City of Joy Page #5

As before, Hasari tries to engulf the rest of his familyin the protectorate of his arms. In the b.g., Arun andhis family.

ALOKA:

These friends have found space.

They will share with us.

Hasari looks at the tiny space. The roof is cardboard

and cloth and half an old movie poster featuring theactor Kumar Kapur. Hasari looks at his tiny bit offood, debates a moment... then puts his hands together,

addresses these generous people.

HASARI:

I would be proud if you wouldshare our food with us.

Everyone looks at the food; there is no disguising theirhunger.

22.

EXT. BRIDGE - NIGHT

Distant transistor MUSIC as we PAN DOWN: The Pal

children sleep despite the QUIET MOANS and nightmareCRIES around them, the two boys huddled together, Amritaclose to her mother.

Hasari comes out of the dark. Aloka looks at him. He

shakes his head. He slumps beside her. Aloka strokes

Hasari, looking lovingly at him.

ALOKA:

I remember the first time I saw

you, on the day of our marriage.

Wearing a bright yellow turban.

You asked me my name and you said,

'You are a very beautiful girland I am wondering whether youwill find me appealing.'

He strokes her tenderly in return... but now, overwhelmedwith despair, she begins to weep.

HASARI:

What?

She doesn't want to say it, doesn't want to wake thechildren.

HASARI:

It's all right -- what?

ALOKA:

I miss the village. There I

could help.

Hasari pulls Aloka close, strokes her.

EXT. GREEN ACRES - NIGHT

The sky turns red. The Porter looks up, shakes his head:

Poor young man, stuck with only a trumpet for company.

INT. MAX'S ROOM

Max sits on the floor in a corner and plays as we hearthe sound of a fierce WHISTLE and a SCREAMING ENGINE.

EXT. SETTLEMENT - CLOSE ON BULLDOZER - DAWN

A gigantic earthmover lurches into position.

23.

ANOTHER ANGLE:

Swarming police.

PALS:

Awaken -- startled, disoriented. Aloka gentles thechildren as Hasari moves instinctively toward the threat.

SCENE:

A black ambassadorial car pulls up, out of which stepsa BABU. A microphone and speaker has been set up.

Another car unloads several politicos with party banners.

A minion hands the Babu the mike; he wants to get on withit before this turns into a political rally. Hasari is

close to him, as is Arun.

BABU:

The municipality has directed usto carry out the destruction ofthis settlement. All of you mustgo -- now!

For a moment there is a babble of fear and frustration.

Then from Hasari's side, Arun confronts the Babu.

ARUN:

For what reason?

The Babue appears disconcerted. He's not accustomed to

the poor asking questions.

BABU:

Because this settlement is

impeding construction work.

ARUN:

We're not moving! Why shouldwe move? Who is the municipality?

We are! This is our home!

BABU:

I have my orders.

ARUN:

If we're driven from here, where

should we go?

BABU:

I'll give you five minutes togather your things. Then, the

settlement comes down.

(CONTINUED)

24.

CONTINUED:

ARUN:

Why should you alone be burdenedwith such a task? Let me help!

Arun begins to tear his shelter apart, and to heave thepieces at the Babu, who retreats. Others soon take upthe call to vent their frustration, hurling things atthe police and at the driver of the tractor. Quicklywe've got a full-scale riot. The police wade into thecrowd, pounding people with their sticks, Arun one ofthe first to get hit. He staggers into Hasari's arms.

FAVORING PALS/ARUN AND HIS FAMILY

Unbelievable! Panic-stricken, Hasari and Aloka gatherthe children and their few belongings... as beside thema woman goes down from a stick to the head; Aloka stopsinstinctively to help the woman, but Hasari grabs her,

trying to shelter her and the children as well as Arun'swife and children, clutching Arun to him as in the chaosthey manage to escape.

EXT. CHURCH - CLOSE ON BILLBOARD - DAY

On the billboard: A maharajah sleeping snugly on a thick

mattress. From his dreamland he inquires solicitously:

"Have you ever thought of a Rajah Double Spring as apresent?" We PAN DOWN and FIND the Pals and Arun and his

family, panting, terrified, beneath the sign.

SHAMBU:

Daddy, are we going to die here?

Hasari can see on everyone's face this question.

HASARI:

No! Today, I'm just a mangy dog

on the street, but soon, I swear,

I'll look other men in the eye!

(a beat)

I swear.

Yet on his face we see the extraordinary pressure to makethis promise reality.

EXT. SIDE OF RESTAURANT

Hasari reaches the head of a line and receives a small

handout. Turning away, he studies the morsel of food.

His head aches, his belly screams with hunger... but hetakes only a single bite, then carefully wraps the restin a cloth and knots it.

(CONTINUED)

25.

CONTINUED:

He feels a tug at his elbow. It's a 15-year-old BOY withthick, scholarly spectacles.

RAFIK (BOY)

Why live like a beggar when youcan live like a maharajah?

Hasari stares at the boy.

INT. BLOOD DISPENSARY - CLOSE ON HASARI'S ARM - DAY

A needle injected, blood flowing into a bottle.

ANOTHER ANGLE:

Hasari seated on a stool, watching his blood leave hisbody, his face broken out in perspiration.

HASARI:

I thought you were only taking alittle.

ATTENDANT:

We pay more, we take more.

HASARI:

I'm feeling a little dizzy.

ATTENDANT:

It'll pass.

HIS POV:

Rafik and a thin man chatting easily and exchanging cigarettes

with another attendant. His vision BLURS.

HASARI AND NURSE

With his free hand, he begins to grapple for the Atten

dant to keep his balance, starts to fall... and theSCREEN GOES BLACK.

FADE IN:

EXT. DISPENSARY - DAY

A woozy Hasari gives Rafik his share; Rafik in turn gives

the thin man his share. The thin man bows his farewell.

(CONTINUED)

26.

CONTINUED:

RAFIK:

Blood is the oil well of the poor,

brother. Now, give me anotherthree and I'll give you these.

He opens his hand with its dirty nails. In it lie a

little group of pills, like highly-colored sweets.

HASARI:

What are those?

RAFIK:

Vitamins. Take these and you cangive again in a week.

While Hasari considers, Rafik pours the pills intoHasari's hand, takes the three rupees. Hasari downs the

pills.

RAFIK:

One week. Here. The same time.

And he's gone, leaving Hasari, woozy but at least, forthe moment, blessed to count his money.

INT. MAX'S ROOM - NIGHT

Max lies on his messed bed, contorted, with his feet upover his head against the wall. A book lies open besidehim. A half-eaten room service meal, many hours old,

moulders on the bedside table. Max is babbling a mocksports case into his fist...

MAX:

They're in the shotgun. There's

the snap from center, the clock isrunning -- five, four, three -- hehas an open man at the Notre Dametwenty for the victory... and hefreezes. He freezes! Mr. Choke

chokes. The fans go -

A KNOCK at the door. Max shuts up, falls off the wall.

He crosses to the door. Opens it. POOMINA is 16,

beautiful and exotic-looking behind her excessive makeup.

ANOTHER ANGLE - FAVORING MAX

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