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Bengali Feature Film

বউ-দি (Bou-Di) : Into The Character

Written, directed and produced by SANJIB NATH

Chapter ONE: Story of limitless passion vs female victim.

 

SCREENPLAY

This story is geographically in a remote village without much technological growth but with spirituality. Its chronologically around 50 years back from now, maybe in 1970.

 

1.    INT.THEATRE PRACTICE ROOM – NOON

Deba is delivering his dialog in total commercial style directly looking at the camera.

DEBA

Tui, tui, aar ai tui…

Corrupted dim-er bachha-ra.

Ki bollam toder?

Marbo na,

Shudhu jhaarbo,

haath.

Ki?

Haath, amar.

Machhir moto chit-keliye porbi.

Kiser mato?

Machhir moto, chit-keliye!

Bole dis toder lej-kata baap-ke,

Aschhi…

(sudden cry)

Sukhen noy…

(showing anger)

Ami.

Ke?

Deba…

Bhalo kore dekhe rakh ai thobra-ta

In full color!

Er por ghush chaaile

aar color noy,

Shudhu black-and-white dekhbi.

Ki dekhbi?

Shada-kalo,

Shudhu shada aar kalo,

No color!

Only Deba is seen on the screen, camera moves to discover others after delivering his complete dialog. Camera clearly shows that Deba was delivering his dialogs looking at the guru.

Theatre director (guru) Bharatendu Mitra doesn’t have any words to say. He is confused. What for he is here, is it an audition for Bharatendu Mitra’s theatre play! He controls his frustration and looks at his assistant Sombhu.

Sombhu understands guru’s indication and asks him to leave detail and wait for their decision.

 

SOMBHU

Apni apnar thikana diyechhen to,

Amra pore jogajog karbo.

DEBA (being sad)

Pore?

Matlab, Kab?

(satire smile)

Pasand nehi aaya!

Commercial type,

Hay na?

(looking at sky)

Aap kyun haas rahe ho?

‘Relation’ hota hain!

Performance entertaining hona chahiye,

commercial ho ya artistic – usme kya!

Commerce aur arts me

Relation hota hain.

Bhai-bahi hain dono,

Kano dushman hain nehi…

Bharatendu Mitra was staring at him, his eyes glow listening his arts-commerce relationship. His face gulps a mild smile and passes a heavy commanding tone towards Sombhu.

BHARATENDU

Sombhu, er par ke?

(looking at Deba)

eke baire boste bal.

Sombhu calls Deba to come outside and looks for the next candidate. Deba expresses his thankful gratitude to Bharatendu with a smile and tearful eyes, and then looks at sky to continue talking to his father while following Sombhu towards outside.

SOMBHU

Bangla bolte paren,

Naki eta galostho korechhilen?

 

DEBA (happy)

Aap ruko, aapse mein baad-me

Matlab, thodi hi bad-me

baat karta hoon.

Nehi nehi, mein

Maane, ami bangal bolte pari…

Porteo pari,

Sir-er group-e dhokar jonye

Kichhui korte pari…

Kuch bhi kar sakta hoon!

2.    INT.THEATRE WAITING ROOM – AFTERNOON

Sombhu takes Deba outside while Deba continues talking to him. Sombhu shows a chair to Deba and looks at the next candidate, a 20 years old short height chubby fair girl, for audition.

3.    INT.THEATRE PRACTICE ROOM – AFTERNOON

20 years old fair girl, Elora, is standing in front of Bharatendu Mitra and showing her audition performance. She looks at Bharatendu and joins her hands to show respect to him (namaskar).

 

ELORA

Sir, ami city theke aschhi,

200 km,

Apnar group-e kaj korar jonye!

Acting, gaan, naach…

Bharatendu moves his palm and fingers to indicate her to perform. She takes out her music player (tape recorder), plays a catchy song. She starts dancing in contemporary style with hip-hop mix aligning to the music. Bharatendu puts his index fingers in his both ears to avoid listening the music and starts enjoying her weird and rough dance performance. She stops her performance after some time and looks at him.

ELORA (panting)

Sir, I love dance,

Maane ami bhishon, bhishon bhalobasi.

Ami rambha and cha-cha-cha jaani,

Ball dance o sikhchhi…

Sir, aar ekta latest style dekhaabo?

BHARATENDU (unhappily)

“kantho amar rudho ajike

Bashi songeet hara

Amaaboshyar kara,

Lupto korechhe amar bhubhan

duswapaner tale.

Tai to tomar shudhai ashru jole,

Jahara tomar bishayechhe bayu

Nibhayechhe tabo alo,

Tumi ki tader khoma koriyachho

Tumi ki beshechhe bhalo?”

ELORA (innocently)

Sir, Rabi thakurer kobita,

Prashno,

Ete dance korte hobe?

I love Rabindranath,

Maane ami bhishon, bhishon bhalobasi.

Kintu rabindra-nitrya to ami sikhi ni!

Onyo kono, Jodi… Sir… Maane…

SOMBHU (unhappily)

Sir tomake kobitar tale tale

Nachte bolen ni…

Tumi ki maayer drishyo-ta

kore dekhaate chaao?

ELORA

Hya hya, ami…

Asole cinema shooting-e to sabsomay

Studio nahole real location-e kore thaaki.

Kintu, phat kore,

Eikhane, ai stage-e…

Without co-actors,

Bujhtei parchhen…

BHARATENDU (angry)

Na, bujhte parchhi na.

Ekjan shilpi Jodi nijei drisho-ta

Anubhab na korte pare,

Tahole taar darshok

Ki kore sei drishyo dekhbe!

ELORA

Sir, sei janyo-i to sab chere chure

Apnar ekhane asa.

