TOE STORY
by
Dan Alexe
FADE IN: INT. A ROOM, SOMEWHERE IN AFGHANISTAN - DAY
The rectangle of the camera reveals a dirty wooden floor and the legs of a chair. The lower part of a woman wearing a burqa comes into the frame. She wears plastic sandals on her naked feet. Square clipped toenails and thin ankles.
MALE VOICE
Sit down, sister.
She sits. The chair creaks.
FEMALE VOICE
What’s this for?
MALE VOICE
It’s for a movie. It’s called a casting. You
shouldn’t worry. Everything is Islamic in
it. If we take you for the role, you won’t
need to show your face. All you need to show
is your toes... Those that everybody sees
anyway.
The camera slowly zooms down onto the toes.
MALE VOICE
And you’ll be paid for it.
Please, swing your ankle. She swings it.
Succession of women’s feet on the CREDITS. THE TITLE:
TOE STORY
1.
FADE IN: INT. CLEAN ROOM, WALLS LINED WITH BOOKS - DAY
A venerable OLD MAN with a noble beard closes the book he had been reading and stares with a disbelieving expression at the YOUNG MAN seated in front of him.
The YOUNG MAN is thin. Hungry eyes in a virginal face. Curly black beard like a regiment of spiders. He is tense, but tries not to show it.
OLD MAN
You want to do a casting of women’s toes?!...
In this city?
YOUNG MAN
Why would there be a problem? Is there anything in the
Sharia that prohibits filming women’s toes? I won’t be filming their faces.
OLD MAN
This sounds, first of all, like a base form of shirk
(idolatry).
YOUNG MAN
Sir, in the surah 24, the one called Noor, the ayat 31 says: “speak to the believing women that they refrain their eyes and observe continence; and that they display not their ornaments, except those which are external”. Except those which are external, like their toes.
2.
OLD MAN
This seems to me like a bad translation, my son.
YOUNG MAN
Oh, no, father, because the Arabic runs: “Wa qul-lil-mu’minaati yaghzuzna min’ abssaarihinna wa yahfazna furuujahunna wa laa yubdiina ziinatahunna ‘illaa maa zahara”.
The old man eyes him in silence.
OLD MAN
I didn’t expect you to know Arabic.
YOUNG MAN
Al mu’minaat. The believing women. ‘Illaa
maa zahara : except those which are external.
OLD MAN
Aha. And what would be the subject of what
you want to film?
YOUNG MAN
You know the story of the Mad Prince and the
Fairy? The old man shakes his head.
YOUNG MAN (CONT’D)
It’s like this. The Fairy is so unbearably
beautiful, that anyone who sees her becomes
mad. The Prince knows this, but he insists
so much on seeing her, that...
He stops. The old man encourages him to continue.
3.
YOUNG MAN (CONT’D)
...finally they take him to her. She is
veiled, of course. They lift her burqa just
enough so he could see her toes. And...
He starts gesticulating, with suddenly a possessed look on his face.
YOUNG MAN (CONT’D)
...he goes out of his mind.
He starts making grotesque noises and gestures.
YOUNG MAN (CONT’D)
When he regains his senses, they tell him
“you’ve only seen her toes, think what
happens if you see all of her.”
He stops acting. He laughs, apparently pleased with himself.
OLD MAN
Lovely story. Yes, of course I knew it. It’s
the story of Majnun and Laila.
YOUNG MAN
Wait, it’s not over. I made up my own
ending. Laila, the Fairy also falls in love
with the Prince, and, so that they may live
together without her killing him, she drinks
a tincture of ugliness.
OLD MAN
Huh?
YOUNG MAN
She makes a charm and she becomes an
eyesore. Then, when she’s ugly, they live
together happily forever.
4.
The old man still doesn’t say anything and keeps looking at him.
YOUNG MAN
It’s a very simple story, which would teach
the public simple, fundamental values with
unpretentious metaphors. What we would see
from the female character would be only her
toes.
Seeing the old man’s hesitation, he hastens to continue.
