Script of Ashim Ahluwalia S Miss Lovely

MISS LOVELY
A script by
Ashim Ahluwalia and Uttam Sirur
Based on a story by Ashim Ahluwalia
Draft
December 2008
WGA REGISTRATION #1232685
(c) 2008 Future East Film

8 Carmichael Road, Bombay/ Mumbai 400026. India.
office@futureeast.com
1 INT. DIAMOND TALKIES - ANGLE ON THE CINEMA SCREEN 1
A flash of lighting reveals a TEENAGE GIRL, fast asleep. Her

flimsy nightie flutters in the breeze, barely concealing her
youthful body. Outside, a thunderstorm rages.
A gust of wind blows a window open. The girl wakes up with

a fright.
TEENAGE GIRL
W-who's there?
The curtains are motionless again. Then, from beneath her

bed, she hears a low grunting sound. The girl begins to
panic.
She slowly peers under the wooden frame. Nothing. Then

suddenly two red eyes glow. She SCREAMS. A horrific mangled
creature attacks the girl in a savage blood feast. The screen
is splattered deep red.
FILM NARRATOR
Blood is the ultimate symbol. It's
the one that everyone understands.
There is power to blood! It has an
emotional impact unlike any substance
on earth!
Monstrous sounds continue as blood spurts everywhere,

accompanied by a howling wind that tosses debris in all
directions. The dead girl's eyes begin to pulsate. She's
possessed - now transformed into a multi-armed, back-lit
Kali.
From her demonic gaze, she zaps lightning towards the camera.
TITLES fly toward the screen as cheap music surges - A DUGGAL
BROTHERS PRODUCTION.
2 INT. DIAMOND TALKIES - LOBBY 2
A MAN, seen in silhouette, enters a rundown cinema carrying

a large SUITCASE. The cheap soundtrack spills into the empty
lobby.
3 INT. DIAMOND TALKIES - PASSAGE 3
The man arrives in front of a heavy door and hesitates. In

the dim light of the corridor, we see that it's SONU, a lanky,
boyish-looking man in his mid 30s. He knocks nervously.
4 INT. DIAMOND TALKIES - PROJECTION BOOTH 4
An unshaven, ratty OLD PROJECTIONIST unbolts the door. Sonu

enters and opens the suitcase, disclosing TWO RUSTY CANS of
film.
2.
SONU
Your Bits. Two jumbos.
OLD PROJECTIONIST
About time.
The projectionist roughly inserts Sonu's reel into the second

projector. Midway through the first reel, he jerkily switches
on the second. The antiquated projector sputters to life.
CUT TO
5 INT. DIAMOND TALKIES - ANGLE ON THE CINEMA SCREEN 5
On screen, the horror scene is abruptly cut off, rudely

supplanted by a raunchy number.
Suddenly we see POONAM, an aging actress, writhing on a heart-

shaped bed. A MUSTACHIOED MAN tickles her with a giant
peacock feather. She cackles and begins to undress, revealing
a blue "bra & panty set". The man laughs maniacally as he
pours JOHNNY WALKER on her.
POONAM
baaad boy!
6 INT. DIAMOND TALKIES - THEATER 6
An AUDIENCE of sweaty men break into loud WHISTLING &

CHEERING. They are barely visible in the flickering light.
MUSTACHIOED MAN (O.S.)

Take it off, you slut!
7 INT. DIAMOND TALKIES - PROJECTION BOOTH 7
TITLE - AJMER, JUNE, 1986
Sonu and the Projectionist stare through the booth windows

as HEAVY MOANING floods the projection room.
PROJECTIONIST
(riveted)
Ooof.. look at the cups on that one.
CUT TO:
8 INT. DIAMOND TALKIES - OWNER'S OFFICE - NIGHT 8
The DIAMOND TALKIES OWNER, an obese, repulsive man, wipes

his sweat as he counts out a stack of money.
DIAMOND TALKIES OWNER

(bored)
Nice reels. Good quality. Thank
Golasaab for me, ok?
3.
SONU
Uh, yes sir. Definitely.

Condition-wali ladkiyan.
(healthy girls)
That I like.
The distant audience roars inside the movie hall.
DIAMOND TALKIES OWNER (CONT'D)

(boredom turns to
interest)
...You hear them? Listen... Take.
He pushes the pile towards Sonu, who begins counting it.
Midway, Sonu stops. For a moment, he looks worried. Then he

quickly starts counting again. But now he's lost track.
Flustered, he starts again from the beginning.
The owner watches as he fumbles.
DIAMOND TALKIES OWNER (CONT'D)

You don't need to count it. It's
all there.
9 INT. DIAMOND TALKIES - HALLWAY - NIGHT 9
Sonu leaves the office clutching the suitcase. He picks up

the pace.
10 EXT. DIAMOND TALKIES FACADE - NIGHT 10
Sonu hurries out of the shabby cinema, down the stairs.

GOLA'S RUNNER, also holding a VIP SUITCASE, is on his way
in. As they pass, they eye each other briefly.
11 INT. DIAMOND TALKIES - OWNER'S OFFICE - NIGHT 11
The OWNER is surprised to see GOLA'S RUNNER burst through

the door.
GOLA'S RUNNER
Sorry I'm late. Every day is Diwali
with these cops. But wait till you
see these bits, sir...
He cracks open his suitcase, revealing two cans of film.
GOLA'S RUNNER (CONT'D)

Two reels of the dirtiest girls.
Turkish. Gola saab's latest
shipment...
The owner stares at him, puzzled.

4.

I already got the Indian bits. I
just paid your guy the...
GOLA'S RUNNER
What Indian bits?
12 EXT. AJMER STREETS - NIGHT 12
Sonu looks tense, his face glistening with sweat. He lights

a cigarette and scampers through an empty alley, coughing
nervously.
Behind him something flutters. Sonu walks faster, then turns

around. Another sound. Instinctively, he ducks into a
corner. He holds his breath, terrified. Then the silence
resumes.
Someone turns on a faraway radio and an old ghazal wafts

through the air. Sonu calms himself down.
13 EXT. AJMER TRAIN STATION - LATE NIGHT 13
The small-town station is deserted. Without warning, a foghorn

cuts through the silence. A NIGHT TRAIN, majestic and
groaning, pulls in.
14 INT. TRAIN COMPARTMENT - LATE NIGHT 14
Sonu shoves his way through a bottleneck in the muggy

compartment, clinging to the suitcase. Somebody coughs
horribly, a baby starts to wail.
Unsettled, Sonu finally locates his seat. With damp, trembly

hands he locks the suitcase to the seat leg. As he sits,
his tense expression softens.
Across from him, a beautiful YOUNG WOMAN of about 20 is saying

a sad farewell to an OLD LADY on the platform, their hands
touching through the window.
15 EXT - TRAIN - LATE NIGHT 15
The train cuts through a night landscape. Beyond the dark

hills, a silver moon is rising.
16 INT. NIGHT QUEEN TRAIN COMPARTMENT - LATE NIGHT 16
Although he tries not to stare, Sonu steals quick glances at

the delicate YOUNG WOMAN as he thumbs through a copy of the
TRADE GUIDE.
She gazes out of the window, vacant, her eyes glistening

with tears.
5.
17 POV. TRAIN - EARLY MORNING 17
Daybreak. Fields give way to barren industrial towns.
TITLES BEGIN: Miss Lovely
18 INT. TRAIN - DAY 18
Throughout the journey, Sonu is drawn to the YOUNG WOMAN,

who continues looking sadly out of the window. He studies
her serene eyes, her deliciously curling lips, her childlike,
impenetrable face.
She feels him staring and turns. Their eyes meet for a
moment, then she looks away.
19 POV. TRAIN WINDOW - DAY 19
Water shimmers as cranes, winches and cable wires rush past.
TITLES CONTINUE
20 INT. TRAIN - DAY 20
A steel bridge flies by, creating rhythmic, hypnotic patterns.

Drowsiness overcomes Sonu and he gradually falls asleep.
21 INT. TRAIN - NIGHT 21
Sonu is woken by booming announcements from a PA system as

the train pulls into a crowded station.
He rubs his eyes, then looks up at the YOUNG WOMAN. But

she's gone, replaced by A LADY IN A BURKHA who is now in her
seat.
CUT TO
22 MONTAGE. BOMBAY - NIGHT 22
TITLE - BOMBAY, JUNE, 1986
The Century Bazaar Neon Sign flickers on and off. Another *

flashes, "SAMBO SUITINGS", painting the street red and green.
We finally rest on a boxy sign with a few letters missing -
It reads "HOTEL AIRCRAFT"
23 INT. HOTEL AIRCRAFT - NIGHT 23
An elevator door slides open to reveal Sonu, looking

exhausted, still clutching the suitcase. He steps into the
reception area of a seedy, rundown guesthouse.
24 INT. HOTEL AIRCRAFT - LOBBY - NIGHT 24
The CAMERA continues tailing Sonu through the dank socialist

lobby, past sleeping bodies on threadbare sofas.
6.
An AUNTY gets up from behind the murky reception and motions

for him to follow.
25 INT. HOTEL AIRCRAFT - ABANDONED PASSAGE - NIGHT 25
The CAMERA wanders behind them past a series of barricaded

doors, until they arrive in front of a SEMINAR ROOM.
The AUNTY makes dirty gestures as she cracks opens the door
for him.
26 INT. HOTEL AIRCRAFT - ABANDONED SEMINAR ROOM - NIGHT 26
We follow Sonu through fake tropical foliage. He looks

restless and his eyes scan the room frantically looking for
someone.
Through the palms, he sees a BLEEDING WOMAN lying on the

ground, her mouth gagged. There is blood and straw all over
the floor.
FIVE SCANTILY-CLAD WOMEN can now be seen, dancing around in

ecstatic abandon. AFRICA - a Nigerian in his 30s - is playing
the bongos dressed like a witch doctor.
The voodoo drumming is suddenly rewound and played back again.

A clapper board is heard, followed by a voice
VOICE (O.S.)
Purana Purush - take one!
Sonu watches as JOLLY - an odd man with a pompadour - bursts

out from behind a decrepit 16mm camera cursing violently.
JOLLY
(fuming - to the
bleeding woman)
You stripped in Madras and there
were over fifty men hanging around.
Now what?
The BLEEDING WOMAN removes her mouth gag, wiping off the
fake blood.
JOLLY (CONT'D)
(agitated)
See that's why I said no husbands on
set. NO HUSBANDS!
(pointing to her
HUSBAND)
The woman's HUSBAND shifts awkwardly as FANIL, a rough looking

casting agent, steps up and shoves him aside.
FANIL
You're a bad influence, get out!
(MORE)
7.
FANIL (CONT'D)
Aye, shut up woman, no chattering.
Behave yourself. Listen to the
director.
27 INT. HOTEL AIRCRAFT - PRIVATE SUITE CORRIDOR - NIGHT 27
Sonu arrives in front of a door that reads NO ADMISSION

WITHOUT PERMISSION. He puts the SUITCASE down, afraid to
knock. He pauses, then peers through the keyhole.
28 POV. HOTEL AIRCRAFT - PRIVATE SUITE - NIGHT 28
Inside, we see NADIA, a young, aspiring starlet, cringing a

bit. A hand slowly travels up her thigh.
CUT TO
29 INT. HOTEL AIRCRAFT - PRIVATE SUITE - NIGHT 29
Nadia giggles awkwardly, her body taut as rough, ringed

fingers continue tracing her smooth skin. The hand is soon
revealed to be VICKY'S.
VICKY
(turning around)
Your daughter's always been this
frigid?
NADIA'S MOTHER, seated in a far corner, is taken aback. She

looks up from her film magazine.
NADIA'S MOTHER
Uh, No no. It's just, Nadia has always
been the boy of the family, no?
The MOTHER bares her teeth in a smile at her daughter.
Suddenly there is an awkward knock, then the door swings

open. Sonu fumbles in.
VICKY
(loudly, huge grin)
Heyyy, look who's here. The one good
man in this filthy business.
Vicky grabs Sonu in a bear hug.
VICKY (CONT'D)
Come, come. Our beautiful new find -
Nadia. My brother, Sonu.
Sonu's eyes shift uncomfortably.

8.
VICKY (CONT'D)
Whatever I do, all this you see,
it's all for him.
(pinches Sonu's cheeks)
Eh? Bastard it's all for you.
Vicky is cheerful, slapping Sonu on the back energetically.

The bedroom has been converted into a make-shift OFFICE,
booze stacked on a filing cabinet.
VICKY (CONT'D)
(to NADIA)
Baby, make him a double...
NADIA'S MOTHER
(trying to capitalize
on the mood)
How about me, too? Don't I get a
drink?
Vicky rudely pushes an empty ICE BUCKET into Nadia's mother's

hands and guides her to the door.
VICKY
Ice, mummyji. We need Ice.
Vicky slams her out, then laughs.
SONU
(serious)
I need to talk to you.
Nadia interrupts, pushing a whisky into each of their hands.
VICKY
(leaning over Nadia
lecherously)
Baby, ten minutes.
Vicky escorts her to the door, touching and grabbing her

until she leaves.
SONU
I shouldn't have gone to Ajmer.
It's not our business. We gave Gola
our word, we should have kept it.
VICKY
(grinning)
I work my ass off to put us in a
good spot and you can't do anything
but find fault with me? Whose side
are you on, anyway?
Vicky grabs the suitcase, slams it down on a dusty table.

9.
SONU
(grumbling)
I don't want to take sides. He's
always been good to us.
VICKY
Then you go work for him. I'm moving
on.
Vicky ignores Sonu's tortured face, snaps the suitcase open.

He takes out a thick wad of cash and puts it in Sonu's hands.
VICKY (CONT'D)
(smacking his lips)
Cheer up. From today, we're solo.
Here - Just a taste.
SONU
We should give Poonam her money.
VICKY
(snaps harshly)
What fuckin' money? She owes me
money.
Annoyed, Vicky snatches up the phone and starts dialing.
30 INT. POONAM'S FLAT - NIGHT 30
The phone rings in a baroque, run-down apartment.
Poonam, an actress in her mid 40s, stumbles into the living

room, drunk and reeling. She hits her head on a frilly
lampshade as she picks up the phone.
POONAM
Vicky!!
VICKY (O.S.)
Listen. Sonu just got in. He sold
the reels. We got the money.
POONAM
You got the money?? I want half.
Vicky, I need the money. I got debts,
I owe the world, Vicky.
VICKY (O.S.)
Poonam, love...c'mon.
POONAM
(hysterical)
Promise I get half. I'm really tight,
Vicky.
10.
31 INT. HOTEL AIRCRAFT - PRIVATE SUITE - NIGHT 31
Sonu sits, looking annoyed, as Vicky jabbers in the

background. He lights a cigarette.
VICKY (O.S.)
Don't be ridiculous, honey. You're
the star. Of course, I'll give you
something, pumpkin...
Sonu flicks through a bunch of violent PRODUCTION STILLS

lying on the table: A woman being raped, a bleeding man with
an axe through his head...
VICKY (O.S.) (CONT'D)

(growing tense)
He did? What did he say?
(pause)
What did he say, dammit?
Vicky rudely slams the phone down mid-conversation, then

glares at Sonu steadily. Sonu looks up, confused.
VICKY (CONT'D)
(curtly)
Gola called Poonam an hour ago.
(pause)
He wants a meeting.
Sonu averts his eyes, his throat dry.
SONU
I-I, I told you. I mean, Vicky, he
was bound to find out. T-they were
bound to know it was an inside job,
it was stupi...
Sonu swallows, leaving his sentence unfinished. Vicky's

eyes grow fierce. Then he explodes.
VICKY
What the fuck did you do in Ajmer?
Hang a sign around your neck? Ha?
(hurls his glass
against the wall)
I told you: it's a simple deal. Don't
attract attention. Act normal.
Sonu looks ill.
VICKY (CONT'D)
But how can you? You're NOT normal.
11.
32 INT. POONAM'S CAR - DAY 32
POONAM'S driving her RED PADMINI, looking sober and refreshed.

Sonu is in the passenger seat, his head slumped against the
grimy windshield as the sun-sparkled pavement goes by.
Vicky is in the back, arms outstretched, pissed off. The

SUITCASE is propped against the back seat. The tension is
thick.
Vicky suddenly grabs Sonu's hair with one hand and raps his
head with the other.
VICKY
If you had some sense in this empty
head we wouldn't be begging today.
It's just pathetic.
SONU
Ow! What the...
POONAM
Go ahead, just hit each other, why
don't you? Aye, enough! VICKY STOP
IT!
Vicky lets go.
VICKY
(yells)
I should slap your face! I was
depending on this money.
They simmer quietly.
SONU
(weakly)
I'm sorry.
VICKY
We're living like rats, working for
Gola. I'm sick of getting nowhere!
SONU
I'm sorry, Vicky. I'm sorry.
VICKY
(starts shouting again)
I put food on your fucking table.
What do you do? You do nothing.
Nothing.
33 EXT. SWIMMING CLUB - DAY 33
The car screeches to a halt.

12.
POONAM
Uh, Vicky, it'll be alright, won't
it?
Vicky doesn't respond. He slams the door shut and walks away.
34 EXT. SWIMMING CLUB TERRACE - DAY 34
Vicky appears on the terrace alone, sweating and edgy,

clutching the suitcase.
An unruly group of ROUGHNECKS and UNDERAGE GIRLS are sitting

around a mossy green swimming pool in their swimming costumes.
This isn't your average Sunday swimming club.
OLD ROUGHNECK
(snapping at someone)
Hey, get them what their drinking!
Vicky passes the rowdy table unnoticed as crude laughter

dominates. Suddenly from behind him, a hand is laid heavily
on his shoulder.
ISHARA
Here already, eh? Now that's what I
call service!
35 EXT - GOLA'S TABLE - DAY 35
GOLA and five weather-worn HEAVYWEIGHTS sit at a table

clutching whiskies. They're a hideous bunch. Gola's in his
60s and his face hangs in folds.
ISHARA
(slapping Vicky on
the back)
We've worked together ten years, eh
Vicky? Since "Birth of A Baby", no?
Vicky senses an opportunity and grabs it, looking toward

Gola.
VICKY
Without you, sir, I'd be nothing.
Just a little smut peddler, with no
distribution, nothing...
GOLA stares at him, red-eyed, not moving a muscle of his

dead-pan face.
A hush descends on the table. GOLA's lips tighten grimly.
GOLA
And yet you show me no respect.
VICKY
No, sir, never, I-I...
13.
ISHARA's big hand is placed over Vicky's face and he's shoved
backwards violently.
ISHARA
You've been pimping bits in Ajmer
that you haven't shown us, eh?
VICKY
No, No, Gola saab, please don't
misunderstand.
(offering the suitcase)
Of-of course we were gonna pay.
Here. It's all here...
ISHARA smashes his fist into Vicky's face, he falls backwards.

