by Ruskin Bond
RODRIQUES. Knock … knock.
The little man shakes, so does the tray and the glass of milk on it.
RODRIQUES.
He picks the glass and smashes it on the wall. Goonga is startled. He looks back at Susanna who keeps crying helplessly, trying not to make eye contact. Goonga turns and walks away.
Cut to:
Ext. Campfire. Night.
Another drinking session at the campfire. This time Arun, now a young adult, is sitting with the trio.
GHALIB.
Goonga growls something in a low tone.
MAGGIE. Are you mad!
MAGGIE.
Goonga makes a lewd gesture towards Maggie and walks away in anger. Arun sees his opportunity and reaches for the beer bottle, but Maggie swats his hand away.
Arun is embarrassed. Maggie looks towards the house where one of the upstairs windows is lit. We see a silhouetted image of Susanna standing at the window, staring into the starry sky.
Cut to:
Ext. Stables. Day.
An illiterate, humble syce walks one of the thoroughbreds out into the sunlight, where the Major is waiting. The horse has been fitted with a saddle and bridle.
The Major turns and snaps his fingers and the frightened groom runs for the stable door, where Goonga is watching.
The dwarf offers them his bucket, and the syce brings it over to the horse and turns it over. The Major uses it to swing himself up into the saddle.
Goonga smiles in anticipation as the Major touches his heels to the horse’s flanks. The animal jerks forward and the saddle slips! The Major cries out and lands in the mud with a thud.
Immediately, the syce is there, helping the cursing Major to his feet, but the poor fellow is rewarded with a hail of blows from the Major’s riding crop.
Goonga’s grin vanishes; he charges forward, yammering in protest. The Major won’t let up until the dwarf pulls the riding crop from his hand.
The Major wheels on the little man. Standoff.
RODRIQUES. So. It’s a fight you want, is it?
Cut to:
Ext. Riding ring. Day.
The syces and a few other servants are perched along the split rail fence, watching a fight that’s underway in the centre of the riding ring.
CRACK! CRACK! The hissing, snapping sound of WHIPS rends the air!
The Major and Goonga are both bare-chested, circling each other with long, leather whips. The dwarf’s burly torso is covered in wicked lacerations—but the Major is unscathed.
He deftly avoids the little man’s flailing lash and takes careful aim at Goonga’s eyes. CRACK! The lash flicks out and suddenly, the dwarf drops his whip and topples over, screaming and clawing at his face.
Satisfied, the Major coils up his whip, turns on his heel, and walks away.
Arun comes running towards them as Goonga howls in agony. Blood spills from between the dwarf’s fingers; one eye has been plucked out.
A teary-eyed Arun cradles him in his arms as the dwarf howls in pain.
Cut to.
Int. Goonga’s hospital room. Day.
The dwarf’s face is swathed in bandages; only his one remaining eye is visible. A stony-faced Susanna looks at him while the doctor readies a syringe.
DOCTOR.
SUSANNA.
SUSANNA.
Arun sobs in the doorway along with Maggie. Susanna walks past them, her face full of hatred and foreboding.
Cut to:
Ext. Chapel. Night.
The chapel bell tower is an eerie silhouette against the starry sky. The heavy bell is tolling.
Int. Bell tower. Night.
Inside, in the dark, Susanna heaves on the thick rope, rocking the bell back and forth.
As the sound of the bell continues, Susanna stares in accusation at a carved Jesus nailed to the cross.
Fade out.
Ext. Road. Day.
The open-top Land Rover motors along a dusty country road, stopping alongside Arun who’s on his way home from school. Susanna is at the wheel with the Major besides her. Sitting in the back, in charge of several guns, is Ghalib.
The jeep crosses Arun. Susanna smiles at him while Ghalib playfully pretends to shoot him.
Ext. Clearing. Night.
A bleating goat is tied to a big shisham tree at the edge of a forest clearing. Up in the branches, the hunting party has made itself comfortable on a spacious machaan.
Nibbling snacks, the Major cradles a rifle and scans the trees for some sign of movement.
SUSANNA. Can I have a drink tonight …?
