City of Joy Page #6

The porter pushes the girl gently into the room, smilingat Max, nodding. The door is closed.

27.

MAX AND POOMINA:

He may have been receptive to a "sweet, young girl," butnot a kid in her teens.

MAX:

Got an I.D. on you?

(she doesn't get it)

How old are you?

POOMINA:

Twenty, sahib.

MAX:

I buy that.

She approaches him seductively.

POOMINA:

I can do anything you want, sahib.

She fingers the Hebrew letter at Max's throat, on itsgold chain. For a moment, Max is mesmerized by thischild; but then, as she begins more serious ministrations,

he pulls back.

MAX:

Hold it, time out. Time, there's

time out on the field.

POOMINA:

Is problems, sahib?

MAX:

Is problems, yeah, just a couple.

POOMINA:

No, please, yes, I can -

There's something desperate in her that makes him put afinger to her lips and say...

MAX:

How 'bout some chow?

(she doesn't get it)

I was just about to order some roomservice. Food. I call, they come,

we eat.

She stares at him.

INT. MAX'S ROOM - NIGHT (HALF HOUR LATER)

Max smokes a Monte Cristo and watches Poomina, like a

frightened little animal, devour the last of a GreenAcres room service meal and then wrap a small piece offish in the paper napkin.

(CONTINUED)

28.

CONTINUED:

She looks up at him, delivers a small burp. Covers her

mouth in charming embarrassment.

POOMINA:

Now, you are ready for greatpleasure, yes?

MAX:

Watching you eat was my greatpleasure. Now you go home.

As he escorts her toward the door, Poomina is distressed.

Max realizes she can't leave empty-handed. He pulls out

some notes.

MAX:

For you.

She hasn't given up, though, and as he takes the money,

she stands on tiptoe and kisses him. Torn, Max beginsto respond. He stops himself, his grip on her causingher discomfort. His breath comes in little bursts.

MAX:

You're a very wet kisser. Work on

it, get in touch in five years.

He leads her toward the door. Like some lunatic comedy.

she resists. He pushes. She locks her knees. He opensthe door.

MAX:

Goddamn it, cut it out! Now, goodnight.

He muscles her out the door, closes it, wipes his lips.

He stares at a parade of cockroaches gliding along thewall as he listens to her CRYING quietly on the otherside of the door. He debates... and he loses. Opens thedoor. Poomina stands there; the tears stop and a lip-

twitching smile lights her face.

MAX:

Five years already? Gee, time

really flies when you have nomoral conviction.

She slides into his arms, pressing against him. With his

shoulder, he closes the door, leaving us outside.

INT. BACK ALLEY - BAR - FLAMING LIGHT - NIGHT

A bare light bulb; a SCRATCHY vinyl RECORD on a turntable.

(CONTINUED)

29.

CONTINUED:

Poomina watches Max do a sleight-of-hand trick with acoin. He tosses it up, brings his hands past each other,

then holds out his fists; she picks on... but the otherholds the penny. Fooled, she laughs. He does it again;

she points to one fist -- empty -- then other -- also

empty. Max reaches behind her ear and... produces thecoin. She loves it, her laughter escalating. But then

she seesm to read something in the b.g. where we see fourthugs, two of whom will become known to us as THE GOONDA,

a capo to the local "mafia" chieftan, and ASHOKA, son ofthe local Godfather. Ashoka works on a pimple on hischin. The Goonda meticulously cleans a spot of mud withspit from one of his expensive new running shoes. Max

eyes the thugs eyeing him.

MAX:

Short guys! Quit lookin' at us!

This remark goes over big with the thugs. Max doesn't

care. He knocks off the last of the beer in his bottle.

The bartender brings them two shots of something in twounmatched glasses.

POOMINA:

Special drink for you, sahib.

Only the most man can drink it.

You make try. For me.

MAX:

For you, I would drink batteryacid.

POOMINA:

Who that finish first. I bet!

She puts her glass to her lips and, in a childish,

exaggerated way, mimes waiting for him to commence adrinking race with her. The two of them toss off what's

in their glasses. The bangla in Max's glass is strongerthan battery acid. He does an elaborate routine involving

the pain, the surprise, the sheer awfulness of thedrink. But puts it down with mock machismo.

POOMINA:

I beat!

MAX:

I really don't think so -- oh no,

nay, nay! I never lose the trulyirrelevant contest.

POOMINA:

We have fun some more. I bet

again!

(CONTINUED)

30.

CONTINUED:

She turns to the bartender, calls for two more. All the

while, in the b.g., The Goonda and his two thugs watchemotionlessly and Ashoka works on his acne.

EXT. BAR - NIGHT

Max sings "Take It to the Limit" with enormous inebriatedsincerity as Poomina helps him out of the bar. There's a

big black motorcycle parked outside. Max glances at itas they start down the alley. As he looks back to the

road ahead, he finds The Goonda in front of him. Max

isn't so drunk that he doesn't sense what this is about.

He looks behind him. Indeed, the other two goons arethere. Ashoka straddles the big cycle.

MAX:

Well well. Seek punishment and yeshall find.

Knowing what's coming, Max nevertheless unleashes abeautiful howl and tries to trample The Goonda off-

tackle. From behind, he's hit with a length of stick.

He goes down, looks up through blasted eyes at Ashoka astwo sticks now land against his shoulder and his head...

EXT. MAHARAJAH SIGN - NIGHT

The Pals sleep beneath the sign. Hasari awakens from

restive sleep to the sound of a FIGHT. He gets up. The

others awaken.

ARUN:

Don't go -- what are you doing?

HASARI:

It sounds like someone needs help.

Hasari bolts for the corner.

ALLEYWAY:

As Hasari turns into the head of the alley, he can seethree men beating someone, a fourth man standing off tothe side, watching.

HASARI:

What are you doing?

(calling back)

A man's being beaten here!

As Hasari runs down the alley, the MOTORCYCLE FIRES UPand SCREAMS OFF and the three goons take flight.

31.

HASARI AND MAX:

Hasari runs up, reaches out to Max, who's barely on hisfeet. As Hasari touches Max, Max turns and belts Hasari

in the nose, nailing Hasari to the wall as Max collapsesat Hasari's feet. Hasari grabs his nose with one handand kneels beside the fallen Max... as a shadow moves

and startles Hasari. He peers into the dark... andPoomina steps into the light.

INT. CLINIC/SCHOOL (CITY OF JOY) - MAX'S POV - CRUCIFIX

-DAY

The crucifix sways. Now Max's eyes RACK FOCUS TO thecherubic face of JOAN BETHAL, peering AT the CAMERAwithout sympathy.

ANOTHER ANGLE:

Max on a cot in a tiny, spare room, a butterfly bandageunder one eye. Joan, Irish, short, stout, hovers over

him. Behind her, Hasari Pal.

JOAN:

Good morning, junior, welcome to

our country.

Max manages to sit up. Wishes he hadn't.

MAX:

Oh, I like the way the room movesin circles.

(checking out his

accommodations)

I suppose I should inquire where I

am.

JOAN:

You're in the City of Joy.

MAX:

Is that geographic or spiritual?

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