Last Night in Gulshan

7/30/2019 Last Night in Gulshan

1/98

1.

MAIN CHARACTERS

TUSHAR

Tushar is a young pessimistic male,

an outsider among the rich circles

of Gulshan. He was orphaned at ayoung age when his political-

reformist father and mother were

assassinated with a car bomb.

Tushar's fiery writing sets off the

riots in Korail. Tushar is

colorblind with occasional

exceptions (i.e. Taas' dress, his

yellow pamphlet, etc.)

PAHAR

An incredibly charismatic,

attractive young man, Pahar is the

man of the hour among his class.

Pahar seemingly soft, likeable

persona is counterweighed by a

profound goodwill towards man that

shows itself in his actions during

the riots.

TAAS

Attractive and intelligent, Taas

refrains from glamour, adding to

her subtle charm. She speaks softly

and occasionally smiles

sardonically. She contrasts with

Pahar, her boyfriend, but has many

similiraties to Tushar. Tushar and

she had been acquainted long ago,

but suddenly broke apart.

NESSA

The antithesis to Taas, Nessa is

glamorous without restraint,

supremely attractive, and the town

belle.

JOKER

The Joker wears neon clothing and

running gear and performs urban

acrobatics on nightly runs in

(MORE)


2/98

2.

Joker (CONT'D)

Gulshan. He speaks little but shows

a great compassionate side during

the riots.

MASUD

An elderly badaamwalla, Masud iscynical and sets up shop on the

Gulshan roundabout in the middle of

the night simply to avoid

customers.

RWALA

An elderly rickshawala, Rwala is

friend to Masud and has only a

slightly more optimistic outlook on

life.

TOM

A foreigner, Tom speaks rudimentary

Bangla and refuses to speak English

despite difficulties. Tom is

perhaps the only person the Tushar

would call a friend.

COMMISSIONER

Head of the newly founded Political

Bahini that uprooted the Old

Police, the Commissioner is a

portly man past middle age who

carries a strong authority. He is a

regular at the Cathay.

HAIDER

One of the Commisioner's loyal

officers, Haider is aggressive and

carries a brutal mentality.

MUSHARRAF/TAHMID

Haider's counterpart, Musharraf/

Tahmid (both names exist in thisversion of script) carries a strong

resentment to the Political Bahini

and yearns for the return of the

Old Police.

TOMAL


3/98

3.

A Cathay waiter, Tomal is sardonic,

serves calmly and is eventually

killed by the Comissioner for

collaborating with Tushar.

ABU BAKRA middle-class man, Abu Bakr is

baby-faced and mild-mannered. His

wife is the more outgoing one in

the relationship by far.

MRS BAKR

Abu Bakr's wife, Mrs Bakr is

charismatic and makes up for her

husband's shyness. She is emotional

but has tremendous human strength

that appears throughout the story.

ROBIN

Pahar's butler, Robin is stoic,

much in the same way as Tomal, and

does his duties diligently.

RAT SQUAD

A small armed unit that forms

during the riots consisting of

defecting, pro-Old Police officers.

Led by Musharraf, the Rat Squad

recruits Tushar amidst a violent

clash between security and

demonstrators.

EXT.SMALL STREET.NIGHT

JOKER runs in empty street.


JOKER runs in empty street.


JOKER runs in street with a few rickshaws.


Car honks at JOKER, who moves out of the way.


4/98

4.

EXT.LARGE STREET.NIGHT

JOKER runs on sidewalk. JOKER jumps off sidewalk towards

oncoming traffic.

INT.CAR

DRIVER sees JOKER on the road and honks furiously.


JOKER doesn't get out of way. Starts trotting towards

oncoming car.

INT.CAR

DRIVER honks again. Growing concerned.

DRIVER

What the hell?


JOKER starts running full speed at car.

WIDE: SIDE SHOTS OF JOKER JUMPING AND CAR CHARGING (TO BE

COMBINED IN POST-PRODUCTION)

DRIVER squeals girlishly.

INT.CAR

DRIVER comes to screeching halt. JOKER rolls off back of

car (seen through rear windshield)


JOKER lands behind the car and continues running. DRIVER

gets out of car, shocked by encounter.

GS

JOKER runs at bright headlights of oncoming traffic.

GS

JOKER coasts on top of an automobile.



5/98

5.

JOKER reduces speed to a trot on an empty road.

EXT.GULSHAN II RA. NIGHT

JOKER runs into largely empty intersection and slows to a

stop by a peanut stand.

EXT.PEANUT STAND.NIGHT

JOKER places a hundred taka note on the stand. MASUD

smiles.

MASUD

I'm glad to see that you haven't

been run over by a truck yet.

JOKER smiles.

MASUD

Someday son you'll stop that

stupidity. You'll get yourself

killed. Are you doing it for the

people? (Joker shakes his head but

Masud doesn't notice) They don't

give a damn about you. You get

squished under a bus and they'll go

about their day just the same as

before. You're trying to please a

heartless crowd. Those films thatthe Indians make, I haven't been to

one since the bastards started

putting white-skinned girls in the

background--what, brown skin isn't

beautiful anymore? Those girls burn

themselves by the beaches to look

like us and--well anyways, the

Bollywood films, the bystanders all

stand around the center. Guys in

the middle could tearing each

other's hearts out and everyonewould stay standing around in the

damn circle. Not brave enough to

stop the whole nonsense or decent

enough to let them handle their own

business. It's a terrible system.

It's you today, some shitty singer

(MORE)


6/98

6.

MASud (CONT'D)

with a drug addiction next week,

and there's nothing to be gotten

from the whole damn thing.

A rickshaw rings its bell off-screen and begins braking.

Doesn't stop completely until making slightest contact withthe peanut stand.

MASUD

(Doesn't look up)

One day your brakes won't work.

RICKSHAWALA dismounts and stands at the stand next to

MASUD. R'WALA begins packing a newspaper pouch full of

peanuts.

RWALA

That was a lesson for our friendhere. Now, son, imagine that you're

the stand. Except you're made of

glass. And instead of a rickshaw

you had an army tank. What I'm

trying to say is that people are

starting to bet on when you're

going to try to jump your last bus.

I've got next Thursday at 2 a.m. so

if you want to make me a very rich

man, you know what to do.

MASUD takes a nut from RWALA's side of the stand.

RWALA

You son of a bitch.

MASUD

Watch your language around the boy.

RWALA

I wanted that peanut.

MASUD

This is my stand.

RWALA

I hate you.


7/98

7.

MASUD freezes, staring angrily. RWALA tries to stare back

but eventually breaks.

RWALA

Alright, I'm sorry, goddamn it.

MASUD

It's ok.

RWALA

You're the best badaamwalla Gulshan

sees past midnight.

RWALA waves arm across the roundabout, where no other

peanut stand is open.

MASUD

Thank you.

RWALA

Except for the nights Ali Mia shows

up. Man! He has the best stories.

MASUD

Ali Mia is a old crank and deserves

to be beaten with a tree branch.

RWALA

He isn't that bad.

MASUD

You don't know him like I do.

JOKER slowly backs away and runs off through roundabout as

MASUD and RWALA continue arguing.

RWALA

He's a good kid.

MASUD

Never says a damn thing.

RWALA

That's mostly why I like him.



8/98

8.

JOKER makes a sharp turn and grazes TUSHAR. TUSHAR steps

back.

RWALA

(voiceover)

You know, I met a strange boytoday.

EXT. DARK ALLEY. NIGHT

TUSHAR walks through dark alley.

RWALA

(voiceover)

I was passing Korail of all places.

EXT. TIN SHACK. NIGHT

A rickshaw pulls up infront of tin shacks.

RWALA

(voiceover)

He was coming out a tea shop.

Wearing a suit. A really nice one.

TUSHAR walks out of a tin shack.

RWALA

(voiceover)I'd heard of this boy before.

Someone from Gulshan. Definitely

not a Koraili.

INT. TIN SHACK. NIGHT

TUSHAR sits among FIVE KORAILIS, listening to their

passionate, inaudible please. TUSHAR nods and shows

sympathy.

RWALA

(voiceover)He's got a reputation in Korail.

MASUD

(voiceover)

Why?

RWALA


9/98

9.

(voiceover)

I don't know.


MASUD waits for RWALA to finish his thought, but he

doesn't.

RWALA

Well, I'm sure some overweight man

somewhere needs me. I'm like a

superhero.

RWALA takes his pouch of peanuts and gets back on the

rickshaw.

MASUD

Are you going to pay for those?

RWALA rides off.

RWALA

(shouts)

Put it on my tab!

MASUD takes out the tab. It has over fifty entries.

MASUD

(whispers)Bastard.


ABU BAKR sits on the edge of the sidewalk. RWALA pulls up

next to him.

RWALA

Are you upset boss?

ABU BAKR pants, out of breath, pained look on his face.

RWALA

Ah! There's no shame in it, boss.

Everyone gets tired every now and

then. Not me though. I live on a

diet of roshogolla and tea. Haven't

slept since five this morning. Or

(MORE)


10/98

10.

RWALA (CONT'D)

was it last night? The days start

to blend together... Anyways, I'll

probably live to be two hundred.

Want a ride?

ABU BAKR(relieved)

Absolutely. Thank you so much.

ABU BAKR gets on the rickshaw. The seat creaks

precariously.

RWALA

Don't worry if you break this one.

I've got four more at home.

ABU BAKR

I'm sorry.

RWALA

No, don't be! My legs need the

exercise. Besides, you seem like a

good guy. What business are you in?

ABU BAKR

Accounting.

RWALA

Ah...

ABU BAKR

Yeah.

RWALA

Good money?

ABU BAKR

Just enough.

RWALA

Wonderful.

The two don't talk for a moment.

ABU BAKR

What's it like, being a

rickshawala?


11/98

11.