The Major looks at her with bloodshot eyes. He takes a sip from his whisky glass and pulls her closer and caresses her hair.
MAJOR. No …
He starts nuzzling her.
MAJOR. You can’t have just one … minimum three.
He tries to unbutton her shirt; she stops him.
SUSANNA. We must be very still, very quiet
He brushes her hand away.
MAJOR.
Suddenly, a whisper from Ghalib.
GHALIB.
Ghalib points to the woods. A pair of shining eyes are moving behind the trees. The Major downs another whisky from his flask, then picks up his rifle and moves to the edge of the platform.
With a firm look in his eyes, Ghalib passes a rifle over to Susanna. Susanna’s eyes are cold. The Major kneels at the edge and takes aim.
For a moment, all is still except for the bleating of the goat. Then the panther bounds across the clearing! It leaps right over the goat—up, up to the machaan. Its claws are extended, it’s teeth bared.
FREEZE FRAME.
The Major enters the frame, tumbling down from the machaan. Just before he hits the ground, FREEZE FRAME again.
Cut to.
Int. Chapel. Day.
A rather small funerary urn is on display before the congregation. Alongside it, a colour photograph of the Major.
A choir sings a hymn as the local priest smiles sadly. In nice, clean clothes, Arun stands near the wall, happy to see Susanna in black again.
She’s sitting in the front row, her face heavily veiled. Arun’s chipper mien fades, however, as he notices that her attention is fixed on a striking young man singing among the tenors.
The camera moves in on Arun. His worried look fills the frame …
Flashcuts.
At night, the handsome young man sits on top of a grave, strumming his guitar as Susanna notices him from her bedroom window.
As the Major and Susanna drive away from young Arun—heading towards the jungle—we see the same man pass by on a motorcycle. Susanna and the young man make eye contact.
Super—
Interior. Chapel. Day.
Some months later—same chapel, same guests, same priest. Different music. Now Arun’s eyes reflect bitter disappointment.
Susanna’s at the altar, in a white wedding dress. The groom is none other than the handsome chorister. He slips a ring on to her finger …
Cut to:
Int. Bedroom. Night.
Susanna and the handsome young groom are naked in the bed sheets, all tangled up in passionate lovemaking.
Susanna sits astride her new husband, but as he rolls her on to her back, he pins her arms and whispers in her ear.
JIMMY. Jimmy Jimmy Stetson … Okay, you call me Jim.
Susanna lays on the bed, lazy in her post-coital lethargy looks at him and whispers.
SUSANNA. And you call me Susie …
JIMMY. Susie …
SUSANNA. Jim …
JIMMY. Susie and Jim.
SUSANNA. Jim and Susie.
BOTH. Made for each other.
They snuggle into each other and start the lovemaking again.
Pre-lap: guitar chords.
Int. Bedroom. Later.
Munching some grapes, Susanna is propped up against the pillows, listening as her new dream boat, still naked at the foot of the bed, strums a guitar and sings.
Moved, Susanna h
olds him tight.
SUSANNA.
JIMMY (still playing the guitar). My wedding gift to you.
SONG: O Mama
Jimmy starts singing again, and the song becomes a lively ballad …
Susanna twirls across the room, kicking pillows and vamping it up in the bed sheet. Then she’s in Jimmy’s arms, covering him in kisses. She’s happy.
Dissolve to:
Int. Bombay recording studio. Day.
Jimmy’s at the microphone, singing another verse of the same song. He’s focused solely on Susanna, who’s seated with a producer on the other side of the glass.
Now the lyrics are sexy enough to make her blush, laugh, and cover her face.
A few studio employees drift in to listen; they like what they’re hearing.
Dissolve to:
Int. Stables. Night.
Goonga and all the scyes are gathered around an old television, on which Jimmy’s song is being played. It has become a huge hit.
One of the grooms grabs Goonga, and makes him dance. The dwarf’s face is covered in scar tissue, and he wears an eye patch.
Then, sudden change in the soundtrack—the old TV show Krishi Darshan. Everything stops, and they see that a visibly jealous Arun has changed the channel.
