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Bengali Feature Film: বউ-দি (Bou-Di)

Written, directed and produced by SANJIB NATH

Chapter ONE: Story of limitless passion vs female victim.

This is about the journey of passion. The story of a passionate theatre director and his disciples. When passion becomes limitless, it leads to cruelty and violence. This film talks about current social issues topics like female respect and value system in current society. It starts with a theatre audition for director Bharatendu. Everyone appeared from surrounding villages as it was like theatre auditions near me. However a passionate theatre artist Mukku came from far city knowing about acting casting calls and a theatre audition about social problems.
limitless passion vs female victim. Tension builds up with the theatre rehearsal and it continues as the journey was passion vs violence...

 

Screenplay

This story is geographically in a remote village without much technological growth but spiritually developed.

1. INT. THEATRE PRACTICE ROOM – NOON

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

DEBA

You, you and you…

Sons of corrupted eggs....

What did I say?

I won’t beat,

Only move,

hand.

what?

Hand, mine.

You’ll fall like a fly.

Like what?

Like a fly, you’ll fall badly!

Inform to your bastard father,

I’m coming…

 (showing anger)

Who?

Deba…

Look at my face properly,

In full color!

If you ask for bribe again,

No more color,

You’ll see only black-and-white.

What?

Black and white,

Only black and white,

No color!

Only Deba is seen on the screen till he delivers his complete dialog.

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

You’ve given your address, right?

We’ll contact you later.

DEBA (being sad)

later?

means, when?

(satire smile)

Didn’t like it!

Commercial type,

Isn’t it?

Performance needs to be entertaining,

Either commercial or artistic!

Commerce and arts have a relation.

Both are brother,

Not enemies…

Deba looks at Bharatendu Mitra and Bharatendu passes a heavy commanding tone towards Sombhu.

BHARATENDU

Sombhu, who is next?

(looking at Deba)

ask him to wait outside.

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 follows Sombhu towards outside.

SOMBHU

Can you speak Bengali,

Or else memorised these dialogs?

DEBA (happy)

No no,

I can speak in Bengali…

I can read as well.

I can do anything

To be part of this group…

Anything!

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 25 years old medium height chubby fair man, who came for the audition of a girl Elora character.

 

3. INT. THEATRE PRACTICE ROOM – AFTERNOON

25 years old man, for the character of 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, I’m coming from the city,

200 km,

I want to work in your group!

Acting, singing, dance…

Bharatendu moves his palm and fingers to indicate her to perform. She takes her stoal and covers her head and face. She starts dancing in contemporary style while singing a hindi film song. Bharatendu isn’t liking her dance performance. She stops her performance after some time and looks at him.

ELORA

Sir, I love dance,

A lot.

I know rambha and cha-cha-cha,

Learning Ball dance as well…

Sir, shall I perform another style?

BHARATENDU (unhappily)

“my voice is mute today,

fluit is musicless,

darkness is all around,

my world is destroyed

by bad dreams.

So I asked you, dear God

Whoever has polluted your air,

And turned off your light,

Did you forgive them?

Did you love them?”

ELORA (innocently)

Sir, Rabi thakur’s poem,

Prashno?

Do I need to dance on this?

I love Rabindranath,

A lot.

But I haven’t learn Rabindra dance!

Sir… please…

SOMBHU (unhappily)

Sir didn’t ask you to dance

With the rhythm of the poem…

Do you want to perform

The mother’s scene?

ELORA

Yes yes, surely…

But actually in cinema shooting

We act on real location.

But, suddenly,

here, on this stage…

Without co-actors,

You must be understanding…

BHARATENDU (angry)

No, I don’t understand.

If an artist cannot feel the scene,

Then how will the audiences

Be hypnotized!

ELORA

Sir, that’s why I’m here

Leaving everything behind.

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

[both places]

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

Surely I’ll do,

Don’t come near to me.

I’ll jump off the stairs, if you come closure.

Don’t dare to come…

Why now?

When I begged to last year,

Did you listen that time?

I won’t leave now.

Other mothers will learn from me!

You guys are fathers, huh?

You all are animals!

You’ll kill one female child,

And we mother too

Won’t allow any child to take birth!

I’ll see how long this works…

When you hate female so much,

Then why did you marry a girl?

Why did you take birth

From a mother’s womb?

Don’t come near to me…

Uuuu… aahh…

Don’t dare to…

She holds her belly (enacting 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…

Beat me, kill me,

Say something.

Oo mother…

Killing me slowly.

No no,

Like this painful way…

Why slowly slowly…

No no,

This painful way…

Slowly slowly…

No no…

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

Mr. Tanmay, you can leave now.