RWALA

Interesting question. It's kind of

like riding a bicycle with three

wheels for people who pay you once

they get to the place that you two

agreed was the destination. It'swonderful stuff, really. I'm

writing a book on it, it'll be

called: "Freedom Sings!: The Sound

of the Rickshaw." It'll be great,

I'll send you a copy.

The rickshaw comes to a stop.

RWALA

And here you are boss.

ABU BAKR

Will this cover it?

ABU BAKR hands RWALA a fifty taka note.

RWALA

Sure will. Have a good night, boss.

INT. STAIRWAY IN APT BUILDING. NIGHT

ABU BAKR struggles up the stairs, taking them one at a

time.

INT. DOORWAY TO APT. NIGHT

ABU BAKR takes keys out to unlock door. MRS BAKR opens

door. She is smiling, glad to see her husband.

MRS BAKR

I couldn't sleep.

INT. APT. LIVING ROOM.NIGHT

ABU BAKR sits on the couch. MRS BAKR brings two cups of teaand places them on the coffee table. MRS BAKR takes a seat.

MRS BAKR

Darling. (She gently places her

hand on his) I don't want you to

think I'm upset. I'm really not.

(MORE)


12/98

12.

MRS BAKR (CONT'D)

You've been busy, and your job has

kept you out so late every night

that I can't, and don't, blame you.

There is a silence. ABU BAKR has a quizzical look on his

face. MRS BAKR smiles. ABU BAKR puts his face in his palmsand realizes what he has done.

ABU BAKR

I am so sorry.

MRS BAKR

I know you are.

ABU BAKR

It's just that work...

MRS BAKRI know.

ABU BAKR

And my boss...

MRS BAKR

I know.

ABU BAKR

You know I love you, right?

MRS BAKR

I know.

ABU BAKR

Let me make it up to you. Let's go

out to eat.

MRS BAKR

But it's so late! And darling I've

already eaten, in fact I left a

plate for you in the fridge.

ABU BAKR

I'll have it tomorrow. Please. I

can't believe I forgot. I love you

so much.

MRS BAKR


13/98

13.

I know you do. I love you too.

ABU BAKR goes to the verge of tears.

MRS BAKR

We could go for a walk! Maybe see

if that ice cream parlor's open.

ABU BAKR

(regaining composure)

That'd be wonderful. I'm so sorry.

MRS BAKR

Honey. (smiling) It's just fine.

INT. STAIRWAY IN APT BUILDING. NIGHT

ABU BAKR struggles to walk down the stairs, MRS BAKRwalking ahead of him.


ABU BAKR and MRS BAKR walk on the sidewalk of an empty

street.

ABU BAKR

How long has it been. Five years?

MRS BAKR

Five wonderful years.

ABU BAKR

(remorseful)

I'm so sorry.

MRS BAKR

Oh, stop it! It's just fine. I love

you too much to let this matter.

ABU BAKR smiles, and is calmed.

EXT. CLOSED STORE. NIGHT

MRS BAKR

Aww. Looks like they're closed.

ABU BAKR looks down the road at a glow of red light.


14/98

14.

ABU BAKR

What's that over there?

MRS BAKR

Over where?

ABU BAKR

There, down the street.

MRS BAKR

Oh! Well I've never noticed that

before.

ABU BAKR

Do you want to go there?

MRS BAKR

Really?!

ABU BAKR

Yea.

MRS BAKR

You know I love new places!

EXT. RESTAURANT ENTRANCE. NIGHT

MRS BAKR

Darling, this place looksexpensive.

ABU BAKR

Well... that means they must have

ice cream.

MRS BAKR

But can you afford...

ABU BAKR

(hesitates)

Sure I can.

INT. RESTAURANT

There are many people, all old males, in the restaurant.

Conversations quiet down as PATRONS turn to look at the

underdressed couple.


15/98

15.

ABU BAKR and MRS BAKR walk up to the HEADWAITER. HEADWAITER

pays no attention, writing in an account book.

ABU BAKR

Excuse me.

HEADWAITER looks up.

HEADWAITER

Oh. Hello! Welcome to the Cathay.

There is an awkward silence.

MRS BAKR

We would like a table, please.

HEADWAITER

Oh. Of course. (leans forward andwhispers) I have to inform you,

sir, that there is a dress code for

this establishment. The madam is

fine, but you must put on a suit

coat, at least.

ABU BAKR

But mine is at home.

HEADWAITER

Ah. We have a special coat forsituations like this. Please, come

with me, and we'll see what we can

do.

INT. RESTAURANT BACK ROOM

HEADWAITER brings a suit coat.

HEADWAITER

Here you are, sir. Our extra coat

for situations like this.

ABU BAKR tries to put on the coat. It is tight and too

small to put on completely around his portly figure. ABU

BAKR takes it off.

HEADWAITER


16/98

16.

I'm sorry, sir. I wish we had a

larger one. (leans forward) I'm

sure that if you take it off once

you're seated, no one will complain

and you won't be breaking the dress

code.

INT. RESTAURANT

ABU BAKR and MRS BAKR walk back into the main area

following HEADWAITER to their table against a wall.

HEADWAITER

A waiter will be with you shortly.

HEADWAITER returns to front desk. ABU BAKR struggles to

take off his coat, then places it on the back of his chair.

A waiter, TOMAL, brings two menus.

TOMAL

Welcome to the Cathay, my name is

Tomal. Can I start you folks off

with a bowl of our famous Thai

soup?

MRS BAKR

Hello, Tomal. Say, (leans forward

and whispers) are we in the wrong

place?

TOMAL

(whispering back)

I ask myself the same question.

Unfortunately our clients are quite

rich and powerful so I try my best

not to touch their egos. You folks

will be fine. Don't let them bother

you.

MRS BAKR(whispering)

We won't. (Back to normal) We'll

leave the Thai soup for another

night. May we see the dessert menu?

TOMAL


17/98

17.

Certainly. It is in the back of the

menu. Please, take your time and I

will be back shortly.

PATRONS continue to occasionally stare back at ABU BAKR and

MRS BAKR.

ABU BAKR

Honey. Maybe we should leave.

MRS BAKR

Oh, don't be ridiculous! We just

got here. (opens menu) Oh, look:

Mango! That's my favorite.

ABU BAKR

I know. That's what you got the

first time we went to an ice creamparlor.

MRS BAKR

(smiling wide)

You remembered!

TOMAL returns.

TOMAL

Would you folks like some more

time?

ABU BAKR

Two mango ice creams, please.

TOMAL

Wonderful. I'll have that for you

in a moment.

CUT TO: ABU BAKR and MRS BAKR eating ice cream.

MRS BAKR

...and then my mother calls back,

saying that there's a chicken on

the roof! (laughs) My poor dad had

no idea what to do!

PATRONS grow agitated and stare with more intensity and

frequency.


18/98

18.

CUT TO: ABU BAKR playing with MRS BAKR'S hands on table.

PATRONS stare.

CUT TO: MRS BAKR feeds ABU BAKR a spoon of ice cream. From

a large table, A patron, the RAILROAD tycoon, rises and

walks over to the HEADWAITER. HEADWAITER walks over to ABU

BAKR and MRS BAKR.

HEADWAITER

I'm very sorry to interrupt. A few

people in the restaurant are upset

by the volume of your conversation.

MRS BAKR

What?

HEADWAITERThey think you're being too loud.

Also, they are upset by the public

displays of affection.

MRS BAKR

That makes no sense. We weren't

doing anything inappropriate.

HEADWAITER

I'm sorry, madame, I must attend to

other customers.

HEADWAITER leaves. MRS BAKR is visibly upset.

ABU BAKR

Honey. Let's go.

MRS BAKR

I'm not finished with my ice cream.

MRS BAKR grows more and more upset.

MRS BAKRI'm going to go apologize.

ABU BAKR

What? Why?

MRS BAKR


19/98

19.

Because I was raised right and if I

bothered somebody I must apologize.

MRS BAKR gets up and walks up to the large table from where

the complaining patron rose.

MRS BAKR

Gentlemen. I'd just like you all to

know that I am terribly sorry for

the noise I was making. It's our

anniversary and I must've gotten

carried away--anyways, I am sorry.

COMMISSIONER

Do you always talk to strangers at

a restaurant?

MRS BAKR(taken aback)

Why--no. Not at all. I was merely

apolo--

COMMISSIONER

(stands up)

Waiter!

HEADWAITER speeds over.

HEADWAITERYes, sir?

COMMISSIONER

Why did you let these people in?

HEADWAITER

Well, sir, they seemed perfectly

alri--

COMMISSIONER

(enraged)Do you want to lose your

customers?! It's your job to keep

cockroaches out of our food and

rats off of our tables. Look! The

fat husband isn't even wearing a

coat. What is this? Some tea shop

in a slum?


20/98

20.

ABU BAKR leaves two hundred takas on the table, gets up and

stumbles over to MRS BAKR, who is shocked and on the verge

of tears. ABU BAKR grabs MRS BAKR's arm and takes her

outside.

COMMISSIONERAnd stay out! Stay in your little

hut, you rats! Never come back!

Uncivilized swine...

ABU BAKR and MRS BAKR leave the restaurant.


MRS BAKR breaks down in tears. ABU BAKR tries to comfort

her.

INT. RESTAURANT

PATRONS return to their dinners. COMMISSIONER takes his

seat.

COMMISSIONER

(calmed and seated)

These rats. I never understand

them. Look, they've made me lose my

appetite.

RAILROADYou have a place in society and you

should stick to it. What about that

can't they comprehend?

COMMISSIONER

Headwaiter. I don't want to see

anything like this again. If you're

going to let people like that in,

we'll have to take our business

elsewhere.

HEADWAITER

Won't happen again, sir.

COMMISSIONER

It better not.

At the far end of the room, TUSHAR sits in his booth,

writing on a napkin, with an enraged look on his face.