Please Sir…

Sombhu shows anger and indicates her to start performing acting for audition. Bharatendu looks at her eagerly to watch her performance. She clears her throat and nervously starts acting the prepared scene.

 

4.    INT.THEATRE PRACTICE ROOM – AFTERNOON

5.    INT.VILLAGE MUD HUT – AFTERNOON

[PAINTING EFFECT]

As the dialog goes on with her performance, the stage and visual the location slowly converts to the real location where Elora as a village house wife argues to Bharatendu as her husband in their mud hut. Eventually with slow conversion her village wife sharee, oily poor hair style, sindur on her forehead everything get visibility along with the hut and her husband at the end of her performance.

 

ELORA

Besh karbo,

Ekdam kachhe asbe na bole dichhi.

Kachhe elei siri-r theke laph marbo.

Egobena bole dichhi…

Ekhon keno, gato bachhor jakhon

Tomar haat-e paay-e porechhilam,

Tokhon shunechhile?

Ami-o chharbo na.

Amar dekha dekhi aar panch jan maa-o sikhbe!

Tomra baba?

Tomra sab janoyar!

Tomra ekta meye-bachha-ke marbe,

Aar amra-o mamotar gola tipe

Kono bachha-ke prithibite aste debo na!

Dekhi ei bhabe k’din chole…

Eto ghenna jakhon meye-der opor,

Takhon keno biye korechhile ekta meyeke?

Keno janmo niyechhile

Ekta meyer pet theke?

Egobena bole dichhi…

Uuuu… aahh…

Khaboddar…

 

She holds her belly (enacting 9 months pregnant) with her hands and slowly sits down on the floor. She continues warning people around her asking not to come near her and cries out in pain, anger and sadness.

 

6.    INT.THEATRE PRACTICE ROOM – AFTERNOON

She is done with her performance but still holds the same expression and continues sitting on the floor. Bharatendu stares at her with an intensive look for some time and looks at Shombhu with a positive attitude.

 

7.    INT.THEATRE PRACTICE ROOM – MORNING

[ Bharatendu and Shombho wear different dresses auditioning different candidates to represent auditions happen in different days ]

Another 30-years old man, Tanmay, is standing in front of Bharatendu. He is highly nervous and trying to perform a monolog. He is etching his right knee, head and eventually whole body while delivering his mugged up and almost forgotten dialogs without proper expression.

 

TANMAY

Aahh… aahhh…

Maar, kaat,

Kichhu bal.

Oo maa go…

Tile tile shes kore dichhis.

Na na,

Ebhabe kasto diye

Tile tile keno…

Na na,

Ebhabe kasto diye

Tile tile

Ebhabe kasto diye

Tile tile keno shes kore…

Na na…

Sorry, he he…

Bharatendu looks at him with a relaxing and interesting way and continues observing him to get entertained. He slowly comes nearer to the man and sits on the table. He continues observing the man even after finishing his dialogs. He doesn’t even look at Shombhu.

Shombhu comes to the man and asks him to leave.

SOMBHU

Tanmay Babu, apni ashun.

Amra pore jogajog kare janabo.

Tanmay understands the indication and goes out of the room with a shy smile. Bharatendu becomes angry after the man goes out. He scolds Shombhu with a calm voice.

BHARATENDU

Er prothom level audition ke niyechhilo,

Sujoy?

SHOMBHU

Ha Dada, kintu ami-o chhilam takhon,

Uni ekta dialog toiri kore esechhilen,

Thik thak korechhilen.

Takhon bujhte para jaayni je…

Sorry Dada.

BHARATENDU

Ai script aar k’jon ke diyechhis aajke?

SHOMBHU

Aar tin jan’ke.

BHARATENDU

Daak oder ek jan’ke.

SHOMBHU

Dakchhi Dada.

Shombhu immediately goes out to call the next person who is preparing the same script. Bharatendu takes a full deep breath and tries to relax breathing out with a melodious “Om” sound.

BHARATENDU

Oooommmm…

Around 25yrs old handsome fit guy, Mirza, enters into the room. Shombhu enters and stands near the door. Bharatendu looks at Shombhu. Mirza stands in the centre of the room and looks back to Shombhu. Shombhu signs him to start.

SOMBHU

Dada, Mirza!

MIRZA

Aahh… aahhh…

Maar, kaat, ja khushi kar…

Kichhu balbo na!

Aah… uuhh…

Kato din ebhabe cholbe?

Oohh… aahhh…

Mere keno phelchhis na ekebare?

Ebhabe kasto diye

Tile tile marar theke

Ekabare shes keno kore dichhis na!

Ohhh… bhagoban…

Haa, kete phel, ekebare mere phel.

amake,

Amader sobai-ke.

Tarpor dekhi,

Tora kibhabe beche thakis?

Ki bhebechhis?

Amader chhara toder chole jaabe!

Brishti bandho hoye gechhe,

Charidike kha-kha rod,

Sab dushito hoye jaachhe…

Bujhis na?

Torao sab shes hoye jaabi…

Aah… aahh…

Amader chhara…

oooh!!!

 

This guy enacts the way a human being would have reacted if he had been cut down like a tree. He fixes his legs in the same place and jerks his waist to represent the axe pressure. He shows the increased pain using his body and face. He slowly bends and throws himself on the floor as if the tree is cut down.

Shombhu feels proud for selecting this guy after seeing his performance. Bharatendu closes his eyes with a very subtle expression.

 

8.    EXT.FOREST – MORNING [PAINTING EFFECT]

Couple of wood cutters are inhumanly cutting a huge tree in the jungle. They first cut its branches and then hit its root with their axes to cut it down on the ground. [ The tree is overlapped and aligned to the movement of the 25yrs-GUY actor ]

 

9.    INT.THEATRE PRACTICE ROOM – EVENING

Six artists are practicing some scenes under guidance of Shombhu. Bharatendu is sitting on a chair at a far end of the theatre hall in audience seat. All are wearing red/white or yellow/white dresses. One with black/black dress.

