1. Introducción
1.4. Antecedentes del estudio
1.4.2. Lubricación del contacto acero/zafiro
But it's not bits, Vicky. A blue film is out and out illegal. We've never done it. We don't...even know...
VICKY
If there's a chance of us being caught, I wouldn't take it Sonu.
Trust me!
140 INT. WONDER WORLD VIDEO GAME PARLOUR - DAY 140 Sonu stands suspiciously in the cramped aisle of a dingy
video-game parlor, studying the GIRLS who walk past him with supreme indifference.
Vicky turns up with a BURLY HUNK and a HAGGARD GIRL, both
grinning from ear to ear. The HAGGARD GIRL lights a cigarette and smoke seeps out from the gap in her teeth. Vicky gives his brother a swift look as he passes.
VICKY (chatting)
Tomorrow at the party, the three of us get together...
141 INT. VICKY'S CAR - DAY 141
The YOUNG COUPLE and the old CAMERAMAN are squeezed into the back, the brothers get in front.
VICKY
(introducing the couple)
Meet Sonu, my brother. Say hello to my new friends.
Sonu nods awkwardly. The HAGGARD GIRL ignores him and continues greedily counting the money Vicky's given her.
VICKY (CONT'D)
Ok, Sonu. Get things warmed up. The school uniform's in the trunk.
Jolly's on the way. Set up. Shoot.
You got to be out by nine.
SONU
Ok. But... I'm...Y-you want me to direct? I don't even know the story.
VICKY
Boy fucks girl. That's it.
(to the couple) Hey, don't start yet.
The couple snigger crudely.
142 EXT. SHIP BREAKING YARD - DAY 142
At the eastern edge of Bombay, skeletons of rusted ships sink into a murky swamp. Vicky pulls up in front of a row of defunct barges. They get out and trudge through the bleak, marshy landscape.
Sonu pauses, looking sickly. Vicky notices his uneasiness, then puts his arm around him.
VICKY
C'mon, there's nothing to be afraid of. How else do we get things back on track? We'll make this happen together, Sonu.
Sonu resists, he doesn't want to go into the corrugated tin-shed in front of him. The HUNK, the HAGGARD GIRL and
CAMERAMAN wait for him up ahead, growing impatient.
As they stand there, a FAT SHIRTLESS MAN appears on the bow of a rusted ferry. He stares in their direction. Both Vicky and Sonu notice him.
VICKY (CONT'D) Let's move. You're attracting attention.
143 EXT. TIN SHED - SHIP BREAKING YARD - DAY 143 VICKY goes up the staircase first, followed by the BURLY
HUNK and the HAGGARD GIRL. Sonu and the CAMERAMAN toil up behind them, lugging the U-matic recorder, camera and lighting kit.
The old CAMERAMAN eyes the girl's buttocks. She's sweating, her underwear peeks through her hot pants. He grins at Sonu.
CAMERAMAN (panting)
Times have changed, eh?
144 INT. SHIP BREAKING YARD - TIN SHED - FRONT ROOM - EVENING 144 Vicky unlocks the musty, cramped shed and lets them all in.
At the edge of the door, he hands Sonu the key.
VICKY
I'll come back in an hour, alright?
(MORE)
VICKY (CONT'D)
Mane's finally agreed to take the handout. We can be up and running in a month, Sonu! Then no more worries, not being half out of our minds all the time, wondering how the hell to make ends meet
-SONU
Uh, h-hold it Vicky. Stay for a bit, no? At least until Jolly shows up?
VICKY
But I don't want Mane to think I never showed up. We need him to
-(pause)
Ok, then you go. I'll stay here.
Sonu hesitates. There's a sickish feeling in his throat.
SONU
W-well, I - I don't know, but I suppose
-VICKY (irritated)
It's simpler I handle the cops.
Vicky makes a reassuring gesture and scampers down the stairs.
Sonu watches him, frowning faintly. Now right when he needs confidence most, it's all draining away.
Just as he's about to enter himself, he looks at bow of the rusted ferry again, where the FAT MAN had been standing earlier. There's no one there.