21/98

21.

TUSHAR looks out onto the PATRONS and observes them

closely. TUSHAR returns to writing on napkins.

INT. RESTAURANT BACK ROOM

The WAITERS are gathered, whispering to each other.

WAITER 1

--just yelled at them.

WAITER 2

For what?

WAITER 1

I don't know.

WAITER 3

A woman hasn't been here in years,maybe he got startled.

WAITERS chuckle. HEADWAITER comes in.

HEADWAITER

Get back to work! You don't get

paid to gossip.

WAITERS return to work except TOMAL. TOMAL stares at

HEADWAITER. HEADWAITER leaves. TOMAL returns to work.

INT. RESTAURANT

TUSHAR in his booth, writing on his napkin. TOMAL comes by

with a bowl of soup.

TOMAL

The best bowl of Thai soup we have,

sir.

TOMAL places bowl on table.

TUSHARAny idea what all that was about?

TOMAL

Men like them don't usually need a

reason.

TUSHAR


22/98

22.

They ever talk to you like that?

TOMAL

I'll leave the day they do. Are you

still considering coming over for

dinner someday, sir?

TUSHAR

How about tonight?

TOMAL

(taken aback)

I'll tell my wife to ready the

oven.

TUSHAR

I'll leave the ingredients under

the seat.

TOMAL

Excellent, sir.

TOMAL leaves. TUSHAR returns to his napkin.


PAHAR and TAAS enter the Cathay.

INT. RESTAURANT

PAHAR and TAAS walk up to HEADWAITER.

HEADWAITER

Welcome to the Cathay.

PAHAR

Hi. Pahar. I made a reservation for

two.

HEADWAITER

Of course! I'm very happy you madeit. Also, I'm glad to see that you

two are in our dress code. We had a

little problem earlier tonight that

I'd like never to repeat.

HEADWAITER nervously glances over at COMMISSIONER who is

talking with other PATRONS.


23/98

23.

PAHAR

People should follow the rules!

Makes life a lot easier.

HEADWAITER

Exactly my point!

CUT TO: TUSHAR in his booth, looking up. He catches a

glance of TAAS' face.

FREEZE: On TAAS' smiling face.

INT. MOVIE THEATER

TAAS and TUSHAR are talking to each other in an empty movie

theater.

TAASWhat's the name of the place?

TUSHAR

Sajan. A beautiful little place up

in the hills.

TAAS doesn't respond.

TUSHAR

They said they'd take me whenever I

wanted. They're awfully nice and Ithink they can teach me a lot.

TAAS

I'm sure they will.

TAAS tries to put on a smile.

TAAS

Will you call?

TUSHAR

Of course.

INT. CLASSROOM

TUSHAR sits at a large table amongst STUDENTS, engaged in a

discussion on philosophy.

STUDENT Z


24/98

24.

But I think, like, there's a huge

importance to the words he uses.

Like, you know?

STUDENT A

But, it's so obvious that he'strying to play with their minds.

Like, as a Greek he believed in

democracy and all, and this was,

like, a way for him to--you know?

STUDENT C

(making rapid arm movements)

No, no, I understand completely! To

build off of that, there's this--I

feel--this whole complexity behind

the whole situation. There's just

so much stuff that has gone on and

Socrates was just way too, like,

offensive to the whole

establishment.

TUSHAR wears a quizzical look on his face. He looks at

STUDENT Y and they exchange looks acknowledging the

uselessness of the conversation and both smile.

INT. STUDY. NIGHT

TUSHAR leafs through book after book, taking notes.

INT. CLASSROOM

Back amongst STUDENTS, TUSHAR is exasperated by the

conversation.

STUDENT Z

I mean, like, the whole idea is

flawed. "Every man minds his own

business and everything's all

right." Yeah right!

STUDENTS laugh. TUSHAR does not.

STUDENT C

(making hand gestures)

The whole shadows thing--I think--

is just wrong!


25/98

25.

STUDENT chuckle. TUSHAR does not. TUSHAR looks over to see

that STUDENT Y's chair is empty.

STUDENT C

(making hand gestures)

I mean, he's chained one second andthen he's not! How does that make

any sense? How did those chains

come off?

EXT. GRASS PATCH

STUDENTS are sitting on the grass as TUSHAR walks by. They

stop talking and stare at TUSHAR momentarily. TUSHAR puts

on a wiry grin and walks on.

INT. CLASSROOM

Conversation continues.

STUDENT A

And then there's like, you know,

the whole thing about the weapons,

which, honestly, I just don't get.

STUDENT C

Right.

STUDENT AI mean what's he trying to get at?

I mean there's an obvious answer

but that doesn't work for me and

honestly I think it's a little--

TUSHAR stands up. STUDENTS go silent. TUSHAR walks out of

room.

EXT. BUS STAND. DAY

TUSHAR is dropped off at bus stand with one bag in hand.

INT. STAIRWAY. DAY

TUSHAR walks up stairs with bag in hand.

INT. TUSHAR'S BEDROOM. DAY

TUSHAR sits on his bed. His bag is not unpacked.


26/98

26.

EXT. SMALL STREET. DAY

TUSHAR rides a rickshaw, holding a bouquet, wearing the

same clothes he had on when got off the bus.

EXT. APT BUILDING GATE. DAY

TUSHAR hesitates pushing the bell. After a moment, he

decides against it. He leaves, handing the bouquet to a

elderly female STREETSWEEPER, and walking away promptly.

INT. MOVIE THEATER

TUSHAR sits in an empty movie theater, watching by himself.

INT. RESTAURANT

UNFREEZE: From TAAS' smiling face.

TUSHAR looks back down at his napkin and continues writing.

HEADWAITER

Right this way, folks. I'll take

you to your table.

TAAS

Wait. Is that--Tushar?

TUSHAR doesn't look up. TAAS and PAHAR walk to the booth.

TAAS

It is! Tushar!

TUSHAR looks up and fakes a smile.

TUSHAR

Taslima. It's been a long time.

TAAS

It has. Tushar, this is Pahar.

PAHAR extends his arm over the table.

PAHAR

We're brothers in name.

TUSHAR shakes his hand unenthusiastically.

TAAS


27/98

27.

We were just out on a walk and

decided to see what this place was

like. I didn't know you were a

patron.

TUSHARThey have good soup.

PAHAR

That's what I was telling her! I've

heard they have a fantastic Thai

soup.

TUSHAR

They do.

A silence.

TUSHAR

Would you two like to join?

PAHAR

Wonderful!

PAHAR begins to get into the booth.

TAAS

But--

PAHAR stops.

TAAS

Only if we aren't bothering you.

PAHAR

Oh, right! Only if we aren't

bothering you.

TUSHAR puts on a fake smile.

TUSHARNot at all.

CUT TO: TUSHAR, TAAS and PAHAR seated in booth, drinking

Thai soup.

TAAS

How was the Academy?


28/98

28.

PAHAR

Academy?

TAAS

Tushar was accepted to an

university up in the hills.

PAHAR

Is that right? Which university?

TUSHAR

Sajan.

PAHAR

The one that only teaches

philosophy?

TUSHARThat's the one.

PAHAR

Incredible! I've heard a lot about

the place. Must've been great. All

those great ideas and sharing them

and understanding them better.

TUSHAR

(grins)

It was fantastic.

TAAS

Aren't you back a little too soon?

TUSHAR

Yea. Place wasn't for me.

TAAS

I'm sorry to hear that.

PAHAR

Oh. Let me guess: self-righteous

pedants with more passion for

hearing their own voices that

learning?

TUSHAR is taken aback.

TUSHAR


29/98

29.

Ye--Yeah.

PAHAR

I've met their type before. I was

hoping that wasn't the case with

Sajan's. Terrible shame.

TAAS

Academic types tend to gather

around books. Then they put them on

pedestals, because god forbid they

should actually apply some of the

teachings to their own lives.

PAHAR

I for one believe in a policy of

silence.

TAAS

But you talk a lot! Not that I'm

complaining.

PAHAR

Yes, but never about important

things. You won't catch me going

around like Socrates, talking

philosophy with just anyone else.

TUSHARIt's personal.

PAHAR

Exactly! It's a problem of

language. How can I tell you what

it's like to be oppressed or have

your heartbroken.

TAAS

Never thought about that...

PAHAR

I once talked to a man on a bus for

two hours with nothing but small

talk. Near the end, we both

realized that we were playing a

game. Hired the man and now he's my

butler.


30/98

30.

TAAS

Robin?

PAHAR

That's how we met.

TAAS

He's a good man.

PAHAR

One of the best.

TAAS

Has he found a wife yet?

PAHAR

No, but a love interest. I'll have

to see how he's doing on that. Itry to give him days off, but the

resilient bastard insists he works

full time.

TAAS

You two will have to excuse me.

TAAS gets up and leaves towards the back room.

PAHAR

So.

TUSHAR is lost in thought. Dulled big band music begins

from another room.

TUSHAR

Benny Goodman.

PAHAR taken aback.

PAHAR

You know Benny Goodman?

TUSHAR doesn't respond.

PAHAR

My father and I listen to him

whenever we're together.

TUSHAR


31/98

31.

Moonglow. This is my favorite tune.

INT. BATHROOM

TAAS sits on the counter, playing with her fingers.

INT. RESTAURANT

PAHAR

Is that the kind of music you're

into?

TUSHAR

A few other things.

PAHAR

Like?

TUSHAR

Edith Piaf. Nat King Cole.

PAHAR

(eager)

You know, Taas is going to spend

tomorrow with her family. Nights

like that I usually go up to my

roof and listen to music on my

record player. You should come

over.

TUSHAR contemplates his response.

TUSHAR

Sure.

TAAS returns.

TAAS

Tushar, it was wonderful to see you

again. Pahar, would you like to

walk me home?