They are creating a flower and a bee using their bodies. Bharatendu stands up and dictates to Shombhu. He asks to feel the artists as they are the leaf of flower and the bee. Shombhu indicates the artists to change their positions in certain way.

After some effort and moves, Bharatendu sees a satisfactory flower with a bee on the stage.

 

10.    INT.THEATRE PRACTICE ROOM – EVENING

A very big and beautiful flower in a plant inside a garden. A bee is on the flower. Everything else other than the flower and the bee are off-focussed.

 

11.    INT.THEATRE PRACTICE ROOM – AFTERNOON

One 45 years old man, Chanchal Mukharjee, has come to perform a scene in front of Bharatendu and Shombhu. He is very slow in his actions and he thinks so much to take any action that anyone will be irritated to see him.

He slowly enters into the room and looks around nervously. He looks at the chair at one corner of the room and slowly walks near to it. He passes smile to Bharatendu and asks permission to seat. Shombhu tries to stop him to seat on the chair as it is Bharatendu’s chair, but Bharatendu signs him to allow him to sit.

 

CHANCHAL

Ami bosi?

SHOMBHU

Na na, apni ai maajh khantay…

BHARATENDU

Shombhu, uuhooon…

Bosun apni.

Apni ki bose perform korben?

CHANCHAL

Bose?

Aa?

Dariyeo korte paari…

Apni bolun!

Kibhabe karbo?

Bharatendu looks at Shombhu once and then looks back to Chanchal. Then he closes his eyes to cool himself. Shombhu clears his throat and asks him to perform at his comfort.

SHOMBHU (clearing throat)

Apnar jebhabe subibha hoy,

Sei bhabei karun.

Bose, dariye…

Dada, opekkha korchhen,

Apni shuru korun…

CHANCHAL (nervous)

Ha, shuru korchhi…

Ami bhabchhi ki,

Dariye kori.

Ki bolen?

Asole onar samne,

Ektu to nervous lagbei!

(hesitantly thinking for a minute…)

Na thaak,

Ami barong bosei kori.

(shy smile…)

He he…

Sab guliye jachhe

He he…

O ho…

Bolai hoyni,

Namoskar Dada!

Ami Chanchal Mukherjee…

He he…

 

Bharatendu highly gets surprised hearing such a lethargic person’s name Chanchal. He loses his control on his emotions and tries to get his cool back by taking a deep breath, spreading his hands while breathing out the “Ooommm…” (without sound).

Immediately Chanchal gets the ‘Om’ and shows interest on Bharatendu’s act of relaxation.

 

CHANCHAL (more nervous)

Nervous hoye gele

Shri Hanuman chalisa sahosh jogay!

Ai ami eto nervous,

Apnader samne,

Ai-ta bollei kombe,

Dekhun…

<<<

Shri Guru Charan Saroj Raj

Nij mane mukure sudhar

Varnao Raghuvar Vimal Jasu

Jo dayaku phal char

Budhi Hin Tanu Janike

Sumirau Pavan Kumar

Bal budhi Vidya dehu mohe

Harahu Kalesa Vikar

Jai Hanuman gyan gun sagar

Jai Kapis tihun lok ujagar

>>>

Bharatendu looks at Chanchal with blank expression. Sombhu stares at Chanchal with a wide open mouth thinking is it a theatre audition or interview for temple priest!

SOMBHU

Chanchal-babu,

Eta to mondir-er purohit-er pad noy,

Apni barong abhinoy…

Shombhu is about to stop him from reciting geeta sloks, but Chanchal starts the next one.

CHANCHAL (without nervousness)

Dekhechhen bhoy-dar sab shes…

Achha ebar eta shunun…

“Yada Yada Hi Dharmasya
Glanirva Bhavathi Bharatha,
Abhyuthanam Adharmaysya
Tadatmanam Srijami Aham

Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge”

Tai to hoy,

Juge juge bhagaban

Nana rupe

Amader majhe aasen

Aar asat-er binash koren!

Amader majhe,

Moner gobhire

Satota-r protistha koren…

Ai dekhun, ami kothay chole gechhi!

Asole ami pujo-tujo kori to,

Tai beriye aase…

Mantro…

Slok…

He he…

 

Chanchal continues talking. Sombhu tries to stop him. But neither Chanchal stops himself nor Bharatendu shows any disinterest on his acts. So Sombhu starts enjoying his blabbering. For some reason, Bharatendu pays attention to Chanchal’s recitations and his audition performance.

Chanchal talks for a while and then starts enacting a scene, sometimes expression with his hands and mouth, sometimes widening eyes, sometime closing them tightly.

(A/V both) FADE OUT

 

12.    INT.THEATRE PRACTICE ROOM – AFTERNOON

Seven to Eight actors are practicing under supervision of Shombhu and another 25 years old girl Mallika. Female actor Elora, dressed with modern and sexy transparent clothing, poses like an indecent dancer (modern Menka). One male actor, with long beard and tilak like sadhu-mahatma, but dressed in formal coat/pant, erotically arouses and tries to control himself. Other actors, dressed in complete black cloths, poses around the male actor to represent his badly uncontrolled erotic thoughts.

 

13.    INT.THEATRE PRACTICE ROOM – NIGHT

Bharatendu walks on the theatre floor in a restless manner. He sits on the chair for some time, gets up and walks. Looks towards the audience seats and thinks.

Mallika enters into the theatre room and requests him to go out of the theatre. He gently takes some time from her for thinking.