A syce turns the channel back to the song and the dancing resumes. Maggie enters the stable only to find herself in Goonga’s arms, spinning past the thoroughbreds.
As the song moves into its final chorus, the arrangement and vocalist undergo an awful change, becoming a mockery of the successful single.
Dissolve to:
Int. Recording studio. Day.
The producer, grim-faced, sits in the recording studio alongside Susanna, who’s aghast.
Standing before them, singing and playing a harmonium, is Benjamin Chaterjee aka Chatty, a portly performer with long hair, who is working his way through the very same song.
As he finishes, the producer fixes him with an icy stare.
MANAGER.
CHATTY. College compose Jamshed band backing vocals Where the hell is he?
He whips out a cassette and hands it over to the manager.
CHATTY. T-Series
The manager looks at his subordinate.
MANAGER. Which series is that—T?
The subordinate shrugs his shoulders.
MANAGER.
CHATTY.
The manager looks at Susanna, who is appalled.
MANAGER
Cut to:
Int. Recording studio. Later.
With the dyspeptic producer looking on, Susanna sits at his desk, writing a cheque.
As she hands it over, Chatty grins and picks out an arpeggio on his harmonium.
CHATTY. Thanks, man … number ? Hit Superhit …
He launches into a slow tortured Love Ballad.
Pre-lap: Chorus.
Cut to:
Int. Concert hall. Night.
SONG:
An excited Delhi audience, mostly female, is yelling and applauding. A banner hangs from the balcony: ‘We Love You Jimmy!’
And Jimmy’s front and centre on stage. His sequined shirt and jeans are glittering in the spotlight. Behind him, a six-piece backup band.
He points towards a corner, where Susanna sits. As the audience gets to its feet, the camera slowly moves to her. Susanna tries to smile.
Int. Recording studio. Day.
A dozen musicians sip tea and smoke as the worried manager paces back and forth, looking at his watch.
The film producer arrives chewing paan, as a person holds a vessel for him to spit into.
The producer looks at the manager with piercing eyes.
MANAGER.
The producer spits the paan and wipes his lips.
PRODUCER.
PRODUCER. violin ? 100 violin
Cut to:
Int. Susanna’s Panchgani house. Day.
Susanna in her Panchgani house writes a cheque and hands it over to the manager, who smiles sheepishly.
ARUN (voice-over). Jimmy
Int. Disco/Hotel room. Night.
Jimmy at a table with some girls wearing revealing outfits, and an ingratiating drug peddler. They are examining some white powder in a clear envelope. The peddler starts to heat the powder over a candle in a spoon.
The peddler fills the injection with an liquid from the spoon. He ties a rubber string on Jimmy’s arm and administers the injection into his vein.
Cut to:
Ext. Concert hall. Night.
The poster next to the box office reads: ‘TONIGHT: JIMMY STETSON’.
From inside, the dull thud of people stamping their feet!
ANNOUNCER (voice-over).
Angry boos and cat calls. Angry ticket-holders are streaming from the theatre. Someone rips down the poster.
Policemen escort the cowering manager through the mob as he ducks a hail of tossed shoes and fruit.
Cut to:
Int. Susanna’s house. Day.
A grumpy Goonga removes a large stash of Rs 100 currency notes from a bag and places it on the table as the manager sits opposite with a broken, plastered hand and a few band-aids on his face. Susanna looks on in disappointment.
Cut to:
Ext./Int. The Taj Hotel—Bombay. Night.
The Taj Hotel at the Gateway of India. A doorbell rings a few times on the soundtrack. Susanna waits for the door to be opened. After a moment, a tall, half-naked Tibetan girl answers the door. She is breathless and giggling.
TIBETAN GIRL. What is it …?
SUSANNA. Jimmy …
The girl looks back, giggling.
TIBETAN GIRL. Jim, you have a fan here.
Jimmy, only in his underwear, enters the room chasing another half-naked North-eastern girl, and pins her down on the sofa.
JIMMY. …
NORTH-EASTERN GIRL. Cheating … it’s cheating. Jimmy is a cheater!
The Tibetan girl also runs back to the two of them on the couch.