The GUESTS on the terrace turn around to gawk. BUNTY, a
hood, rushes toward Vicky, looking blood-hungry. Within
moments, numerous hands are smacking Vicky all over the place.
ISHARA
Cutting us off, HA? We should cut
your throat, pig!
36 EXT - GUEST'S TABLE - DAY 36
The CAMERA tracks past Vicky to settle on a TABLE OF GUESTS

who stare, appalled and fascinated.
A LITTLE BALD MAN is particularly curious - he sips his soda

and leans forward, watching from the distance like a small
deadly bird.
Blood gushes out of Vicky's nostrils. He's pathetic, clutching

Gola's feet.
VICKY (O.S.)
Gola saab, please... I didn't mean
it. I'm slipping. I'm so broke. I
owe so much.. I'm over my head..
A HEAVYWEIGHT splays the fingers of his left hand open, bends

them back. They look like they might snap off.
HEAVYWEIGHT
GET DOWN, dog. Kiss Golasaab's feet.
Say "I'm a thief!" SAY IT!
GOLA studies Vicky, his eyes blazing.
VICKY
(defeated, buries his
head in his hands)
I'm sorry, Golasaab. I'm a thief.
I'm a thief. I'm sorry.
14.
38 INT. POONAM'S CAR - DAY 38
Sonu doesn't respond. He just sits there, simmering, choked

up, avoiding Poonam's gaze.
POONAM
(sympathetic)
You okay?
SONU
I've had enough. I can't do this
anymore.
POONAM
Oh C'mon Sonu, brothers fight, don't
be...
Poonam puts a comforting hand on his shoulder. He remains

motionless.
POONAM (CONT'D)
You're still upset about her, aren't
you? I know the feeling, Sonu. So
she went and married someone else...
I've been through that.
(pause)
Not everybody is comfortable with
what we do, you understand?
SONU
I don't care. I'm leaving. Now.
Today. I don't want anything from
him. I don't need him, ok?
(pause)
I'll find something.
Vicky sits on his knees - a beaten, punished schoolboy. A

ringed hand enters the frame offering him a starched white
napkin.
GOLA
You produce. I distribute. That's
the rule.
Vicky takes it and dabs the blood off his swollen face.
Just then, the LITTLE BALD MAN whose been watching them
appears at the table. Everyone stands up instantly as GOLA
respectfully grips his hand. ISHARA rushes for a chair.
PK
(interrupting)
Excuse me. I don't mean to disturb
you. May I?
15.
GOLA
No, No, No please PK saab. Our
pleasure. Thank you so much for
those Turkish reels.
PK
(cocking an eyebrow)
The girls are getting very bold there.
Very bold.
PK joins the table. He's a well-bred little gentleman,

dismayed at the sight of Vicky, battered and kneeling at
GOLA'S feet.
GOLA
(slightly awkward)
Uh, a small matter, PK saab. This
Vicky Duggal forgot the rules...
PK leans forward, perching over Vicky like a schoolmaster.
PK
(gently)
Vicky Duggal, eh? You're broke?
Need to steal? How very sad.
Vicky hangs his head in shame. PK speaks tenderly, like an

old friend.
PK (CONT'D)
Are you fed up, Vicky? Is that it?
Vicky looks so sorrowful, it's comic. Everyone cracks up.

The HEAVYWEIGHTS giggle like schoolboys. GOLA is weeping
with laughter.
But PK doesn't smile. He turns abruptly to GOLA.
PK (CONT'D)
I don't mean disrespect, Mr. Gola.
But I see little point in disturbing
an arrangement that works. You guys
have something going here. All you
need is one thing.
GOLA
What's that?
PK
Me.
He finally cracks a tiny smile. Everyone is charmed by this

intriguing little man.
GOLA
And why do we need you?
16.
PK
(grinning widely now)
I can make everyone happy. We can
all be friends again.
40 INT. DELUXE CASTING AGENCY - MORNING 40
About fifty STRUGGLERS, some quite destitute, crowd anxiously

into a tiny room. SHANU, a middle-aged midget, is pushing
his way through, recruiting. The ones he names look relieved
as they step up.
SHANU
MAQSOOD, come in your suit. BALA,
suit. SONIA, frock. VICTOR FERNANDES,
you're a cop. They'll provide the
costume. 8 o'clock sharp. I'll see
you there.
He closes his notebook and turns. Sonu, freshly shaved and

crisply dressed, is peering suspiciously through a crack in
the door.
41 INT. DELUXE CASTING AGENCY PASSAGE - MORNING 41
SHANU pushes past the STRUGGLERS who swarm the cramped

passageway.
SHANU
C'mon kiddo, stop sulking. What the
fuck is wrong with you?
SONU
I can't do this anymore. I mean,
Vicky, I-I can't work with Vicky.
SHANU
(cackling)
Chin up! Your delivery is on the
way. C'mon, Sonu, think positive!
Ok - What else do you need?
SONU
(desperate)
I really need to talk to you.
42 INT. DELUXE CASTING AGENCY PRIVATE OFFICE - DAY 42
They walk into a seedy office. SHANU goes and sits at his
desk.
SHANU
(all professional)
Ok. Talk to me.
SONU
I need a job.
17.
SHANU
(irritated)
So get a job.
SHANU puts a cigarette in his mouth and lights it. He wipes

his sweaty forehead.
SHANU (CONT'D)
What you gonna do, Sonu? Work in a
fucking bank? Be an engineer? How
many times do we have to go through
this?
He offers Sonu a cigarette who takes it half-heartedly.
SONU
I don't know. What I want is...
Well, I'm not sure but it's not this.
Maybe a film. Something different.
SHANU
(rudely)
Save it. Your brother runs things,
the money comes. Not many people
have it this easy, ok? You should
have seen what my mother had to work
with, seven screaming kids and...
A heavily made-up HOUSEWIFE interrupts, pushing her portfolio

in his face.
HOUSEWIFE
Sir, please, five minutes. Sir..
SHANU
Don't want to rush you off, kiddo,
but I've got a lot of people waiting
and...
SHANU looks the Housewife up and down, then leans forward

suddenly.
SHANU (CONT'D)
(to Housewife)
Tell me something?
The HOUSEWIFE looks quizzical.
SHANU (CONT'D)
(pointing to her
breasts)
Are those real? No cotton-wool?
She smirks, embarrassed.

18.
SHANU (CONT'D)
(sleazy wink)
That's the approach. Keep an open
mind, ok?
SHANU slips her a card, then laughs to himself.
HOUSEWIFE
Sir, please see.. Sexy dance...
The HOUSEWIFE proceeds to do a smutty dance for the midget.

Sonu gets up and ambles away. The CAMERA follows him over to
a dirty window. In the adjoining building, YOUNG WOMEN
dressed in MYTHOLOGICAL COSTUMES loiter on the balcony.
Sonu meanders over and takes a look. He suddenly sees someone

he recognizes: It's the beautiful YOUNG WOMAN from the train!
SONU
What's that building?? Those girls?
SHANU
(Doesn't turn around)
Ram Kishen's office. Some
mythological TV series...
SONU
(energized)
I know that girl. I've seen her!
Frantically, Sonu presses his face to the broken grill. The

YOUNG WOMAN stands sadly at the opposite balcony, sweating,
waiting her turn. She looks ethereal in her goddess costume,
the filthy window framing her like a classical painting.
Sonu cranes for a better view, but she disappears into the
crowd of strugglers. Shanu watches him scampering desperately
from grill to grill.
SHANU
(amused)
Well, there's something. Haven't had
a woman for a while, huh?
Just then, THREE SALESGIRLS in MATCHING UNIFORMS enter.
SALESGIRL #1
Who's Sonu? Suraj sent us.
43 INT. TAXI - DAY 43
SONU and the SALESGIRLS are crammed into a speeding taxi.

One of the girls pops open a compact and paints herself with
lipstick.
The salesgirls make a racket, shouting over each other as

they fiddle with their nylons and fix their eyeliner.
19.
SALESGIRL #2
..He smelled like a sewer, but he
gave me five hundred advance...
SALESGIRL #3
What an old snake...
SONU is sweating, jammed against the back door. SALESGIRL

#1, thick makeup running down her plump face, is virtually
on top of him.
SALESGIRL #1
(flirty)
You're Vicky's little brother?
(pause)
Something wrong? I'm not going to
bite you.
Sonu jerks his head away from her, disgusted. The other
girls laugh like hyenas.
A voice begins on the soundtrack.
VICKY (O.S.)
Let's just say "Beauty Parlour" will
be a thousand thrills crammed into 2
hours. Sex-starved girls forced to
use their bodies in a "Beauty Parlour"
of sin!
44 INT. HOTEL DIPLOMAT - SUITE - DAY 44
Close up. A smutty hand-made poster of "BEAUTY PARLOUR"

featuring POONAM - with black bars hiding her private parts.
VICKY (O.S.)
We'll go beyond anything we've done
before! We'll re-use that monkey
footage from Vampire Hookers! It'll
be wild. WILD!
Gola & Ishara sit prim and humorless. They stare

distrustfully as Vicky narrates.
GOLA
He's a goddamn liar. I'm not getting
shortchanged again.
PK rocks the ice in his glass, then looks up slowly, his

eyes twinkling.
PK
I told you already, Mr. Gola. My
clients here will finance Vicky.
Then there's no risk of him skinning
you.
20.
PK is flanked by new companions - rough-looking INDONESIAN

BUSINESSMEN nursing whiskies. The pink, pastry-like interiors
of the hotel room make them seem all the more menacing.
VICKY
(Gesturing to the
INDONESIANS)
Thank you gentlemen, thank you.
PK
(curt)
Let's keep it crisp, Vicky. Your
films are boring. We want to help.
My clients don't care about the story.
They need to see pretty faces,
bouncing breasts, juicy behinds and
at least one full-frontal shot.
Clear?
VICKY
Sir, clear. Totally clear. Just
wait and...
There's a LOUD KNOCK on the door. Everyone freezes.
Vicky cracks open the door. It's Sonu with the salesgirls.
They push past him and hustle toward Vicky.
VICKY (CONT'D)
(loudly, huge grin)
Heyyy! Top of the evening, Ladies.
(to Indonesians)
I want you to meet three talented
girls here.
PK
(amused, slaps Gola
on the back)
Everybody's friends here, Golasaab.
You can even distribute "Beauty
Parlour" in your small towns for
free! My gift.
GOLA
(wary)
For free? Why would you do that?
PK
Because we don't need your money.
We need your goodwill!
Sonu looks terribly out-of-place, left out of all this

camaraderie.
One of the INDONESIANS cups a hand over a SALESGIRL'S breast.

She's startled but manages a giggle.
21.
VICKY
(fired up)
Time for Screen tests, ok?
INDONESIAN BUSINESSMAN
Yaaas!
The BUSINESSMAN hollers and grabs the girl's behind. She

screeches, giggling loudly, accidentally falling into ISHARA's
lap. GOLA guffaws, a little unwittingly.
PK
Mr. Gola, nobody's out to screw you.
I can guarantee that!
Sonu finally wanders into the high-spirited circle in an

attempt to be included.
VICKY
Uh, Everyone, my brother Sonu.
The gathering look at him for a moment. There's a pause in

the proceedings. Then they turn away, unimpressed.
VICKY (CONT'D)
Don't just stand there, Sonu, get
Gola saab a refill. PK sir.. What
you drinking? Get him a double.
Here, get me one too.
PK
Get the Peanuts!
45 INT. LIBERTY PREVIEW THEATRE - ANGLE ON THE CINEMA SCREEN 45
A raunchy disco soundtrack kicks in. Overweight women in

scanty leotards thrust their big bosoms into the lens. They
are doing lewd aerobics, spreading their legs "scissor-style"
for the camera.
The text "It's a MAIDEN VENTURE" explodes onto the screen

followed by "PK PRODUCTIONS PRESENTS" and the title "BEAUTY
PARLOUR". This is interspersed with a series of blunt, jerky
cuts:
A monster grabbing a woman with hair curlers, Poonam licking

her lips, A monkey throwing hand grenades, a midget break-
dancing...
46 INT. LIBERTY PREVIEW THEATER - INTERIOR - NIGHT 46
TITLE - FEBRUARY 1987
The lights come up in the tiny preview theater. Everyone

whistles wildly. The guests are a rowdy bunch and there is a
true air of celebration. ISHARA silences everyone as GOLA
makes an impromptu speech.
22.
GOLA
(radiant)
The first time in India! A thought
provoking film about adult love!
And this is just the beginning...
ROWDY GUEST
Fantastic! Great effort!
Suddenly POONAM appears in the doorway.
POONAM
(slurring)
He-ey, Golasaab, no speeches!
She's almost falling over, propped up by SHANU. This prompts

loud laughter and more hooting.
POONAM (CONT'D)
C'mon boys and girls, drinks are
served!
47 INT. LIBERTY PREVIEW THEATER - LOBBY - NIGHT 47
The preview theater doors swing open. ROUGHNECKS, CONNIVING

BUSINESSMEN and SHADY GIRLS spill out into the glorious Art
Deco lobby.
GOLA
(laughing)
Jaggu. Heena. You look beautiful.
Hey, look at him. Bagga, you son of
a bitch, get over here.
SONU unpacks a case of whisky at the make-shift bar, studying

the people at the party. He watches GOLA embrace his old
friend, the DIAMOND TALKIES OWNER. In another corner, he
sees VICKY whispering seductively in NADIA's ear.
NADIA
(enthralled)
All these beautiful people, so many
pretty girls around...
VICKY
You're the pretty one. I'm dizzy
enough just looking at you.
GOLA interrupts them, intrigued by the voluptuous Nadia.
VICKY (CONT'D)
(grinning slyly)
See this one, isn't she something?
Nadia say hello to Gola saab, he's a
very rich man, he wants to make
special movies with you...
23.
Before Gola has a chance to respond, Nadia's mother emerges

from behind a buffet counter.
NADIA'S MOTHER
You like her sir? She has potential?
You think she's pretty?
GOLA
(scanning Nadia lustily)
Why, yes, she's a fine young lady.
NADIA'S MOTHER
Oh she's open to anything. I tell
her to do something and she does it.
VICKY
(interjects)
Oh really? A sign of good parenting,
eh?
Gola & Vicky guffaw crudely, Nadia blushes.
When they turn, they see PK and the Indonesians beaming at

them. PK has a new TURKISH CLIENT with him.
PK
(toothy grin)
I said I could make you all happy,
didn't I? Didn't I say we'd all be
friends?
At the bar, SONU is uneasy, pouring a GUEST a drink. He

continues eyeing his brother's entourage. JOLLY & AFRICA
gawk alongside him.
JOLLY
(low voice)
Sonu, who are all these people?
Look at the dames, everything showing
but their goddamn appetites.
AFRICA
Who's paying for all this? It just
doesn't add up...
SONU
(gruffly)
How the hell am I to know? I never
asked to be mixed up in this. Vicky's
there - talk to him!
48 INT. LIBERTY PREVIEW THEATER - ENTRANCE - NIGHT 48
Poonam is trashed, babbling with a group of bored GUESTS.

24.
POONAM (O.S.)
(slurring)
I've made over 50 pictures. Seen
Voodoo Lust? Lady James Bond? I
may be a 'lil loose round the edges,
but I'm not finished yet.
She laughs huskily, then knocks back her gin.
Suddenly a swarm of UNIFORMED POLICEMEN appear, led by

INSPECTOR MANE. The guests tense up. The cops head toward
some petrified bystanders.
INSPECTOR MANE
(rudely)
Hey you. Where's the bar?
SHANU tries to signal. The cops push past him and make their
way up the grand staircase.
YOUNG COP
(pointing to a passing
woman)
Oh my god, sir, look at that one. I
wonder how we go about getting some...
INSPECTOR MANE
Well, that's what Vicky and his little
brother are here for, isn't it, buddy
boy?
49 INT. LIBERTY PREVIEW THEATER - MAKE-SHIFT BAR - NIGHT 49
Vicky arrives at the bar, hanging off TWO STRUGGLING

ACTRESSES. Sonu sees him and turns away.
VICKY
Sonu, keep an eye on these nice girls
here...
The TWO ACTRESSES ignore Sonu and make a beeline for the
drinks.
VICKY (CONT'D)
...I need to take care of Inspector
Mane and his lads.
He rummages around behind the counter and snatches up three

bottles of whisky.
VICKY (CONT'D)
What the fuck's wrong now? Why the
long face?
25.
SONU
(voice falters)
W-why are we doing this? This party..
(pause)
What are you trying to prove? This
is a different league, Vicky. We're
cutting our own throats...
Vicky pulls him aside, irritated.
VICKY
You think I'm crazy, is that it?
I'm stupid? Well, it wouldn't be
any goddamn wonder if I was. I've
been knocking myself out for people
like you since I could walk.
Sonu moves away, he doesn't want to hear it. Vicky grabs

his shirt and pulls him back.
VICKY (CONT'D)
Just listen to me, will you? Remember
when the studio shut down? Our old
man was jobless? After that he tried
this and that. It came to nothing.
It was wretched. Not honest or
hardworking. Wretched. He was just
a cornered rat. And then he started
acting like one.
(pause)
You want that?
Vicky gives his brother a slow, hard stare. Sonu looks up

at last.
VICKY (CONT'D)
This is the first crack we've had at
the big dough, Sonu. We're about to
hit the fucking jackpot. I don't
understand you.
(pause)
Aren't you happy for us?
He then yells over to AFRICA.
VICKY (CONT'D)
, don't piss around. Get my brother
a double.
Africa looks annoyed but pours them drinks anyway.
VICKY (CONT'D)
(to Sonu)
Don't worry so fuckin' much. Look
at the backing we got. Just look at
tonight, eh? We're in good hands,
Sonu. C'mon...
26.
Vicky nudges him until Sonu finally breaks into a boyish

smile. Then he reaches out and gives him a big hug.
VICKY (CONT'D)
C'mon. It's only you and me, Sonu.
It's just us.
(pause)
All this is for us.
50 INT - WHITE PEARL APARTMENTS - EARLY MORNING 50
About fifty sloshed REVELERS cram themselves into a steamy

apartment. The music is blaring.
SONU, POONAM and SHANU are lurching drunkenly on the dance

floor, passing each other a bottle of BOSCA. They are yelling
to each other over the din as JOLLY weaves in and out, doing
his own Latin-inspired moves.
SHANU
Hey, Poonam, guess what? Sonu has a
love interest. She's a professional
goddess.
Sonu grabs the bottle out of his hands and takes a slug.
POONAM
Sonu - stop with the nice girls! I
told you, didn't I? Decent people
don't like you and me.
SHANU bursts out laughing. But POONAM is tense, watching

Vicky flirt with Nadia at the other end of the room.
Sonu stumbles for more drinks. AFRICA intercepts him

sympathetically.
AFRICA
Hey Sonu. I'm leaving. This party's
not for us.
Suddenly POONAM appears on the dance floor, loud and pie-

eyed, holding a tray of cold drinks.
POONAM
Come on, are we celebrating or what?
Hey you, volume up up UP. Everybody,
let's do the BEAUTY PARLOUR dance!
The dance involves a party game where couples have to keep a

cold drink bottle aloft using just their foreheads, no hands!
The party has degenerated into complete debauchery. People
roll the bottles against each other sleazily.
PK stands with his ASSOCIATES in a corner, unamused. He's

dead sober, watching POONAM like a hawk.
27.
PK
(to Vicky)
God, she's depressing. You need to *
lose her.
VICKY
What?
PK
Audiences want young blood, not some
drunken hag with tits down to her
knees.
VICKY
(startled)
Uh, Poonam? She's not that old. I
mean she's..
PK glares at him, his beady eyes narrowing.
PK
She's bad business, Vicky.
51 INT - WHITE PEARL APARTMENTS - BEDROOM - EARLY MORNING 51
In a locked bedroom, GOLA holds a whisky glass to Nadia's

red lips. She drinks in one continuous gulp, the liquor
spilling from the corners of her mouth.
The camera lingers on GOLA's drooping face as he stares at

Nadia's slender neck, his eyes sparkling with sexual energy.
52 INT - WHITE PEARL APARTMENTS - LIVING ROOM - EARLY MORNING 52
People are laughing hysterically, falling over each other.