The girl leaves the room and he gets down from the stage to go to audience side. He sits on an audience chair and looks at the stage for some time, thinks deeply to visualize the scene and become unhappy. He is not happy with a particular scene execution and the lead actor’s performance.

Again Mallika comes back, scolds him and pulls him holding his hand till he gets out of the theatre room.

 

14.    INT.THEATRE PRACTICE ROOM – MORNING

Seven to Eight actors are practicing. Elora is fully covered with six long sharees spreading in different directions. Six male actors, wearing different animal masks, pulling each sharee from different directions from different levels.

The lead male actor Sujay is standing little far from Elora and looking at her in a passionate and sadist way. He is supposed to look very sadist and rough.

Mallika and Sombhu take control to make the scene correct and to make Bharatendu happy. However Bharatendu is not happy with this rape scene. He tries to explain the expression detail of Sujay and tries to correct the look and feel of Elora. After a long try, he does not find the pain and helplessness in Elora and the rapist look in Sujay.

He scolds the actors to correct the scene. Elora and Sujay try to explain the reason of not getting it correct because the stage and environment, and gets scolded more from Bharatendu.

 

BHARATENDU (Angry)

Anubhab na korte parle

Hobe na.

Jatokhon bhetore jantrona na hobe,

Bhab na jagbe,

Tatokhon baireo kichhu dekha jaabe na!

 

Aar, kothay practice karchhis,

seta important noy…

jekhanei practice korchhis,

setai mancho.

Darshok amader debota.

Aar Mancho-i amader debaloy.

Mancho,

khola akasher nichei houk,

Ki, romroma attalikar bhitorei hauk.

Bharatendu Mitra’r hauk

Ki Bharatendu Harishchandra’ri hauk.

Constantin Stanislavski’r hauk

Ki Renzo Ricci’ri hauk.

Obhineta’r kachhe onubhuti-tai sab,

Setai asol.

Baki sab artho-heen.

Anubhuti bojhar jonye

Rasta,ghat, Jangole,sashan sab ghete phelte hobe!

Ekta meyer bhoy bujhte hobe,

Ekta cheler pashobikota’r churanto

Tene ber korte hobe.

abhinay jekhanei koris na keno re hatobhagara,

Choritro aar Drishyo sotyi bole mone houya uchit.

Darshoker chokhe mancho noy,

Ekta nirjan elaka,

Ekta asohay meye,

Aar ekta naro-rupi janoyar

Dekhte paoya uchit.

Nahole kiser shilpi,

Kiser abhinoy?

 

Mallika unhappily looks at Bharatendu.

15.    INT.THEATRE PRACTICE ROOM – AFTERNOON

One 25 years old arrogant guy, Jonny, comes for audition. He thinks that he is a great comedian and performs a comedy scene and laughs out, but others around him remain silent.

 

JONNY

Ha…ha…ha…

Ami comedy-te borabar-i bhalo,

Asole choto bela thekei…!

Aar ekta shunun,

Husband-wife ghumochhe,

Early morning.

Phone beje othe,

Husband phone tole.

Odik theke bole…

Jahh…

Ki jeno bole,

Uhu…

Mone porchhe na.

Eita bhishon bhalo chhilo,

Tar uttore husband-o ekta bhalo kotha bole,

Asole ekta extra marital joke

Adult arr ki…

Mone porchhe na…

Khub bhalo chhilo eta…

Ha…ha…ha…

Achha ota charun,

Eta shunun…

Ekbar ki hoy,

He continues talking with smile, laughter and full body movement. Bharatendu, Sombhu and Mallika stare at her without any smile or happy feelings.

16.    EXT.AGRICULTURAL FIELD – EVENING

One old farmer is working on his agricultural field. Sujay approaches to him to ask about the rape and the knowledge about behaviour of a rapist. Farmer almost comes to hit him with his agricultural instrument.

FARMER

Tor matha-ta ekkebare Nasto hoye gechhe!

Mittir’da-ke bolte hobe

Toke jeno dal theke ber kore dey…

SUJAY

Balo na kaka,

Natoker janye dorkar!

Balo na,

Kothay pabo dharshon manoshikatar lok?

FARMER

Ai amake ja jigyes korli,

Onyo kauke koris na,

Pagol bole dharma-palli theke ber kore debe!

Pagol, ai dharma-palli

Aar ashe pasher geram-gulo

Ki thik sikhya pachhe na,

Je janoyar-er adhom hobe?

17.    INT.VILLAGE ROAD – EARLY MORNING

Mallika is walking with Bharatendu and convincing him to consider her for the lead female character. Bharatendu is initially not agreeing on her proposal.

MALLIKA

Tumi jano ami oi choritro-tar jonye best.

Elora to character-ta dhortei parchhe na!

BHARATENDU

Ami jani,

Kintu tomar mukh, gathon…

Tar opor, tomake sobai chene,

Porichito mukh ai choritrer jonye

Thik hobe na!

[ AUDIO FADE OUT ]

 

18.    INT.BHARATENDU’S HOUSE – EVENING

Sujay goes to Bharatendu to talk to him regarding the rapist character. Bharatendu was cleaning his teeth with a brush made of nim tree’s stick.

SUJAY

Kauke jigyes kore

Uttor pachhi na!

BHARATENDU

Hatobhaga, amader gram-e ki tui

Oi manoshikatar kauke khuje pabi!

Pray samosto khetrei

Dharson kono kamer phal noy.

Rape beshir bhag somay-ei

Khamota, krodh aar ghrina-er phal.

Amra Dharma palli-r manush-ra

To sei sikhai pai,

Jeno power, anger, hatred amader

Manushyatwo-ke nasto korte na paare.

toder school-e to

a aa ka kha –er theke

manobikata, samajikata,

atma-samman

ai sab beshi sekhano hoy!