145 INT. SHIP BREAKING YARD - TIN SHED - BACK ROOM - EVENING 145 The tin-shed is dark and filthy, stacked with somebody's
anonymous junk. The HUNK whispers to the GIRL, who turns to Sonu.
HAGGARD GIRL
What is this, yaar, you should at least have organized a mattress.
The HUNK whispers again.
HAGGARD GIRL (CONT'D) And, uh, get the place cleaned up, get a broom or something.
Sonu turns beseechingly to the cameraman.
CAMERAMAN
Now, wait a minute, Sonu. I got to look after this equipment. You go.
Sonu frowns, but goes toward the door anyway.
HAGGARD GIRL And get us some drinks.
146 INT. DUGGAL BROTHERS OFFICE - VICKY'S CABIN - DAY 146 Through the glass partition we can see a hoard of POLICE
CONSTABLES outside in the HALL tearing through papers, files, boxes, film reels. They're ripping the place apart,
destroying what's left of the DUGGAL office.
COP
Seal those boxes. Is the electricity disconnected?
The phone rings. INSPECTOR MANE, in uniform, picks up the receiver, looking guarded.
147 INT. PUBLIC TOILET - DAY 147
MANE enters an empty public toilet. He cautiously walks up to the urinal. Vicky, wearing shades, is already there.
They stand side by side.
MANE
You put sunglasses on and come right out in the open, you've got guts.
VICKY
What the hell good is it going to do you to have me slapped in jail?
MANE
Vicky, you know it's not just about letting some boobs through. A girls dead. The big boys are giving orders now.
VICKY looks annoyed, he takes off the sunglasses and goes into a cubicle. Mane follows, standing by the open door.
Vicky's inside, kneeling, a briefcase lying on the closed toilet seat.
VICKY
(offering cash from the briefcase) Look, a little
-MANE
(cutting him off)
It's worse than you think.
(MORE)
MANE (CONT'D)
A bank clerk reported in. Your brother's been dipping into your account.
VICKY What?
MANE
There's talk of him making a film with your cash
-VICKY (dismissing him)
Naah, c'mon, there's a rumor for
every inch of film in this business -MANE
Wake up, Vicky. You're broke. Your account's empty. See, he even
registered the title. Miss Lovely.
He thrusts the FIR in Vicky's face. Vicky scans it, stunned.
He steadies himself against the toilet seat. The INSPECTOR then purses his lips.
MANE (CONT'D) (CONT'D) What about your wife? Doesn't she have a healthy bank balance? Maybe her father can offer us something?
Vicky's head is swirling.
MANE (CONT'D) (CONT'D) Any other relatives?
VICKY
(broken, mumbling)
Ggive me a month, Mane saab -MANE
God Vicky, please. I'm not interested in theatrics. Only in the money you owe us.
VICKY (panicking)
T-two weeks. Two weeks, I promise...
MANE
(shakes head firmly)
Oh, I can't do that, Vicky! You can't pay, I'm out.
Mane turns to leave, then feels bad for Vicky kneeling near the toilet bowl.
MANE (CONT'D)
Look. As a friend. They're sure to haul you in before the weekend.
Make some holiday plans, ok?
MANE sighs, pats him on the back and leaves, looking sympathetic.
148 INT. SHIP BREAKING YARD - TIN SHED - FRONT ROOM - EVENING 148 Sonu enters amid clouds of dust, breathing hard. He dumps
the bag of booze and the broom on the floor. The HUNK and HAGGARD GIRL have disappeared.
SONU (confounded)
What's going on ? Jolly isn't here yet?
The old CAMERAMAN is sitting cross-legged on the floor, fiddling with the U-MATIC RECORDER like a child with a new toy.
CAMERAMAN
Nice, real nice. Magnetic recording.
Video tape. It's the future, eh Sonu?
SONU
Where the hell are they?
The CAMERAMAN waves a hand behind a corrugated sheet
partition. Sonu goes towards the partition, then stops in shock. MOANING sounds can be heard.
SONU (CONT'D) (CONT'D) Uh!
Sonu hurries back to the CAMERAMAN.