GOLA and Nadia exit the bedroom, walking hand in hand through
the frenzied dancers.
POONAM backs into her by mistake. She turns around and flies
into a rage.
POONAM
Ow. Fuck! Bloody bitch, who do you
think you are?
POONAM splashes her gin straight into Nadia's face.
NADIA
Ow! Stop it! Damn you.
She turns and pushes POONAM, who launches into her shouting
incomprehensibly.
POONAM
Aaargh! Evil witch!
28.
Poonam yanks Nadia's hair and a violent cat-fight ensues.

Sonu hears screaming and comes staggering out of the tiny
kitchen, looking bewildered.
SONU
Poonam...
PK and his ASSOCIATES watch, amused, as POONAM flies against

a cabinet. Some guests try to mediate, but it's way out of
control.
VICKY
Hey, hold it. Hold it!
Vicky & Sonu intervene, struggling to hold the ladies apart.
NADIA
I would've whacked you harder, okay,
it's just that I was taught to respect
old ladies.
POONAM
Fucking uneducated whore, you were
taught NOTHING!
Poonam scoops a glass up and throws it at Nadia. It smashes.

The party REVELERS begin clearing out.
NADIA
Say what you like, Grandma.
POONAM has tears streaming down her cheeks. Vicky comforts

her.
VICKY
(stroking her head)
C'mon, honey, everybody's friends
here, right? These are our friends.
Vicky notices the party breaking up.
VICKY (CONT'D)
(loudly)
Come on, let's have a drink.
ISHARA
(steps in and shouts)
COME ON, LET'S HAVE A DRINK,
EVERYBODY.
53 INT. SONU'S FLAT - EARLY MORNING 53
Sonu stumbles into his miserable one-room flat. The silence

is eerie after the din of the party.
The floor is littered with empty containers of food, tonic

bottles, old news papers.
29.
Sonu staggers to his dirty mattress and collapses in

exhaustion.
54 EXT. WOODS - DAY 54
The bright sun sparkles through the trees, erasing all

memories of the night. Birds twitter in the lush grove.
Suddenly a clay-covered CREATURE is seen running through the

wilderness, chased by axe-wielding FEMALE BANDITS.
VICKY (O.S.)
(to the CREATURE)
C'mon, you're the mad doctor of blood
island, for god's sake! What is
this, an art film? Grunt like a beast,
animalistic!
The CREATURE makes demented expressions as the Female Bandits

axe a Yeti in the background.
CREATURE
Aaarghh! Eaaah!
VICKY (O.S.)
Better. Hey, there, girls - loose
some clothing.
55 EXT. CAVE - DAY 55
POONAM, wearing a tiara, takes a swig from her whisky before

putting it down. Then she slips on her plastic fangs and
steps out of her dressing gown. Her body does not do justice
to the outfit that barely covers it.
JOLLY
Look like the queen okay, because
you are. Now we know that YOU are
the sexy body killer! The evil queen
who stays forever young by bathing
in the blood of young girls.
POONAM
Like this?
She bares her fangs, puts on a regal look, then giggles.
JOLLY
Yeah, fine, C'mon lets go.
The camera rolls. There is no other sound. Vicky watches in

silence as she steps to her place with a tiny stagger.
The sun flares through the smoke making POONAM appear

celestial. She looks down with a giggle and steps into a
large metal tub.
30.
POONAM
Ugh, it smells off..
She settles down, fishes out some intestines, stares at them

unbelievingly, then SCREAMS in sheer terror.
Sonu's seated next to the YETI, who's taking a smoke break.

They recoil in horror.
POONAM (CONT'D)
Aa! AAAAAARGH!!! It's real. How
dare you! How dare you do this.
I'll call the cops!
She scrambles out of the tub, dripping with animal innards,

wiping herself frantically, pulling off her fangs, shouting.
The crew is in shock.
POONAM (CONT'D)
(outraged)
You fuckin' criminals! You bastards
should be behind bars.
VICKY
Poonam, calm the fuck down. Get back
in there!
POONAM
I'm gonna report you.
(announcing loudly)
Vicky Duggal is a criminal. I know
everything. You're trying to kill
me!
POONAM pounds against him, but he stands still, clenching

his teeth.
VICKY
Listen, bitch, you got no mind left.
You're paranoid. Hey - You do that
again, I'll take your head off!
She slams against him again and again, screaming. Then Vicky
snaps. He pulls her hair violently. Sonu comes running,
tries to pry them apart. But Vicky's lost it - he doesn't
let go.
POONAM
You're hurting me! CRIMINAL. RAPIST!
VICKY
Trying to bring me down, ha? Ruin
me?
Vicky WHACKS her, she loses her step.

31.
SONU
(screams pushing him
off)
ENOUGH!
POONAM
You dirty, fuckin' bastard! Just
try and hit me again!
She snatches off her tiara and flings it at him.
VICKY
(screaming)
Poonam - your NEVER coming back. No
more films. NEVER. I'm warning
you.
She's gone.
VICKY (CONT'D)
(mumbles)
Drunken bitch, get out of here.
(shouts)
You can NEVER bring me down.
Sonu starts walking behind her. Vicky follows, needing to

displace the anger that's spilling out of him.
56 EXT. WOODS - DAY 56
All three are rushing behind each other through the heavy
undergrowth.
VICKY
SONU, I'm warning you! You leave
and..
SONU
(snaps back)
Don't threaten me.
VICKY
Watch your mouth!
SONU
(screams)
FUCK YOU!
VICKY
Fuck me? Why am I taking this from
you?
The glaze is spreading over Sonu's eyes. His blood is

pounding. He's quivering, panting, wildly whacking the
branches of the passing bushes as he follows Poonam.
32.
57 EXT. CAVE - LATE AFTERNOON 57
There is an awkward silence on the set as Vicky reappears,

out-of-breath, wiping his sweat. The crew stare at him,
disturbed.
VICKY
(to JOLLY & CAMERAMAN)
Got something?
JOLLY
(unhinged)
Uh, chest. Legs. Up till the time
she got out of the tub.
VICKY
(regaining his
composure)
That's the spirit. We'll use the
shot.
Vicky looks across the set. PK is in a deck chair, wearing

sunglasses and a safari hat. He has a huge smirk on his
face and one arm around Nadia. The TURKISH CLIENT is taking
their picture with his instamatic camera.
PK
(leaning toward Nadia)
I hear we have a new queen?
NADIA
(makes a little face)
Do I really have to bathe in ...that?
VICKY
(walking up to them)
No, your majesty, we do it differently
this time around.
58 INT. CAVE - EVENING 58
From inside the dank cave, a beautiful sunset is visible.

Bats fly around wildly, making screeching sounds.
The tiara has specks of blood on it. Vicky wipes them off
carefully.
VICKY
(whispering)
Come here.
Nadia moves close to him, he almost places the tiara on her

head, then stops.
33.
VICKY (CONT'D)
(gently)
There's just one problem. That queen's
costume is ruined.
NADIA
So what do I wear?
Vicky smiles at her, says nothing. She blushes, then starts

to giggle.
NADIA (CONT'D)
Do I get to wear the crown at least?
Vicky puts the tiara on her head.
VICKY
You're the queen, you have to wear
the crown.
Nadia starts unbuttoning, then looks around uncomfortably.
VICKY (CONT'D)
Okay, EVERYBODY OUT! Only the
CAMERAMAN stays. And you, JOLLY.
NADIA
(apprehensive)
You'll stay, no?
VICKY
Sure. We'll stay.
The camera whirs. PK & the TURKISH CLIENT sit on the floor,
watching Nadia undress, looking ghostly under the battery-
operated light.
59 INT. CITIZEN RESTAURANT - NIGHT 59
The restaurant is a classy, fading leftover from the Jazz

age. Sonu & Poonam have dressed themselves up and are seated
in the far corner. A crooner is performing a second-rate
ballad.
Poonam has her head on the table, surrounded by a bunch of

empty whisky glasses. Sonu fiddles with the table decoration.
POONAM
Are you sad?
He says no with a slow nod, then fidgets with his glass.
POONAM (CONT'D)
(drawling)
Well, come on then, let's enjoy life!
She stumbles up and begins to dance, grabbing Sonu.

34.
POONAM (CONT'D)
Come on, come on. We paid good money
to get in.
She pulls him out of his chair, almost falling over herself,
and they dance awkwardly together. POONAM mouths the words
to the ROMANTIC SONG as she clutches onto Sonu. She's trying
not to tear up.
As Sonu swings POONAM past an ornamental mirror, something

catches his eye. Fractured into myriad diamond-shaped patterns
is the beautiful YOUNG WOMAN from the train!
She's part of a LARGE GROUP, celebrating someone's birthday,

clapping her hands in delight as candles are blown out.
POONAM staggers a bit.
POONAM (CONT'D)
I feel sick. I need water.
Sonu deposits POONAM in her seat. She sighs and leans back,
eyes closed. Sonu looks for a waiter.
Suddenly, he sees the beautiful YOUNG WOMAN coming towards

him! No - she goes past... She turns and goes out of the
front door. Almost instinctively, he follows.
60 INT. CITIZEN RESTAURANT - PASSAGEWAY - NIGHT 60
She's not in the foyer. Hurriedly, Sonu turns down another

passage. He goes towards the toilets, she isn't there either!
He leans against the wall for a moment.
Then the bathroom door swings open and she's suddenly in

front of him! He freezes. Sonu's seen good-looking women
before, but he's never come up against like this!
SONU
Excuse me. I mean...
Their eyes meet. She pauses a second to gaze at him.
SONU (CONT'D)
Weren't you at that audition? Ram
Kishan Productions...
PINKY
(smiling shyly)
You work in films?
He's paralyzed.
SONU
Uh, I could say that, yes.
35.
With his dressy shirt and waxed hair, Sonu does come off as
someone rather important. Her eyes flash, excited. She
fingers her bag awkwardly.
PINKY
You're a director?
Sonu smiles back, nodding shamelessly. PINKY can barely

contain her excitement. She fishes in her faded old handbag.
PINKY (CONT'D)
(whispering)
Look, I wouldn't normally do this
but I've just moved to Bombay and
you look like an honest person. Uh,
please can I show you?
It's a few portfolio photographs - Pinky in various outfits

looking coy, thoughtful, merry. She looks up at him,
trusting, waiting eagerly for a response.
SONU
Yes, yes. We should show these around.
Um, I can help, maybe the next time
I see you.
(pause)
Uh, when might that be?
PINKY
Well, I stay with my uncle and...
SONU
You have a contact number?
PINKY
No. No I can't. He really doesn't
know, y'know?
(lowers her voice)
If he knew I had these taken... Oh
God, he'd just flip his lid.
Sonu quickly tries to redeem himself.
SONU
Yes, yes, but I'm sure he'll be fine
once you're a star. Once people become
famous...
PINKY freezes in horror. Someone is coming down the

passageway. Sonu turns. Her strict old UNCLE is glaring
from the far end of the hall.
PINKY
I-I have to go.
Then she's gone.

36.
Sonu's face falls. He looks at her photographs one last time

before slipping them into his shirt pocket.
61 INT. CITIZEN HOTEL LOBBY - NIGHT 61
It's two in the morning and the lobby is painfully quiet.

Sonu supports POONAM's forehead as she vomits copiously into
a flowerpot.
62 INT. POONAM'S LIVING ROOM - NIGHT 62
Sonu holds POONAM as she staggers into the dark flat. A

window is open in the living room - a curtain blows in the
breeze.
He lays her out on the sofa, takes off her shoes, leans over
her to see if she's okay.
SONU
Poonam. I'm going. Your key's here.
She suddenly reaches out and grabs him, crooking an arm round
his neck. He stumbles forward onto her.
POONAM
V-vicky. Please. Please.
She tries to kiss him, but is too drunk. He pushes her head
back gently onto the sofa.
As he leans forward, one of Pinky's photos slips out of his

shirt pocket, onto the floor.
63 INT. POONAM'S BUILDING - NIGHT 63
The apartment building is silent. In an empty, decaying

passageway, a tubelight flickers . An elevator suddenly
appears. Vicky staggers out, quite plastered himself. He
trips opening the metal grill.
Vicky fumbles as he opens the door. Sonu is making his exit,

he doesn't look up at his brother.
VICKY
(slurring)
This is the last place I had the
pleasure of running into you - Big
man!
Sonu looks at his brother in the darkness.
Before Vicky can say any more, Sonu slips out of the front
door.
37.
65 INT. POONAM'S BEDROOM - NIGHT 65
POONAM's passed out. Vicky stands above her and tosses a

stash of money and documents on her stomach. She wakes up
and squints at him.
VICKY
It's over. Your money. I'm taking
my things.
POONAM mumbles incoherently.
POONAM
No, p-please.
She grabs onto his leg, still giddy from the drink. He lights
a cigarette, unmoved. She pushes herself up, trying to clutch
onto him.
POONAM (CONT'D)
No, Vicky, please. Don't go.
She hangs onto him, looking sickly.
VICKY
Your breath stinks.
She clings to his hand, not wanting to let him go. He shakes
her off roughly.
Vicky goes into the living room and starts stuffing his things
into plastic bags. He makes a racket.
VICKY
(loudly)
As I've said before, it's time you
settle down. Lead a decent life.
67 INT. POONAM'S BED ROOM - NIGHT 67
Poonam slinks to the floor, by the bed, and sobs almost

inaudibly.
VICKY (O.S.)
Goodbye, Poonam.
Vicky looks under his foot. A crumpled photograph lies face

down on the floor. He picks it up, then flicks on a table
light.
Vicky studies the picture, drunkenly straightening the

creases. It's Pinky, holding a teddy bear, her faint smile
endowing her with tremendous mystery.
38.
69 EXT. AURORA STUDIOS BACKLOT - AFTERNOON 69
Smoke drifts through a palace made out of plywood. A KING

sits on a golden throne stroking his fake beard, CELESTIAL
NYMPHS dance around him. One of those NYMPHS is PINKY, who
twirls in the background.
Sonu is completely mesmerized.
SHANU
Now just stick to the story, ok?
Think, feel, breath like a movie
director. Then you could go places
with a girl like that.
They watch her from a distance as the shot is wrapped. She

turns. Her eyes meet Sonu's. SHANU gives her a friendly wave.
SHANU (CONT'D)
(under his breath)
Quite something, this little maiden.
Not like the sluts I'm always latching
onto.
70 EXT. AURORA STUDIO BACKLOT - AFTERNOON 70
PINKY is still in her NYMPH costume as she wanders with Sonu

through a half-constructed set: a replica of an ancient
medieval fortress.
PINKY
You didn't forget me?
Sonu looks down bashfully.
PINKY (CONT'D)
That little guy told me all about
you.
(pause)
I hear you're really connected.
SONU
No, no.
PINKY
You're so humble about being
this...this big director? Working
with Anil Kapoor and all - that's...
wow. I could never have guessed
when we met... You look so...
SONU
Well, I'm not really working with
him any more.
39.
PINKY
(looks devastated)
No? WHY?
Sonu looks into Pinky's smoldering black eyes.
PINKY (CONT'D)
(giggles)
You're staring at me...
SONU
(caught off-guard)
Well, uh... I'm busy with my new
film, so I'm just concentrating on
the heroine.
There's a sudden bright smile on her lips.
SONU (CONT'D)
Ever since I first saw you, I was
wondering what your name was?
PINKY
Well, my friends call me Pinky, what
do your friends call you?
SONU
I'm Sonu.
He fumbles for a card. It reads: PK ENTERPRISES. 368395.

She looks at it impressed, then glances at him cheekily.
PINKY
So, what's your new movie?
SONU
(thinks)
Well, it's... it's called...
(looks at her)
Uh, Miss Lovely.
PINKY
Miss Lovely? Mmmmm. Sounds romantic.
(sensing his hesitation)
Don't want to talk about it?
SONU
Um, no, it's just... You free Friday?
We can go to Searock, maybe talk
more?
PINKY
Hmm. Let's see. It wasn't easy
getting away today. Maybe Sunday?
She pulls a pen from her bag, then grabs his left palm. She
scribbles her number, letting her hand linger on his.
40.
PINKY (CONT'D)
If he ever picks up, don't answer,
ok?
He looks back at her, now his reaction setting in. He's

stunned at this incredible happening.
PINKY (CONT'D)
(softly)
You know... I think I like you.
SONU
(teasing)
Think?
PINKY
(laughing)
Mmmmm... And I think I have to go.
She withdraws her hand, blushing.
71 INT. APARTMENT BEDROOM - NIGHT 71
There is a huddle of men in a closed, oppressive room.
A woman, RANI, is lying on a bed, half-dressed in wedding

finery, looking uncomfortable.
JOLLY
It's your wedding night. Your first
time. Your husband's impotent, you're
frustrated. You're having sex dreams.
JOLLY points to a frightening man in MONSTER make-up, with a

complexion like burnt porridge. The MONSTER fills a syringe
with his claw-like hands, nails at least a foot long.
JOLLY (CONT'D)
You don't notice the Zombie come in,
okay?
Vicky, PK and a new THAI ASSOCIATE are watching from a corner.
THAI ASSOCIATE
(mutters to PK)
I like this. It has the smell of
reality about it.
PK leans over and whispers to Vicky, his eyes glinting

savagely.
PK
I have faith in people like you,
Vicky. Start thinking up the next
one, let's line up something a little
more...
41.
Vicky frowns, puzzled. PK drops a friendly hand to his

shoulder.
PK (CONT'D)
Maybe some girl students who are
looking for something different, a
little more, y'know?
VICKY
More? What more do you need?
The camera begins rolling. The MONSTER removes RANI's dupatta,

she makes an "aroused" face.
JOLLY
I want you to put on this look, like
you're almost going out of your mind,
see? No, No..
Vicky is getting impatient with JOLLY's direction. He steps

forward, rudely, and pulls up RANI's dress, revealing her
sweaty leg. He gives it a hard PINCH.
RANI
Ow!
JOLLY
That's it! Roll. That's the
expression.
Vicky continues pinching her leg, looking at her intensely.
RANI
Ow!
JOLLY
Okay, okay, good.
FANIL
(interrupting roughly)
Oye Rani, enough nonsense. Take it
off. Slowly! That's better. Take
off that chaddi. Okay now you get on
top.
We survey the CREW as they stare in silence.
72 INT. APARTMENT LIVING ROOM - NIGHT 72
Sonu is pacing outside the bedroom door. He crushes out his

cigarette. Then he lights another and sits down again.
From within, creaking bed springs can be heard.
Suddenly, the bedroom door cracks open and Vicky sticks his
head out. Sonu bolts up.
42.
VICKY
(annoyed)
Where the hell were you? Call for
five more chais.
SONU
Bhaiyya, I need to borrow some money.
VICKY
Not now.
Sonu catches a brief, disturbing glimpse of RANI lying almost

lifeless on the bed, the MONSTER on top of her. Then Vicky
slams the door shut.
Furiously, Sonu hurls down his cigarette.
At the other end of the room, Nadia and a HOOD pour drinks
for TWO GIRLS who shift awkwardly on a sofa.
NADIA (O.S.)
(murmuring)
Now, ladies, both of you are adults.
Don't be shocked or interfere, it'll
just ruin the whole spirit of the
evening. Understand? What we want
is for you to kick up your heels,
enjoy it...
SONU
(interrupting Nadia)
Can't you tell him I need to talk to
him urgently?
HOOD
(snaps back)
How many times should I say it, eh?
He said not to be disturbed.
Sonu sits back down, averting his eyes. But not before he
gets a glimpse of a thick sheaf of CASH which Nadia casually
tosses into a box.
73 INT. NEW EMPIRE CINEMA - NIGHT 73
Lovers walk hand in hand on Juhu Beach at sunset. Palm trees

sway in the breeze. On the soundtrack, a woman warbles a
romantic song:
SINGING WOMAN (O.S.)