Tai to amra dharma palli aar

ashe pasher grambasi-ra,

manushyatwer sikhyay sikhito.

Tai to amra, onyo-der theke alada,

somman aar surakha-r songe,

sukhi.

Tor oi character-er jonye,

Boi porte hobe.

Gram-er baire berote hobe re hatobhaga…

19.    INT.VILLAGE ROAD – EARLY MORNING

MALLIKA

…Keno,

bete meyeke ki keu rape kore na!

BHARATENDU

Abar ulto-palta kotha!

Tumi bujhchho na Molli,

Amar ekebare unkora kauke chai.

Akkebare onyo rakom,

sadharon!

MALLIKA

Ami bujhechhi,

Tumi amake kalke dekho ekbar,

Tarpar decide karo…

They walk on a road surrounding agricultural fields and ponds (or river). Mallika continues convincing him and eventually Mallika makes him convinced to give a try. Mallika smiles and hugs Bharatendu for agreeing to let her try for the rape victim girl character.

Beautiful greenery around. They reach near a banyan tree and found a 25 years young boy is sleeping wearing his sunglass under the tree. He wakes up hearing Mallika’s voice.

MALLIKA

Dharma palli-te ochena mukh,

Ke tumi?

He takes out his glasses, rubs his eyes and looks at Mallika and Bharatendu. He opens his eyes widely to look at Bharatendu once again and gets surprised knowing Bharatendu is standing in front of him. He slaps himself to confirm that he is not dreaming and he is awake.

NONAME

Oh my God.

Bharatendu Mitra!

Sir, apni sayong?

My goodness!

BHARATENDU

God, goodness se sab to bujhlam!

Kintu tui ke?

MALLIKA

Ghumanor aar jayga pele na?

NONAME

Ami kaal raate station-e pouchhe

Hete hete etodur pouchhoi.

tarpor khuje na peye ekhane ghumiye pori.

Sir,

Ami audition dite esechhi.

Please sir, amake ekta…

MALLIKA

Kintu, audition to shes hoye gechhe.

NONAME

Ami jaani, kintu

Please didi,

ami sei Kolkata theke aschhi.

Bahu kasto kore ese pouchhechhi…

Amake ekta chance din!

Sir please,

Ami Jodi character-er songe

connect korte na pari,

tahole bari chole jaabo…

BHARATENDU

Kar…

NONAME

Maane?

BHARATENDU

Kar connect character-er songe!

NONAME

Maane? Ekhon!

Eikhane?

He smiles with hesitation. His one hand which was inside his side bag, makes a move and a bell ringing sound appears. Immediately he takes out his hand from the side bag along with a big mobile handset (toy). This instrument is not familiar to Bharatendu and Mallika. They are looking at him with surprising faces. NONAME presses a button and holds the mobile near to his ear and continue talking to someone else and signs towards Bharatendu and Mallika politely to wait for a while to finish his mobile conversation. He continues talking on his mobile and requests with his hand and eyes to kindly wait. Bharatendu and Mallika initially get irritated, but slowly start enjoying the magic of the instrument and his conversation. Often they stare at him for his lies to the girl on the other side of the mobile.

NONAME

Sir, eta mobile

Maane, wireless telephone.

Latest model!

Papa London theke enechhilen,

Amar last birthday-te…

Please Sir,

Excuse me.

Ami call-ta attend korchhi…

Ek minute!

Hello?

Hya?

Ami practice korchhi!

Tui ki korchhis?

tokhon phone korechhilam…

Yes baby, ora amake select korechhe!

Congrats-to bal!

ami to bhablam ei bujhi tui

phone rekhe ready hote jaabi.

Ready kiser jonye maane?

RM production-er mohila to already impressed.

Hobu super star ke dhore rakhte gele,

Tan-man shanto kore rakhbi na hero-r?

Apnar Juto - moha Prasad,

khete kono apotyi nei!

Parantu hey debi,

ekti baarer tare… shanto kore daao…

Tui baro unromantic!

Hya… diyechhi,

kudhi-hazar, for registration!

ki bolchhis!

Toke ke ballo?

Fraud? Shali, Khanki maagi!

Sorry!

Chou-rastay bedhe

rape kora uchit.

Shudhu taka?

Aar Amar swapno!

Chaar…

Na re, mood nei…

Tui r ki shanto korbi?

RM production-er Ms Maya

tan-man-dhan sob shanto kore diyechhe!

Rakhchhi.

Asbo khan, pore eksomay…

Keno, tor ma baba kothay gechhen?

Achha, dekhchhi…

(towards Bharatendu)

Sir, amar audition

aaj dupur-er modhye hoye jaabe, na?

(seeing no reaction from Bharatendu and Mallika)

Thik ache, sondhyer por…

Hya, ektu raat hobe

Love you too, bye…

(After disconnecting the call)

Yes baby,

etodine maal-ta top gilechhe!

ETODINE KI PORILO DHORA,

ASANI BHORA BIDYUT!

Aschhi debi, tomake shanto korte…

aaj raatei ami achhi!

NONAME keeps the mobile carefully after disconnecting the call and gets up to come near to Bharatendu and Mallika. By the time, Mallika goes near to him and slaps him tightly. Bharatendu passes a mild smile looking at him and Mallika.

NONAME

Thank you,

Mallika-Di.

Eta to khelna.

Asol Mobile amader deshe aste aste

ai dashok-er shes dik!

At least aaro 20 to 25 bachhor laagbe!

Papa’r London theke ana

latest model noy,

Eta kolkatay kena khelna mobile!

Baba songe thakle ki aar…

 

(deep breath and satire smile)

Ami to audition dichhilam…

Bharatendu’s expression clearly shows that he is impressed with his audition.