We’ll contact you later.

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

Who had taken his first level audition,

Sujoy?

SHOMBHU

Yes sir, but I was there too,

He came prepared a scene,

That wasn’t bad.

We couldn’t realize that time…

Sorry sir.

BHARATENDU

Who else did get this script?

SHOMBHU

Another three.

BHARATENDU

Call one of them.

SHOMBHU

Sure sir.

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 20yrs old handsome fit well dressed (costly shirt, pant, wrist watch) 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

Sir, Mirza!

MIRZA

Aahh… aahhh…

Beat me, kill me,

Do whatever you want to do…

I won’t say anything!

Aah… uuhh…

How long it’ll go like this way?

Oohh… aahhh…

Why don’t you kill me at a time?

Instead of killing me slowly,

Why don’t you finish it at a go!

Ohhh… God…

Yes, cut me, kill me.

Kill all of us.

Then we’ll see,

How do you guys survive?

What do you think?

You guys don’t need us!

It stopped raining,

Everywhere harsh sunlight,

Everything is getting polluted…

Don’t you understand?

You guys will be finished too…

Aah… aahh…

Without us…

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

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 20yrs young male 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

May I sit?

SHOMBHU

No no, you better sit there…

BHARATENDU

Shombhu, it’s ok…

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)

Sir is waiting,

You start please…

CHANCHAL (nervous)

Yes, I’m starting…

I’m thinking of,

Doing it standing.

What do you say?

Actually in front of him,

I’m feeling nervous!

(hesitantly thinking for a minute…)

No, it’s ok,

I’ll do it seated.

(shy smile…)

He he…

I’m forgetting everything!

He he…

Oops, I forgot to introduce myself,

Greeting sir!

I’m 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)

When I get nervous,

The sloka of Shri Hanuman chalisa

boosts my confidence!

I’m so nervous,

In front of you guys,

I’ll fine,

Just see me…

<<<

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

Mr. Chanchal,

This is not the post of a temple’s priest,

You rather…

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

CHANCHAL (without nervousness)

Now you see, no more nervousness…

Ok, listen this one…

(another sloka from Bhagbad Gita)

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

Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge”

That’s so true,

God came millennium after millennium,

In different forms,

Among us,

And destroyed the dishonesties!

Among us,

Deep inside our mind,

He implanted the goodness…

Oh, look at me!

Where have I gone…

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.

 

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 saree 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)

It won’t work

Unless you feel it.

Untill you feel the pain inside,

You understand the character,

Till then nothing will be visible outside!

And it’s not important

Where you’re practicing,

 Whereever you practice,

That’s your stage.

Audiences are God for us.

And stage is the temple.

That stage is,

 Either under the open sky,

Or inside a palace.

Either of Bharatendu Mitra’s

Or of Bharatendu Harishchandra’s

Or of Constantin Stanislavski’s

Or of Renzo Ricci’s.

Feel is everything for an artist,

That’s the only truth.

Rest everything meaningless.

To understand the feel,

One has to go to road, river, jungle, burial ground!

One has to understand the fear of a female,

One has to pull out

The devil animalism of a male.

Whereever you perform, idiots,

Character and scene need to look real.

Audience should see, not a stage,

rather a lonely place,

a helpless girl,

and a human faced animal.

Otherwise, what artist?

What art?

Mallika unhappily looks at Bharatendu.

15. INT. THEATRE PRACTICE ROOM – AFTERNOON

One 25 years old arrogant smartly dressed up (costly shirt, pant, wrist watch) 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…

I’m good at comedy,

Actually scince childhood…!

Ok, listen another one,

Husband and wife are sleeping,

Early morning.

Phone rings,

Husband picks up the phone.

And hears…

Oops…

What did he hear,

Uhu…

I cannot remember.

It was very good,

Husband also answered very nicely,

It was actually an extra marital joke,

Adult one…

Cannot remember now…

It was too good…

Ha…ha…ha…

ok, leave that,

listen this one…

what happened once…

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

You’ve gone crazy!

Mitra sir will throw you out of the group,

If I inform him about you.

SUJAY

Please tell me uncle,

I need it for theatre!

Please tell,

Where can I find a rapist?

FARMER

You asked me today,

But don’t ask anyone else,

People will throw you out of Dharmapalli

Considering you as mad!

idiot, people of Dharmapalli and neighbour villages,

don’t we get proper education?

How come our people will become animal?

 

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

You know I’m best for that character.

Elora is unable to get that character!

BHARATENDU

I know,

But your face, getup…

More on, you’re well known.

Know face won’t be good

For this character!

[ 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

I’m not getting an answer from anyone!