(Fake-Italian accent)
Beauuutiful Bombay, Bombay Mon Amoour,
Where the sun shines golden, just
for me-eee...oh, it rests in splendor,
by the Arabian Sea-eee...
43.
The sentimental montage is part of a newsreel that flickers

on the cinema screen.
The camera lingers on Pinky's face, exquisite, radiant, her

lips parted. Sonu steals a look.
FEMALE VOICEOVER (O.S.)

(School matron voice)
Yes, that's Bombay on the Western
coast. A vibrant city! Truly
cosmopolitan! Bombay is a city alive
with fun and excitement!
Pinky's leg lightly brushes against Sonu's. He pretends not

to notice.
Slowly, Sonu's hand slides closer to hers on the chair arm.

Their fingers touch. The newsreel drones on as kitschy images
of bees buzzing around flowers continue.
Sonu slips his arm around her seat, fingers now softly tracing
her bare shoulder. Pinky bites her lip.
The Government FILMS DIVISION logo appears on-screen

accompanied by swirling sitar music.
74 EXT. NEW EMPIRE CINEMA 74
There's a crush outside the cinema as moviegoers spill into

the street. Horns are blaring as Sonu and PINKY push through,
laughing. She hangs onto him, talking a mile a minute.
PINKY
(cheeky)
So when are you going to make me
famous, eh?
SONU
Well, uh, the producers loved the
photos. They'll probably want a
screen-test any day now.
Pinky makes a little face - she doesn't buy it.
PINKY
Aw, Sonu. I don't believe you! Why
would they...
SONU
(lying confidently)
Of course they would! We need our
actress to be a newcomer. Something
new!
PINKY
(she squeals)
Oho!
44.
SONU
Honestly, I can imagine you as Miss
Lovely already. It'll be wild!
He makes a gesture to reassure her, and for a split second,

Sonu reminds us of Vicky.
PINKY
Oh but, I hardly have any
experience...
(looks at watch)
Oh my God, it's almost ten!
SONU
C'mon, I'll drop you.
PINKY
No, that's ok.
SONU
No, no. Where do you live? I'll
drop you. TAXI!
PINKY
You can't.
Sonu looks wounded. PINKY senses he's hurt and softens.
PINKY (CONT'D)
The neighbors are too nosy.
She gives him a quick kiss on the cheek.
PINKY (CONT'D)
Thanks. I had fun. See you at the
screen-test?
Sonu finds himself staring vacantly as she disappears into

the swarming crowd.
75 EXT. STREETS - NIGHT 75
Sonu walks through the smoggy haze, head slung low. The
pavements are empty now. Under a flickering sign, he checks
his pockets - he's run out of money. He stands and stares
through a frosted window at rows and mounds of food.
Suddenly he hears honking behind him. Somebody is flashing

their headlights...
A beaten SPORTS CAR screeches to a halt near him. NADIA

rolls the window down, shouting.
NADIA
Hey grumpy, wanna ride?
45.
76 INT. BEATEN-UP SPORTS CAR - NIGHT 76
SONU gets in and NADIA drives jerkily, barely knowing how to

operate the gears. SONU scans the interiors, impressed.
NADIA
(excited)
Sexy, eh? It's PK's wife's old car.
I look better in it, so he gave it
to me.
NADIA pops a tape into the deck and a Kalyanji-Anandji tune

spills out of the speakers.
SONU
Wow.
They cruise through the Bombay night as the song plays.
SONU (CONT'D) (CONT'D)

Uh, I need to ask you something. A
favor.
NADIA
(ignoring him)
It feels good, eh, Sonu ? Streets
are finally empty. Nice, Thank God.
SONU
(dying to speak)
Uh, listen, would you like to invest
in a new project? I'm starting
something.
NADIA
(mocking)
A project? Mmm. Got a good role for
Nadia?
SONU
Uh, sure, but it's going to be a
proper picture. A family movie.
NADIA
(chuckles)
When did the Duggal Brothers start
making family movies?
SONU (CONT'D)
(solemn)
I'm serious, Nadia. I'm planning.
Would you like to invest? A small
amount?
NADIA
ME?? Ha! I look rich or what? I
owe money left and right.
46.
She notices Sonu gazing at her in expectation.
NADIA (CONT'D)
Get Vicky to do it, no?
77 EXT. DUGGAL BROTHERS OFFICE - NIGHT 77
TITLE - SUMMER 1987
The CAMERA tracks down a silent, derelict hallway, stopping

outside a door lettered: DUGGAL BROS CINE COMBINE. A HAND
pushes it open.
78 INT. DUGGAL BROTHERS OFFICE - HALL - NIGHT 78
The CAMERA continues tracking inside the darkened, reel-

stacked hall. A SHADOWY FIGURE slips in through the front
door.
At the far corner, in a frosted-glass cabin, a light is on.

Muffled MOANING can be heard inside.
79 INT. DUGGAL BROTHERS OFFICE - VICKY'S CABIN - NIGHT 79
GOLA, ISHARA and VICKY stare at the dull screen of a

STEENBECK. A film squeaks through the tired machine. We
see images of RANI in ecstasy, a MONSTER on top of her.
ISHARA
(excited)
Whoa, look at that! You can just
feel the heat. A real crotch-hopper,
eh Golasaab?
GOLA
Downright filthy, Vicky. No one
dared to go this far before. I'm
proud of you...
VICKY
(cutting Gola off)
My pleasure, sir. But this time we
aren't giving it away. No more
discount samples.
Abruptly, he CLICKS the steenbeck lever off - Rani's image

freezes. GOLA and ISHARA tense up.
VICKY (CONT'D)
Oh c'mon, Golasaab, I'm in the
business. Sooner or later I got to
talk price. Say five petis per
reel...
ISHARA shoots up and grabs Vicky by the throat, mid-sentence.

He slams him against a filing cabinet violently.
47.
GOLA
(motioning to ISHARA)
Don't bother. We have a deal. Get
PK on the phone. I'm not in the
mood to haggle with this hawker.
ISHARA snatches up the receiver. Vicky massages his face,

resentful, wincing as he speaks.
VICKY
(coughing)
Go ahead. Call PK. He'll be the first
to agree.
GOLA's mouth shuts, tightening with distaste.
VICKY (CONT'D)
He's buying up all your suppliers,
Golasaab. He's pushing you out.
GOLA is visibly shaken.
ISHARA
(ear to receiver)
Sir, no one is picking up.
VICKY
You're looking for a confirmation?
(pointing to phone)
Call any supplier. Try and buy some
bits for next season.
Vicky shakes his head and makes a clicking noise with his
tongue.
VICKY (CONT'D)
Without our humble adult reelers,
nobody will watch your films,
Golasaab.
(sighs)
At any rate, there's not much you
can do about it. PK's too connected,
too cashed up.
GOLA glares, clenching his jaw.
GOLA
I've never ever crooked you, Vicky.
And this is what I get in return?
VICKY
I didn't crook you. I outsmarted
you. PK crooked you.
Vicky can't resist - he has a grin on his face a foot wide.

But Gola and Ishara just stare in cold fury, a hard glaze
spreading over them.
48.
80 INT. DUGGAL BROTHERS OFFICE - HALL - NIGHT 80
In the dark office hall, a flashlight travels over rusted

film reels, cardboard boxes, drawers. A hand locates a key.
It's Sonu, who stands in the darkness, teetering in nervous

indecision over an open SAFE. He snatches a huge WAD of CASH.
From Vicky's cabin, a muffled argument can be heard. Sonu

casts a fearful glance behind him.
He mops his face, looking pale. He's about to stuff the

entire wad of cash down his shirt when he suddenly looks
guilty. He removes a pinch of bills from the wad, puts them
back in the safe, then makes off with the rest.
81 INT. DELUXE CASTING AGENCY - DAY 81
The room is teeming with LOOK-ALIKES. AMITABH BACHCHAN

duplicates cluster together, while the BRUCE LEEs share
cigarettes in a corner. SHANU barges in with Sonu, everybody
stands up.
A Bruce Lee rushes up and does a fierce "Nanchaku"

impersonation.
SHANU
(shouting at Flunky)
Call Crossbelt Mani. Is this what
he asked for?
Shanu walks away irritated as the Flunky takes over.
SONU
(following behind)
Uh, how much would the real thing
cost?
SHANU
The real thing? Well, he's not
available. He's dead.
SONU
No, no a real actor. A proper actor.
Not this. How much?
SHANU
You want me to get the girls or not?
I don't have all day.
SONU
Um, actually, we don't need any girls.
I lied.
(pause)
I've been thinking. Uh, I want to
make a film, Shanu. It sounds stupid
but...
49.
SHANU shakes his head and walks away, cursing under his
breath.
SONU (CONT'D)
(desperately following)
Just listen to me, will you? There's
money to be made filming a romantic
comedy... other's do it...Why can't
I?
Shanu halts. Then he doubles up with unstoppable laughter.
SHANU
Roman..tic... Comedy! Ha, ha.
Sonu's solemn expression makes him laugh even harder, tears

roll down his cheeks.
SHANU (CONT'D)
For a man who thinks he's a director,
see - a man who thinks he's a star.
(points to Amitabh
duplicate)
Go - Amitji is waiting...
Sonu angrily slams a package down on his desk. It's a WAD OF

CASH almost ten inches thick.
SHANU (CONT'D)
Whoa. Where the hell did you get
this? You pulling something crooked,
Sonu?
The LOOK-ALIKES are staring. Shanu screams at them harshly.
SHANU (CONT'D)
Alright, EVERYBODY OUT! Private
business. Pappu, out!
Everybody clears out. SHANU jerks open a drawer, puts the

cash away. Then he pulls out two glasses and a whisky bottle.
SHANU (CONT'D)
Come on, let's have drinks, eh? No
questions. Here's to big-budgets!
SONU
(murmuring)
Then, uh, you'll help?
SHANU
Of course, I've always been nice to
you, kiddo, haven't I? You need a
scriptwriter, no? Someone decent?
Sonu nods.
50.
SHANU (CONT'D)
Best not to talk about this too much,
ok? It's a little early to spread
it around.
(taps his address
book)
I'll make some calls.
SONU
(falters)
Are you sure? You really think.. I
mean...
SHANU
Don't worry, Sonu, that guy who wrote
"Love Story 85", Nagaich? I know
him. And KK Adarsh? Him too. Real
professionals. They never cut
corners.
(pause)
I'll need another thirty k right
away just to, y'know, get things
moving. Pay advances, things like
that.
Sonu hesitates. Shanu extends his hand, his sharp eyes

studying him.
SHANU (CONT'D)
No backing out now, right, partner?
Let's shake on it.
82 INT. DUGGAL BROTHERS OFFICE - HALL - MORNING 82
Sonu enters the hall cautiously. He hangs back, scared as

hell to face his brother who's busy chatting up an ACTRESS
in his cabin.
VICKY
You got to watch out, baby. There
are more scoundrels per square inch
in this business...
Vicky spots Sonu and excuses himself, walking out of the

cabin aggressively.
VICKY (CONT'D)
Where the fuck were you? You're
lazing and loafing around, letting
everything go to hell!
SONU
I was at the lab, ok? They had a
censor raid last week...
51.
VICKY
Stop making excuses, dammit, we're
not doing anything out-an-out illegal!
SONU
Then you talk to them. They don't
want to release the stuff. What the
hell can I do? I tried my best.
I'm sick and tired of being ashamed..
VICKY
(lashing out)
ASHAMED? Who the hell is ashamed?
Who would have brought people
salvation if it wasn't for us?
SONU
Get your hands off me.
VICKY
(pushing Sonu)
The ricksha-wallas, the factory
workers, the front-benchers? Who
would have brought hope into their
pathetic little lives if it wasn't
for us?
They are screaming at each other now, Vicky gesticulating

wildly. Sonu can feel the blood rising...All his emotions
are coming at once - guilt, anger, fear.
SONU
Don't touch me, ok? Don't touch me.
VICKY
What we do here is for the benefit
of mankind, understand?
SONU
That's a lie and you know it...
VICKY
(screams)
Shut up, Sonu!
Vicky on the verge of whacking him. But instead he kicks a

table, knocking over a typewriter. Sonu storms out.
The ACTRESS watches from inside the cabin in stunned silence.
83 EXT. DUGGAL BROTHERS OFFICE - BALCONY - MORNING 83
Sonu stares vacantly into empty space, eyes welling with

tears. After a few moments, Vicky comes out onto the dirty
balcony. He lights a cigarette roughly, then simmers in angry
silence.
52.
VICKY
I'm sorry. I lost my head. I'm
sorry, it's just...
Sonu's lips move, but words don't come out.
VICKY (CONT'D)
It's just a bad week, ok. Look, I
said I'm sorry.
(pause)
C'mon, PK's investors are backing us
all the way. It means we belong to a
family, an organization. It means
nobody can fuck with us. Not Gola,
not anyone. Understand?
The old joviality returns to Vicky's voice, a little strained

but more or less there. He lights a cigarette and gives it
to Sonu.
VICKY (CONT'D)
C'mon Sonu. Tonight, we go to Hungry
Eyes. Eat aunty's momos, like the
old days? Ease the tension. Ok?
Sonu nods his head sadly in agreement.
VICKY (CONT'D)
Then tomorrow you go sort this lab
thing out. They just need a little
handout. That's all.
Vicky rests his hand on Sonu's shoulder and they stand in

silence for a while.
84 INT. SAVITRI CO-OP BANK TELLER WINDOW - DAY 84
Sonu is at the teller window. The BANK TELLER is an elderly

lady who studies the CHEQUE like a hawk. She functions at a
snail's pace making Sonu restless
ELDERLY LADY TELLER

Could you please wait one moment,
sir.
The BANK TELLER disappears. Sonu waits around impatiently.
She returns with a BANK MANAGER who motions for him to follow
through a SERVICE DOOR.
85 INT. SAVITRI CO-OP BANK ACCOUNTS DESK - DAY 85
The BANK MANAGER invites Sonu over to his desk. Sonu eyes
his name plate and designation. It reads: Mr. M. Rathod
MR. RATHOD
Your name, sir?
53.
SONU
Uh, Sonu. Duggal.
MR. RATHOD
(all businesslike)
Mr. Sonu, We're disappointed in
you, sir. Very, very disappointed.
Please sit.
Sonu is startled, he looks around. The bank is bustling -

nobody pays them any attention. He sits.
The Bank Manager studies the cheque for what seems like a
lifetime. We see that Rs. 8000 has been crudely changed to
Rs. 80000 by adding an extra zero.
SONU
I-Is there a problem?
MR. RATHOD
Such a clumsy undertaking, Mr. Sonu.
So poorly done. Why don't you just
steal from Mr. V. Duggal's P&L?
It's almost as if he's discussing a bank loan or a set of

investments.
MR. RATHOD (CONT'D)

(flipping documents)
Ah, I see. Your brother's account.
I see. I think I understand the
situation here. Family tensions?
SONU
(defensive)
Steal? How dare you say...
MR. RATHOD
(sinister)
Don't make this painful, sir. You
want us to start spot checking
accounts, making phone calls?
The Bank Manager brandishes the forged cheque threateningly.
SONU
Now, wait a minute. I.. I
MR. RATHOD
Please don't get emotional, sir.
(pause)
I'm on your side.
The Manager's eyes narrow. He sits there watching Sonu who

wipes his sweat, shifting nervously.
54.
SONU
(jittery)
Ok, so what do you want?
MR. RATHOD
Give me a moment.
He disappears. Sonu waits, fearfully scanning the place,

jumping in his seat every time someone approaches.
The Manager returns, coolly placing the cash on the desk.
MR. RATHOD (CONT'D)

There's your money, sir. Sixty
Thousand.
SONU
It should be Eighty...You took
Twenty?? H-how could you?
MR. RATHOD
25% during business hours. Here's
my card.
Sonu grabs his card, then nervously shoves the money into
his bag.
MR. RATHOD (CONT'D)