20.    INT.VILLAGE LIBRARY – EVENING

In the evening, Sujay is sitting on a chair with piles of books on rape and sexual assault around him on the table. He completes one book and picks up another one to start reading.

21.    EXT.CITY ROAD – TRUCK – NOON

Sujay takes ride from a truck driver and talks to the driver in the city road about the mentality of a rapist. Driver was shocked to hear Sujay’s question, and his 16 years old sun, who was having his lunch, reacts on his question and slaps him tightly with his rice eating hand. Couple of rice and pulses get stuck on his face.

DRIVER

Dekho beta,

Aj kaal ka ledkiya

Chota chota kapda pehenke ghumti hain,

Ashlil bartaw karti hain,

Ye sab galat hain!

Lekin…

SUJAY (excited)

Hya hya… bolun,

Ai sab dekhe apnar ki mone hoy?

Bolun…

DRIVER’S SON (after slapping)

Tereko sharam nehi ata?

Humlog driver hain, garib hain,

koi janoyar nehi!

Humko dekhke tuje rapist lagta hain?

 

 

22.    INT.VILLAGE LIBRARY – LATE NIGHT

In the middle of the night, Sujay is sitting on a chair with piles of books on rape and sexual assault around him on the table. His head lies on an open book for rest.

23.    EXT.BASTI – rag picker – MORNING

24.    EXT.ROAD SIGNAL – old begger – NOON

25.    INT.IRON MAKING SHOP – labor – EVENING

26.    INT.SHOE POLISH SHOP – man – AFTERNOON

Sujay goes to the person with a side bag on shoulder and a dairy and pen in hand. He asks something to each person and gets slapped.

27.    EXT.CITY ROAD – drunken man – MIDNIGHT

Sujay desperately tries to find a rapist to understand his emotional motives behind the rapist mentality. He sees a drunken young man lies near a drain on the dark side of a raod. He passionately goes to him to interview.

SUJAY

Ai je bhai,

Shunchho?

Beche achho naki?

DRUNKEN MAN

More jaabo keno re soitan-er bachha?

Thoda bishram le raha tha.

SUJAY

Ei boyes thekei bishram?

Taa nao na! bishram nao!

Bolchhilam ki,

Ekta katha jigyes korar chhilo…

DRUNKEN MAN

Itna Sharma kiyu raha hain!

Ledki chahiye kya?

Sujay’s eyes open widely with a sudden brightness hearing the word ‘ledki’ from the drunken man. He tries to explore the word to dig into the rape topic.

SUJAY

Na na, amar chai na!

tomar kotha jante chai,

‘ladki’ chai naki?

DRUNKEN MAN

keno?

Shadi karwaogi meri!

He… he… he…

SUJAY (whispering)

Na re baba!

Shudhu sharirik samparko.

Sex,

He… he…

Maane, ekta kotha balo,

Tumi kakhono kauke dharshon korechho,

Ki korar kotha bhebechho?

Dharo…

Ekhon ekta ekla meye pele,

Rape korbe?

Drunken man looks at Sujay for sometime and then says yes. Hearing his response Sujay becomes enthuciastic and comes close to him ask more about his thinking and feelings.

DRUNKEN MAN

Albat karbo!

Konodin korini kauke,

Lekin abhi man kar raha hain ki…

SUJAY

Sotyi?

Ki mone hochhe?

Rape korar ai je feelings,

Eta kiser theke aschhe?

Kaam, krodh naki power,

Kiser theke?

DRUNKEN MAN

Shuyar-ki aulad,

Aa, tujhe samjhata hoon!

Tujhe rape karne ki ji kar raha hain

harami shala, pagal.

Aah… behen ki…!

Drunken man gets angry more than required and suddenly slaps Sujay. He gets up and tries to hold Sujay with his shaky movements. Somehow Sujay escapes from his grab and runs away from the place. Drunken man falls down on the road.

DRUNKEN MAN

Gandu shala,

Neshatai mati kore dilo!

Sujay doesn’t even looks back, he runs untill the drunken man vanises. He stops running and slowly walks away.

SUJAY (V.O.)

Dhur teri…

Ai-bhabe kono kaaj kora jaay!

obhinay korai chhere debo…

28.    INT.THEATRE PRACTICE ROOM – EVENING

Bharatendu explains the last scene and how they have to sing the “yada yada hi” song. He keeps instructing actors to understand the final scene and the song sequence. Actors practice and correct themselves according to the instructions of Bharatendu.

Sombhu, Mallika (with a totally different attractive village girl look), NONAME (with black dress on top of white dress), and other three actors on stage. Sujay is not present. They are practicing the rape scene and the final scene.

BHARATENDU (VOICE OVER)

Bojh baper-ta thik kore.

Dharshon ekta manoshik bikriti-r phal.

Krodh, ghrina aar ahonkar

Jakhon ekta opportunity peye jaay,

Takhon bhetorer bikrito janoyar-ta

beriye aste chaay!

Amader ai chele-tar-o atmo-glani

Churanto rup ney.

Meye-ta-o na-jene-bujhe hater nagale assay

Chele-ta sujog peye jaay.

Kintu, proshno holo

Sikhya-r, sonskar-er.

Mahabharat-er judhyo holo bhitorer,

Antor-atmar.

Judhyo holo bhalo aar monder!

Sikhya, sonskar holo bhalo-r astro

Aar Kam, krodh, ahonkar holo monder.

Sikhya ek, dui, tin-er noy

Sikhya manobikatar.

Sonskar parompara-r noy

Sonskar manushyatw-er mulyer, sammaan-er.

Juge juge bhagoban esechhen,

Monder binash korechhen,

Aar Bhalo-r adhisthan korechhen,

Amader bibeke, moner gobhire!

