna looks up at him. Its Salim’s younger brother,

Karim. He looks at Munna and begins to cry in a

bloodcurdling, desperate way. Munna realizes that





81.

114

INT. SALIM’S SLUM ROOM
-

SAME NIGHT

114

Salim l
ies on the floor of his hut, partially covered by

a bloody sheet. Several people sit inside and out, or

stand around. Among them is a thickset middle
-
aged man,

powerful looking, with some henchman behind him. He sits

prominently in the centre of the room o
n the only chair

there. Salim’s mother sits at his head, dry eyed and

numb.

Munna enters with Karim, and the Bhai looks up at them.


arms out to Karim, who stiffly goes and gets hugged by

him. Munna
goes beserk, crying and raging at the same

time, and takes his rat
-
lathi which he’s carrying and

attacks the Bhai, cracking the lathi on his head. The


his shoulder. Mayhem breaks out as the Bhai’s m
en

intervene and pull Munna away, throw him to the floor and

kick and hit him. Munna is sobbing by now, allowing them

to hit him. The Bhai pulls his men off and they all

leave. Salim’s mother’s face crumples and she cries

noiselessly into Munna’s shoulder
as he lies there

crying, and Karim comes and sits next to them helplessly.

115

-

LATER

115


looks shaken. At one point she just stops and looks

around her, trying to understand where she
is.

116

EXT. BUILDING UNDER CONSTRUCTION
-

DAWN

116

Selva stands at the top of the building with a grey dawn

breaking over Bombay.

117

EXT. MUSLIM CEMETERY
-

DAWN

117

Munna, Karim and a few others are at Salim’s grave. A

maulvi says the prayer, and the gro
up stands around the

grave with their eyes downcast. Karim is looking calm,

and he stands close to Munna, who also looks calm.

118

EXT. MARINE DRIVE SEAFACE
-

DAWN

118

Arun is sitting by the sea as the first light of day

breaks. In his hand he holds Yasmin
’s chain with the ring

which he had worn earlier.




82.

He fingers the ring, looks at it with affection, brings

it briefly to his lips and then throws it into the sea.

Then suddenly, as he watches it sink, he changes his

mind. He scrambles over the rocks a

back. He gets into the water. Its murky and cold. He

swims around under water until he finally sees it

sinking, and in the nick of time manages to catch it.

119

-

DAY

119


a
gain wearing the chain.

MONTAGE:

120

EXT. BUILDING UNDER CONSTRUCTION
-

DAY

120

Our construction worker starts his working day, carrying

sand and stones up the stairs.

121

EXT. DHOBI GHAT
-

DAY

121

Shai is at the dhobi ghat, sitting alone waiting for

Munna

her. She asks him where Munna is, but he has no idea.

122

INT. MUNNA’S ROOM
-

DAY

122

Munna is packing his belongings into his trunk. He

carefully takes the poster of Salman down and rolls it

up.

123

EXT.
-

DAY

123

Munna, Karim and his mother are in a taxi. The carrier on

top and the boot are loaded with things. Munna sits at

the back with the other two, looking numb. In front sits

a weasley looking man, talking on his cell phone,

evidently o
ne of the Bhai’s men.

124

I/E. NEW APARTMENT
-

DAY

124

Rakesh is showing Arun a new apartment. This is

considerably more upmarket.




83.

125

INT. FLAT IN JOGESHWARI
-

LATER

125

Munna and the other two are standing inside an empty 100


look around themselves, and Amma

sinks down to sit on the floor.

MUNNA

Chal Karim, saamaan upar le aate hain.

They leave. Amma buries her head in her hands, as some

curious kids stand at the door and stare at her.

126

-

DAY

126

Shai is wa
lking through the narrow lane of the slum

looking for Munna. People look curiously at her.

127

INT. ARUN’S NEW APARTMENT
-

DAY

127

Arun is standing in his empty new apartment. He goes over

to a bubble
-
wrapped canvas and tears it open. It is his

Yasmin work
. He takes it out and puts it up on the blank

wall and looks at it.

128

INT. PRODUCTION OFFICE
-

DAY

128

Munna sits, looking all smart, in front of a production

guy.

ASLAM

Yeh to bohut bura hua. Kaise hua?

MUNNA

Dono gang mein kuchh problem ho gayi.

Apna S
alim beech mein phas gaya.

ASLAM

Police complaint kiya?

MUNNA

Kahan.. Un log to usi raat Salim ko dafna

kar, hum log ko idhar Jogeshwari mein ek

flat mein fit kiya. Aur police bhi kya

karti, aadha waqt hum log hi udhar thane

mein baithte.

Aslam nods wisely
.




84.

MUNNA (CONT’D)

Bhai kucch karo na, koi bhi chhota mota

role. Kuch bhi. Ab parivar mein main hi

hoon.

ASLAM

Tumko card banvani padegi.

MUNNA

Haan bhai main karta hoon na. Aap jo bhi

bolo.