YOUNG MAN (CONT’D)
The screenplay has already been approved by
foreign NGO’s and now all I have to do is
find the appropriate toes and start
shooting... You could say it’s an educational
clip about pure love and devotion... without
anything sexual about it... for certainly no
Mullah in town would object to filming toes,
the vilest part of the human body...
OLD MAN
I thought the ass was the vilest part.
Watching the young man’s puzzled expression, the old dignitary roars with laughter.
The young man starts laughing as well. With an impatient gesture, the old man cuts him out.
OLD MAN
Your father was a great mujaheed. I will
help you... mmm... Rahman, yes? RAHMAN nods.
5.
RAHMAN
We buried my father almost ten years ago,
when we were refugees in Pakistan.
OLD MAN
I know that. Listen, I think you can do your
toe story. Meanwhile, I understand you also
need a lodging. I will help you with that as
well, until you find something. You know
where the archaeological museum is? The
curator is a cousin of mine. A woman of
great learning. I will call her and ask her
to help you find something.
Rahman leans forward and kisses the old man’s hand.
INT. THE ENTRANCE HALL OF THE OLD MAN’S HOUSE – DAY
The old man is leading Rahman out.
Suddenly, Rahman freezes in front of a big sitting Buddha made of cracked stone.
OLD MAN
No, no, don’t worry... I’m not an idolater. My
daughter has brought some work home. She is
restoring statues in the archaeological
museum. All the statues that the Taliban
have broken... You may have heard from your
father that I was an art historian myself
before becoming a judge. I studied in
Moscow, where I specialized in all this... The
Gandhara art... the Greco-Buddhist style... I
can’t say it’s a frivolous thing... I let my
daughter learn the craft of restoration
with... (gesture) I don’t know what French
NGO... So sometimes she brings stuff home.
Rahman goes round the statue, admiring.
6.
RAHMAN
It’s magnificently restored.
He caresses the statue’s toes.
OLD MAN
Say, what happens to the Fairy’s toes when
she becomes ugly? Do they become horrible as
well?
RAHMAN
I haven’t figured out that part yet.
EXT. BUSY TOWN STREET – DAY Rahman walks through the heat of the day. Dusty, precarious. A dull grey sprawl of narrow streets.
Pedestrian rush hour. Garbage is piled up next to dumpsters. Dumpsters are burning in the foul spring air. Dogs are feeding in the piles of garbage.
Shops: chicken legs, cabbage, cookers, electronics, eggs. Tattered old electoral campaign advertisements and mine-warning posters litter the walls.
Rugs in the middle of the street, on the asphalt. Cars drive over them.
A NATO military jeep cruises by, LOUD MUSIC on the radio, then disappears around the corner. Yanks inside.
Poster with a muscled European-looking man showing off packs of muscles bulging with steroids.
7.
Cinema posters with titles in Hindi and Persian, on one of them a female face, tears streaming down from her eyes.
On another one: a man, half naked, his chest covered with wounds oozing blood, clutching a machine gun.
Rahman strolls smiling through the dust, looking around, camera bag on his shoulder.
He passes in front of the entrance of a Sufi shrine and stops to look.
The short flight of cement stairs leading up to the square entrance is set between the window of a shoe shop and a pharmacy. A green curtain hangs over the entrance.
From inside comes the muffled sound of a female dhikr, a mystical ceremony. Rahman stops to listen, as the musical recitation inside ends.
Female feet appear on the stairs.
As they come out, the women wrap themselves in their burqas, with short dignified gestures. Most of them are covered from head to toes.
Rahman pretends to read the labels in the pharmacy window, as the women’s feet come down the stairs, one after the other, at eye level.
Most women wear the same kind of plastic flip-flops and slippers. Their toenails are dirty, thick and keratinous. Some others wear sports shoes and trousers under their burqas.
8.
The last pair of feet stop for a couple of seconds.
Their possessor wears jeans under an expensive coat and the marble-like feet are set in very elegant leather sandals.
The plant of the feet is elongated; the vault of the plant is very arched, while the toes are long and neatly separated.
The toenails are oval and almost transparent, with a thin top margin whiter than the rest and set in an obviously well cared- for ring of pink flesh.