NONAME pushes Mallika on the ground with the intension of raping her.

BHARATENDU

Na na, ager din ki bollam.

Shudhu kaam noy,

Tomar anubhuti-te krodh, ghrina aar

purushwatyer ahonkar thakbe.

Thik ache,

eta pore alada kore kora hobe,

ekhon egiye chalo…

Mallika cries out of pain after falling down on the ground. She is scared but protective. NONAME stands in front of lying down Mallika and shows the inner conflict of good and bad. Then dramatically another actor, who was invisibly standing behind and aligned to NONAME, in complete black dress, comes out and starts fighting with NONAME and takes off his black dress. Black dress actor jumps on Mallika and tries to rape her, whereas NONAME fights with him to not commit the rape.

During the conflict acts between the good and bad of NONAME, Chanchal starts singing the song. After a while other actors start singing in chorus standing together in a small circle facing at the center.

SONG

Ahonkar, ahonkar,

Yada yada hi

This time another female actor, who was hiding in the circle of other actors, slowly stands up on a high position behind NONAME and the black dressed actor, and throws high intensity light on NONAME with a torch light. Slowly black dressed actor falls on the ground and dies off.

SHOMBHU

Dada, ek-ta prashno.

Ei khan-tay shari diye

Meye-tar somman rokhya korle hoy na?

BHARATENDU

Akhyoric orthe gele hobe na!

Achha bal,

Kono meye-ke Jodi rastay kukur-e kamray,

Tahole ki tar morjyada nosto hoy?

SHOMBHU

Na, ta keno hobe!

BHARATENDU

Tahole meye-tar somman rokhyar kotha

uthchhe keno?

Dorkar, chele-tar bhitorer adhormer binash!

Prayojon sikhya-r,

Dorkar, tothagato chinta-dhara-r poribartan-er,

Prayojon Nari-r somman-er prothisthya-r!

Kintu sei protisthya nari-r dehe noy.

Mone, chele-tar mone, somajer sakoler mone!

SHOMBHU

Dada, tahole ki amra Rupa’ke

Kono Debi’r rup-e sajabo?

BHARATENDU

Hya, debi’r rup!

Sikhya aar Sonskar-er odhisthatri debi’r!

Ma Saraswati’r!

 

29.    INT.THEATRE PRACTICE ROOM – EVENING

Six actors are practicing along with Sombhu, Sujay, Mallika and NONAME. NONAME is passionately trying to feel the rapist character. Mallika is playing the rape victim’s character. Sombhu is helping to continue the scenes and correcting as needed.

Elora, with her sexy dress and look, seduces NONAME for a while and moves away with another handsome man, Sujay, after insulting and laughing at NONAME. Then NONAME in revenge sees Mallika and uses sexuality to show his power and to hide his rejection from his girlfriend.

Sujay doesn’t like the idea to be replaced by NONAME for the rapist character. He does his role whenever needed in practice and rest of the time looks at NONAME with doubtful and slightly hatred way.

NONAME throws a big round globe ball and passionately goes to Elora.

Elora poses in nataraj style and standing on a flat world map. NONAME goes to her, places himself on the floor and spreads his hands to hold the whole world map in between his hands and compassionately looks at Elora to express his love.

Sujay spreads his hands to attract Elora from the back side of the stage. Elora looks at Sujay, calls him with hands signs and asks him to come near NONAME. When Suraj comes near to NONAME and sits near him, Elora looks at both of them. Deba spreads his hands to create a balance and stands between them and lowers his one hand towards Sujay to indicate Sujay’s side is heavier.

Immediately Elora pushes NONAME with her leg and slowly gets dragged herself, without any control, towards Sujay.

NONAME looks at the move of Elora in a painful way, sits for a while on the floor, looks at the world map and tears it off in several pieces. While doing so, other actors pick up the torn pieces of map, holds on their hands and start laughing at him. They repetitively make fun and laugh sounds, point fingers at him. He looks around with embarrassment, and closes his eyes and holds his ears with his palms.

He starts running to escape from that world. He runs fast, buts keeps jogging on the same place. He starts panting and sees Mallika playing with the big round globe ball which he threw at the beginning.

NONAME gets angry to see the girl with his old world which he neglected earlier. He goes to the girl and tries to grab her in his arms.

Bharatendu was watching the practice from the far end from the audience seat. He interrupts the play pointing at NONAME. Sujay passes a mild smile seeing Bharatendu to criticize NONAME.

 

BHARATENDU

Na na,

Kaam noy,

ki bolchhi etodin dhore?

Prothome krodh.

Anubhab kar, Ghrina,

Ekta atmo-glani.

Krodher churanto…

Shon thik kore,

tor kaner modhye ekhono

Hasir aowaz, porihaser tikto-ta

Anuronito hochhe…

Anubhab kar…

Roj ek bhul ki kore hochhe!

Chal, eikhan theke abar shuru kar.

Bakider aajke chhuti.

Shdhu Mallika aar tui thak.

 

Hearing Bharatendu’s command, Sombhu asks everyone to leave. He considers staying to help Bharatendu. Bharatendu understands Sombhu’s thinking.

 

BHARATENDU

Sombhu, tui-o bari chole ja.

Roj roj raat jaga thik noy!

SOMBHU

Sei to Dada, amar raat jaga thik na,

Aar apnar thik!

Sei aathero bachhorer cheleta,

sab chhere apnar sarane elo.

bangla bolteo parto na thik kore,

tobe theke dekhchhe apnake raat jagte!

tirish bachhor dhore dekhiye dekhiye,

sei Sombhu-kei bojhachhen,

raat jaga thik noy!

BHARATENDU

Shilpi’der sentimental hote nei re hatobhaga!

Aar tachhara, bhab na

Kar bharsay?