129

INT. THE FLAT (A) LANDING
-

DAY

129

Shai stands facing Ar
un’s flat, undecided about ringing

the doorbell. She is carrying a packet in her hands which

has his shirt in it. She rings the bell and waits. No

answer. Then she notices that the door has a lock on it.

She walks over to the silent lady, who is looking va
cant

as usual. She smiles and approaches her.

SHAI

Hello Aunty.

The lady just looks at her.

SHAI (CONT’D)

I wanted to know if I could leave a


A lady from down the hall calls out to her.

NEIGHBOUR

Voh aadmi chala gaya.

13
0

EXT. DRYING YARD
-

DAY

130

Shai wanders in with her camera, remembering the time

that Munna had brought her there. Suddenly she spots

Munna standing with a group of his old friends, talking.

He sees her and breaks into a run, and she gives chase.

After a

bit of a chase, Munna crashes headlong into a

dhobi carrying a whole bundle of clothes who roundly

curses him. Munna is knocked to the ground, and Shai

reaches and sits next to him out of breath. They look at

each other.




85.

131

EXT. DRYING YARD
-

MOMEN
TS LATER
-

DAY

131

Munna and Shai are sitting on the wall looking at the

mottled sky.

SHAI

Tum bhaag kyun gaye? Us din bhi tum bhaag

gaye.

Munna doesn’t answer. He looks upset.

SHAI (CONT’D)

Kya hua? Aur apni room bhi badli kar di?

(he nods)

Kahan rehte ho

ab?

MUNNA

Apne khala ke saath.

SHAI

Accha? Tumhare yahan rishtedaar hain?

Mujhe nahin maloom tha.

MUNNA

Koi khoon ka rishta nahin hai, voh Salim

ki ma hai.

SHAI

Oh. Salim kaisa hai?

Munna doesn’t answer.

SHAI (CONT’D)

Munna? What’s the problem, mujhse gus
sa


Number badal diya hai kya? Suddenly tumhe

kya ho...

MUNNA

Salim mar gaya.

Shai is too shocked to reply.

MUNNA (CONT’D)

Voh saale bolte hain train ke neeche

aakar mar gaya. Kameene saale! Maar dala

mere bhai ko. Maa
r dala.

Shai doesn’t know what to do, as he keeps shaking his

head in anger. She puts her hand on his arm, and after a

few moments he calms down.




86.

SHAI

Itna sab ho gaya aur tumne mujhe bataya

hi nahin? Kyun, Munna? Kya hum dost nahin

hain?

Munna laugh
s a short laugh, almost to himself.

MUNNA

Haan. Hum dost hain.

He turns and looks at her with a strange look in his

eyes, mocking himself and her. Then he turns to look out


SHAI

Ab Arun bhi nahin mil raha hai. Kahan hai

voh? Idea hai tu
mhe?

Munna looks at her sadly.

MUNNA

Painter saala. Tumhara usspe dil aa gaya

na?

Shai smiles.

MUNNA (CONT’D)

Voh gaya hoga apne pehli biwi ke paas.

Australia. Pata nahin, dono mein phir se

pyaar ho jayega, bachcha bhi hai...

Shai looks away.

132

EXT. STRE
-

DAY

132

Munna and Shai stand facing each other on the busy

sidewalk.

SHAI

To kabhi phone karna, milna...

Munna nods. Shai gives him a quick hug and gets into a

cab on the kerb. As she drives off into the rush of

evening traffic, Munn
a looks after her. He walks to a


smokes it, thinking. Then he suddenly drops his cigarette

and runs after her cab. He chases it, pushing past


traf
fic light, but misses it. He runs across the main

road, cars swerving around him, and when there’s a

traffic jam finally manages to reach her window. She is

shocked to see him, her heart in her mouth.




87.

He is breathing too hard to say anything. He reac
hes into


etc until he finds a small chit. It has Arun’s name and

number on it in Arun’s hand. He hands it to her. She

takes it, moved by the enormity of his gesture. She looks

at him, he smiles and giv
es her a wave to carry on. The

cabbie takes off as Munna watches and then walks away

into the traffic. Shai breaks down and cries.

133

INT. AIRPORT
-

DAY

133

Vatsala and Arun are in a line at the check
-
in counter at

the international airport. Arun is looki
ng thoughtful. He

turns to Vatsala.

ARUN

Hey V, I’m sorry I can’t come.

VATSALA

What? What do you mean?

ARUN

I have to go.

VATSALA

Go where?

ARUN

To Malihabad.

VATSALA

Where?! What’s Malihabad?

ARUN

Its in U.P. Its a place famous for

mangoes.

VATSALA

Arun,

don’t talk nonsense, you can’t

just... Arun!!

Arun is already walking away.

134

EXT. S.T. BUS STAND
-

EVENING

134

Selva waits for a bus going to a place in Andhra Pradesh.

One bus comes into the stand which is packed, and empties

its passengers through on
e door while there is a small


is part). Out of the people who get out, there is a boy

around eighteen carrying a small bag. We follow him as he

disappears into a crowd.





88.

THE END


Приложенные файлы

  • pdf 9666180
    Размер файла: 2 MB Загрузок: 4

Добавить комментарий