PAHAR

I can't think of anything else I'd

like to do more.

PAHAR gets up and looks back at TUSHAR.


32/98

32.

PAHAR

It's on the north side of the Irish

Embassy, huge blue gate, you can't

miss it.

TAAS and PAHAR walk out the door holding hands. TUSHARnotices their interlaced fingers, and then the COMISSIONER

and CRONIES sitting around table laughing. TUSHAR wears an

angry look and returns to writing on his napkins.

TITLE ROLLS OVER TUSHAR SCRIBBLING ON NAPKIN


The JOKER is out on a run.

INT. CAR. NIGHT

Four POLICEMEN wait in their car with binoculars.

POLICE 1

He'll be here any minute.

POLICE 2

You've been saying that for two

hours.


JOKER makes a sharp right onto another large street.

INT. CAR. NIGHT

POLICEMEN energized, see JOKER coming down the road.

POLICE 2

There he is.

POLICE 1

Easy, easy. Don't start until I say

so.

POLICE 2

He's turning boss.



33/98

33.

JOKER senses that something isn't right. He turns right

onto another, smaller road.

INT. CAR. NIGHT

POLICE 2

Damn! Alright, move up to that

corner.

POLICE 2 slowly accelerates to the corner.


JOKER runs. His suspicion grows and he stops. He looks

behind him at the seemingly calm street.

INT. CAR. NIGHT

POLICEMEN lie in reclined seats, making no noise.


JOKER squints at the car to see a policeman's hat on the

dashboard. JOKER sprints down the road, at the car.

INT. CAR. NIGHT

POLICE 1 slightly raises his head, only to see the JOKER

running at him.

POLICE 1

What the hell?

POLICE 1 watches as JOKER jumps on hood and over the car.

POLICE 1

Damn it! Turn the car around!


CAR tries turning around but the road is too narrow. CARhas to eight-point, taking up time.

EXT.ALLEY.NIGHT

JOKER runs through a narrow alley, slightly panicked about

being followed.


34/98

34.

CAR pulls up at the end of the alley. JOKER comes to a

screeching stop and runs to the right, through another

alley. POLICEMEN, except POLICE 2, get out of car and

beginning running after the JOKER.

POLICE 1Meet us around the corner!

CAR screeches off ahead.


MASUD is at his stand, polishing peanuts. POLICEMEN running

on foot stop at the stand.

POLICE 1

Have you seen a bastard running

down this road?

MASUD

(ponders)

I've seen three of them.

POLICE 1

Smart mouth for a badaamwala. We'll

be back to talk to you later.

MASUD

(smiling)Can't wait.

CAR pulls up, with POLICE 2 driving.

POLICE 2

Any luck?

POLICE 1

Son of a bitch is too fast.

POLICE 2

(points towards Gulshan 1)I think I might've seen him go down

this road.

POLICE 1

Everyone, get in! We're catching

this rat tonight.


35/98

35.

POLICEMEN get in car and drive off.

JOKER gets up from behind the stand.

MASUD

That's the third time this week.

You'd think they'd find something

else to do.

MASUD hands JOKER a bag of peanuts. JOKER eats them slowly.

EXT. ROOFTOP. NIGHT

ROBIN

(off screen)

Sir, let me help you.

PAHAR walks onto the rooftop, carrying two chairs and asmall table.

PAHAR

Robin, I've told you seven times,

"Go home."

ROBIN

But you pay me to be here 'til

midnight.

PAHARAs a precaution! I didn't mean for

you to stay this late every damn

night.

PAHAR places chairs down.

PAHAR

Robin. You take a break tonight. Or

you're fired.

ROBIN

Sir...

PAHAR

Robin...

ROBIN

(reluctantly)


36/98

36.

As a courtesy to you, I will take

my leave early tonight.

ROBIN leaves.

CUT TO: PAHAR bringing up a music box and two bottles of

cola. He arranges the chairs and table and puts the music

box on the table with two bottles of cola on each side.

TUSHAR comes on to the roof.

TUSHAR

This is an awfully nice set for a

rooftop.

PAHAR

Well, I wanted to make a good

impression. The chairs are inperfect symmetry with the table.

Impressive, huh?

TUSHAR

Very.

CUT TO: The two seated in chairs, looking out at Gulshan as

music plays on the box.

TUSHAR

Who's this?

PAHAR

Art Tatum. Know him?

TUSHAR

No, but I like him.

PAHAR

Greatest pianist of all time. There

was a man visiting New York and he

had a reputation for playing the

best Classical music in the world.

This man went to a dirty little

club where Tatum was playing and

when Tatum finished, he said, "if

this man ever start's playing

Classical music, I'll be out of a

job."


37/98

37.

TUSHAR

I can see why.

TUSHAR and PAHAR listen to the music in silence.

TUSHAR

How'd you meet her?

PAHAR

(smiles wide)

That's a good story.

INT. AUDITORIUM

WIDE: A large class lecture. TAAS sits in the row infront

of PAHAR. There are many STUDENTS in the auditorium.

PAHAR(voiceover)

A class on Modern Chinese Politics.

She sat in the row infront of me.

She was obviously intelligent, much

smarter than me. I was intimidated.

Had no idea how to get her

attention.

CUT TO: Chinese PROFESSOR, lecturing class. STUDENTS have

difficulty understanding him and some giggle.

PAHAR

(voiceover)

The professor was from Guangzhou.

He seemed like a smart man but his

Bangla was weak. Some of the people

in the class would laugh but that

didn't seem right.

INT. LIBRARY

PAHAR leafs through a book, taking notes.

PAHAR

(voiceover)

I went and got a Chinese--

Cantonese--dictionary. Learned the

basic stuff: good morning, how are

you?, I am fine.


38/98

38.

INT. AUDITORIUM

Pieces of paper are being passed around by students,

starting with PAHAR.

PROFESSOR walks in, places briefcase on desk.

STUDENTS

(in unison)

Zou shan ba ba.

PROFESSOR

Zou sha--

PROFESSOR is startled. Goes on teaching lesson.

PAHAR

(voiceover)We started building off of that. We

learned some more complex lines.

Eventually we even memorized entire

poems.

CUT TO: STUDENT 1 stands up in class.

STUDENT 1

cong4 cin4 ming4 jyut6 gwong1

CUT TO: STUDENT 2 stands up.

STUDENT 2

ji4 si6 dei6 soeng6 soeng1


STUDENT 3

geoi2 tau4 mong6 ming4 jyut6


STUDENT 4dai1 tau4 si3 gu3 hoeng3

CUT TO: PROFESSOR walks into auditorium. Places suitcase on

table.

PAHAR

(voiceover)


39/98

39.

One day he recited a poem of his

own.

PROFESSOR

(in fractured Bengali)

Forget me not, O Mother, Should Ifail to return, To thy hallowed

bosom. Make not the lotus of thy

memory, Void of its nectar Madhu.

EXT. ROOFTOP. NIGHT

PAHAR

She noticed me. I still had to try

hard though. Dear God, did I have

to try hard.

EXT. APT GATE. DAY

PAHAR holds a carnation outside her gate. TAAS is confused

and quickly takes the flower, puts her nose to it, and

walks away. PAHAR is stunned.

INT. LIBRARY SHELVES

PAHAR is standing in a section, reading a comic book and

chuckling to himself. TAAS walks up to him, takes a book

from the comic book shelf and walks away.

INT. PIZZA SHOP

PAHAR and TAAS are seated next to each other among FRIENDS.

PAHAR

(voiceover)

Turns out that we had a few friends

in common. We ended up going to the

same pizza shop.

TAAS looks away from PAHAR. PAHAR takes a piece of paper

and makes an origami bird out of it and places it infront

of TAAS. TAAS hesitatantly looks at it, and smiles. PAHAR

gets out of his seat.

PAHAR

Folks, I'll see you all later.

TAAS keeps playing with the bird after he leaves.


40/98

40.

FRIEND F1

(leans over to TAAS)

He's cute!

FRIEND M1

(leans over to TAAS)You want to see him again?

TAAS smiles, holding the origami bird.

EXT. ROOFTOP. NIGHT

TUSHAR and PAHAR seated.

PAHAR

And that's how it happened.

They listen to Art Tatum.

TUSHAR

Do you love her?

PAHAR

(smiles wide)

More than words can express.

INT. LIVING ROOM. RAINY DAY

TUSHAR sits on a couch watching TV at a low volume. At the

opposite end of couch is little NIECE, face planted in the

cushion. TUSHAR uses remote to turn TV off. NIECE still

asleep. TUSHAR gets up.

INT. KITCHEN

TUSHAR turns on the stove, puts water in a pot, throws some

rice in.

INT. DINING ROOM

NIECE is sitting at dinner table. TUSHAR brings out twoplates with rice, etc.

CUT TO: The two eating. NIECE doesn't eat and instead makes

shapes with her food.

TUSHAR

Don't play with your food.


41/98

41.

NIECE

No.

TUSHAR

Okay.

NIECE

Can we go for a walk?

INT. KITCHEN

TUSHAR places plate in sink, followed by NIECE putting her

plate in the sink.

INT. ELEVATOR

NIECE stares up at TUSHAR.

TUSHAR

What?

NIECE

Nothing.

NIECE continues to stare.

EXT. SMALL STREET. GLOOMY DAY

TUSHAR and NIECE walk on sidewalk.

NIECE

What's Canada?

TUSHAR

It's a country. A big country north

of America. Why?

NIECE

Prity said that her family is going

there.

CUT TO: Infront of a pharmacy.

NIECE

What's this place for?

TUSHAR

Medicine. They sell medicine.


42/98

42.

CUT TO: Walking infront of Fried Chicken store.

NIECE

Can we eat there?

TUSHAR

No.

CUT TO: Side of a lake. TUSHAR and NIECE both have scoops

of ice cream.