Tor bharsa-tei to raat jaagi.

Asustha hole tui to achhis…

Rob-bar Delhi’r show.

Agami-kaal gota-ta rehearsal na houya parjantyo

Amar shanti nei.

Tarpor din to abar berono!

Delhi ghure ese,

Tora baki shows korte thakbi,

Aar Ami kumbho karner mato ghumobo!

SUJAY

Dada, ami barong thaki?

Jodi kichhu darkaar hoy!

BHARATENDU

Nah… karor thakar dorkar nei.

Era dujon shes drishya-ta bujhe gele,

Amrao sab bari chole jaabo.

Ja tora sab, ekhon…

Everyone leave the practice room. Sujay looks at NONAME, passes a concerned smile to MALLIKA and then hesitantly leaves the room. Sombhu talks couple of more words with Bharatendu and leaves along with other actors.

30.    INT.THEATRE PRACTICE ROOM – NIGHT

Bharatendu asks Mallika and NONAME to start the scene from the point where he runs on the same place and gets panic with the laughing sounds.

NONAME starts from the same place where he runs to escape from the laughs and insult. Mallika carefully holds the globe and happily pampers it all around. He looks at Mallika, gets angry and goes to her. He tries to feel the anger and loss of self-respect, but without any control he holds and pulls Mallika near him with erotic intension. Mallika gets slightly hurt and feels uncomfortable.

Bharatendu interrupts again to correct the sense of the scene.

BHARATENDU

Umhmmm…

Abar sei bhul.

Tui ki ai drishyer

gobhirata bujhte parchhis na, naki?

Cheleta’r krodh, ai meyetar opor noy.

Samoshya or otit niye,

Samoshya or ahonkar niye,

Purushotyer meki borai niye,

Samoshya Sikhya-r, sanskar-er!

Aar ai meye-ta, ajante dhuke pore

Ai chele-tar purano jagote.

Chele-tar kachhe kono karon nei

Ai meye-tar opore protishodh nebar.

Etai Chele-ta antor-dwando.

Bhalo aar kharap-er dwando!

Chhele-ta krodh, ghrina aar ahonkar bhule

Chaichhe manushyatwo-ke akre dhorte.

Sei songe bhitorer janoyar-ta

Beriye aste chaichhe,

Jukti tarko aar sanskar-er matha kheye!

Dwando ei jayga-tay.

Jatokhyon tui eta bujhte na parbi,

Chele-tar otit anubhab na korbi,

Tatokhyon ai bhab phota-te parbi na.

Kar, abar shuru kar…

Bharatendu walks on the stage and dictates NONAME and Mallika to start the scene again. NONAME starts running. He and Mallika do the same act again and again, try to feel the characters. Bharatendu continues interrupting them to make the scene more perfect and appropriate with feeling and internal conflict.

BHARATENDU

Na na, choritrer gobhirata aschhe na!

Aro bojh, anubhab kar.

Mancho noy, bastob-e dhok…

Nah… abar kar.

Prothom theke.

Choritro-ta bojh.

Or otit-take dhar.

Ki korchhis?

Mone kar,

Tor premika toke chhere chole gechhe,

Anubhab kar…

Ek prithibi bhora krodh,

Ghrina bhalobasar opore…

Atmo-glani-r khocha mere

Ber kar tene bhetorer janoyar take.

Aar shon,

Sei songe etao phute otha uchit je,

Bhetorer janoyar-ta je poristhi-tei

beriye asuk na keno,

Seta khomaa-hin aporadh.

Tai janoyar-take ber kore

Tarpor kabu korte hobe!

Tene ber kar prothome janoyar-take…

Bhab,

Tor bhalobasa, tor samne,

onyo kaaro songe…

Bharatendu continues dictating him and provokes him to get the character and feel his emotional misbalance. NONAME continues trying the character and goes more close to the character and the conflict. Mallika also continues trying the same scene and helps him to get it more accurate. She ignores minor hurts which she goes through during the practices.

NONAME goes out of control listening Bharatendu’s last sentence. He feels the real character, he feels himself, and his inner animal instinct comes out violently.

NONAME throws the globe ball towards the audience seats and pulls Mallika forcefully. The globe ball drops around in the floor and on audience seats.

For a moment Bharatendu understands that NONAME is acting with the correct feel of the character. Then he realizes his misunderstanding hearing Mallika’s painful shouting.

NONAME becomes completely violent and tears off her dress. Bharatendu becomes total clueless to react upon the situation. He shouts without any specific word, looks at NONAME and Mallika for a while with wide open eyes. Then goes to NONAME and spreads his hand to pull him out from there. NONAME with animal force pushes Bharatendu so hard that he is thrown out of the stage and finds himself fallen on the floor towards audience side. He gets hurt in his leg and waist. He tries to pull himself to stop NONAME, but cannot get up because of the broken bones and tremendous pain. Even with all his effort he cannot see Mallika on stage, but could only hear her crying and shouting and the sounds of NONAME’s violence.

Bharatendu looks around, shouts for help, and cries out for his helpless situation. He doesn’t know for what, but does the “Om” opening his palms and closing his eyes. He again shouts, tries to get up and cries for help, but with no luck.

31. INT. INSIDE ROOM – AFTERNOON

NONAME opens the bedroom door and looks at the bed. Couple intimately lie down on the bed. After seeing him, they unpreparedly stop the intimacy and gets up with surprise.

32. INT. THEATRE PRACTICE ROOM – NIGHT

NONAME continues his uncontrolled insane act, Mallika cries out.

 

MALLIKA

Tui pagal hoye geli?

Didi bolis tui amake,

Mallika-Di!

Janoyar

 

Bharatendu shouts for help, cries out with his helplessness.

TO BE CONTINUED...

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