Raman’s jaw drops and his eyes swipe the woman’s slim body up to the uncovered face.
When their eyes meet, she lifts both her arms and rearranges the headdress down on her face. He jumps aside to let her step down and pass.
Down on the pavement, she turns her back to the young man and walks away.
He watches her walking determinedly away, past the body-building poster.
Without another look for the shrine, he starts following the girl keeping at a distance.
At the first crossroads, while she prepares to cross the street, she looks to the left and sees him. She pulls the veil upon her face.
She suddenly crosses the road, without looking right or left. He follows her and is almost run over by a huge decorated truck, horns blowing tremendously.
9.
When she arrives safely on the opposite sidewalk, she sees his reflection in a shop window.
She hurries away, stiff and dignified.
Finally, while trying to cross yet another large street, she has to stop because whistle-blowing cops make frantic signs to all pedestrians to clear the road. An official convoy passes at high speed, dark windowed four-wheel drives and NATO armor-plated humvees.
Coming behind her and looking ostensibly left and right at the other waiting pedestrians, he asks:
RAHMAN
Can I help you, sister?
She shakes her head, looking away, what’s visible of her face showing extreme annoyance.
On the other side of the road, Rahman’s step slows down when he recognizes the gate to the old judge’s house.
The girl stops on the threshold of the judge’s courtyard and turns to face him, somber eyes and lips pressed together with an expression of infinite contempt.
He stops too, at a safe distance and lowers his eyes, fixing his gaze on her feet.
He suddenly recites, voice slightly trembling:
RAHMAN
“How happy the king that is mated by thy
rook!
How fair company has he who lacks not yours!
10.
RAHMAN (CONT’D)
“I desire to fling heart and soul at your
feet;
Dust on the head of the soul which is not
the dust on your feet.”
He waits, smiling shyly. Face set in stone, she takes over:
A pause.
GIRL “I have closed the passage of the lips, and
opened the secret way; I am free in one moment from the desire of speech.”
GIRL
That’s gay poetry, ahmaq (idiot).. Rumi’s
love poems were written in praise of a man. Such poetry you can go and declaim in the bazaar... Kandahari merchants are very fond of it. You might gather enough to buy yourself a better shirt...
She slams the gate shut. He remains there, eyes fixed on the corrugated metal gate. CUT TO: EXT. IN FRONT OF THE ARCHAEOLOGY MUSEUM - DAY
The bombed-out carcass of the museum, on a hill overlooking the city.
11.
The museum has bullet-pocked walls. A cement flight of stairs leads to the entrance.
INT. THE MUSEUM - DAY
Rahman enters the building, camera on his shoulder, passes in front of a row of decapitated statues.
He crosses a series of halls, some of them roofless and brightly lit by the morning sun.
INT. OFFICE IN THE MUSEUM - DAY
The curator is busy talking over the phone. She is an energetic woman in her late forties, with a lock of hair elegantly hanging over her high forehead from under the veil that she has pushed back.
After ending the phone conversation, she smiles to Rahman and points to the chair in front of her.
CURATOR
Rahman, yes? My cousin recommends you. It
seems that he was very close to your father
in the old days. I’m Spojmai. In what way
can I help?
RAHMAN
Would you first let me express the feeling
of trust that overwhelms me at this very
moment when I see how you receive me? You
are of a kind nature. I can see it in your
eyes. You seem to be one of those rare
beings that do good actions not out of duty,
but because they feel the need to do it.
Allow me to take advantage of that.
12.
SPOJMAI
(smiles) How can such a young person speak so bizarrely about human nature? How brazen, to tell me immediately that I am a rare being. In exchange for that, I hope you have a lot to ask for.
RAHMAN Some feelings have a value only when they
come out spontaneously. Even if I didn’t have anything to ask, I would find something, only in order to be able to express my gratitude to you.
SPOJMAI
(laughs) Such gross and clumsy flattery shows me that you must have a keen sense of humour. So be it. Come on, what do you want?
