Lion Page #4

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Saroo inches backwards, scared and wary.

He looks back down the stairs. No sign of the body snatcher.

But ahead, beyond those dogs: it’s too daunting. Too haunted.

Through the rails, down by the river bank, he sees: CANDLES,

flickering. That looks the safer option.

EXT. RIVERBANK & KALI SHRINE - MINUTES LATER (LATE NIGHT)

We follow Saroo from blackness - to those candles flickering.

15 BABAS (HOLY MEN) sleep: dirty robes, matted beards,

dreadlocks, red ochre faces. Peaceful.

They sleep facing a small platform shrine to goddess Kali

(the Destroyer). Bright painted Kali statue 4 feet high -

fierce, frightening, astride her lion.

Carefully, Saroo moves through the holy men, toward Kali.

Four arms, garland of skulls, riding a lion. Spooky.

At Kali’s feet, offerings: coconut shavings, pesos, nuts.

Saroo looks at the men again; no one seems to be stirring.

He bows quickly to Kali, and sneaks some of the offerings.

Spies a sliver of unpopulated ground.

He clambers in behind the small platform, lies down. Out of

trouble, out of sight. His own corner of this metropolis.

His eyes getting sleepy. Watching the sleeping holy men - and

beyond them, the dark, wide river, flowing by.

FADE TO BLACK.

Silence - a beat - then the sound of men murmuring, chanting.

FADE UP TO:

EXT. RIVERBANK & KALI SHRINE - MORNING

The chanting grows louder. Saroo’s eyes, dreamy, open - lost

in the chanting. [It will act as a strange breathing space.]

He stands. He comes out from behind the Kali shrine.

The Babas face him, meditating, chanting. As if Saroo, there

beside Kali on her lion, were a tiny god himself.

Saroo walks through the holy men, down to the river’s edge.

No real purpose. The chanting is haunting, extraordinary.

All the PEOPLE going through their morning rituals: bathing,

brushing their teeth, scrubbing pots. Saroo separate. Lost.

Observing everyone. They all seem to know what they’re doing.

JUMP CUT:

INT. SUBWAY PLATFORM, HOWRAH STATION - A WHILE LATER (DAY)

The chanting continues, as Saroo wanders, back at that place

from where he fled last night. It’s empty and desolate now.

He doesn’t look terrified. Just lost. He sees what he wants:

- on the ground, the cardboard that Wiry Boy gave him.

He picks it up. His “bed”. Planning ahead. He drags it away.

EXT. ALONG THE RAILWAY TRACKS, HOWRAH STATION - AFTERNOON

Saroo wanders by the side of the tracks, with his cardboard

sheet. Past the BLACK METAL POOLS where MEN and BOYS sift for

metals from construction waste. Then up a tiny path.

He comes across a WOMAN (NOOR, 40) carrying tin lunch boxes.

She turns as they pass. Watches him.

NOOR:

It’s dangerous walking here.

Saroo stops. Stands there, quietly, innocently.

NOOR (CONT’D)

You speak Bengali?

Saroo doesn’t seem to understand the question.

NOOR (CONT’D)

(in Hindi)

You speak Hindi?

A beat. Saroo nods, Yes.

SAROO:

I got lost.

NOOR:

Where are you from?

SAROO:

Ganestlay.

NOOR:

Where is that?

SAROO:

Home.

NOOR:

I don’t know where that is.

A beat. She seems concerned. Saroo, so vulnerable.

NOOR (CONT’D)

What is your name?

SAROO:

Saroo.

NOOR:

I am Noor.

(beat)

Are you hungry?

She motions with the lunch boxes. Saroo nods, follows.