TUSHAR

How are you?

NIECE

Good.

TUSHARHow are your friends?

NIECE

Good.

CUT TO: TUSHAR and NIECE walking back home.

NIECE

You're my favorite uncle.

TUSHAR

Really?

NIECE

Yes.

TUSHAR

(hesitates)

Thanks.


TUSHAR sits on a couch, reading a book. Door unlocks andCOUSIN and COUSIN'S WIFE walk in.

COUSIN'S WIFE

There he is! (hugs TUSHAR) Our

saviour.

COUSIN


43/98

43.

The movie. Was. Terrible.

COUSIN'S WIFE

Well they all are nowadays.

COUSIN

Satyajit must be rolling in his

grave.

TUSHAR

She's already in bed.

COUSIN'S WIFE

That's wonderful! You know we love

it when you come by.

TUSHAR

She's a smart girl.

COUSIN

Will you be coming back next week?

TUSHAR

(forces smile)

Sure.

INT. ELEVATOR

TUSHAR descends in the elevator.

INT. BUS

TUSHAR stands amongst passengers on a moving bus.


TUSHAR gets off the bus. Roundabout is quiet. TUSHAR walks

over to MASUD at the peanut stand.

TUSHAR

This place is dead.

MASUD

Sleeping. Probably dreaming of the

money to be made. They'll be back

in the morning.

TUSHAR puts five hundred on the stand.


44/98

44.

MASUD

Are you trying to buy my stand?

TUSHAR

Supply and demand. You're the only

badaamwala out and I want a peanut.You could charge me a thousand if

you want to.

MASUD

I see someone likes peanuts.

MASUD begins to fill up a large pouch.

TUSHAR

The small one, please.

MASUD sieves through the nuts on his stand and individuallypicks out the best peanuts and puts them in a small bag and

hands the bag to TUSHAR.

TUSHAR

Thank you.

TUSHAR walks away. At the opposite end of the square he

sees TOM, sitting on stairs. TUSHAR walks over. TOM raises

his head when he comes close. Initially, neither says

anything.

TOM

I'd heard that you went off to the

mountains.

TUSHAR

There are plenty of rumors but no

mountains in this country,

foreigner. I'm glad to see your

Bangla has gotten better.

TOMDon't joke. It's god-awful. The

little kids won't stop making fun

of me.

TUSHAR

I'm sure there are other reasons.

TOM


45/98

45.

I knew you were back when they

talked about a boy who smokes a

pipe on rickshaws--

EXT. SMALL STREET. NIGHT

TUSHAR lights a pipe while riding a rickshaw.


Back to TUSHAR and TOM.

TOM

some guy who wears a suit and

drinks tea in Korail.


TUSHAR and KORAILIS drink tea.


TOM

Oh, and the best--a guy who

promised to last four rounds in a

ring with a boxer.

INT. BOXING GYM

TUSHAR and BOXER toeing around each other, gloves raised.

BOXER lands a few clean punches. Bell rings and TUSHAR is

given water. Bell rings again and TUSHAR lands a few good

punches. Bell rings, back to corner. TUSHAR's face shows

bruising. Bell rings again, TUSHAR is beat with heavy

punches.


TOM

(continuing)

Lasted nine.

TUSHAR

You should believe lies like that.

I lasted seven and there wasn't a

promise in the first place.

TOM stands up.


46/98

46.

TOM

Want to get some ice cream?

TUSHAR

Sure.

EXT. ICE CREAM STORE. NIGHT

TUSHAR and TOM walk out of store. TUSHAR holds a cup of ice

cream.

TUSHAR

Delicious stuff.

TOM

How are you still not finished?

TUSHARTaking my time, bud.

TOM

Hey. (points at building across the

street) Remember when we used to go

there?

TUSHAR

Sure do. Terrible times.

TOMLet's go back.

TUSHAR

No.

TOM

Come on, the place might've classed

up a bit.

TUSHAR

See, I know you don't believe that.

TOM

Well, there's only one way to find

out.

INT. CLUB


47/98

47.

Loud music blares in the smoke filled room. GIRLS in shiny

dresses move in and out of another room in the back. An

ATTENDANT leads TUSHAR and TOM to a hookah booth to the

side. TUSHAR and TOM take a seat.

ATTENDANT(shouting over the loud

music)

Can I get you anything?!

TOM

What?!

ATTENDANT

(leans forward)

I said: Can I get you anything?!

TOMA pack of cigarettes for me!

TOM looks over at TUSHAR who makes a sipping gesture.

TOM

And a cup of tea for my friend!

ATTENDANT shows a thumbs up and walks off. A group of THREE

GIRLS takes the booth across the aisle from TUSHAR and TOM.

Both stare at the girls, who laugh at the attention.

ATTENDANT returns with a cup of tea and a pack ofcigarettes and gives them to TUSHAR and TOM.

TUSHAR

(leans over to TOM)

I didn't know you smoked!

TOM

There's nothing else to do in this

town!

TUSHAR and TOM look back at the THREE GIRLS. TOM looks atTUSHAR and makes a gesture towards the girls. TUSHAR thinks

about it, looks at the THREE GIRLS. The THREE GIRLS stand

up, and wait at their booth. TOM gathers himself and gets

up. TOM gestures at TUSHAR, implying "let's go!" TUSHAR

doesn't get up. One of the THREE GIRLS grabs TOM's arm and

takes him off. TUSHAR slowly gets up and walks out the door

of the club entrance.


48/98

48.

EXT. CLUB. NIGHT

TUSHAR is walking out the door of the club when he hears

LAFANGA having a conversation with NESSA. LAFANGA is

standing with an arm over NESSA, obviously hitting on her.

LAFANGA

--all over the world. My father

even has connections in

Switzerland. Have you ever been to

Switzerland? It's a really nice

country.

TUSHAR

(walking by)

No one cares.

LAFANGA(enraged)

Ey! What did you say to me?

TUSHAR stops, walk back to LAFANGA, and stops just before

his nose touches LAFANGA's.

TUSHAR

(gritting his teeth)

No. One. Cares.

LAFANGAYou better get going.

TUSHAR

Lay a finger on me.

A SMALL CROWD gathers around the entrance. LAFANGA storms

off back into the club. SMALL CROWD disperses.

NESSA

Impressive.

TUSHAR looks at the girl LAFANGA was talking to. He

realizes that it is NESSA and lets out an exasperated sigh.

NESSA

Oh don't be like that! Half the

boys in Gulshan would be more than

happy to talk to me.


49/98

49.

TUSHAR

Is that so? What about the other

half?

NESSA

Already tried.

TUSHAR

I'm going now.

TUSHAR begins to walk away.

NESSA

Why do you hate me?

TUSHAR

(without turning around)

I don't hate you.

NESSA

Then why does it seem like you hate

me?

TUSHAR

(turns around)

It's not you I hate.

NESSA

Then what is it?

TUSHAR

(walks up to her)

10 million taka cars and

cigarettes. Slums and hip-hop. The

black fumes in this city and the

black souls in Gulshan. I don't

hate you. I hate everything around

you. And you are their hero. How

many businessmen are ready to leave

their wives for you? How manycollege boys want to take you away

to--to what--Switzerland? This

whole town is dirty; corrupt. Not

just with money. Down to its core.

That's what I hate. Don't take it

personally.


50/98

50.

INT. PRINTING SHOP. NIGHT

PHOTOCOPYIST uses a photocopier. ASSISTANT collects copies

and staples them together.

EXT. ROOFTOP. NIGHT

TUSHAR and PAHAR sit, listening to music.

PAHAR

Something like that could've broken

her heart.

TUSHAR

I know.

EXT. ALLEY. NIGHT

MAN hands out copies to FIVE ACCOMPLICES.


TUSHAR walks on the sidewalk alone, heading off to the

distance.

EXT. TIN SHACK. NIGHT

TUSHAR arrives at the tea shop and goes in.


FIVE KORAILIS sit around a table, unusually quiet, all

reading from copies. Around them stand BYSTANDERS.

KORAILI 1

(to TUSHAR)

Take a seat, son.

KORAILI 2

This is incredible.

BYSTANDER 1

What does it say?

KORAILI 2

I'll read it in a second. Let me

finish it. I'm getting goosebumps.


51/98

51.

KORAILI 1

(to TUSHAR)

A man has been going around saying

he's supposed to hand these out to

people who can read. When was the

last time a man gave out a pamphletin Korail?

EXT. ALLEY. NIGHT

MEN stand quietly, reading the pamphlet.


KORAILIs finish reading the pamphlet.

KORAILI 2

(to a BYSTANDER)Get everyone here.

BYSTANDER 1

Who?

KORAILI 2

Whoever you can find.

BYSTANDER 1 leaves to do as he was told.

KORAILI 2This is going to be an interesting

night.

EXT. APT BUILDING GATE. NIGHT

PAHAR mimics a military march outside of TAAS' building.

TAAS comes out the gate. PAHAR stands still, enjoying the

sight.

PAHAR

Do you want to got dancing?

TAAS shakes her head.

PAHAR

Movie?

TAAS shakes her head.


52/98

52.

PAHAR

Ice cream?

TAAS smiles.


JOKER bends over and ties his shoelaces tight, sprints off.


JOKER runs until he comes to an alley and stops. In the

alley are a GROUP of people, quickly reading something in

their hands. JOKER resumes running.


ABU BAKR and MRS BAKR are driving down the road in theirold red car.

INT. CAR. NIGHT

MRS BAKR plays with ABU BAKR's hair and looks at him

tenderly.

INT. SWEETSHOP. NIGHT

The SWEETSHOP OWNER is holding the pamphlet, surrounded by

a group of SEVEN MEN.

SWEETSHOP OWNER

As soon as you bastards are quiet,

I can start.