RAHMAN I came to make this film. I believe in this
rewriting of the Majnun and Layla story. I would like to be able to stay for a couple of months, work on this and go away with the subject packed in my bag. All I want is to work, but I can’t afford to live in a hotel. I also need to obtain the help of intelligent and cultivated people, like yourself and the judge, who could help me with organizing the casting and with convincing the religious authorities that there is no wrongdoing in filming a woman’s toes.
SPOJMAI Are you a good Muslim?
13.
RAHMAN
(fervently)
I can’t say that I am good, but I constantly
try to mend what I have identified as my
shortcomings. From what I know, I have never
did anything wrong deliberately. I am also
initiated in the Qadiriya brotherhood, and
the first thing this morning, after the
discussion with the judge, was to go to the
Noori Baba shrine.
SPOJMAI
In the morning it’s reserved for women.
RAHMAN
Yes, I saw that. I will return there, but I
was glad to see that the shrine hasn’t been
touched by the bombings.
SPOJMAI
Because Noori Baba was a saint. This is very
good. A Qadiri. I hope you don’t smoke. He shakes his head.
RAHMAN
Bibi Spojmai, I have five hundred dollars, I
am serious and hard working. Could you help
me find a room, not too horrible and not too
expensive?... until I finish my film?
Spojmai looks him over in silence. She frowns, slightly nervous. She seems embarrassed and puzzled.
14.
She calls out.
Shugufa!…
SPOJMAI
RAHMAN I am sorry that I should disturb you so
much. I’ve seen a guesthouse right close to the museum and I am sure that I could afford a night there. I will then dispose of the whole day tomorrow to find something. Thank you for your time.
SPOJMAI That is Bibi Malalai’s guesthouse. It is
horribly expensive. Only foreign NGO people live there. Wait. I am trying to imagine what would suit you better.
RAHMAN What would suit me is simply some silence, a
bit of sun, and a mattress... or a rug to sleep on.
SPOJMAI My dear, you’ve been so open from the start,
so let me also ask you directly: are you really just a solitary young man who wants to film a modern version of Majnun and Layla? I am asking myself whether I can put you up in a respectable house. You make a very good impression... I am only worried about your age.
An old, swarthy and wrinkled female servant, veil-less, with inquisitorial dark eyes appears with a tray of teacups and sweets. Her toenails are tainted with orange henna.
She places the tray on the table, pours ceremoniously a cup of tea and pushes it towards Raman, looking askance at him.
15.
SPOJMAI
I remember the time when I could sit for
hours in a cafe, sipping tea and watching
the spectacle of the city. I suppose you
were not born then.
She pours some tea for herself. She watches him drink.
SPOJMAI
Shugufa, this young gentleman is recommended
by my cousin, the judge.
Where could we put him up for a couple of
weeks? Somewhere with electricity, running
water, not too expensive.
Shugufa is eyeing him.
SHUGUFA
Can’t think of anything like that.
Rahman gets up.
RAHMAN
Please, do not worry too much, I will find
something. Spojmai checks him over hesitatingly.
SPOJMAI
Come on, let me show you something.
16.
INT. A DARK STAIRCASE – DAY
SPOJMAI
I lived in Paris all these years. I studied
architecture, then came back. We are an
exploded family. Half of us live in
Australia.
They climb to an upper floor of the museum.
SPOJMAI
(pointing to a door)
Here’s my room. I made myself an apartment
in the museum since a bomb razed my house.
They climb yet another staircase.
SPOJMAI
France... That’s a country where a woman can
remain unmarried without anybody inquiring
into the reasons... You don’t have to lie
pretending to be a widow, like I do here.
Choosing expertly one of the huge keys, she unlocks a door leading to an enormous attic, filled with unmatching furniture, broken statues, bad taste paintings in superb frames, old weapons, books.
SPOJMAI
Here. You could stay here for a while, and
without having to pay anything. As I said,
the only thing that worries me is your age.
In another part of the city, I wouldn’t have
allowed you in. Fortunately, my only
neighbours here are the NATO barracks and
Bibi Malalai’s guesthouse, where there are
only foreigners.
She looks around with a dreamy expression.
17.