BHARATENDU

Idiot, you won’t find such mentality here

In our villages!

In most of the cases,

Rape is not the result of eroticism.

Most of the cases,

It’s the result of

Power, anger and hatred.

We, people of Dharmapalli,

Get that education,

So that power, anger, hatred

cannot ruin our humanity.

Our school educates us more on

humanity, socialism, self respect,

compared to A, B, C, D…

That’s why we, Dharmapalli and neighbour villagers,

Are well educated in humanism.

That’s why we are different.

We’re happy living

With safety and respectfully.

For your character,

You’ve to read books.

You’ve go out of our village…

19. INT. VILLAGE ROAD – EARLY MORNING

MALLIKA

…why,

doesn’t anyone rape a short height girl?

BHARATENDU

Don’t talk rubbish!

You’re getting it Molli,

I want someone fresh.

different,

simple!

MALLIKA

I do understand,

You just see me once tomorrow,

Then you decide…

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

New face at Dharma palli,

Who are you?

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, you?

My goodness!

BHARATENDU

God, goodness are fine!

But who are you?

MALLIKA

Is it a place to sleep?

NONAME

After getting down at station yesterday night,

I walked till this far.

Then slept here after failing to find anything.

Sir,

I came for audition.

Please sir, gimme one chance…

MALLIKA

But audition is over.

NONAME

I know, but

Please sister,

I’m coming from Kolkata.

 And reached here after so much of trouble…

One chance please!

Sir please,

I’ll go home,

If I cannot connect to the character…

BHARATENDU

Do it…

NONAME

sorry?

BHARATENDU

Do connect with character!

NONAME

you mean, now?

Here?

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, this is a mobile.

I mean wireless telephone.

Latest model!

My father got it from London,

on my last birthday…

Please Sir,

Excuse me.

I’ll take this phone call…

One minute please!

Hello?

yeah?

I’m practicing!

What are you doing?

I phoned you that time…

Yes baby, they have selected me!

Congratulate me please!

I thought you’ll go

To get ready for me.

Ready for what?

RM production’s lady is already impressed.

Won’t you keep my mind and body cool

To get hold hold of the upcoming superstar?

Your shoes are good!

No problem to be beatten off.

But dear goddess,

Make me cool for once…

You’re so unromantic!

Yes, I had given them,

Twenty thousand, for registration!

what!

Who told you?

Fraud? whore!

Sorry!

She should be raped in public.

Only money?

What about my dream!

Leave it…

No, I’m not in a mood…

How will you make me cool?

RM production’s Ms Maya

Made my mind, body, finance everything cool!

bye.

I’ll come sometime later…

Why, where are your parents?

Ok, I’ll try…

(towards Bharatendu)

Sir, will my audition be over by afternoon?

(seeing no reaction from Bharatendu and Mallika)

ok, I’ll come at late night.

Love you too, bye…

(After disconnecting the call)

Yes baby,

I couldn’t make her fool

After so long!

Did I just arrest

one skyfull of tough could?

I’m coming baby, tonight only,

To make you cool!

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,

Sister Mallika.

This is a toy.

Real mobile will reach in country

At the end of this decade!

At least another 20 to 25 years!

This is not from London by my father,

It’s a toy from Kolkata!

If father would have been with me…

(deep breath and satire smile)

I was giving audition.

We had used this mobile

In one of our science fiction theatre play.

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

Look son,

Today’s girls roam around

Wearing small small dresses,

They do behave indecently,

These are not correct!

but…

SUJAY (excited)

yes, please tell me,

what do you think seeing all these?

Tell me…

DRIVER’S SON (after slapping)

Don’t you be ashamed?

We’re driver, poor.

But not animal!

Do you think we are rapist?

 

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

Hello brother,

Listen please?

Hello, Are you alive?

DRUNKEN MAN

Why shall I die, bastard?

I was taking rest.

SUJAY

Taking rest from this age!

It’s ok! Take rest!

I was thinking,

of asking you something…

DRUNKEN MAN

Why are you so shy?

Do you want a female?

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

No no, I don’t want!

Wanted to know about you,

Do you want?

DRUNKEN MAN

why?

For my marriage?

SUJAY (whispering)

No dear!

Only physical relation.

Sex,

Shall I ask you something?

Did you rape anyone ever,

Or at least thought of raping someone?

Just imagine…

If you get a girl here alone,

Will you rape her?

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

Surely I’ll do!

I never did,

But now I think…

SUJAY

really?

What do you think?

This feeling of raping someone,

it is coming from where?

eroticism, anger or else from power,

from where?

DRUNKEN MAN

You son of a bitch,

Let me tell you!