EXT.POLICE STAND.NIGHT

SHORT policeman and TALL policeman stand at a police

checkpoint near the sweetshop. SHORT extends his arm, and

an old red car slows down infront of him. In the car are

ABU BAKR and MRS BAKR. SHORT leans over ABU BAKR's window.

SHORT

I'm going to have to see your

license, boss.

ABU BAKR fumbles through his wallet, visibly nervous.

ABU BAKR


53/98

53.

It's gotta be in here...

ABU BAKR finds the license and hands it to SHORT.

SHORT takes a long look at the license. He sniffs it, holds

it under the light. SHORT leans down and takes a quick look

at MRS BAKR.

SHORT

I'm afraid this here is a fake

license.

ABU BAKR

(startled)

That can't be ri--

SHORT

I hope you're don't think that I amstupid, or that I haven't had

proper training. This is a fake

license. You are driving with a

fake license.

ABU BAKR

Bu-but, officer, I got this from a

license office. They told me it was

real.

SHORTAnd I'm saying it isn't. Are you

calling me a liar?

ABU BAKR

(mutters)

No, sir.

SHORT

(louder)

I said, "Are you calling me a

liar?"

ABU BAKR

(louder)

No, sir. I am not.

SHORT


54/98

54.

I am going to have to ask you to

get out of the car.

ABU BAKR

(petrified)

My wife?

SHORT

Her, too.

TALL taps on SHORT's shoulder.

TALL

Is this necessary?

SHORT

(agitated)

What do you think? Go see whatthose bastards are roaring about

over there.

TALL reluctantly walks over to sweetshop.


SWEETSHOP OWNER is reading from the pamphlet to the SEVEN

MEN.

SWEETSHOP OWNER"And this is not a gift from a

politician. This is your

birthright, as a Bangladeshi. They

can give you nothing. You are

simply taking what was promised to

you."

SEVEN MEN show approval.

MAN 1

Mashallah.

MAN 2

Mashallah.

TALL walks in. OWNER and SEVEN MEN go silent.

TALL


55/98

55.

What are you gentlemen meeting

about?


JOKER runs in a light trot on an empty road. All of a

sudden, THREE KIDS begin to follow him. JOKER picks up

speed but the THREE KIDS breathlessly keep up.


THREE KIDS run by but the last of the three stops and sees

the JOKER hiding against a nook in the wall.

KID 1

He's over here!

JOKER runs off.

EXT.POLICE STAND.NIGHT

ABU BAKR and MRS BAKR stand infront of their car.

SHORT

Put your hands on the hood.

ABU BAKR is terrified. He looks at MRS BAKR who is equally

afraid.

SHORT

I don't have all day!

ABU BAKR and MRS BAKR turn around and put their hands on

the car. SHORT opens the passenger door of the old red car

and retrieves MRS BAKR's purse and brings it back to the

hood.

SHORT

(rummaging through MRS BAKR's

purse)

The crime rings in this city haveno shame. (he picks out an item

from the purse and drops it on the

ground) They'll do anything to

smuggle in drugs, (drops another

item) weapons. They use animals,

(drops another item) children,

(drops entire purse) even women.


56/98

56.

SHORT grabs MRS BAKR's waist.

MRS BAKR

Don't touch me!

ABU BAKR grabs SHORT's rifle from his shoulder. SHORT

reacts by pulling on his rifle strap. ABU BAKR uses the

pull on the strap to drive a knee into SHORT's ribs. SHORT

lets go of the strap and cringes. ABU BAKR uses the butt of

the rifle to strike SHORT down. From off-screen, ABU BAKR

is shot through the shoulder and buckles to the ground. MRS

BAKR lets out a scream.


TALL lowers his rifle and turns around to see the SEVEN MEN

and SWEETSHOP OWNER staring at him in rage. The SEVEN MEN

leap on TALL and proceed to beat him.

EXT. POLICE STAND.NIGHT

ABU BAKR frantically applies pressure on ABU BAKR's wound

with her scarf.

MRS BAKR

(hysterical)

Don't die! Don't die!


JOKER hears gunshots and stops running. THREE KIDS stop

right behind him.

JOKER

(to THREE KIDS)

Look, you have to go back home.

THREE KIDS don't respond and simply smile at the JOKER.

JOKER

It's not safe out here! Please gohome!

JOKER is anxious as angry shouting is heard off in the

distance.

JOKER


57/98


58/98

58.

INT. GARAGE

ROBIN hurries down the stairs. DARWAN stands up to see what

is the matter.

ROBIN

Open the door damn it!

DARWAN goes off to open the door.


JOKER runs down a narrow road.

EXT. POLICE STAND.NIGHT

JOKER arrives to see MRS BAKR struggling to get ABU BAKR

into the car.

MRS BAKR

Help me!

JOKER rushes over and helps her.

EXT. LARGE STREET. NIGHT.

OWNER and SEVEN MEN, two of them holding rifles, march down

the street as a MOB begins to form behind them. The MOB

begins to shatter windows, but OWNER and SEVEN MEN keep

marching resolutely ahead.


PAHAR and TAAS stay in the nook. Car pulls up with ROBIN

driving. ROBIN stops the car and immediately gets out.

ROBIN

Are you all okay?

PAHAR

Just fine, Robin. Thank you forcoming so quickly.

ROBIN

Not a problem.

ROBIN tosses PAHAR the keys and opens the driver's door.

PAHAR gets in and ROBIN rushes to the other side to hold


59/98

59.

the door for TAAS. He himself then takes a rear seat.

EXT. LARGE STREET. NIGHT.

JOKER arrives at the entrance to a large street. He is

horrified by the destruction left by the mob. In the

distance he can hear police sirens and decides to run off.


TUSHAR comes home. He turns the light on puts his keys on a

table. He goes to the kitchen and looks in the fridge and

finds nothing he wants. He opens a cupboard and finds

something he likes.

INT. BEDROOM. NIGHT

TUSHAR undoes his tie and takes his suit coat off.

INT. BATHROOM

TUSHAR showers behind a curtain.

INT. KITCHEN

TUSHAR boils spaghetti in a pan, wearing an A-neck and a

lungi.

INT. LIVING ROOM

TUSHAR takes a seat on the sofa with a bowl of spaghetti in

his hands. He turns the TV on.

REPORTER

Police are saying that this was not

planned by any political party.

Regardless, both parties are saying

that this demonstration was one of

theirs.

ON TV

REPORTER walks backwards through a large street with

windows broken and small flames scattered about the street.

REPORTER


60/98

60.

The agitation lasted for only an

hour before police put down the

mob. It is still unclear what

caused this incident.

POLICE SPOKESPERSONAll we know is that two of our

finest officers are dead as of

tonight. We will find what caused

this disturbance, and we will

punish those that are responsible.

INT. LIVING ROOM

TUSHAR mutes his TV and sits, visibly distressed by the

newscast.

EXT. ROADSIDE FLOWER SHOP. DAY

PAHAR bends over and takes in the scent of a carnation. He

nods at the FLORIST and the FLORIST takes that flower out

of the bunch.

INT. ELEVATOR

PAHAR holds the carnation, going up in the elevator.

INT. OFFICE LOBBY. DAY

RECEPTIONIST looks up to see PAHAR and smiles. PAHAR points

towards the end of the hall. RECEPTIONIST nods.

INT. OFFICE

PAHAR walks in on two people, TAAS and EDITOR, in the

middle of a meeting.

PAHAR

Oh! I'm so sorry! I thought she was

free.

EDITOR

We were just having a quick chat

about some story ideas, but

(looking at TAAS) it seems you have

another appointment.

TAAS


61/98

61.

(embarrassed)

Yes. Sir. Apparently I forgot about

this one.

EDITOR gets up. TAAS makes faces at PAHAR. While leaving

through the door, EDITOR turns around.

EDITOR

And Taas.

TAAS

(regaining composure)

Yes, sir?

EDITOR

This seems like an especially

important client. I suggest you

take him out to an extra longlunch. Make him pay though. We

don't want his business that bad.

EDITOR leaves. PAHAR smiles at TAAS who is still furious.

INT. OFFICE LOBBY. DAY

PAHAR and TAAS are leaving.

PAHAR

(whispers to RECEPTIONIST)She wasn't free!

RECEPTIONIST

(whispers in return)

It's more romantic that way!

INT. RESTAURANT. DAY

PAHAR and TAAS sitting at a table in a restaurant.

TAAS

What's the matter? You lookworried.

PAHAR

What was that last night?

TAAS

Probably a hartaal.


62/98

62.

PAHAR

They're saying it wasn't political.

TAAS

People in the newsroom were talking

about a pamphlet or something.

PAHAR

Hmm.

TAAS

It that what you're worried about?

PAHAR

I don't want to see people hurt.

TAAS places her hand on PAHAR's.

TAAS

Everything's going to be fine.

PAHAR forces on a smile.

TAAS

Are you excited about tonight?

PAHAR

A little.

TAAS

It's quite an honor being elected.

PAHAR

How did you know? You don't even

like these things.

TAAS

Word goes around fast.

PAHAR

Will you be coming?

TAAS

(smiling hesitantly)

Sure.

PAHAR

Really?


63/98

63.

TAAS

Yeah, sure. It might be fun.

PAHAR

I'll just do my speech and say hi

to a few people and then we canleave if you want to.

TAAS

Wonderful.

WAITER brings two plates of food.

INT. CONFERENCE ROOM

COMISSIONER sits at the head of a table with four OFFICERS

on each side. COMISSIONER reads a small stack of paper,

scoffing and occasionally grumbling disapprovingly.

COMMISSIONER

Did this have anything to do with

it?

OFFICER 1

We think that pamphlet caused all

of it.

OFFICER 2

We all know that the policemen thatnight, specifically the short one--

what's his name--

OFFICE 3, 4 AND 5

(simultaneously)

Kabir.