SPOJMAI
It’s like the setting of a film about the
end of the world... I always thought that the
end of the world is actually a dream about
wealth and riches. People who have such
dreams and who see themselves as in a
trance, wandering through ruins, want
actually to profit of all these riches
without an owner. Robinson Crusoe is a
softened version of this fantasy: he is
alone on his island, but possesses the full
cargo of a ship carrying everything
necessary to rebuild a new little world, a
solitary world of abundance and endless
enjoyment of an undeserved loot.
So this will be your temporary kingdom.
RAHMAN
A cupboard would be enough for my needs.
As long as I have a rug to sleep upon, I’m
fine. I don’t even need books. Why read
history, or psychology, when one of these
objects tells me more than I can bear to
know?
SPOJMAI
Come on, come on... Nobody comes up here.
Also, there’s no electricity. You’ll have to
recharge your camera in my office. Also, I
will ask you to keep quiet.
RAHMAN
This would make me so happy!... I will not
be a burden for you, you will see.
SPOJMAI
Where will you eat?
He makes a dismissing gesture.
18.
RAHMAN
Oh, I’ll go out for some naan and kebab...
Even just naan will be enough for me.
SPOJMAI
Nonsense. Shugufa will cook for you. Now
come and eat something. INT. GUESTROOM IN THE MUSEUM - EVENING
They squat opposite to each other, while old Shugufa is placing food on a napkin spread on the floor.
RAHMAN
Have you ever made anyone as happy as you
are making me now?
SPOJMAI
You are overdoing this part. Please eat.
RAHMAN
Would you allow me to put some order in that
attic? She looks at him chewing silently, and then she nods.
SPOJMAI
Toe Story, huh?
INT. THE ATTIC - NIGHT
It is a dark night. Rahman is walking around the attic, an oil lamp in his hand. He is arranging the room, cleaning, dusting objects, placing them on shelves and tables, contemplating them, shifting them around.
19.
INT. THE ATTIC - DAY
In the morning, warm sun piercing through the window. The room is decorated, looking like some curiosities cabinet in the old baroque paintings.
Rahman jumps up and runs to wash in the sink. A knock on the door. Shugufa comes in with a plate of food. She puts it on a table, then she looks around, startled. She claps her hands in amazement.
She runs out of the room and down the stairs, shouting:
SHUGUFA
Mash’allah! Bibi Spojmai! Come and see!...
EXT. ENTRANCE OF THE SUFI SHRINE - DAY
On the sidewalk opposite the shrine. Rahman pretends to read a paper.
Women come out and climb down the stairs in pairs, talking and giggling.
The girl appears, feels his distant presence and walks down the stairs of the shrine and away with a sovereign gait.
Their eyes meet.
20.
She presses her lips, preparing an imprecation.
His eyes show humble, defenseless expectations.
He lowers his stare, humbly.
With a superior air, she gathers her burqa around her and passes her way, without looking at him.
He follows her from afar, the distance between them revealing an almost familiar pattern.
INT. MUSEUM HALL – DAY
Rahman is fixing his camera on a tripod, lens pointed downwards towards the legs of a chair.
Spojmai comes in leading a limping old lady with an inquisitive look.
SPOJMAI
This is Bibi Malalai. You will probably find
her toes of great interest.
RAHMAN
Sit down, Bibi. Let me check the light.
Bibi Malalai sits.
BIBI MALALAI
Did you go through this as well?
21.
SPOJMAI
Oh, no, I got my share of filmed glory a
long time ago. I was Miss Afghanistan,
remember?
Rahman looks up at her, surprised.
SPOJMAI
You wouldn’t say that today, would you?
THROUGH THE LENS: Bibi Malalai’s toes are crooked and a number of them are missing.
AT THE DOOR
BIBI MALALAI’S VOICE Stepped on a grenade, dear. Otherwise, I
would have had more than a chance of becoming Miss Afghanistan myself.
SPOJMAI Thank you, Bibi. Rahman here could certainly
think of a role for your toes.
BIBI MALALAI (to Rahman, before leaving)
Come stay at my place, you will meet lots of foreigners.
Spojmai closes the door, turns to Rahman.