SONU (CONT'D) (CONT'D) What the hell are you doing? Get the camera, they're at it already.
The CAMERAMAN uncomfortably picks up his camera and positions it at the bedroom door. Sonu watches, absorbed. The LOUD PANTING continues.
CAMERAMAN
Uh, it's too dark. G-get the sungun.
149 EXT. SHIP BREAKING YARD - EVENING 149
The marshland has turned blood red in the dying light.
The tin-shed looks ghostly just perched there with the rusted ships looming in the background.
150 INT. SHIP BREAKING YARD - TIN SHED - BACK ROOM - EVENING 150 Sonu and the CAMERAMAN are crouched under a broken desk,
shooting the action from floor-level. The moaning grows louder.
Suddenly, there is loud hammering on the front door. The HUNK and the HAGGARD GIRL jump up in fright, pulling dirty towels over themselves.
SONU Sshh!
Sonu swallows hard, the banging stops. The actors and the cameraman hold their breath, bathed in sweat.
151 INT. SHIP BREAKING YARD - TIN SHED - FRONT ROOM - EVENING 151 Sonu tiptoes down the hall, not making a noise - Suddenly he
sees a face in the dirty window. A horrifying, broad face -eyes wandering in all directions.
Sonu screams. The banging resumes with a vengeance, this time it sounds like three or four fists. The metal clanging is so loud, the tin-shed sounds like it could collapse.
The dark living room is suddenly bright as day. Four or
five vehicles are beaming their headlights in from the vacant bog outside. The door crashes open.
POLICEMAN with sticks charge in roaring. There is mayhem.
The CAMERAMAN is clobbered against the corrugated tin. The HAGGARD GIRL screams.
COP
You there! Stop bastard!
The HUNK runs out of the back, half clothed. Sonu clambers out the living room window, onto a roof. He doesn't stop.
152 EXT. SHIP BREAKING YARD - EVENING 152
The cops chase Sonu through the swamplands and past the decaying ferries. The HAGGARD GIRL is running, screaming, plodding through filth and water. The cops chase them, hollering.
Sonu stumbles and staggers. Soon they are all over him, slapping him, pulling his clothes and hair. Shaking him like a dog shakes a rat. Sonu screams in terror.
Sonu and the CAMERAMAN, bruised and handcuffed, are crushed into a police van. The HUNK has his head in his hands. THE HAGGARD GIRL is crying hysterically, being roughly treated by a constable.
CONSTABLE Shut up, whore!
153 EXT. ANDHERI POLICE STATION - NIGHT 153
An unruly crowd has gathered outside the police station.
Sonu and the other THREE PERPETRATORS are hauled out of a police jeep, their heads covered with BLACK HOODS. Flash bulbs go off.
154 INT. ANDHERI POLICE STATION - INTERROGATION ROOM - NIGHT 154 A harsh light is turned on. Sonu sits on a metal chair,
squinting. He is gaunt, unshaven - a complete wreck. Voices and grunts lash out from the shadows.
A bunch of COPS are huddled together more interested in the cricket match on TV than in him.
The game gets dull. Their attention drifts over to Sonu.
SUBINSPECTOR SHARMA We got you cold, Duggal.
SUBINSPECTOR GAWLE (walking over)
Tell the truth kiddo, we'll make it easy on you...
Sonu sags into the chair, terrified.
SONU
No-No! Please. I-I need one more phone call. Just get my brother here he'll
-SUBINSPECTOR SHARMA (laughs out loud)
I told you. We want him here just as much as you do.
Sonu looks devastated.
SUBINSPECTOR SHARMA (CONT'D) (grinning)
The way I see it, he stuck his neck out and yours got stepped on.
SUBINSPECTOR GAWLE Ok Duggal - tell us why you killed the girl
-SONU
N-no! You got it wrong! I told you -
SUBINSPECTOR GAWLE loses patience. His fingers knot around Sonu's shirt and he yanks him violently off the chair.
SUBINSPECTOR GAWLE (threatening)
You're gonna talk or not, Duggal?
He slaps him hard across the face.
