A Passage to India Page #5

Synopsis: Circa 1920, during the Indian British rule, Dr. Aziz H. Ahmed was born and brought up in India. He is proficient in English, and wears Western style clothing. He meets an old lady, Mrs. Moore, at a mosque, who asks him to accompany her and her companion, Adela Quested, for sight-seeing around some caves. Thereafter the organized life of Aziz is turned upside down when Adela accuses him of molesting her in a cave. Aziz is arrested and brought before the courts, where he learns that the entire British administration is against him, and would like to see him found guilty and punished severely, to teach all native Indians what it means to molest a British citizen. Aziz is all set to witness the "fairness" of the British system, whose unofficial motto is "guilty until proved innocent."
Director(s): David Lean
Production: Sony Pictures Entertainment
  Won 2 Oscars. Another 19 wins & 26 nominations.
 
IMDB:
7.4
Rotten Tomatoes:
81%
PG
Year:
1984
164 min
879 Views


No. And far too many people.

- Would you like something to drink?

- Oh, thank you.

I suppose, like many old people,

I sometimes think

we are merely passing figures

in a godless universe.

Get me some water.

Oh.

- There you are.

- Thank you, my dear.

I didn't know you'd gone. Now, now.

We should be thinking of moving on

before the sun gets too high.

Do forgive me, Dr Aziz.

I'm rather tired, so I think I'll stay here.

I've never been a good walker, and you

two will get on much better without me.

Dear Mrs Moore, nothing to forgive.

You're right. It is quite a big climb.

And I'm glad you're not coming,

because you're treating me

with true frankness, as a friend.

I am your friend.

- So may I make a suggestion?

- Of course.

Don't take quite so many people with you

this time. You'll find it more convenient.

- It does get rather crowded.

- Exactly, exactly.

We shall take just the guide. Right?

Quite right. And enjoy yourselves.

It's almost a mirage.

Dr Aziz,

may I ask you something

rather personal?

- You were married, weren't you?

- Yes, indeed.

Did you love your wife

when you married her?

We never set eyes on each other

until the day we were married.

It was all arranged by our families.

I only saw her face in a photograph.

What about love?

We were a man and a woman.

And we were young.

Dr Aziz,

did you have more than one wife?

One. One, in my case.

I'll be back in a moment.

(both speak Urdu)

- Miss Quested!

- (echo)

(rumble)

Miss Quested!

Miss Quested?

Miss Quested?

(rumble)

- What's happened?

- Elephant taking bath, memsahib.

Something else.

(sobs)

Miss Quested!

Miss Quested!

Miss Quested!

Miss Quested?

Fool!

(car horn)

- Morning, Mrs Moore.

- Mr Fielding.

So sorry about this morning.

Everything going well?

Have you seen Miss Quested and Dr Aziz?

No. I've just walked up from the road.

I'm dying for a drink.

Be with you in a moment.

Good Lord!

Oh, Mr Fielding, I'm so glad you're here.

Oh, I was coming over to you.

Nothing wrong?

Not exactly. But they went off with

the guide an hour ago - more, in fact -

and somehow...

I don't know this place,

but I'm sure they'll be back soon.

Fielding! Fielding!

Fielding. Fielding, I've so wanted you.

- Where is Miss Quested?

- What is it?

She went down the road.

I think she met Mrs Callendar.

- It looked like her car.

- Of course it was her car.

- She drove me here.

- Oh.

Why did Miss Quested

go off with Mrs Callendar?

I don't know.

But, Dr Aziz, when did you part with her?

I don't understand.

Nor do I. I went round the corner

to have a cigarette...

And?

Then the guide couldn't recall

which cave she'd gone into.

So I looked in all the caves,

and when I came out of...

I think it was the third cave,

I... I saw these.

And then - I think it was then -

I heard the car.

So I ran over to the edge

and I saw Miss Quested getting in.

And... and then she drove away

with Mrs Callendar.

That's all.

And these.

I think we'd all better go back.

Oh, Mrs Moore...

Our great day is in tatters.

I will never forgive myself.

Hassan!

Selim!

Aziz is an innocent.

Something else must have happened.

Of course something else happened.

This is a dangerous place

for new arrivals.

(sobbing)

Now lie back, dear.

Do your best to relax.

You'll be better very soon now.

After we've seen off Mrs Moore, I'm going

to take you back for a good stiff drink.

Here we are.

Good Lord, quite a crowd.

Dr Aziz, it is my painful duty to arrest you.

- What on earth are you talking about?

- Sir, I am instructed not to say.

Produce your warrant.