Let's not be shy with one another.
Anything we can do for you here,
just call.
86 EXT. SAVITRI CO-OP BANK - DAY 86
Sonu walks out, high-strung, clutching the cash-filled bag.
A few doors down from the bank, Pinky's waiting in the BEATEN
SPORT CAR, looking gorgeous. She's munching an apple.
PINKY
Let's go na Sonu. I'm starving.
87 EXT. ELEPHANTA ISLAND FERRY - DAY 87
A wooden ferry crosses the Bombay harbor.
88 INT. ELEPHANTA ISLAND FERRY - DAY 88
PINKY kicks her head back, the sunlight hitting her face.
She laughs as the sea breeze tosses her hair. Sonu watches
her, dreamily, drinking in every delicious detail of her.
Bombay is visible in the distance.
SONU
We'll shoot the opening here. Uh,
you like it?
55.
PINKY
It's beautiful, Sonu.
(pause)
Thanks again for the advance. It's
so much, wow...
She flicks the money in her purse in disbelief.
She reaches for his hand and doesn't let go. The wind blows
hard, their clothes flutter wildly.
89 INT. ELEPHANTA ISLAND FERRY - DECK - EVENING 89
They have found themselves a secluded spot on the deck of

the ferry.
PINKY
Sonu, I don't even know the scenario
of Miss Lovely. I mean, when...
SONU
Shhh.
(puts his finger on
her lips)
It's still too early, Pinky. This
is your first film, I don't want us
to curse it.
She nods innocently, then leans into him, snuggling her head
against his chest. His clings to her, touching his lips to
her hair. Her beauty is irresistible.
SONU (CONT'D)
(softly)
The Producers are convinced and I'm
convinced. That's all that matters.
She touches his arm gently.
PINKY
And your brother? Did he think I
had potential?
Sonu's face falls. He slides firmly out of her embrace.
SONU
(icy)
How do you know about my brother?
PINKY
Your little friend told me...
SONU
(uncomfortable)
No, but my brother is, he's more,
uh, he makes horror films.
56.
PINKY
You didn't like Jaani Dushman? I
loved Mumtaz in Nagin?
(pause)
You don't want me to meet him?
SONU
No no, it's just, my taste. It's
different. We're separate.
Pinky looks hurt and disappointed. There's little finger of

hair hanging down the middle of her forehead, she looks at
it, then it blows upward. This makes Sonu smile. He relents.
SONU (CONT'D)
Ok. I'll introduce you to him, ok?
She pretends to sulk for a bit, then she makes a cheeky face.
PINKY
(Teasing)
You're kind of touchy? You don't
look that type.
SONU
Well, uh, maybe.
PINKY
(staring at him)
You're a lot older than you look,
aren't you?
SONU
Yeah, kind of.
PINKY
(smiling now)
Why? It's cute. You don't like it?
She smoothes the hair back from his head. He pulls away.
SONU
(resentful)
Being a man and looking like a kid?
Having people laugh every time you
act like a man. Ha?
PINKY
I'm not laughing at you, Sonu.
SONU
Oh yeah, maybe you would? Suppose
things had been different? If I met
you at a party and tried to kiss you
like any man, you would have laughed
your head off.
57.
PINKY is silent, watching him with a half-smile.
SONU (CONT'D)
And don't tell me you wouldn't,
because I know you would.
PINKY grabs him and presses her mouth against his.
And then Sonu's kissing her like he's been waiting all his
life to do just that.
90 INT. TALK OF THE TOWN - CABARET STAGE - NIGHT 90
A wild cabaret number: A showgirl in golden sequins writhes

on the floor as a live band plays frantic PERCUSSION.
91 INT. TALK OF THE TOWN - NADIA'S TABLE - NIGHT 91
Nestled in a private corner, Nadia celebrates her 21st

birthday. Vicky's holding court on a large table. SHADY
FILM PEOPLE, HOODS in out-dated suits and their dolled-up
GIRLFRIENDS make a racket. This is GOLA's OLD CREW (seen
previously at the POOL & LIBERTY CINEMA)
VICKY
(laughing)
Remember that girl from Lucknow? PK
thought she popped it.
DODGY GUEST
(hysterical)
Vicky gave her so many pills, she
slept for two days!
A SLEAZY OLD GENT is trying to pick up a STRUGGLING ACTRESS

at the far end of the table.
SLEAZY OLD GENT

This is, what's your name, darling?
ROUGH LADY
(across the table)
Hey Guruji! Saturday night, no wives,
only girlfriends, eh?
The cabaret act announces - "HAPPY BIRTHDAY MISS NADIA!"

and kicks off a bossanova number. Everyone raise their glasses
in salute. Vicky fills Nadia's drink, spilling it everywhere.
92 INT. TALK OF THE TOWN RECEPTION - NIGHT 92
GOLA, ISHARA and two THUGS push their way in. They make
their way to Vicky's table as the bossanova tune builds.
58.
They arrive at Nadia's table. One of the DRUNKEN GUESTS

gets up, a THUG shoves him roughly and he falls back on his
chair.
VICKY
(angrily)
Hey, what's the matter with you?
Everybody's friends here, right?
GOLA's THUGS starts flinging plates. A GIGGLY GIRL gets up

horrified, ISHARA pushes her. She falls.
HOOD
(barking)
Finish your dinner!
Vicky's GUESTS are alarmed. Nadia looks around, restless.
VICKY
(tense, stepping
forward)
Take it easy. I told you - talk to
PK. I've got nothing...
ISHARA
(furious, shoving
Vicky)
Talk? YOU talk to fuckin' PK. Give
us what you owe us, you goddamn thief!
Vicky moves in on GOLA, staring right into his face.
VICKY
Well that's the way it looks to you.
(he pauses)
Now I'll tell you how it looks to
us.
GOLA is taken aback.
VICKY (CONT'D)
Isn't your daughter getting married
in December? Good family, I hear.
(pause)
We must come and pay our regards.
ISHARA
Hey shut the hell up...
VICKY
We're insiders here, old man. The
groom's family know about your thing
for minors?
59.
GOLA
(livid)
Shut up!
Vicky gives Gola a wide grin.
VICKY
(strict)
Don't embarrass me in front of my
guests.
(introducing people
around the table)
You know them, no?
Vicky's GUESTS begin to smirk. These include some of Gola's

former "friends" - including the Diamond Talkies Owner.
VICKY (CONT'D)
You see, Golasaab? It wouldn't be
smart to ruin my party, would it?
Vicky flicks an invisible speck of dust from his shirt.
GOLA
(under his breath)
You can't run, Vicky. We'll come
for you.
Nadia's had too much to drink. She folds her hands, tilts
her head, irritated.
NADIA
(interrupting)
Thank you and goodbye.
GOLA
You should be smart enough not to
get involved, bitch!
NADIA
You've ever done anything for me?
I'm playing with big boys now, ok...
The orchestra ends their tune with a bang. Nadia's voice

carries in the silence.
NADIA (CONT'D)
...not with your little wee-wee that
can't even say hello...
Nadia puts a hand over her mouth, too late.
NADIA (CONT'D)
Oops!
60.
Everyone turns to look. GOLA reddens, turns abruptly and

marches out, flanked by his THUGS. He is followed by a titter
that swells into guffaws.
94 EXT. TALK OF THE TOWN - FACADE - NIGHT 94
Sonu waits outside the neon-lit bar in anticipation - he

checks his watch. In the background, GOLA and the THUGS
storm out.
Across the empty street, a TAXI passes to reveal PINKY,

standing under a streetlight. She's stunning, in a shiny
dress, with large hoop earrings and kohl eyeliner. She comes
over to Sonu, who looks edgy.
PINKY
Did you wait long? I'm sorry.
Pinky interlocks her arm in his, excited.
PINKY (CONT'D)
Let's go in?
The camera tracks with them as the enter the smoky bar.
Sonu nervously eyes Nadia's table, past the cabaret dancer
who shimmies in and out of view.
PINKY (O.S.)
Quite a place, this!
The ROUGH GUESTS at Nadia's table turn to gawk at them.
SLEAZY GENT
Do my eyes fail me? Who the hell is
that?
NADIA
(bitchy laugh)
Oh my God, Sonu brought a little
friend...
SLEAZY GENT 2
Nice girl that, but she ought to be
careful around here.
NADIA
(at SLEAZY GENT 2)
Everybody ought to go careful around
here.
61.
97 INT. TALK OF THE TOWN - PRIVATE TABLE - NIGHT 97
Sonu veers Pinky in the opposite direction, guiding her to a

private table. He's distinctly uneasy with all those eyes
on him.
SONU
Uh, my brother's not here yet. Can
I get you something?
The restaurant is full of mirrors. The walls are lined with

them; mirrors of all shapes and sizes. PINKY is about to
respond when something scares the hell out of her. She sees
A MAN staring, reflected in the mirror.
It's Vicky, who stands behind them, looking at her with a

stricken expression.
VICKY
(to Sonu)
Aren't you going to introduce me to
your new friend?
PINKY turns around with a shock, followed by Sonu.
SONU
Uh, I was, Bhaiya, I want you to
meet.. This is Pinky. My broth-
Vicky ignores him and offers PINKY his hand - she shakes it
uncomfortably. He lets it linger.
VICKY
Pinky? Is that what you call yourself?
Vicky's gaze wanders sleazily over her body, his eyes flaming.
She looks away, uncomfortable. Sonu breaks the silence.
SONU
(clumsily)
I mean, I want to, I would like to...
VICKY
(cuts him off)
We just had a nasty little incident
here. But I suppose you've got better
things to do, eh?
The politeness is strained.
Then a HEAVYWEIGHT intrudes, whispering something into Vicky's

ear. Vicky takes one last lusty look at her, then leaves.
PINKY is devastated.
62.
She's rushing outside now, her tears welling up, Sonu

following pathetically.
PINKY
I want to leave. This place is sick!
SONU
(feebly)
I'm sorry, I'm sorry. I tried to
tell you. This is no good for a
decent woman.
She increases her pace.
SONU (CONT'D)
Please, Pinky. Don't go. I don't
want this to end like...
99 EXT. TALK OF THE TOWN - FACADE - NIGHT 99
She scrambles out of the exit. He follows.
SONU
It's only 9, Let's go to the Trinity
Club. We'll get out of here... Please.
PINKY
I can't.
SONU
I'll see you tomorrow?
PINKY
...I can't make it tomorrow either.
SONU
What do you mean?
PINKY
I can't see you for a while.
SONU
(pleading)
Please, Pinky. Why?
Pinky is silent.
SONU (CONT'D)
Why?
PINKY
We shouldn't meet, Sonu. It's not
good for me. Or for you.
63.
SONU
(pleading)
But you're the best thing that ever
happened to me.
She looks away.

Look, we start shooting, I'm getting
the script next...
PINKY
(cold)
Stop lying to me.
SONU
I...
PINKY
You're not the owner of your company
are you? Not even a partner.
Sonu looks broken.
PINKY (CONT'D) (CONT'D)

Your like his servant!
(pause)
I was wrong from the start...
believing you could make me an
actress. What a joke! You've never
paid out of your own pocket in your
life!
Sonu is enveloped in sullen despair. He's holding back the

tears.
PINKY (CONT'D)
It takes guts to act, Sonu, and I
think you ought to have more guts -
the guts to do something! You can't
go your whole life being scared of
him...
She sees his anguished look, then feels bad and touches his
cheek briefly. Before Sonu can respond, Pinky's half way
into a waiting TAXI.
PINKY (CONT'D)
(through window)
Sonu, look, it's okay. I had a good
time with you. It's alright.
(she pats his hand)
I need to get home now.
SONU
Please, Pinky. Don't go.
64.
Before he can finish his sentence, the TAXI drives away.

Sonu is left standing pathetically under a street light.
100 INT - AMBASSADOR - NIGHT 100
SOMEBODY is watching the encounter from a CAR parked across

the street.
DRIVER (O.S.)
Saab, that was definitely her.
It's PINKY'S UNCLE. And he doesn't look pleased.
101 INT - SCULPTOR STUDIO - DAY 101
A GIRL - seen from behind - walks through a cavernous studio

full of life-size SCULPTURES.
NEHRU, GANDHI and various HINDU DEITIES watch her in creepy

silence.
GIRL
Uh, anybody home? Hello...
Someone is hidden in the shadows, a metal mask covering his

mouth. He removes his mask to reveal a set of fangs. It's
an old LUNATIC SCULPTOR, holding a bloody chisel in his
crippled hand.
The girl screams - it's NADIA. The LUNATIC SCULPTOR ravages

her. JOLLY and the CAMERAMAN rush in for the shot.
JOLLY (O.S.)
C'mon Ajay, bite her neck, bite her
neck!
SONU, lost in thought, is holding a bicycle pump, spraying

fake-blood on the actors. Jolly cuts it.
VICKY
(upbeat)
ok, everybody's in the mood? Super!
God, it smells like breasts in here!
Vicky laughs crudely, then notices Sonu staring at him in

contempt. His smile drops. Vicky returns the disdain and
walks away.
Sonu follows him as the shoot re-commences in the background.

He's dying to speak.
SONU
Uh, Pinky. That girl...The other
night. You know her? I mean...
Vicky ignores him, occupied with the production at hand,

shaking hands and slapping backs.
65.
SONU (CONT'D)
She's from Ajmer. I saw her on the
train. We've been spending time...
VICKY
(wicked smile)
Pinky. What kind of name is Pinky?
Do I really need to know about this?
Tell me, do I look interested?
(pause)
I known the nicey-nice babes out for
kicks, ok? Women are all fuckin'
liars.
Sonu is crushed into silence. Vicky lights a cigarette.
SONU
(simmering)
Don't talk about her like that.
VICKY
She could be a spotter, then what?
Some woman detective from the censor
board, snooping around, wanting to
bust us for bits. Then what?
SONU
That's insane. No way in...
VICKY
You got to watch yourself when a
prize fox makes a play...
SONU
It's impossible!
VICKY
C'mon, don't get emotional, kiddo.
You wanna bang her, bang her. I'm
just looking out for you. Ok?
Vicky ruffles his brother's hair. Sonu doesn't flinch.
SONU
(cold)
You're jealous.
VICKY
(sitting down)
My, my. Getting a little cocky, are
we?
Sonu looks away, smoldering. Vicky takes a wad of notes

from his briefcase, then nudges it into his brother's hand.
66.
VICKY (CONT'D)
So talk to Fanil, ok? Get a couple
of girls, don't pay more than ten
each. They need valid passports.
102 EXT - CITY STREETS - PCO - AFTERNOON 102
Sonu is calling from a public payphone, listening to the

rings. Frustrated, he disconnects, then dials again. He's
all wrung out.
Across the street, two POLICEMEN are tormenting a handicapped

beggar, prodding him with batons. They kick his wooden cart -
his coins spill onto the pavement.
103 EXT - CITY STREETS - BUSY CROSSING - AFTERNOON 103
There's a crowd of people waiting at a busy intersection.

The CAMERA stays on Sonu as he walks against them, thrusts
through them, gives it to them in the ribs. His temper
continues to build as the city swirls around him.
In Sonu's hand is a rolled up newspaper. He swings it jerkily,

like a club, slapping it against a metal railing as he passes.
104 EXT - SONU'S FLAT - STAIRCASE - AFTERNOON 104
Sonu slams open the sagging metal door and emerges on the
terrace outside his shabby flat, the sun flaring in his eyes.
105 INT - SONU'S FLAT - AFTERNOON 105
He throws himself down at his desk. Then he sits still,

head in his hands, panting.
There's a faint creak. Sonu turns around. Pinky is standing

on the terrace, looking sadly through a broken window frame.
PINKY
Sonu.. Y-you live here?
Sonu's startled. PINKY enters, surveying the miserable

apartment in shock. Her eyes have dark shadows and she seems
to have lost some of her freshness.
SONU
I-I'm sorry, Pinky, for everything.
I didn't mean to...
She puts her hands over her face, sits down on a stool and
starts sobbing miserably.
SONU (CONT'D)
Aw, now, wait a minute. Wait just a
minute, Pinky.
67.
Sonu feels himself coming apart inside, he can't bear to see

her like this.
PINKY
(sobbing)
H-he saw me with you, Sonu...
SONU
(stunned)
Y-your uncle? What happened?
(pause)
Pinky, what happened? Did he hit
you Pinky?
She nods an ambiguous yes-no, her low helpless sobbing cuts

Sonu like a knife.
SONU (CONT'D)
(anger rising)
How dare he? You stay here. For
however long you need to. I can -
PINKY
(wiping her tears)
I was really counting on this film,
Sonu.
(pause)
The truth is I have no money of my
own, I'm completely broke...
Her voice trails off into silence. He reaches for her, tries
to hold her.
SONU
Look, Pinky, I was going to tell
you. This film... Miss Lovely...
Pinky, I'm gonna make this film.
I'm closing in on something...
PINKY
(pulling away from
him - sobbing again)
Sonu! Please. Not any more. I j-
just can't stand it if you lie to me
any-
SONU
I'm not lying. I know it sounds
crazy, Pinky. I want to show
you...please...close your eyes.
She sniffles, looking at him suspiciously.
SONU (CONT'D)
Close your eyes, Pinky.
68.
She shuts her eyes. He neurotically digs through some junk,

reaches behind a cupboard and comes out clutching a bulging
SPORTS BAG.
SONU (CONT'D)
Okay. Look.
He zips open the SPORTS BAG. It's packed tight with CASH -
packs and packs of paper-banded BILLS.
PINKY
(covering her mouth)
My god!
He stuffs some money into her pockets.
PINKY (CONT'D)
(stunned)
No. Where did you.. I can't take
this from you, Sonu. No. I've never
taken money from any -
SONU
(charged up)
It doesn't matter. I - nothing
matters but you. Right from the
first time I saw you.
He strokes her hair. She smiles now - a beautiful, sad smile.
SONU (CONT'D)
I paid Ravi Nagaich an advance to
write the script. He wrote "Love
Story 85" and -
PINKY
(hesitating)
No! No, we shouldn't. It's hard
enough to think straight...
SONU
(whispering)
You're going to be a star. I promise
you -
She kisses him. They collapse onto a filthy mattress on the

floor, grabbing each other. She squeals with laughter,
twisting away from him until he finally gets a hold of her.
PINKY
(softly)
Oh Sonu, I love you so much.
It's almost too much, to have her at last, after all these
years of hunger and hopelessness.
69.
106 INT. SUPER 9 DISCO CLUB - ENTRANCE - NIGHT 106
Crowds of trashed revelers push through the revolving door

of the SUPER 9 DISCO CLUB. A swirling sign flashes HAPPY NEW
YEAR.
107 INT. SUPER 9 DISCO CLUB - DANCE FLOOR - NIGHT 107
Nazia & Zoheb Hassan's "Boom Boom" is pumpin' on the sound

system. AFRICA'S sporting Boney M style threads - dancing
like crazy with a WILD WOMAN in a zebra-print jumpsuit.
A mirrorball throws circling spots of light on Sonu and PINKY

as they kiss passionately on the dance floor.
108 INT. SUPER 9 DISCO - MEZZANINE - NIGHT 108
From the gallery above, a group of people - PK, Vicky, Nadia

and two RUSSIANS - scrutinize the young lovers, smirking
wildly.
PK
Your kid bro's quite a secret
operator, eh?
VICKY
(cockily)
Innocence is hard to beat...
PK grins as he studies Vicky.
VICKY (CONT'D)
...but this one is way out of his
league.
Vicky puts a cigarette in his mouth, then fumbles looking

for a match. Instantly PK is holding out a lighter for him.
PK
Making designs on your brother's
girl, eh? How terrible.
PK clicks his tongue in fake disappointment, his eyes glinting

savagely.
VICKY
(smirking)
I don't know if I can restrain myself.
NADIA
(bitchy)
Try.
Nadia grabs her bag violently off the table, shattering a

whisky glass. Then she storms off.
70.
Nadia looks livid. She lights a cigarette clumsily as she

cuts across the dance floor, bathed in a crimson glow.
110 EXT. SUPER 9 DISCO CLUB - NEW YEAR'S EVE - NIGHT 110
She exits the club, her high-heels CLICKING loudly on the

concrete. The HAPPY NEW YEAR sign flickers sadly near the
empty entrance. The distant hum of the city is all we hear.
111 INT. SUPER 9 DISCO CLUB DANCE FLOOR - NIGHT 111
Sonu & PINKY are hot and sweaty as they collapse into a booth,
laughing. They are all over each other, in love.
Sonu says something to her, she can't hear. He puts his mouth
close to her ear.
SONU
(motioning)
I'll get drinks.
She pouts but lets him go.
Sonu disappears leaving PINKY watching the dance floor. She

tilts her head back, a radiant smile spreading over her face.
Suddenly she spots Vicky glowering at her from the staircase
above.
She panics, looks away, then hastily leaves the booth. He

follows.
112 INT. SUPER 9 DISCO CLUB - VARIOUS LOCATIONS - NIGHT 112
She's fighting her way through the crowd on the dance floor.
He's shoving his way down a flight of stairs. She's running
down a corridor. He chases after her.
113 INT. SUPER 9 DISCO CLUB - SERVICE CORRIDOR - NIGHT 113
VICKY
SONICA!
PINKY stops and turns. She realizes it's no use running and
waits for him with a hunted expression.
PINKY
(aggressive)
PINKY.
VICKY
Sorry, baby, I only know Sonica. The
Bar Dancer from Night Queen.
71.
PINKY
(uncomfortable)
What do you want?
Vicky looks at her a long moment.
VICKY
Stop playing games with my brother.
He's not normal, understand... He
doesn't know what he's doing.
PINKY
I-I didn't know he was your brother,
Vicky. If I had...
VICKY
(mocking her)
He thinks you're a sweet little girl.
Nice one, Sonica, the virgin from a
small town.
Pinky is silent.
VICKY (CONT'D)
You want to ruin him? Do your
vanishing act again?
PINKY
(interrupting)
Vicky, you were married. With kids.
VICKY
What about your old man? Wasn't he
married?
PINKY
His wife was dead. He was lonely.
VICKY
Bullshit! You thought he had a lot
of money. And he conned you. I have
a lot of money now. Interested?
PINKY
Fuck you, Vicky.
(pause)
It's not just a fling with Sonu.
With him I can be who I was a long
time ago...
VICKY
Oh my bleeding heart! Then tell him
who you really are. Tell him, Sonica.
72.
PINKY
(choking back the
tears)
I'm just doing what I should have
before I got married, ok?
VICKY
Even if you take everything Sonu has
to offer, you'll never regain your
lost innocence, understand?
PINKY
I really care about him, Vicky.
You'll never understand -
VICKY
(losing his cool)
Yeah? Then lay it out for Sonu, no?
Tell him about all your lovers, those
old perverts.
PINKY is overcome with emotion. She's sobbing now. He tilts

her chin up with his fist.
VICKY (CONT'D) (CONT'D)

You've had your fair share of men,
no? don't I get another chance?
Vicky grabs her and turns her towards him.