SUBINSPECTOR GAWLE (CONT'D) (barks)
Filthy pervert! You forced her to do bits and then killed her!
SUBINSPECTOR KHEDKAR (poking Sonu with a
cane)
You have no respect for our wives and daughters, eh? No respect for Indian culture?
Sonu closes his eyes and clenches his jaw as they slap him again. The camera holds.
SUBINSPECTOR SHARMA (O.S.) It's a sickness that he has. You
can see it on his face. Look at him!
Sonu is forced back onto the chair. He is made to hold a pen. A piece of paper is shoved in front of him.
SUBINSPECTOR KHEDKAR (barks)
Confess, pig!
INSPECTOR MANE is leaning against the wall, one eye on the TV, watching a funny Natraj Pencils ad. He doesn't want any part of what's going on.
155 INT. TAXI - MORNING 155
Vicky circles around the police station, watching from a distance. He mops his sweaty brow, looking desolate.
He can feel the tears welling up.
CUT TO
156 MONTAGE SEQUENCE 156
ILLUSTRATED WEEKLY-style photographs appear, with black bars over eyes. This is followed by grainy, naked bodies blackened out with markers. A passport image of SONU is held on screen.
DOORDARSHAN TV VOICE (O.S.) This man - Sonu Ram Duggal - if you can call him a man - has corrupted the morals of decent college-going youths, and has perverted innocents, scarring their minds forever. But there is a worse danger, a danger to all society.
We see images of arrests, handcuffed girls shielding their faces and a title card that reads: PERVERSION FOR PROFIT
157 INT. HOTEL DIPLOMAT - SUITE - DAY BREAK 157 A MAN - seen only from behind - stares at a fuzzy black and
white UPTRON TV. A dolled-up image of NADIA appears on screen, interspersed with photos of her decapitated body.
DOORDARSHAN TV VOICE (O.S.) The recent tragic case of Nadia Khan establishes the sinful relationship between these depraved entertainments and violence of the most sickening nature. Yes, blue films - the kind of films made by the accused - blue films cause people to commit murder.
Horrible murder. In the end, young Miss Nadia paid with her life for the very passions she aroused.
The TV drones on.
A hand dials a telephone number.
158 INT. DUGGAL RESIDENCE - EVENING 158
The phone rings in a middle-class living room. Two KIDS, approximately 8 and 10 years old, wrestle on the floor.
A WORN-OUT HOUSEWIFE, comes rushing to the phone.
HOUSEWIFE (screaming at kids)
Stop it! I'll whack you, Bunty.
She grabs the receiver, then hesitates.
HOUSEWIFE (CONT'D)
Hello? Yes, this is Vicky Duggal's wife.
She looks over, resentfully. Vicky's frowning, leaning against a wall, smoking a cigarette, thinking.
159 INT. JAIL CELL - HOLDING PEN - EVENING 159 Sonu sits completely still, like a sculpture. In the
darkness, we see that he's in a jail cell crammed with motionless bodies. Many are asleep, others brood in quiet isolation.
A PRISONER sits across from Sonu, making freakish faces, trying to get his attention.
PRISONER (whispering)
P-please sir - one chance?
Sonu is mystified. Before he knows what's hit him, the
PRISONER is doing a deranged and frightening performance - a melodramatic rendition of Rajesh Khanna in Amar Prem. The man, a failed actor, is clearly disturbed, and his bizarre performance spirals out of control. Sonu covers his ears -he can't bear it. T-he prisoners begin to wake up. T-he man continues, his theatrics encircling Sonu, driving him crazy.
SONU Shut up! SHUT UP!
PRISONER (overwrought)
..Pushpa, wipe your tears! Wipe your tears - I can't see you cry!
The prisoner continues, raving, not meaning to taunt him.
Sonu sobs out loud, clenching his teeth, covering his ears...
SONU
God, I can't stand it. I CAN'T STAND IT. SHUT UP!
Some of the other prisoners begin to snigger. Sonu's helpless shrieking turns him into someone else. He rocks back and
forth, looking insane.
160 INT. PRISON CORRIDOR 160