I feel like raping you now!

You pig,

Bastard.

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

bastard,

ruined my intoxication!

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

SUJAY (V.O.)

Oh God…

I cannot do anything like this way!

I’ll quit acting…

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)

Understand it properly.

Rape is the result of a mental disorder.

When anger, hatred and pride

Finds an opportunity,

Then the devil animal wants to

Come out from inside!

The self hatred reaches its pick

For this boy.

And the boy fet the opportunity

When the girl unknowingly enters in his reach.

But the question is about

Education and ethos.

The war of Mahabharat is about self,

About inner soul.

War is between good and bad!

Education and ethos are the weapon of goodness,

And sexual desire, anger, pride are of devil.

Education is not of 1,2,3…

It’s of humanity.

Ethos is not of succession,

it’s of human values and respect.

God has appeared millennium after millennium,

And destroyed the devil,

And implanted the goodness,

In our mind, inside soul!

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

BHARATENDU

No no, what did I say on the other day?

Not only eroticism,

Your emotion should have anger, hatred and male ego.

ok,

we’ll do it later separately,

lets move on now…

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

pride, pride,

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

Sir, one doubt.

Cannot we protect her dignity

Providing her a dress?

BHARATENDU

Don’t go by literal meaning!

Ok, tell me,

If a girl is beaten by a roadside dog,

Will she lose her dignity then?

SHOMBHU

No, why so?

BHARATENDU

Then why is the question of

Protecting her dignity?

here we need the destruction of the devil inside the boy!

We need education,

We need change of the thought,

We need the implantation of female respect!

But that respect is not on her body.

But in mind,

In the mind of the boy,

In the mind of all of us in society!

SHOMBHU

Sir, are we that’s why getting Rupa

The getup of a Goddess?

BHARATENDU

Yes, form of a Goddess!

The goddess of education and ethos!

Mother Saraswati’s!

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 and 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

No no,

Not sexual desire.

What am I saying for so many days?

First anger.

Feel it, hatred,

Self-disrespect.

Height of anger…

Listen properly,

Sound of laugh, satire criticism are resonating

In your ears, in your mind.

Feel it…

How are doing the same mistake everyday!

Lets start from here again.

Rest all take leave today.

Only Mallika and you stay.

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

BHARATENDU

Sombhu, you too go home.

It’s not good to be awake every night!

SOMBHU

That’s true sir, it’s not good for me,

But good for you!

That 18 years old boy,

Came to you leaving everything behind.

Couldn’t speak bengali too properly,

Since then seeing you to work nights after nights!

After showing me thirty years,

Now you’re telling that Sombhu,

That it’s not good!

BHARATENDU

Artists are not made to be sentimental, idiot!

Also think,

With whose support?

Trusting your support only I do that.

If I fall seek, you’re there…

We’ve our Delhi show on sunday.

I won’t get peace

Till the complete rehearsal is over.

We’ve leave next day!

After coming back from Delhi,

You guys will continue with other shows,

And I’ll sleep like Kumbhakana!

SUJAY

Shall I stay sir?

If by chance any help is needed!

BHARATENDU

No, noone has to stay.

We’ll also go home,

As soon they understand last scene.

Please, you guys take leave…

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…

Again same mistake.

Aren’t you getting the depth

Of this scene?

This boy’s anger is not on this.

Problem is with his past,

Problem is with his pride,

With his false male ego,

Problem with education, with ethos!

And this girl, she unknowingly enters

Into his past world.

This boy doesn’t have any reason

To take revenge on her.

This is his conflict.

Conflict between good and bad!

This boy is trying not to forget humanity

By leaving his anger, hatred and pride.

At the same time

Inner devil is trying to come out,

By ignoring good sence and ethos!

Here is the Conflict.

Untill you understand it clearly,

Until you understand this boy’s conflict,

You cannot potray his character.

Ok, start it again…

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

No no, the depth of the character is not coming out!

Understand further, feel it.

Not stage, enter into reality…

no, do it again.

From the beginning.

Understand the character.

Go to his past.

what are you doing?

imagine,

your girlfriend ditched you,

feel it…

one world full of anger,

hatred is more than love…

pull out the inner devil

by punching with self-disrespect.

and listen,

this also has to be potrayed in parallel,

in whatever situation

the inner devil comes out,

that is unforgivable crime.

That’s why you’ve to defeat the devil

Once it comes out!

bring out the inner devil…

think,

you love, in front of you,

with someone else…

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

Have you gone mad?

you call me sister,

sister Mallika!

insane!

Bharatendu shouts for help, cries out with his helplessness.

TO BE CONTINUED...

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