Whaddaya say?
She slaps him hard. He grabs her, kisses her fiercely.
PINKY
No...
She begins to kiss him back. They hold each other tight.
The chemistry between them is intense.
Then PINKY pushes him away with a sob. She stumbles backward.
Vicky reaches for her again, she pushes his hand away.
PINKY (CONT'D)
No! Don't.
She hurries out of the corridor without looking back. Vicky

remains frozen, he doesn't turn to see her go.
Sonu pushes through the harsh blur of neon, smoke and sweaty
bodies desperately looking for PINKY. But he can't find her
anywhere.
73.
Then he makes his way back to the booth where they were seated
earlier, distressed. Another COUPLE have occupied the booth
and are necking shamelessly.
115 EXT. INDUSTRIAL WASTELAND - DAY BREAK 115
TITLE - JANUARY 1st 1988
Dawn is breaking slowly over an industrial wasteland. A

raincrow caws dryly. Beyond a cluster of dead trees, giant
silver oil towers are visible.
A CAR can be seen silhouetted against the murky sky.
116 INT. HOTEL AIRCRAFT - PRIVATE SUITE - DAY 116
Sonu sits on a stool in a far corner, frowning, his back to

the room. He dials a number desperately on the telephone.
JOLLY and the CAMERAMAN are lounging on the hotel bed. A

CHEAP-LOOKING STUD is showing off his sweaty muscles.
JOLLY
(muttering to CAMERAMAN)
We'll make Nadia the school girl.
(pointing to the STUD)
He can be the policeman.
Vicky sits in a chair, staring at nothing. He's shaken out

of his reverie by JOLLY.
JOLLY (O.S.) (CONT'D)

So what do we do, boss?
VICKY
Eh?
JOLLY
Nadia still hasn't turned up. We've
been calling...
Vicky blows his top.
VICKY
What the fuck do you want me to do?
Use your fucking brains. Call Shanu,
call Fanil, get a hooker, get
somebody.
JOLLY
(interjecting, annoyed)
Sonu should be handling this.
Sonu slams the phone back in its cradle.
SONU
YOU fucking handle it.
74.
The crew has been killing time in the heat, they're in a

foul mood.
JOLLY
(jerking his finger
at SONU)
Hey, what's wrong with him, huh?
You got a problem?
SONU
(snaps)
Nothing wrong with me. What's fuckin'
wrong with you?
JOLLY
HEY, watch you mouth, Sonu... Lazy
moron... Don't try and -
SONU
(standing up)
Come on, asshole! You don't have
the guts. Come on!
VICKY
All right, Enough! Keep your mouth
shut! Big fuckin' man!
SONU
(squabbling back)
You tellin' me that in front of this
asshole? Who the hell does he...
VICKY
(shouts)
SHUT UP! I'll give you a slap in
the mouth, Sonu!
There is a sudden pounding on the door. Everyone's nerves

are rattled. AFRICA bursts in, breathless.
AFRICA
PK's been going crazy all morning.
You promised him reels today? I
can't walk down the street without
ducking his guys...
VICKY
(stressed, to JOLLY)
Call him. Tell him I'm sick. I'm
down with the flu.
JOLLY
(panicky)
Vicky, you know he won't buy it.
He'll think you went sour on the
schoolgirl reels -
75.
SONU
(getting up)
I'm going home.
117 INT. HOTEL AIRCRAFT - PASSAGEWAY - DAY 117
Sonu's storms down the passageway. Vicky comes charging out

to stop him.
VICKY
Sonu, C'mon, I need your help. This
is no good. That bitch Nadia's going
to ruin everything. Go to her mother,
straighten her out, ok?
Sonu pauses for a moment. He's never seen Vicky this worried
before.
VICKY (CONT'D)
Please. Do it for me, Sonu. Please.
Sonu submits resentfully, walking away as Vicky continues.

Knock some sense into the old lady's
head. We need Nadia here pronto, ok?
We got to deliver.
118 INT. HOTEL AIRCRAFT - PRIVATE SUITE - DAY 118
Vicky jerks open the hotel room door and steps back in. He
is met with a strange silence.
He scoops a deck of cards off the table, then grins at the

crew who stare back, grumpy and sweating.
VICKY
(shuffling)
Hey, C'mon, lighten up. It'll be
fine. C'mon, who wants a little game?
119 EXT. MAHIM SLUM - DAY 119
Sonu walks through the cramped alleys of a slum village. As

he turns down a murky passage, he notices a soot covered
window. Behind the grimy wire mesh, Sonu glimpses a movement,
discerns a figure. Someone is watching him. It's a strange
looking boy with small, sharp, ugly eyes.
Sonu hesitates at a row of double-decker shanties, eventually

climbing up some rickety steps.
120 INT. NADIA'S ROOMS - DAY 120
Nadia's mother is in a complaining mood. She drones on as a

baby screams next door.
76.
NADIA'S MOTHER
I haven't seen Nadia for three months.
That bitch hasn't sent money home,
either. Can you imagine? After all
I've done for her.. It's pathetic,
doing nothing for her sick old
mother...
As the old lady mutters, Sonu notices a TEENAGE GIRL in the

inner room. She's tarted up in a fluffy red dress, and draws
lipstick over her mouth. She squints at him in the cabinet
mirror.
Nadia's mother catches Sonu looking, then grins at him slyly.
NADIA'S MOTHER (CONT'D)

(whispering)
You like her? That's Najma, Nadia's
lil' sister. Pretty, no? You got a
role for her?
121 INT. DUGGAL BROTHERS OFFICE - VICKY'S CABIN - DAY 121
The phone is ringing in Vicky's office. He tries to ignore

it, looking edgy. It stops, then starts again outside in
the hall.
Jolly's eyes shift nervously. He paces around the office.
JOLLY
(high strung)
See, it's them again. W-we can't
keep avoiding them, Vicky. He wants
that neg.
(pause)
We haven't shot shit, Vicky....
Vicky waits for the phone to stop ringing before he speaks.
VICKY
(troubled)
Calm down. I'll ask PK for an
extension. We're organizing more
girls tomorrow -
JOLLY
Uh, 'cause I-I was just wondering,
without Nadia... I mean, we - we
got to have a little more money.
The boys wanted to know...
VICKY
(curt)
It's too late for that. You're all
in it with me. If I get it, you get
it, understand?
77.
JOLLY looks alarmed. The phone starts ringing again.
122 EXT. INDUSTRIAL WASTELAND - DAY 122
KIDS play at the edge of a stagnant, infected pool of water.
In the shadow of the giant oil tanks, A MIDDLE-AGED WOMAN,

is collecting old plastic bottles, filling her sack.
Suddenly the woman SCREAMS in horror. A DECOMPOSING BODY is

mired in the mud - mutilated limbs floating in the ooze.
123 INT. DUGGAL BROTHERS OFFICE - HALL - DAY 123
The office is tense when Sonu enters. Calls are piling up on

top of each other.
Vicky is storming around - he charges towards a ringing phone

and disconnects it from the wall anxiously. Africa and the
CAMERAMAN smoke cigarettes, distressed.
VICKY
Just a fucking waste of time today.
How the hell can all the bitches be
busy? Call Kimi..
JOLLY
She's contracted with GOLA.
Vicky slams his palm down on a table angrily.
VICKY
Fuck!
Sonu is standing in a corner, dying to speak. Vicky pushes

past him and heads back into his cabin.
Sonu follows him in, persistent, ignoring Vicky's crisis.
SONU
(blurts out)
That girl, Pinky. She's not taking
my calls. Since New Year's.
(he stares at Vicky
fiercely)
Did something happen between you and
her?
VICKY
(worn-out)
Please. Not right now. Not today,
ok?
Sonu is seething - the blood rushes into his face, his pulse
is racing. He repeats the question again more forcefully.
78.
SONU
I want to know. Did something happen
between you and her?
VICKY
(shrugging irritably)
I told you, forget about her. You
got screwed, she's split, and that's
that.
SONU
That's a lie!
Vicky picks up a briefcase begins to push past him. Before

he knows what's happening, Sonu is tugging at his shirt
aggressively.
SONU (CONT'D)
I want to know...I've got to know...
VICKY gives Sonu a hard push, but Sonu clings on to him. He

tries to slap him off - Sonu just keeps clutching on.
VICKY
(shouting)
Get off me, idiot! Ok, you want to
see how far I can go. Try it. Come
on!
(slaps him again)
Be a man and have it out. C'mon,
just try it...
Jolly is trying to pry them apart - but Sonu won't let go.
He's frozen in that position, hands clutching Vicky's collar.
Africa and the Cameraman are horrified - they rush in to
help.
JOLLY
(shouting)
Break it up! Stop it - Sonu! Leave
him.
SONU
(trembling)
Damn you!
VICKY
You don't have the guts for my kind
of life, that's all. Coward. You
can't even go out and hook the girl
you like!
SONU
The hell I can't! That's why she
left, she couldn't stand the sight
of you.
(MORE)
79.
SONU (CONT'D)
She had all she can take, just like
I've had all I can take. I'm sick
of you. Sick of looking at you,
sick of listening to you, sick of...
VICKY whacks him hard.
Then he pushes Sonu off him violently, panting, wiping his

sweat, sneering at him mockingly. Within moments, Vicky
thrusts past him and is gone.
Sonu's head is spinning. A trickle of blood runs down his

lip.
125 EXT. INDUSTRIAL WASTELAND - LATE EVENING 125
POLICEMEN swarm the wasteland in front of the oil containers.

A POLICE PHOTOGRAPHER snaps away. A YOUNG COP throws up in
the bushes. CROWDS of ragpickers have now collected and are
staring at the spectacle.
Flies circle The CORPSE which is covered with a blue plastic

sheet.
126 INT. SONU'S FLAT - DAY 126
Sonu is lying on his dirty mattress. A fan hums drowsily,

he is stretched out before it's warm, narcotic breeze. He
stares into space, brooding, trying to escape from the feeling
of sullen despair, of hopeless frustration, that has crept
over him lately.
127 INT. PINKY'S FLAT - DAY 127
PINKY lies against a fluffy pillow. Her expression is vacant,

impenetrable. Unexpectedly, she raises a trembling hand,
puts a cigarette to her lips. She inhales slowly.
We cannot discern her surroundings. In deep focus, we notice

a MAN asleep next to her. He SNORES gently.
128 INT. SONU'S FLAT - DAY 128
Sonu is jolted from his daze by loud, hysterical knocking on

the front door. He cracks it open, nervously.
SHANU pushes himself in, panting, holding the evening

newspaper.
SHANU
Sonu, have you fucking seen this?
It's all over the papers!
The headline reads: STRUGGLING ACTRESS FOUND MUTILATED.

80.
Two grainy photos of Nadia sit side by side. One, a dainty

portfolio picture. The other, a grotesque image of a
decapitated corpse.
SHANU (CONT'D)
It's horrible. Her head was separated
from her body.
Sonu is in shock.
SHANU (O.S.) (CONT'D)

(reading newspaper)
...Police said that the girl's body,
which was found on Tuesday was
identified from a tattoo and
birthmarks...
(pause)
This is really bad, Sonu...
Sonu is dizzy, he holds the wall steadying himself.
129 INT. DIAMOND TALKIES - NIGHT 129
The POLICE kick through the door of a projection booth and

drag the OLD PROJECTIONIST out by the hair. TWO ROOKIES
take turns holding up reels and ogling at the nude women.
The DIAMOND TALKIES OWNER is pushed against a wall, a

flashlight in his face. Two COPS are making off with the
day's BOX-OFFICE TAKE.
COP
(looming)
Like to show filth, eh?
The police raid the decrepit auditorium, holding flashlights,

hauling out AUDIENCE MEMBERS.
On screen, Nadia flickers like a ghost in a scene from BLOOD

OF THE VIRGINS.
130 INT. ESSELL STUDIO - NIGHT 130
A SCANTILY-CLAD WOMAN is being threatened by a man in a

monster suit.
A posse of COPS invades the set. The woman SCREAMS. Soon,

the police have both WOMAN and MONSTER in handcuffs. FANIL
is arrested along with a few other CREW members.
131 INT. POONAM'S APARTMENT - MORNING 131
At daybreak, POLICEMEN swarm an apartment. POONAM stands

framed in a doorway wearing a fluffy bathrobe, looking
haggard. A COARSE MALE VOICE questions her from off-camera.
81.
COARSE MALE VOICE (O.S.)

You ever been in custody?
Poonam shakes her head - no.
COARSE MALE VOICE (CONT'D)

So you enjoy getting loose for the
camera?
POONAM remains silent.
COARSE MALE VOICE (O.S.) (CONT'D)

You're a prostitute?
POONAM
No.
(pause)
I did it for love.
Loud guffaws break out in the adjoining room.

(suppressing laughter)
You did it for love?
(pause)
You're going to testify for love?
Poonam doesn't respond. The man clears his throat.
COARSE MALE VOICE (CONT'D)

We need names and numbers of everybody
the Duggals might turn to -
POONAM
No, uh, I haven't seen them for over
a -

(menacing)
Don't try my patience, understand?
(pause)
We know you had personal problems
with the deceased, ok? You hated
Nadia Khan, you wanted her killed -
POONAM
(panicking)
I-I- Wait a minute. Killed! That's
insane! I don't know what you're
talking about. Look, what the hell
do you people want?
A POLICE INSPECTOR is now revealed to be the source of the

voice, his puffy little lips drawn back in a lusty grin. He
scans her body greedily.
82.
POLICE INSPECTOR
(cocking eyebrow)
What do we want?
(pause)
Well... What you offering? Let's
just say we'll take whatever you
have.
132 EXT. BUSY SUBURBAN STATION - EVENING 132
At dusk, office-goers swarm the entrance of a local train

station. Sonu walks through the crowd, clutching an overnight
bag, looking restless. He avoids a bunch of POLICEMAN who
hover around a tea stall.
Vicky stands across a busy intersection, watching him from

behind a newspaper.
133 INT. TIK-TOK FAMILY RESTAURANT - EVENING 133
Vicky and Sonu sit in a family booth. In the adjacent

cubicle, a kid is celebrating her birthday party. Proud
parents and other kids crowd around, cheering.
VICKY
(leaning forward)
I've spoken to Africa. We'll stay
there for a while until things cool
off. There's just too much loose
talk around.
(to WAITRESS)
Hey, you! One more shot, One beer.
And his pastry.
The WAITRESS is still buzzing around, wanting to say

something.
WAITRESS
(interjecting)
Sir, can I recommend our buffet dinner
for Rupees 125...
VICKY
(snaps at her)
Maybe you didn't hear me sister.
Ok, get the manager to bring me the
shot and the beer.
He waves her away.
VICKY (CONT'D)
Go. Shoo.
WAITRESS
B-but, I-I'm sorry sir, I was just -
83.
VICKY
(rudely)
And I'm trying to get a drink. Do I
get it or not?
The WAITRESS leaves, mumbling apologies.
SONU
Y-you shouldn't be drinking at a
time like this.
Vicky gently slaps Sonu on the cheek.
VICKY
Look, stop worrying. This will blow
over in a fortnight. Mane's on the
job.
He slides a BLACK BRIEFCASE over.
VICKY (CONT'D)
Wait for him, ok? When he shows up,
give him this. They want a handout,
Some bucks to tone things down, that's
all.
(pause)
Nadia was a small-time tart, nobody
cares, ok?
Sonu frowns. Vicky gives him a hard look as he knocks back

one last drink. Then he breaks into a warm smile.