OFFICER 2

Right. Officer Kabir had many

harassment cases filed against him,

all having to do with that stand--

OFFICER 1

Anything even close to being killed

my a mob?

COMMISSIONER

So, this pamphlet is the cause?


64/98

64.

OFFICER 1

Yes, sir.

OFFICER 2

Sir, it's a symptom. This pamphlet

wouldn't mean anything if thosepolicemen hadn't misbehaved.

OFFICER 1

Look at this--college boy preaching

ethics to us.

OFFICER 2

What's that supposed to mean?

OFFICER 1

Exactly what I said.

COMMISSIONER

You two calm down. I haven't seen a

thing like that before last night.

Hartaals, I can handle--but this? I

don't want a repeat of this

tonight. Haider (i.e. Officer 1)

you're in charge of this one.

HAIDER

Thank you, sir.

MUSHARRAF (i.e. OFFICER 2) stands up in outrage.

MUSHARRAF

Sir! You know that he will use

excessive force.

HAIDER

(stands up)

And you think you can handle it?

All officers in the room stand up to prevent any violence.

COMMISSIONER

Sit down! All of you! Does this

look like a playground?

All take their seats.

COMMISSIONER


65/98

65.

Haider, use riot gear and take as

many men as necessary.

MUSHARRAF

But, sir!

COMMISSIONER

Shut it, Musharraf! Don't you dare

interrupt me! Tonight is no time

for your tactics. Haider has used a

strong arm before and showed

himself to be good at it. He's in

charge of this one and since you

can't respect him, you're not a

part of tonight's effort.

MUSHARRAF gets up in anger and leaves the room.

COMMISSIONER

(leans over to HAIDER)

Keep an eye on the slums.

HAIDER nods approvingly.

WIDE SHOT: EXT. KORAIL. NIGHT

EXT. SLUM ALLEY. NIGHT

Police in heavy boots walk through the slums.


KORAILIS drinking tea are surprised by a group of five

POLICE barging in.

POLICE 1

Stand up, every one of you!

POLICE 2

You too, old man!

KORAILIS stand up and are pushed by the POLICE to a side

wall.

POLICE 1

Pamphlets! Do any of you have one?

No one responds.


66/98

66.

POLICE 1

I know you have them!


Two POLICE walk up to MASUD at his peanut stand.

POLICE 1

What're you doing out this late,

boss?

MASUD

Is that a trick question?

POLICE 2

What?

MASUDI'm selling peanuts.

POLICE 1

Can't anymore. There's a curfew.

MASUD

What'll happen when a man comes

around here wanting some peanuts?

POLICE 2

How many people even eat peanutsthis late at night?

MASUD

How's that any of your business?

POLICE 2

Give me a hundred.

MASUD

Why?

POLICE 1He said, "Give him a hundred."

MASUD

And then I asked, "Why?"

POLICE 1


67/98

67.

Do you see anyone around here who

can help you?

MASUD

I'm an old man. God helps me.

POLICE 1

Either pay or get off this road.


MASUD pushes his cart with much effort down the road.

MASUD

(grumbling)

Damn bunny-babies. I don't even

want to be out tonight anyhow. All

these pigs stinking up the place...

CUT TO: MASUD getting exhausted pushing the cart.

CUT TO: MASUD sitting by his cart on the road, exhausted. A

rickshaw comes to a stop near MASUD.

CUT TO: MASUD and RWALA both pushing the cart.

EXT. KORAIL SHACK. NIGHT

POLICEMEN thump on a shack door.

POLICE 1

Open up! Open this door or I'll

knock your whole damn shack down,

you rats!

INT. FAMILY SHACK. NIGHT

A FATHER stands holding his SON at one side and the hand of

his WIFE at the other as POLICEMEN turns his shack upside

down, flinging things all over the place.

EXT. CLUB. NIGHT

PAHAR stands outside the club, waiting for TAAS. JOKER runs

by.

PAHAR

(calls out to JOKER)


68/98

68.

Hey!

JOKER comes to a stop and looks back at PAHAR

JOKER

Sir?

PAHAR

I've always wanted to meet you!

You're a legend around here!

JOKER

(hesitant)

Thank you.

PAHAR

Hey! You know what'd be great? Come

on up! Say hi to my friends! They'dlove to meet you.

JOKER

No, thank you.

PAHAR

Oh. Why not?

JOKER

I don't belong up there.

JOKER returns to his run, leaving PAHAR standing at the

entrance bewildered. PAHAR's phone rings and he answers.

PAHAR

(on the phone)

Hey, Taas, where are you?

TAAS

(heard over the phone)

I got caught up with work.

PAHAROh.

TAAS

I'll be there in an hour. I'm

really sorry.

PAHAR


69/98

69.

Oh. Hey, it's no problem. I guess

I'll give my speech then.

TAAS

I'm really sorry.

PAHAR

It's no problem. I'll see you soon.

Bye.

TAAS

Bye.

PAHAR hangs up.


TAAS closes her phone, standing at the entrance of theCathay, wearing a gorgeous dress.

EXT. ALLEY. NIGHT

POLICE harass a group of YOUNG MEN, confiscating pamphlets

from some of them.

INT. CLUB

PAHAR walks in to the CROWD's raucous applause. The

lighting is a deep blue and everyone is wearing white.

CUT TO: MALIK stands atop a table.

MALIK

(shouts)

Ladies and Gentlemen: Cicero Night

has begun!

CROWD cheers wildly.

INT. RESTAURANT

TAAS walks up to TUSHAR sitting in a booth.

TUSHAR

You shouldn't have come here.

TAAS

I wanted to talk to you.


70/98

70.


INT. CLUB

MALIK and PAHAR stand on a table in side the raucous club.

MALIK

(shouting over crowd)

Now, you all know how this works.

Our guest of honor receives his

salute and gives us speech. Pahar?

Are you ready?

PAHAR wears a wide smile and steps forward.

INT. RESTAURANT

TAAS sits across from TUSHAR in his booth.

TUSHAR

I shouldn't have come back.

TAAS

Don't say that.

TUSHAR

I shouldn't have left.

TAAS

That--I wish you didn't.

EXT. ALLEY. NIGHT

A YOUNG MAN pulls a gun on TWO POLICEMEN. Other MEN take

those POLICEMEN's rifles.

INT. RESTAURANT

TUSHAR and TAAS at the booth.

TUSHARHe's a good man.

TAAS

I know.

TUSHAR

Smiles a lot.


71/98

71.

TAAS

I know.

INT. CLUB

Raucous CROWD at the club raise their fists to the air.

CROWD

(in unison)

Ave Caesar! Morituri te salutant!

CUT TO: PAHAR on the table. Begins speech.

PAHAR

Friends! Romans! Countrymen!

INT. RESTAURANT

TUSHAR and TAAS at booth.

TAAS

You can tell me anything.

TUSHAR

I don't have anything to say.

TAAS

Please. Just say something.

INT. CLUB

PAHAR

I come to bury Caesar, not to

praise him!

INT. RESTAURANT

TUSHAR

People will die tonight because of

me.

TAAS

What?

EXT.KORAIL ALLEY.NIGHT

JOKER lightly jogs in the area.


72/98

72.

INT. RESTAURANT

TUSHAR

I didn't mean for anyone to get

hurt.

TUSHAR goes to the verge of tears.

INT. CLUB

PAHAR

When the poor cried, Caesar hath

wept!

INT. RESTAURANT

TAAS and TUSHAR move their hands closer on the table.

INT. CLUB

PAHAR

O judgment! thou art fled to

brutish beasts, and men have lost

their reason. Bear with me; my

heart is in the coffin there with

Caesar, and I must pause till it

come back to me.


JOKER runs in an empty road. Occasional shouting can be

heard around him.

JOKER takes a sharp turn and then another. He stops,

wondering where all the people are.

INT. CAR. NIGHT

HAIDER and DRIVER are going around in their car. HAIDER

receives chatter on his walkie.

POLICE 1

(via walkie)

Second quadrant refusing to

cooperate. Requesting additional

backup.

POLICE 2


73/98

73.

(via walkie)

Quadrant 1 is bogged down. Cannot

assist. Korailis not cooperating.

Over two hundred pamphlets

recovered, all by force.

OFFICER 3

Sorry, Quadrant 2, Quadrant four is

facing heavy resistance. Wish we

could help. Locals are highly

agitated.

HAIDER turns his walkie off.

HAIDER

These undisciplined rats. Their

asking to be squashed.

HAIDER talks through his walkie.

HAIDER

Ishtiaq?

ISHTIAQ

(via walkie)

Sir?

HAIDER

Launch the turtles.


JOKER takes a sharp turn and then another. He stops and his

eyes widen. A POLICE SQUAD with shields slowly moves down

the alleyway. JOKER turns around and sprints a hudred yards

and hides against a shack's tin walls, breathing heavily.

CUT TO: POLICE SQUAD slowly marching down the alley.

INT. SHACK

WOMAN holds a large knife and stands to the side of the

doorway as POLICE SQUAD marches by.

EXT. SHACK WALL. NIGHT

JOKER stays flat against the wall. THREE MEN, holding

various weapons, walk by infront of him. One of the men


74/98

74.

makes a "Shhh" gesture at the petrified JOKER.

INT. CAR. NIGHT

HAIDER listens to the walkie.

POLICE 1

(via walkie)

The turtle is making its way down.

Asking permission to spread out.

HAIDER

Not yet. Let the rats get scared.

POLICE 1

(via walkie)

Yes, sir.

INT. SHACK

MAN grips a weapon, staying out of sight as POLICE SQUAD

walks by.

INT. SHACK

MAN and WOMEN grip their weapon, waiting for the squad to

pass.

INT. CAR. NIGHT

HAIDER listens to his walkie.

POLICE 1

(via walkie)

Sir. Something isn't right here. I

think they're hiding.