Sir, excuse me. No warrant is required

under these particular circumstances.

- Please refer to Superintendent McBryde.

- We certainly will.

Come along, old chap.

Some ridiculous mistake.

Dr Aziz, will you please come?

A closed conveyance is in the yard.

For God's sake!

Never, never act the criminal.

McBryde's a decent fellow.

We'll see him together.

But my children, my name...

Nothing of the sort.

We're coming, Mr Haq.

- What is it?

- Come. I've got a car waiting outside.

That's Mr Fielding's

and Dr Aziz's compartment.

- I'll explain outside.

- I can't leave without speaking to them.

Please come along, Mother.

I know what I'm doing. Make way, please!

Come on.

Take my arm. I'll see you through.

Fielding!

Fielding, I want a word with you.

Please... Please don't leave me.

I have to go. I'll be with you

as soon as I possibly can.

- Please, Mother, come along.

- I will not!

Something very terrible is happening.

- Absolutely impossible. Grotesque.

- I'm afraid not.

But who brings this infamous charge?

Mrs Callendar, who witnessed

the poor girl's flight down the ravine,

and the victim herself.

Miss Quested accuses

Dr Aziz of attempted rape?

- Yes.

- Then she's mad.

- I cannot pass that remark.

- I'm sorry, sir.

But the charge must rest on

some dreadful misunderstanding.

- Five minutes will clear it up.

- It does rest on a misunderstanding.

I've had 25 years' experience here. I have

never known anything but disaster result

when English and lndians

attempt to be intimate.

(door slams)

Oh, I hate these damned festivals.

I'll be glad when it's over.

Always have a feeling

they might go over the top.

You have a visitor.

I think I'll be off. See you tonight.

She hit him with these.

That's how she escaped.

If he had assaulted her, he'd scarcely

bring the evidence back with him.

- Doesn't surprise me.

- I don't follow.

When you think of crime,

you think of English crime.

The psychology's different here.

And particularly in regard to women.

I've been going through his wallet.

Here's a letter from a friend

who apparently keeps a brothel.

I don't want to hear his private letters.

It'll have to be quoted in court

as bearing on his morals.

Our respectable young doctor

was fixing up to see tarts in Calcutta.

Oh, come on.

You may have the right to throw stones

for that sort of thing, but I haven't.

- Tell them to wait.

- Sir.

Aye, it starts already.

Vakil Hamidullah and Mahmoud Ali,

legal advisors to the prisoner.

Where is Miss Quested now?

Staying with the Callendars

until she's out of danger.

- What danger?

- She has a fever.

But worse, hundreds of cactus spines

are embedded in her arms and legs.

There's a danger of them

entering the bloodstream.

Yes.

Her scramble down that ravine

was so precipitate

it started a small avalanche of stones

which stopped Mrs Callendar's car.

She hooted, thinking work was

going on above, and then she saw her.

She had got among some cactuses

and was beginning to panic.

I suppose there's no possibility

of my seeing Miss Quested?

She's in no state to see anyone.

Callendar's sedated her and proposes

to keep her like that for days.

- He's worried about shock.

- I see. But afterwards?

Why on earth do you want to see her?

I want to ask her if she's certain,

dead certain, that it was Aziz.

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David Lean

Sir David Lean, CBE (25 March 1908 – 16 April 1991) was an English film director, producer, screenwriter and editor, responsible for large-scale epics such as The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965) and A Passage to India (1984). He also directed adaptations of Charles Dickens novels Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945). Originally starting out as a film editor in the early 1930s, Lean made his directorial debut with 1942's In Which We Serve, which was the first of four collaborations with Noël Coward. Beginning with Summertime in 1955, Lean began to make internationally co-produced films financed by the big Hollywood studios; in 1970, however, the critical failure of his film Ryan's Daughter led him to take a fourteen-year break from filmmaking, during which he planned a number of film projects which never came to fruition. In 1984 he had a career revival with A Passage to India, adapted from E. M. Forster's novel; it was an instant hit with critics but proved to be the last film Lean would direct. Lean's affinity for striking visuals and inventive editing techniques has led him to be lauded by directors such as Steven Spielberg, Stanley Kubrick, Martin Scorsese, and Ridley Scott. Lean was voted 9th greatest film director of all time in the British Film Institute Sight & Sound "Directors' Top Directors" poll in 2002. Nominated seven times for the Academy Award for Best Director, which he won twice for The Bridge on the River Kwai and Lawrence of Arabia, he has seven films in the British Film Institute's Top 100 British Films (with three of them being in the top five) and was awarded the AFI Life Achievement Award in 1990. more…

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