Ah, Sonu. You know that old Vicky
will fix things up. You know that,
don't you?
Sonu nods dully. Vicky gets up to leave.
VICKY (CONT'D)
Relax, this case is open and shut.
The kids are singing Happy Birthday. Sonu watches until his
brother has disappeared from view.
134 INT. VICKY'S CAR - NIGHT 134
The streets are empty. Vicky drives, his eyelids shutting

from whisky and fatigue. In the rear view mirror, headlights
catch his attention. His pulse quickens.
A BLACK STANDARD 2000 is following him. He pushes his foot

down on the gas.
The CARS screech and a chase ensues through the nocturnal

streets. Vicky is bewildered. The BLACK CAR drives up and
begins slamming into him.
84.
He finally slaps on the breaks, terrified.
The BLACK CAR stops close behind and three figures get out.
Vicky tries not to panic, but he's drenched in sweat,
illuminated by occasional passing headlights.
135 INT. TIK-TOK FAMILY RESTAURANT - NIGHT 135
Sonu is fidgety as he waits in the abandoned restaurant. The

last few PATRONS stagger out and the ceiling lights begin to
flicker off.
An ELDERLY CLEANING LADY is wiping down the walls. She eyes

Sonu suspiciously.
CLEANING LADY
Sit outside. Lobby is 24 hours.
136 EXT. CITY - DAY BREAK 136
As day breaks, shafts of light peek through silver clouds,

illuminating the immense city beyond.
137 INT. HOTEL DIPLOMAT - SUITE - DAY BREAK 137
Vicky is half-conscious, lying horribly battered and bloody

on a plastic-covered sofa. The room is so bright, he can
barely see.
A group of HUMAN FIGURES are silhouetted against the flaring

windows, watching him. The sound of a distant aircraft echoes
through the hollow room.
VOICE
You promised us schoolgirls, Vicky.
Vicky squints, barely able to discern PK, who towers over

him like a shadow.
PK
Where is our delivery?
(long pause)
Your making me look bad in front of
my clients, Vicky.
PK gestures toward the BUSINESS CARTEL. The dark figures

remain still and silent, inspecting Vicky like statues.
VICKY
(pleading)
Uh, yes b-but... Nadia... PK saab,
don't do this. Not now, please. I
beg you. Don't do this to a friend -
85.
PK
Vicky, this is no way for pals to
talk to each other. I've always
been your pal, haven't I? Always
friendly, easy to get along with,
tossing the cash around. No?
VICKY
I-I can't operate. I don't have the
film and I don't have the cash.
Please. Let's work something out -
Vicky bends over, coughing, nearly choking. Blood spills

onto the floor in a little pool.
PK
Look, you're my kind of guy. I like
you, see? You're in a jam, and you
come to me, no? And I'm always there?
PK studies Vicky out of the corners of his shrewd animal

eyes.
PK (CONT'D)
You said, let's work something
out...so, okay. I'm fair.
(pause)
Let's work something out.
138 INT. TIK-TOK HOTEL LOBBY - DAY 138
As dawn spreads into daylight, Sonu is suddenly forced out

of his slumber.
BELL BOY
(loudly)
Sorry to wake you up. How are you
fellow?
He's been sleeping on a chair in the lobby, which now buzzes

with activity. Sonu stands up, groggy and red-eyed. He
gathers himself awkwardly. Then, suddenly, he sees her...
It's PINKY, accompanied by two ATTRACTIVE YOUNG WOMEN and

two BUSINESSMEN, all in tailored suits. Her hair is cut
differently and with that business suit, Sonu's not even
sure it's her.
Sonu watches, stunned, as she slides into the lift with the
entourage. He hadn't been expecting to see her, and her
appearance there makes no sense.
PINKY turns and sees him. She looks into his eyes with a
blank stare. The entourage begins to gaze at Sonu accusingly.
86.
Sonu turns away, unable to look at her. He's crushed,

humiliated, saddened. He just stands there frozen, looking
away as if he never saw her.
The lift doors close and she's gone.
139 INT. VICKY'S CAR - DAY 139
We are rushing down a Bombay road, listening to the hypnotic

spinning of tires on asphalt.
VICKY (O.S.)
It's bad, Sonu. Nothing else can
happen now because the worst has
already happened. You understand?
Outside the car windows, the late june sun is slowly roasting
the city.
Vicky's driving, depressed. His face is bruised and cut,

his eye swollen, his lip bloody. He looks like he's aged at
least ten years.
Sonu is stammering scared.
SONU
I-I don't know, Vicky. A Blue film.
That's fucking crazy - A triple X,
specially now! I mean, to get...
VICKY
(frantic)
Just listen to me, will you? PK's
given us one last chance. One last
goddamn chance, ok? No crew, no film.
We shoot on U-matic. Just you and
me.
Sonu drops his head on the window and doesn't speak for a
while.
Vicky checks the rear view mirror. A BLACK CAR is following

theirs at a discreet distance.
SONU
I-I don't feel too well.
VICKY
We need to keep moving, Sonu. If we
don't take this chance, we don't
have any chance at all.
Sonu looks pale. He shuts his eyes and rests his head on
the seat. A car roars by.
87.
VICKY (CONT'D)
I know it sounds wild... but I just
want to tell you, Sonu. Everything's
going to be all right. We always
make out pretty well in the end -
Sonu is distressed, he cuts him off.
SONU
But it's not bits, Vicky. A blue
film is out and out illegal. We've
never done it. We don't...even
know...
VICKY
If there's a chance of us being
caught, I wouldn't take it Sonu.
Trust me!
140 INT. WONDER WORLD VIDEO GAME PARLOUR - DAY 140
Sonu stands suspiciously in the cramped aisle of a dingy

video-game parlor, studying the GIRLS who walk past him with
supreme indifference.
Vicky turns up with a BURLY HUNK and a HAGGARD GIRL, both

grinning from ear to ear. The HAGGARD GIRL lights a cigarette
and smoke seeps out from the gap in her teeth. Vicky gives
his brother a swift look as he passes.
VICKY
(chatting)
Tomorrow at the party, the three of
us get together...
141 INT. VICKY'S CAR - DAY 141
The YOUNG COUPLE and the old CAMERAMAN are squeezed into the
back, the brothers get in front.
VICKY
(introducing the couple)
Meet Sonu, my brother. Say hello to
my new friends.
Sonu nods awkwardly. The HAGGARD GIRL ignores him and

continues greedily counting the money Vicky's given her.
VICKY (CONT'D)
Ok, Sonu. Get things warmed up. The
school uniform's in the trunk.
Jolly's on the way. Set up. Shoot.
You got to be out by nine.
SONU
Ok. But... I'm...Y-you want me to
direct? I don't even know the story.
88.
VICKY
Boy fucks girl. That's it.
(to the couple)
Hey, don't start yet.
The couple snigger crudely.
142 EXT. SHIP BREAKING YARD - DAY 142
At the eastern edge of Bombay, skeletons of rusted ships

sink into a murky swamp. Vicky pulls up in front of a row of
defunct barges. They get out and trudge through the bleak,
marshy landscape.
Sonu pauses, looking sickly. Vicky notices his uneasiness,

then puts his arm around him.
VICKY
C'mon, there's nothing to be afraid
of. How else do we get things back
on track? We'll make this happen
together, Sonu.
Sonu resists, he doesn't want to go into the corrugated tin-

shed in front of him. The HUNK, the HAGGARD GIRL and
CAMERAMAN wait for him up ahead, growing impatient.
As they stand there, a FAT SHIRTLESS MAN appears on the bow

of a rusted ferry. He stares in their direction. Both Vicky
and Sonu notice him.
VICKY (CONT'D)
Let's move. You're attracting
attention.
143 EXT. TIN SHED - SHIP BREAKING YARD - DAY 143
VICKY goes up the staircase first, followed by the BURLY

HUNK and the HAGGARD GIRL. Sonu and the CAMERAMAN toil up
behind them, lugging the U-matic recorder, camera and lighting
kit.
The old CAMERAMAN eyes the girl's buttocks. She's sweating,

her underwear peeks through her hot pants. He grins at Sonu.
CAMERAMAN
(panting)
Times have changed, eh?
144 INT. SHIP BREAKING YARD - TIN SHED - FRONT ROOM - EVENING 144
Vicky unlocks the musty, cramped shed and lets them all in.
At the edge of the door, he hands Sonu the key.
VICKY
I'll come back in an hour, alright?
(MORE)
89.
VICKY (CONT'D)
Mane's finally agreed to take the
handout. We can be up and running
in a month, Sonu! Then no more
worries, not being half out of our
minds all the time, wondering how
the hell to make ends meet -
SONU
Uh, h-hold it Vicky. Stay for a
bit, no? At least until Jolly shows
up?
VICKY
But I don't want Mane to think I
never showed up. We need him to -
(pause)
Ok, then you go. I'll stay here.
Sonu hesitates. There's a sickish feeling in his throat.
SONU
W-well, I - I don't know, but I
suppose -
VICKY
(irritated)
It's simpler I handle the cops.
Vicky makes a reassuring gesture and scampers down the stairs.

Sonu watches him, frowning faintly. Now right when he needs
confidence most, it's all draining away.
Just as he's about to enter himself, he looks at bow of the

rusted ferry again, where the FAT MAN had been standing
earlier. There's no one there.
145 INT. SHIP BREAKING YARD - TIN SHED - BACK ROOM - EVENING 145
The tin-shed is dark and filthy, stacked with somebody's

anonymous junk. The HUNK whispers to the GIRL, who turns to
Sonu.
HAGGARD GIRL
What is this, yaar, you should at
least have organized a mattress.
The HUNK whispers again.
HAGGARD GIRL (CONT'D)

And, uh, get the place cleaned up,
get a broom or something.
Sonu turns beseechingly to the cameraman.

90.
CAMERAMAN
Now, wait a minute, Sonu. I got to
look after this equipment. You go.
Sonu frowns, but goes toward the door anyway.
HAGGARD GIRL
And get us some drinks.
Through the glass partition we can see a hoard of POLICE

CONSTABLES outside in the HALL tearing through papers, files,
boxes, film reels. They're ripping the place apart,
destroying what's left of the DUGGAL office.
COP
Seal those boxes. Is the electricity
disconnected?
The phone rings. INSPECTOR MANE, in uniform, picks up the

receiver, looking guarded.
147 INT. PUBLIC TOILET - DAY 147
MANE enters an empty public toilet. He cautiously walks up

to the urinal. Vicky, wearing shades, is already there.
They stand side by side.
MANE
You put sunglasses on and come right
out in the open, you've got guts.
VICKY
What the hell good is it going to do
you to have me slapped in jail?
MANE
Vicky, you know it's not just about
letting some boobs through. A girls
dead. The big boys are giving orders
now.
VICKY looks annoyed, he takes off the sunglasses and goes

into a cubicle. Mane follows, standing by the open door.
Vicky's inside, kneeling, a briefcase lying on the closed
toilet seat.
VICKY
(offering cash from
the briefcase)
Look, a little -
MANE
(cutting him off)
It's worse than you think.
(MORE)
91.
MANE (CONT'D)
A bank clerk reported in. Your
brother's been dipping into your
account.
VICKY
What?
MANE
There's talk of him making a film
with your cash -
VICKY
(dismissing him)
Naah, c'mon, there's a rumor for
every inch of film in this business -
MANE
Wake up, Vicky. You're broke. Your
account's empty. See, he even
registered the title. Miss Lovely.
He thrusts the FIR in Vicky's face. Vicky scans it, stunned.

He steadies himself against the toilet seat. The INSPECTOR
then purses his lips.
MANE (CONT'D) (CONT'D)

What about your wife? Doesn't she
have a healthy bank balance? Maybe
her father can offer us something?
Vicky's head is swirling.
MANE (CONT'D) (CONT'D)

Any other relatives?
VICKY
(broken, mumbling)
G-give me a month, Mane saab -
MANE
God Vicky, please. I'm not interested
in theatrics. Only in the money you
owe us.
VICKY
(panicking)
T-two weeks. Two weeks, I promise...
MANE
(shakes head firmly)
Oh, I can't do that, Vicky! You
can't pay, I'm out.
Mane turns to leave, then feels bad for Vicky kneeling near
the toilet bowl.
92.
MANE (CONT'D)
Look. As a friend. They're sure to
haul you in before the weekend.
Make some holiday plans, ok?
MANE sighs, pats him on the back and leaves, looking

sympathetic.
Sonu enters amid clouds of dust, breathing hard. He dumps

the bag of booze and the broom on the floor. The HUNK and
HAGGARD GIRL have disappeared.
SONU
(confounded)
What's going on ? Jolly isn't here
yet?
The old CAMERAMAN is sitting cross-legged on the floor,

fiddling with the U-MATIC RECORDER like a child with a new
toy.
CAMERAMAN
Nice, real nice. Magnetic recording.
Video tape. It's the future, eh
Sonu?
SONU
Where the hell are they?
The CAMERAMAN waves a hand behind a corrugated sheet

partition. Sonu goes towards the partition, then stops in
shock. MOANING sounds can be heard.

Uh!
Sonu hurries back to the CAMERAMAN.

What the hell are you doing? Get
the camera, they're at it already.
The CAMERAMAN uncomfortably picks up his camera and positions

it at the bedroom door. Sonu watches, absorbed. The LOUD
PANTING continues.
CAMERAMAN
Uh, it's too dark. G-get the sungun.
149 EXT. SHIP BREAKING YARD - EVENING 149
The marshland has turned blood red in the dying light.
The tin-shed looks ghostly just perched there with the rusted
ships looming in the background.
93.
150 INT. SHIP BREAKING YARD - TIN SHED - BACK ROOM - EVENING 150
Sonu and the CAMERAMAN are crouched under a broken desk,

shooting the action from floor-level. The moaning grows
louder.
Suddenly, there is loud hammering on the front door. The

HUNK and the HAGGARD GIRL jump up in fright, pulling dirty
towels over themselves.
SONU
Sshh!
Sonu swallows hard, the banging stops. The actors and the
cameraman hold their breath, bathed in sweat.
Sonu tiptoes down the hall, not making a noise - Suddenly he

sees a face in the dirty window. A horrifying, broad face -
eyes wandering in all directions.
Sonu screams. The banging resumes with a vengeance, this

time it sounds like three or four fists. The metal clanging
is so loud, the tin-shed sounds like it could collapse.
The dark living room is suddenly bright as day. Four or

five vehicles are beaming their headlights in from the vacant
bog outside. The door crashes open.
POLICEMAN with sticks charge in roaring. There is mayhem.

The CAMERAMAN is clobbered against the corrugated tin. The
HAGGARD GIRL screams.
COP
You there! Stop bastard!
The HUNK runs out of the back, half clothed. Sonu clambers
out the living room window, onto a roof. He doesn't stop.
152 EXT. SHIP BREAKING YARD - EVENING 152
The cops chase Sonu through the swamplands and past the
decaying ferries. The HAGGARD GIRL is running, screaming,
plodding through filth and water. The cops chase them,
hollering.
Sonu stumbles and staggers. Soon they are all over him,
slapping him, pulling his clothes and hair. Shaking him
like a dog shakes a rat. Sonu screams in terror.
Sonu and the CAMERAMAN, bruised and handcuffed, are crushed

into a police van. The HUNK has his head in his hands. THE
HAGGARD GIRL is crying hysterically, being roughly treated
by a constable.
94.
CONSTABLE
Shut up, whore!
153 EXT. ANDHERI POLICE STATION - NIGHT 153
An unruly crowd has gathered outside the police station.
Sonu and the other THREE PERPETRATORS are hauled out of a

police jeep, their heads covered with BLACK HOODS. Flash
bulbs go off.
154 INT. ANDHERI POLICE STATION - INTERROGATION ROOM - NIGHT 154
A harsh light is turned on. Sonu sits on a metal chair,

squinting. He is gaunt, unshaven - a complete wreck. Voices
and grunts lash out from the shadows.
A bunch of COPS are huddled together more interested in the

cricket match on TV than in him.
The game gets dull. Their attention drifts over to Sonu.
SUBINSPECTOR SHARMA
We got you cold, Duggal.
SUBINSPECTOR GAWLE
(walking over)
Tell the truth kiddo, we'll make it
easy on you...
Sonu sags into the chair, terrified.
SONU
No-No! Please. I-I need one more
phone call. Just get my brother here -
he'll -
SUBINSPECTOR SHARMA
(laughs out loud)
I told you. We want him here just
as much as you do.
Sonu looks devastated.
SUBINSPECTOR SHARMA (CONT'D)

(grinning)
The way I see it, he stuck his neck
out and yours got stepped on.
SUBINSPECTOR GAWLE
Ok Duggal - tell us why you killed
the girl -
SONU
N-no! You got it wrong! I told you -
95.
SUBINSPECTOR GAWLE loses patience. His fingers knot around

Sonu's shirt and he yanks him violently off the chair.
SUBINSPECTOR GAWLE
(threatening)
You're gonna talk or not, Duggal?
He slaps him hard across the face.
SUBINSPECTOR GAWLE (CONT'D)

(barks)
Filthy pervert! You forced her to
do bits and then killed her!
SUBINSPECTOR KHEDKAR
(poking Sonu with a
cane)
You have no respect for our wives
and daughters, eh? No respect for
Indian culture?
Sonu closes his eyes and clenches his jaw as they slap him
again. The camera holds.
SUBINSPECTOR SHARMA (O.S.)

It's a sickness that he has. You
can see it on his face. Look at
him!
Sonu is forced back onto the chair. He is made to hold a

pen. A piece of paper is shoved in front of him.
SUBINSPECTOR KHEDKAR
(barks)
Confess, pig!
INSPECTOR MANE is leaning against the wall, one eye on the

TV, watching a funny Natraj Pencils ad. He doesn't want any
part of what's going on.
155 INT. TAXI - MORNING 155
Vicky circles around the police station, watching from a

distance. He mops his sweaty brow, looking desolate.
He can feel the tears welling up.
CUT TO
156 MONTAGE SEQUENCE 156
ILLUSTRATED WEEKLY-style photographs appear, with black bars

over eyes. This is followed by grainy, naked bodies blackened
out with markers. A passport image of SONU is held on screen.
96.
DOORDARSHAN TV VOICE (O.S.)

This man - Sonu Ram Duggal - if you
can call him a man - has corrupted
the morals of decent college-going
youths, and has perverted innocents,
scarring their minds forever. But
there is a worse danger, a danger to
all society.
We see images of arrests, handcuffed girls shielding their

faces and a title card that reads: PERVERSION FOR PROFIT
157 INT. HOTEL DIPLOMAT - SUITE - DAY BREAK 157
A MAN - seen only from behind - stares at a fuzzy black and

white UPTRON TV. A dolled-up image of NADIA appears on
screen, interspersed with photos of her decapitated body.
DOORDARSHAN TV VOICE (O.S.)

The recent tragic case of Nadia Khan
establishes the sinful relationship
between these depraved entertainments
and violence of the most sickening
nature. Yes, blue films - the kind
of films made by the accused - blue
films cause people to commit murder.
Horrible murder. In the end, young
Miss Nadia paid with her life for
the very passions she aroused.
The TV drones on.
A hand dials a telephone number.
158 INT. DUGGAL RESIDENCE - EVENING 158
The phone rings in a middle-class living room. Two KIDS,

approximately 8 and 10 years old, wrestle on the floor.
A WORN-OUT HOUSEWIFE, comes rushing to the phone.
HOUSEWIFE
(screaming at kids)
Stop it! I'll whack you, Bunty.
She grabs the receiver, then hesitates.
HOUSEWIFE (CONT'D)
Hello? Yes, this is Vicky Duggal's
wife.
She looks over, resentfully. Vicky's frowning, leaning

against a wall, smoking a cigarette, thinking.
97.
159 INT. JAIL CELL - HOLDING PEN - EVENING 159
Sonu sits completely still, like a sculpture. In the

darkness, we see that he's in a jail cell crammed with
motionless bodies. Many are asleep, others brood in quiet
isolation.
A PRISONER sits across from Sonu, making freakish faces,

trying to get his attention.
PRISONER
(whispering)
P-please sir - one chance?
Sonu is mystified. Before he knows what's hit him, the

PRISONER is doing a deranged and frightening performance - a
melodramatic rendition of Rajesh Khanna in Amar Prem. The
man, a failed actor, is clearly disturbed, and his bizarre
performance spirals out of control. Sonu covers his ears -
he can't bear it. The prisoners begin to wake up. The man
continues, his theatrics encircling Sonu, driving him crazy.
SONU
Shut up! SHUT UP!
PRISONER
(overwrought)
..Pushpa, wipe your tears! Wipe
your tears - I can't see you cry!
The prisoner continues, raving, not meaning to taunt him.