HAIDER

That's what we want them to do, you

idiot.

POLICE 1

(via walkie)

No, sir. They've--they seem to have

organized. Sir, I--I request that

we be allowed to withdraw back to

safety. There is something wro--

CHRIST! (Gunfire.) CHRIST!


75/98

75.

Walkie cuts off.

HAIDER

(frantic)

Officer! Respond! What is the

situation? Officer! Officer?


CLOSE UP: JOKER horrified. Tears well up in his eyes.

Ferocious sounds in the background. JOKER backs off slowly,

then runs at full sprint.

INT. CAR. NIGHT

HAIDER is disheartened.

HAIDER(to DRIVER)

Babu. This is going to be a long

night.

INT. CLUB

Music blares and the CROWD dances. PAHAR gets

congratulated. NESSA finds her way through the CROWD to

PAHAR. PAHAR holds her hand and NESSA talks while they

dance.

NESSA

Where is Tushar?

PAHAR

(unable to hear over music)

What?

NESSA

(louder)

Where is Tushar?

PAHAR leads her out to the lobby.

PAHAR

Wow, it's loud in there! What were

you asking me?

NESSA

Aren't you friends with Tushar?


76/98

76.

PAHAR

I think so. You can never tell with

him.

NESSA

Do you know where he is?

PAHAR

He's probably at a place called the

Cathay over on Road 5.

NESSA

Thank you. You're a wonderful

dancer, by the way.

PAHAR

Oh, that? That wasn't even dancing.

NESSA smiles and walks away. PAHAR returns to the back

room.

INT. HEADQUARTERS

HAIDER stands infront of a group of FIVE COMMANDERS.

HAIDER

Gentlemen. You all knew as well as

I did, this day was coming. It's

war. There will be no compromise.All agitators will be either

arrested or put down. Call up every

single man in reserve. You have

full authority to fight the

aggressors.

INT. RESTAURANT

NESSA walks into the lobby and is greeted by the

HEADWAITER.

HEADWAITER

Welcome to the Cathay, madame!

In the background, NESSA can see TUSHAR and TAAS. They,

too, notice her. TAAS gets up and quickly leaves, walking

past NESSA. NESSA wears a grin on her face and looks back

at TUSHAR, who is sulking in his booth.


77/98

77.

NESSA walks over to the booth but TUSHAR doesn't react.

NESSA

(playfully)

Well. What was that about?

TUSHAR doesn't answer.

NESSA

That was Pahar's friend, wasn't it?

NESSA takes a seat. TUSHAR still unresponsive.

NESSA

Let me guess: an old love, really

powerful. You both are

intelligent--quiet. She's

incredibly beautiful. I'm sure it'svery difficult.

TOMAL comes by with a menu.

TOMAL

Can I get you anything to drink,

madame?

NESSA

No, thank you. In fact, I'll order

right now if that's alright. A bowlof thai soup. I hear it's wonderful

here.

TOMAL

It is.

NESSA

Say, what's your name?

TUSHAR looks up at her.

TOMALTomal, madame.

NESSA

Ah, Tomal. That's wonderful, I hate

calling someone "waiter" as if all

they are is their job.


78/98

78.

TOMAL

I'll have the soup out for you in a

minute, madame. (to TUSHAR) And,

sir, may I have your napkin.

TUSHAR lifts his elbow and lets TOMAL take his napkin.TOMAL heads back to the kitchen.

NESSA

Why'd he take your napkin?


TWO OFFICERS beat the PHOTOCOPYIST.

OFFICER 1

Who brought it to you? (punches

COPYIST) Answer me!

INT. RESTAURANT

COMMISSIONER sits at his table when his phone rings. He

picks up.


OFFICER 1 is on the phone.

OFFICER 1

Sir! We have news.

INT. RESTAURANT

COMMISSIONER listens on the phone.

OFFICER 1

(via phone)

A waiter at a restaurant. Goes by

the name of "Tomal." Works at a

place called the Cathay.

COMMISSIONER

Thank you.

COMMISSIONER hangs up the phone. He gets up slowly and

walks over to HEADWAITER. He whispers something in

HEADWAITER's ear and HEADWAITER points at TOMAL who is

bringing in the soup for NESSA.


79/98

79.

As TOMAL places the bowl on the table, TUSHAR sees

COMMISSIONER walking up from behind him. COMMISSIONER

slowly pulls out a pistol. TUSHAR lunges at the

COMMISSIONER though he pulls the trigger in time to shoot

TOMAL through the head. TOMAL collapses on the table while

NESSA screams. TUSHAR punches COMMISSIONER in the face,comes back to NESSA, grabs her arm and the two run through

the back room.

INT. RESTAURANT KITCHEN

WAITERS gesture at NESSA and TUSHAR to escape through the

back door. TUSHAR leads NESSA as both sprint out to the

street.

EXT. ALLEY. NIGHT

TUSHAR and NESSA sprint down the alley. Shouts are heard inthe direction of the Cathay, followed by gunshots. TUSHAR

and NESSA both look terrified.

INT. CLUB

PAHAR sits with a few FRIENDS as TAAS enters the club.

Music is thumping in the background though the lobby itself

is sparse.

PAHAR

Taas! You look wonderful. I'm soglad you could make it.

TAAS

(forces a smile)

Absolutely.

PAHAR's phone rings.

PAHAR

One second, darling. (answers

phone) Hello?

INT. CAR IN GARAGE

ROBIN sits in his car, talking on the phone.

ROBIN

Sir.


80/98

80.

INT. CLUB

PAHAR

Yeah, Robin, what is it?

INT. CAR IN GARAGE

ROBIN

Sir, I got a call from my brother

in Korail. Things are getting out

of hand. Apparently people have

been killed.

INT. CLUB

PAHAR

What?

ROBIN

(via phone)

Killed sir. I'm ready to bring the

car to you any moment.

PAHAR looks at TAAS.

PAHAR

Yes, bring the car. I'm at the

lounge.

ROBIN

(via phone)

I'll be there in four minutes.

PAHAR hangs up, with a quizzical look on his face.

EXT. DARK ALLEY. NIGHT

TWO POLICEMEN chase TWO CIVILIANS.

OFFICER 1

Come back here! Stop!

TWO POLICEMEN shoot their guns.


TUSHAR and NESSA stand close to a wall. A rickshaw, driven

by RWALA, holds MASUD in the back seat holding a sack.


81/98

81.

MASUD

(advertising)

Peanuts! Peanuts! Crispy, crunchy,

your only friend.

RWALAMasud! Looks like we might have

some customers.

Rickshaw stops infront of TUSHAR and NESSA.

MASUD

I apologize for not having a stand,

folks. Damn thing was too heavy.

RWALA

Too damn heavy.

MASUD

But I assure you I am an excellent

badaamwala and that these are some

of the finest peanuts around--Oh

hey! I know you. Five hundred

takas! Here, have a bag.

MASUD tosses a bag of peanuts to TUSHAR. RWALA drives off.

MASUD

(fading)Peanuts! Get your peanuts! Your one

and only friend.

TUSHAR and NESSA are left dumbfounded by the encounter.


TUSHAR walks NESSA to her door. TUSHAR offers her the bag

of peanuts. NESSA is visibly angry and ignores the gesture.

She stares at him for a moment before turning around and

going in.

TUSHAR

(after she leaves)

Be safe.

INT. CAR. NIGHT


82/98

82.

ROBIN drives, PAHAR and TAAS are in the back seat. PAHAR

talks on the phone.

PAHAR

(on phone)

Thirty-two officers?! Jesus Christ.


Car, with ROBIN as driver, pulls up. Back doors open. PAHAR

walks TAAS to her gate.

PAHAR

I'm sorry we couldn't spend more

time together.

TAAS

It's okay. I'm having kind of aweird night anyways.

PAHAR

Ah. I'll call you tomorrow.

TAAS

Do that.

TAAS goes in. PAHAR stands for a moment, then gets in the

car.

INT. GARAGE

Car parks. ROBIN and PAHAR get out.

PAHAR

Take the night off, Robin.

ROBIN

Okay, sir.

PAHAR

Promise you'll be safe.

ROBIN

Promise, sir.

ROBIN leaves through the gate. DARWAN stops PAHAR.

DARWAN


83/98

83.

There's a guest for you, sir. He's

waiting on the roof.

EXT. ROOFTOP. NIGHT

TUSHAR stands as PAHAR walks in.

PAHAR

Hey. I didn't know we were hanging

out tonight.

TUSHAR

We weren't. I'm in trouble.

PAHAR

Seems like the whole town's in

trouble.

TUSHAR

That's what I'm in trouble for.

CUT TO: PAHAR reading from a pamphlet.

PAHAR

(looks up in anger)

Is this what caused it?

TUSHAR nods slowly.

PAHAR

Fucking Che Guevara.

EXT. ALLEY. NIGHT

POLICMEN and AGITATORS shoot at each other, taking cover

behind dumpsters.

EXT. TIN SHACK.NIGHT

Handcuffed KORAILIS sit against a tin wall, bloodied and

bruised.

EXT. ROOFTOP. NIGHT

PAHAR

People are dying tonight.

TUSHAR


84/98

84.

I know.

PAHAR

What the hell were you thinking?


PAHAR

Christ. You should've had more fun

as a kid or something! Danced a

little more. Gotten a goddamn dog!

Anything!

TUSHAR

A dog. I should've gotten a dog.

PAHAR

(leaving)You can stay the night. I don't

want anything to do with all this.

INT. BEDROOM. NIGHT

TUSHAR lies in the guest bed wide awake. After a moment, he

sits up straight.

INT. DOORWAY TO APT. NIGHT

TUSHAR slowly closes the apartment door behind him.

EXT. LARGE STREET. NIG

Last Night in Gulshan

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Transcript of Last Night in Gulshan