INT. STAIRWELL, APARTMENT BLOCK - SOON AFTER (AFTERNOON)

Saroo follows Noor up the stairs of her building

EXT. ROOFTOP - MOMENTS LATER (AFTERNOON)

-they come out onto the amazing rooftop - Saroo has never

been anywhere high before - Calcutta stretches before him (

POV):
the view reveals KIDS playing on LOWER ROOFTOPS -

kites - a sense of community - the sounds of kids playing

NOOR:

- Come

She lives up here! He follows her into her rooftop shack

INT. NOOR’S ROOFTOP HOME - CONTINUOUS (AFTERNOON)

Saroo, wide-eyed, walks across to the windows

(POV):
amazing views across the RAILWAY YARDS; HOWRAH BRIDGE

in the distance; everywhere, golden afternoon light.

INT. NOOR’S ROOFTOP HOME - LATER (LATE AFTERNOON)

Saroo sits at a small table with Noor, shovelling lentils

into his mouth from a plastic plate. To him, a feast.

It’s as if he relaxes, a tiny notch. This woman feels safe.

NOOR:

(ironic)

Looks like you hate it!

Saroo looks up, mouth full, smiles at the humour.

NOOR (CONT’D)

I make the lunches for all the men.

(beat)

You have to make a living.

SAROO:

I help my brother carry bales.

NOOR:

You do?

SAROO:

I help my mother carry rocks.

NOOR:

She works in a quarry?

Saroo nods Yes. His mouth still full, going full throttle.

Noor gazes at him. Sadness. Compassion.

From a TINY FRIDGE, she takes out an ORANGE SODA in a bottle.

She opens it and hands it to him.

Saroo looks down astonished at the bottle in his hands. He’s

never had one of these. He looks up at her. She nods, Go on.

He puts the bottle to his lips. Drinks. Winces at the

bubbles. Looks up at her, and smiles.

Another sip. Amazing. Amazing. Suddenly: an enormous burp.

Saroo could cry, he’s so amazed. Instead, they laugh.

INT. NOOR’S ROOFTOP HOME - LATER (NIGHT)

Naked Saroo, head to toe in soap suds, stands in a plastic

tub in the corner, as Noor SCRUBS him vigorously.

His body being pummeled. It’s not at all unpleasant.

Noor ladles water, pours it over Saroo’s head. As the water

cascades and the suds wash away, he closes his eyes.

INT. ONE-ROOM HOME, KHANDWA - NIGHT (FLASHBACK)

-and opens them, the water cascading off his face.

REVERSE:
he’s looking at Kamla, bathing him.

Saroo blinks, looking at:

Kamla’s face, as she concentrates on washing him.

INT. NOOR’S ROOFTOP HOME - CONTINUOUS (NIGHT)

Saroo blinks, looking at:

Noor’s face - as she concentrates on washing him.

She takes his cheeks in her hand

NOOR:

Open your mouth.

She moves his lips, inspects his teeth and gums.

INT. BEDROOM, NOOR’S ROOFTOP HOME - LATER (NIGHT)

Saroo, curled up on the tiny bed in the corner. Noor pads a

blanket down on top of him. Luxury.

NOOR:

(her voice soothing)

I know a man who is a very special

man. His name is Rama. He knows

many people. He will come tomorrow,

to help you.

SAROO:

To find Ammi?

NOOR:

Yes, Ammi. You sleep now.

The day couldn’t get any better. Saroo smiles, eyes heavy.

Then, surrendering to his tiredness, he’s out like a light.

HARD CUT:

INT. BEDROOM, NOOR’S ROOFTOP HOME - MORNING

Saroo opens his eyes. The light is blinding, almost heavenly.

He raises his head, looks through to the other room:

-where a handsome, impeccably dressed MAN (RAMA, 40) sits

with Noor at the table, finishing a small meal.

RAMA:

Oh, he is awake.

Rama walks into the bedroom. Perches on the bed.

RAMA (CONT’D)

I wonder what worlds you have

travelled in. That was such a

sleep, young man.

SAROO:

(sitting up)

You are Rama?

RAMA:

(smiles)

Yes, but not the god. And I have

been told you are lost.

Saroo nods meekly, yes.

RAMA (CONT’D)

I need to ask you some questions.

And you need to tell me all that

you can - so I can help you ...

What is your name?

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