Sonu sobs out loud, clenching his teeth, covering his ears...
SONU
God, I can't stand it. I CAN'T STAND
IT. SHUT UP!
Some of the other prisoners begin to snigger. Sonu's helpless

shrieking turns him into someone else. He rocks back and
forth, looking insane.
160 INT. PRISON CORRIDOR 160
TITLE - ARTHUR ROAD JAIL, SUMMER 1990
The sound of laughing, jeering and shrieking blend together

and float through the empty corridor. The GUARDS hear the
racket and come rushing toward the cell.
161 INT. JAIL DETENTION ROOM - EVENING 161
Sonu is being violently whacked with a strap by TWO GUARDS.
GUARD
Son of a bitch! Bastard, you're
gonna fuckin' do that again...?
98.
SONU
Damn you...
They keep whacking him. DR. DAS, An elderly jail doctor, is

watching the proceedings, unimpressed.
DR. DAS
I said enough! You'll kill him.
Unfasten him now.
GUARD
We SHOULD fuckin' kill him!
The guards are panting, mopping the sweat from their faces.
162 EXT. AJMER TRAIN STATION - DAY 162
The small-town station is desolate. The camera tracks with

PINKY as she walks at the edge of the platform. A train
passes behind her.
She looks up. Vicky is standing on the opposite side, glaring

at her. She freezes in fear.
163 INT. JAIL DETENTION ROOM - DAY 163
Sonu lies on the cold steel bed, shivering with a fever.

DR. DAS applies disinfectant on his back with a piece of
gauze. He let's out a gasp.
DR. DAS
(grim)
How much longer you going to go on
like this?
Sonu looks broken.
DR. DAS (CONT'D)

I know it's hard to take, no letters
or phone calls, Sonu. But you're
stuck here.
(pause)
See, there was a bit of sympathy for
you when you first came in. You
weren't a criminal in the true sense
of the term -
Sonu shuts his eyes. DAS stares at the floor, frowning,

scraping his foot against a crack in the tile.
DR. DAS (CONT'D)

Tell me. Did you kill the girl,
Sonu?
99.
SONU
(faint)
No! I told you. T-there was no
connection...
DR. DAS
Well, I don't want them to hang you,
that's all. They're pushing for a
capital case - the death penalty.
That's not good.
(pause)
Now if it was just a blue film, that's
different. But with the girl's
killing...both together, God -
Sonu starts weeping uncontrollably. Das watches him for a

moment, wagging his head.
DR. DAS (CONT'D)

Maybe there's another way.
(stares at him)
Maybe you should plead insane. That
should be possible to prove.
164 EXT. CITY MONTAGE 164
TITLE - SUMMER 1992
An old cinema is being knocked down, and in the distance,

newly-constructed office towers are visible. Television
dish antennas crowd the rooftops. Workers are taking the
neon sign off SUPER 9 DISCO.
It begins to rain. Movie posters peel away, drenched in the

heavy downpour.
165 INT. JAIL CELL - EVENING 165
Outside a tiny little window, rain pours down in sheets.

Sonu lays on his metal bunk, his face is thinner, his eyes
sadder. He's grown a beard and his hair is turning gray.
A TURNKEY walks past clanging on the cell bars.
They switch off the lights. Sonu lays in the darkness for a
moment, listening to the rain. Then he turns his back to
camera and remains there in total stillness.
In the faint light of the corridor, a YOUNG WOMAN walks toward

the jail cell.
166 INT. JAIL CELL - NIGHT 166
The YOUNG WOMAN walks cautiously through the shadows into

the murky room. She's barely visible in the dull light.
100.
PINKY
(whispering)
Mmm. Sonu, is that you?
She comes close to him, touches his face. He strains to see

her in the darkness. Pinky's fingers run over his lips, his
eyelids.
PINKY (CONT'D)
Oh Sonu, I missed you so much.
SONU
(mystified)
Shhh! What are you doing here -
PINKY
(hushed tones)
I had to see you. I never want to
leave you again.
He holds her face, a tear drops out of her eye.
PINKY (CONT'D)
Sonu, we are going to be happy, aren't
we?
SONU
(whispering)
It's all right. I'm happy right
now.
Pinky is silent for a moment, then she smiles mysteriously.
Sonu reaches for her, holds her tight. Sonu runs his hands
through her hair, but her hair is all bloody. Blood leaks
onto the floor. She feels dead against his shoulder. He
pulls away horrified. Pinky is now Nadia - lifeless, her
neck slit, covered in blood. Sonu is horrified. He drops
the dead body. When he looks again, Nadia has been replaced
by the HAGGARD GIRL. She speaks in Pinky's voice.
HAGGARD GIRL
Don't leave me, Sonu.
167 INT. JAIL CELL - EVENING 167
Sonu wakes up with a fright, looking wretched, shaking and

coughing.
There's a little rattle, then the cell door swings open.

Dr. DAS and a WARDEN step in.
DR. DAS
God, Sonu, you look like hell.
WARDEN
Ok, you ready? We got good news.
101.
DR. DAS
The best in the world. Well, here,
read it yourself.
DAS hands Sonu a paper. The story is tucked into one of the
back pages. There's a picture of Nadia sitting in GOLA's
lap - a party picture from the old days. The headline reads:
DISTRIBUTOR HELD IN SEX ACTRESS MURDER
The WARDEN and DR. DAS smile warmly at Sonu.
DR. DAS (CONT'D)

You're going to be free Sonu!
Sonu stares at them blankly - he doesn't respond.
DR. DAS (CONT'D)

Uh, maybe we should have a talk first,
see that you leave with the right
perspective -
SONU
(weakly)
B-but I don't want to go. I want to
stay here for as long as I live.
168 EXT. JAIL EXTERIOR - DAY BREAK 168
TITLE - JANUARY 25th 1993
Sonu is dragged out into the jail compound forcefully. He's

back in his old clothes, but almost unrecognizable with his
scraggily beard.
SONU
(fighting)
I'm coming back! A man has to be
someplace. I belong here, you can't
throw me out! YOU CAN'T!
A GUARD ignores his fit, hurling his things on the ground.
SONU (CONT'D)
NO! I'm not...
GUARD
What the hell? You got your junk -
now hit the street!
169 EXT. BOMBAY STREETS - MORNING 169
The streets are abandoned. The landscape is strange, smoggy,

almost dream-like.
The camera tracks with Sonu as he walks past a row of boarded-

up shops, mystified. A tarpaulin flutters noisily, stirring
up a great flock of crows perched on the roof.
102.
He walks past a burnt car - still smoking.
170 EXT. DUGGAL BROTHERS OFFICE - DAY 170
Sonu rings the doorbell of their old office. A STRANGE FACE

opens the door a crack, suspiciously.
SONU
Uh, Duggal Cine Combine?
The door slams shut in his face.
171 EXT. AURORA STUDIOS BACKLOT - AFTERNOON 171
Sonu enters the old studio cautiously. He stands at the

mythological set where Pinky once danced. It's abandoned,
ghostly. Somebody put up a clothesline and is now drying
sheets there.
Sonu hears a voice behind him.
AFRICA
Sonu fuckin' Duggal. Holy Christ!
SONU
A-Africa?
He hugs Sonu warmly.
AFRICA
Call me Amos, ok? My real name. It
sounds more... professional. My
card. I'm casting now. Straight
stuff, y'know, family entertainment.
(pause)
You... ok?
Sonu gazes up dizzily at the skyscrapers.
AMOS
I haven't seen the old crew. Not
since the riots, anyway. And who
shoots films anymore? It's all TV
now.
(pause)
Hey, but you know who I did see?
That girl you were going with...
what's her -
SONU
(softly)
P-pinky?
AMOS
Yeah, Yeah. She's shooting at Bobby -
the same studio I work at. She looks
good, man!
103.
Amos stares at Sonu, who sits down on the single unbroken

swing in the garden, thinking.
AMOS (CONT'D)
(sympathetic)
Had a pretty rough time of it, haven't
you, Sonu?
172 INT. POONAM'S APARTMENT HALLWAY - DAY 172
A bird chirps somewhere inside Poonam's flat.
POONAM opens it, stunned. She looks older but is still as

tarty as ever.
POONAM
My God...
173 INT. POONAM'S APARTMENT - DAY 173
She's made him tea. He sips it awkwardly, like a man using

a teacup for the first time in his life.
POONAM
(chattering away)
So it was Swamiji who gave me respect
and honor. He changed my life in a
split second. He taught me to hate
immorality and filth -
She looks over at Sonu. He's mesmerized with a hummingbird

that flies around in a cage.
Poonam doesn't like the way he's behaving. She begins feeling
uncomfortable.
POONAM (CONT'D)
Uh, you don't want to see Vicky?
SONU
(muttering)
It's all right. It doesn't matter.
POONAM
Look, I'm sure he would want to see
you. I have his new address.
(pause)
But do me a favour, please?
SONU
What?
POONAM
Promise me you'll never come back
here again.
104.
174 INT. GLAMOUR VIDEO - DAY 174
In a cramped industrial office, surrounded by video recorders,

TWO VIDEO TRANSFER BOYS are duplicating pornographic VHS
tapes.
Vicky walks past an aisle of monitors. He's aged badly and

walks with a little hunch. As he crosses into a cabin, he
stops dead in his tracks, bewildered, not knowing quite what
to think.
Sonu is standing on the other side of the glass partition.
VICKY
I don't believe it. Sonu, it's good
to -
Vicky reaches toward his brother, intending to embrace him.

But Sonu takes a step back, lowering his eyes to conceal
their contempt.
SONU
Y-you just deserted me, Vicky.
VICKY
(bitter)
Sonu, you stole from me. You never
gave a damn about what I had to go
through. How hard -
SONU
I-it was hard here! You tell me it
was hard here!
VICKY
Ssh now. Sonu. I've stopped thinking
about it. It's over, Sonu. I shut
down that goddamn film combine. The
thought of it makes me sick.
Everything is video now. No
investment, pure profit.
(pause)
I know that girl made you do it,
Sonu. Oh but she paid back -
SONU
(in disbelief)
W-what girl? Pinky?
Vicky looks at him wide-eyed.
VICKY
My lord. You still stuck on her?
SONU
No, No. I-I just wanted to know -
105.
Vicky begins rummaging through a cabinet, recklessly.
VICKY
Where the hell is it? I hoped you
had gotten her out of your system.
Well, she's certainly got you out of
hers…
(pause)
She married Joshi, y'know… the music
composer..
SONU
(perplexed)
Married...
VICKY
(chuckles softly)
Oh yes, yes. She saw the right guy
and latched right on.
(pause)
But she paid back, alright, gave me
a start in the business.
SONU
Business...?
VICKY
Well, Sonu. I was telling you this
all along. All the caresses and the
whisperings and the promises -
Vicky raids another cupboard, then finally pulls out a VHS

tape. He pops it into the deck.
VICKY (CONT'D)
I know you think I'm still giving
you bull on that babe, so take a
peek at this...
He flips a switch. The multiple TV monitors come to life.
Tacky video titles read: "MISS LOVELY". The tape is hissy

and we hear Vicky's offscreen voice talking to a girl in a
towel with her back to camera, "Take it off.. oh that's very
nice... yeah"
VICKY (CONT'D)
She's just what I said, huh? I wasn't
lying, was I?
It's Pinky in a blue film. Vicky is the male partner. He

also seems to be the only other person present, operating
the video camera clumsily. She giggles into the lens. It's
like she's smiling at Sonu, inviting him...
PINKY
You think I'm pretty?
106.
Sonu watches the tape, expressionless.
SONU
(inaudible)
No.
VICKY
Always been an actress. Aah, look
at that… A leopard doesn't change
it's spots.
The phone rings. Vicky sits down at his desk to answer it.
The tape continues and Sonu watches, dumbfounded as Pinky
lays docile under Vicky's hungrily groping hands.
VICKY (CONT'D)
(everyday phone
conversation)
...No. I already gave Sajid the
money. Yeah..
On the monitor, Pinky looks at Sonu, the way Rani had many
years before. Vicky pulls her sweaty body under his. She
moans.
Vicky puts the phone down and turns to his brother.
VICKY (CONT'D)
(ending call)
Man, Sonu, getting cash out of -
Before he can finish his sentence, Sonu grabs a VHS player

and swings it into his face. He clobbers Vicky in a manic
fit of soul-sickening rage - repeating the action again and
again.
The next ten minutes is a nightmare. A confused and hideous

dream. Vicky is bleeding from the head, his hands flailing.
Sonu has the cord wrapped around his neck and is choking
him. He can't stop the hate and frustration that's been
seething inside him. Vicky clutches onto Sonu, gasping and
clawing. He makes monstrous sounds as blood spurts everywhere.
Then Sonu's pleading and apologizing, choking back the sobs,

hysterically trying to bring him back to consciousness.
The tape hisses away on the monitors as Pinky continues her

performance, occasionally degenerating into fields of static.
The VIDEO TRANSFER EMPLOYEES look on horrified at Vicky's

body, twitching on the cheap Kashmiri carpet.
Sonu backs out of the room, stumbling, covered in blood.

107.
175 EXT. SIDE STREET - EARLY EVENING 175
The side street outside the industrial estate is tranquil.

Cicadas make a racket in the trees.
People on the street look on terrified as Sonu comes running

blindly down the narrow alley. But there's no place to go.
He's deserted - and the wilderness is all around him now.
176 INT. POONAM'S APARTMENT - DAY 176
The phone rings in Poonam's apartment. She rushes to pick

it up.
POONAM
(hesitating)
Yes, this is she...
She moves from confusion to shock without making a sound,

mouth open, face showing the devastation we can only imagine.
177 INT. BOBBY FILM STUDIO CORRIDOR - EVENING 177
The camera tracks at floor level - along with a pair of legs

in a golden dress that strides across a sound stage.
178 INT. BOBBY FILM STUDIO CORRIDOR - EVENING 178
Although Sonu is covered with blood when he pushes into the

narrow studio corridor, he now walks with a strange sense of
calm. Extras mill around, some cast strange glances at him -
not sure if he too is an actor.
179 INT. BOBBY FILM STUDIO - EVENING 179
A music video shoot is in progress in the cramped, humid

studio. The set feels like a cabaret from an old Bollywood
production, but re-worked for the 1990s. Extras dressed as
"guests" sit around on tables watching the floor show,
clapping to the music.
The song is a upbeat pop number with just the right tinge of
sadness.
SONU strides onto the studio floor, pushing past extras and
crew members.
PINKY makes her entrance, shimmering in a golden dress on

the little stage, lip syncing to the song. Nobody can take
their eyes off her. PINKY flirts with the crowd, winking,
inviting them to come and dance with her.
Her eyes look past Sonu. From her empty gaze, it's clear
that he might as well have been invisible to her.
108.
SONU (V.O.)
It was like a beautiful dream. At
last, two love hungry souls united.
(pause)
And there's nothing to be done about
it now, of course, but you can't
stop thinking. You can stop
wondering... I mean, how did she
get there? Where did she come from?
(pause)
I never even knew her name.
(pause)
But she was all I had, you see. All
I'd got for all I'd done.
Sonu stands there, immobile - watching her. He is bathed in

a slowly pulsating red glow that intermittently hides and
exaggerates the blood on his clothing.
Sonu's frown disappears, his eyes soften, he's filled with

tenderness. For the first time in years, he smiles.
SONU (CONT'D)
Miss Lovely. I know there's a story
there. If only I could work it out
properly.
She's already distant, shining on that stage like the star

she was always meant to be.
--------------
END

Script of Ashim Ahluwalia S Miss Lovely

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MISS LOVELY

Based on a story by Ashim Ahluwalia

WGA REGISTRATION #1232685

(c) 2008 Future East Film

A flash of lighting reveals a TEENAGE GIRL, fast asleep. Her

A gust of wind blows a window open. The girl wakes up with

The curtains are motionless again. Then, from beneath her

She slowly peers under the wooden frame. Nothing. Then

Monstrous sounds continue as blood spurts everywhere,

2 INT. DIAMOND TALKIES - LOBBY 2

A MAN, seen in silhouette, enters a rundown cinema carrying

3 INT. DIAMOND TALKIES - PASSAGE 3

The man arrives in front of a heavy door and hesitates. In

4 INT. DIAMOND TALKIES - PROJECTION BOOTH 4

An unshaven, ratty OLD PROJECTIONIST unbolts the door. Sonu

The projectionist roughly inserts Sonu's reel into the second

5 INT. DIAMOND TALKIES - ANGLE ON THE CINEMA SCREEN 5

On screen, the horror scene is abruptly cut off, rudely

Suddenly we see POONAM, an aging actress, writhing on a heart-

6 INT. DIAMOND TALKIES - THEATER 6

An AUDIENCE of sweaty men break into loud WHISTLING &

MUSTACHIOED MAN (O.S.)

7 INT. DIAMOND TALKIES - PROJECTION BOOTH 7

TITLE - AJMER, JUNE, 1986

Sonu and the Projectionist stare through the booth windows

8 INT. DIAMOND TALKIES - OWNER'S OFFICE - NIGHT 8

The DIAMOND TALKIES OWNER, an obese, repulsive man, wipes

DIAMOND TALKIES OWNER

DIAMOND TALKIES OWNER

The distant audience roars inside the movie hall.

DIAMOND TALKIES OWNER (CONT'D)

He pushes the pile towards Sonu, who begins counting it.

Midway, Sonu stops. For a moment, he looks worried. Then he

The owner watches as he fumbles.

DIAMOND TALKIES OWNER (CONT'D)

9 INT. DIAMOND TALKIES - HALLWAY - NIGHT 9

Sonu leaves the office clutching the suitcase. He picks up

10 EXT. DIAMOND TALKIES FACADE - NIGHT 10

Sonu hurries out of the shabby cinema, down the stairs.

11 INT. DIAMOND TALKIES - OWNER'S OFFICE - NIGHT 11

The OWNER is surprised to see GOLA'S RUNNER burst through

He cracks open his suitcase, revealing two cans of film.

GOLA'S RUNNER (CONT'D)

The owner stares at him, puzzled.

DIAMOND TALKIES OWNER

12 EXT. AJMER STREETS - NIGHT 12

Sonu looks tense, his face glistening with sweat. He lights

Behind him something flutters. Sonu walks faster, then turns

Someone turns on a faraway radio and an old ghazal wafts

13 EXT. AJMER TRAIN STATION - LATE NIGHT 13

The small-town station is deserted. Without warning, a foghorn

14 INT. TRAIN COMPARTMENT - LATE NIGHT 14

Sonu shoves his way through a bottleneck in the muggy

Unsettled, Sonu finally locates his seat. With damp, trembly

Across from him, a beautiful YOUNG WOMAN of about 20 is saying

15 EXT - TRAIN - LATE NIGHT 15

The train cuts through a night landscape. Beyond the dark

16 INT. NIGHT QUEEN TRAIN COMPARTMENT - LATE NIGHT 16

Although he tries not to stare, Sonu steals quick glances at

She gazes out of the window, vacant, her eyes glistening

17 POV. TRAIN - EARLY MORNING 17

Daybreak. Fields give way to barren industrial towns.

TITLES BEGIN: Miss Lovely