TIBETAN GIRL. Jimmy is a cheater …
A playful fight ensues between the three of them. Susanna walks inside—the room is littered with used dishes and liquor bottles. Suddenly Jimmy notices Susanna standing near the piano which is laden with overflowing ashtrays, he is now sandwiched between the two girls. His smile vanishes. He slowly forces himself free of the girls and walks towards her.
JIMMY. Susie Inform
Both the girls follow Jimmy and stand each at his shoulder. He looks at Susanna looking at them.
JIMMY. Don’t misunderstand, Susie … We are just friends.
TIBETAN GIRL. Just …
NORTH-EASTERN GIRL …. friends.
They giggle and Jimmy also smiles, but suddenly gathers himself and speaks seriously.
JIMMY.
He looks at both the girls, who giggle.
JIMMY.
TIBETAN GIRL. I-Spy.
NORTH-EASTERN GIRL. Hide and seek.
JIMMY.
Susanna is disgusted. Suddenly the Tibetan girl screams and smacks his arm.
TIBETAN GIRL. Jimmy
The girls disappear into the bedroom; Jimmy runs after them.
Int. Hotel bedroom. Continuous.
All three race around, firing their ray guns. Susanna follows and discovers a hypodermic needle and packets of heroin on the bedside table.
Jimmy comes up behind her.
JIMMY. Susie … you will have to try this for me … It’s spiritual …
He injects himself and takes a deep breath. The girls start to prepare their doses. Jimmy walks to Susanna.
JIMMY. creativity
Blinking, he comes close to her and pecks her on her cheek.
JIMMY. songs
Woozy, he leans back.
JIMMY …. Guess …!
Firing her toy gun, the shrieking Tibetan girl runs past, knocking him over. CRASH! He falls on to one of the guitars.
JIMMY. Jimmy’s dead! Jimmy’s dead!
Cut to:
Ext. Su
sanna’s house. Day.
Susanna leads a shaky Jimmy from a taxi into her grand house in Panchgani. He’s got a bandage on the back of his head. Ghalib, Maggie and Goonga are at the front door, watching impassively.
Int. Bedroom. Day.
Jimmy is tied to the bed post. He strains against the ropes, pleading and bleating like a goat being taken to the slaughter.
Susanna calmly steps aside to allow a local doctor to approach with a loaded hypodermic needle. Jimmy’s tone changes.
The doctor looks at Susanna. She nods at Maggie, who walks like a giant and holds Jimmy’s shoulders. Ghalib and Goonga clutch each of his feet. The doctor administers the injection; Jimmy grunts and starts to cool down. The doctor takes Susanna aside.
DOCTOR. I can recommend a good rehab facility in Pune—a very private, excellent one.
SUSANNA. No, Doctor. Thanks
Ext. Garden. Day.
Jimmy, clean-shaven and well-rested, moves through the flower beds with a watering can. It’s a nice day; the birds are chirping.
Int. Salon. Day.
Sergeant Keemat Lal, 40, a local cop in neatly pressed khakis, roams around the library, admiring Susanna’s father’s gun collection. He’s carrying a long package.
He pauses before a photograph of a very young Susanna and her father standing under a palm tree at an elegant hotel in Goa.
The man turns to see Susanna entering. He’s a bit overawed in the presence of her ladyship.
KEEMAT.
His eyes return to a shotgun on display.
KEEMAT. drug peddler
He displays the gun in his hands.
KEEMAT.
Susanna looks at him sharply. Keemat fumbles.
KEEMAT.
Susanna inspects the gun.
SUSANNA. inspector
KEEMAT.
Susanna looks at him again; this time he smiles.
KEEMAT.
Susanna smiles back.
SUSANNA. Muzzle loader NX 6 … Amongst the first guns to be brought to India by the soldiers of the British Raj … father favourite gun
KEEMAT.
Susanna looks out the window. She can see Jimmy, sprawled under a tree, puffing a cigarette and strumming his guitar. He is serenading his dog.
KEEMAT.
She turns to face him; he smiles.
KEEMAT.
SUSANNA.
KEEMAT (nodding).