SPOJMAI
I rather like myself as an impresario.
Memories of old skills are coming back.
Well?
22.
RAHMAN
She’s good... We’ll keep her. But I will have
to find a special role for her. She could be
the Fairy after the transmutation.
EXT. ENTRANCE OF THE SHRINE - DAY
He stands on the sidewalk, not even pretending to read.
The first women appear and descend the staircase.
Rahman’s face is beaming with humble expectation.
The girl appears as well, accompanied by the swarthy servant Shugufa, who carries a basket.
They come down whispering to each other. In passing him, Shugufa throws him an indignant look.
RAHMAN
Salaam.
They ignore him and walk away.
He follows them. EXT. A BAZAAR - DAY
The girl and the servant glide through the stalls, among mounds of raw meat, raisins and huge, sectioned bloody watermelons.
23.
Smoke from meat on grills. Carcasses of cattle and sheep hang in shop windows, some with facades painted in shades of pink and blue.
Loudspeakers pour out a steady stream of Indian music.
In the tangled alleys, attached sheep and goats snort under swarms of flies.
Men watching a cockfight and shouting out their bets.
The servant keeps stealing glances at Rahman. The two women buy apples.
They stop to watch a begging Gypsy with a tame dancing monkey wearing a Nazi iron headgear. He sings and the monkey, kept on a short leash, dances in the middle of a crowd of happy onlookers.
Suddenly, the crowd pushes Rahman towards the two women.
He struggles hard not to touch the girl. She turns to him and faces him.
She has taken a bite from an apple. She looks him in the eyes. Her face turns into an expression of disgust.
She throws away the apple.
Rahman jumps and grabs the apple, which has rolled until stopped by a pile of garbage.
He holds it in his hand and turns it round to find the trace of her teeth.
24.
He looks straight at her. She returns the stare.
He sucks gently, but forcefully the juice from the bitten part of the apple.
Laughter around, but most people are still watching the monkey.
She shrugs and passes by him, followed by Shugufa the servant, who shakes her head.
Rahman throws the apple in the girl’s way. It rolls in the dust in front of her.
She stops for a second and deliberately crushes it under her heel, her toes getting dirty with dust and juice from the apple.
She now walks away with a quicker step, but the servant stays behind for a couple of seconds, just enough to see Rahman lifting the crushed pulp from the soil and putting it in his mouth.
Rahman walks after the two women, smiling, chewing the thing as if it were some fruit from Paradise.
INT. SPOJMAI’S OFFICE – DAY The girl and Spojmai hug each other warmly.
THE GIRL
So, auntie, who’s the young man who lives
here in the museum? Even Bibi Malalai told
me about him. I suppose if Bibi Malalai
25.
THE GIRL (CONT’D)
knows about him, the Suprem Court must be
informed by now.
SPOJMAI
Horsheed, dear, a very nice character,
recommended by your father. He won’t stay
long.
HORSHEED
(repeating sarcastically)
“A nice character, recommended by my
father”. Since when is my father supposed to
understand anything about the nature of
living people?
Spojmai lifts her eyes towards the ceiling, taking the heavens as witness for such a lack of filial respect.
HORSHEED
(her face suddenly darkened)
He’s been following me everyday for the last
week. I would like you to tell him to leave.
SPOJMAI
(surprised)
Horsheed, dear, I can’t!... Not like that, all
of a sudden. I have offered him my
hospitality.
HORSHEED
Oh, you can. I’ll show you how. Where is he?
INT. RAHMAN’S ATTIC – DAY Rahman is toying with his camera. Spojmai and Horsheed come inside, both of them somber-faced.
26.
Rahman, at the other end of the attic, freezes. Horsheed throws her veil on a chair.
HORSHEED
You should come closer, if you want to hear
what I have to say.
RAHMAN
I’m not so sure. When you come closer to a
phantom, it fades away.
He comes slowly towards her. He kneels and makes a gesture of worship.
Spojmai is watching the scene with bulging eyes.
HORSHEED
This posture is very ill suited for what
you’ll hear.
RAHMAN
It is perfectly suited for what I will
answer. She shrugs.
HORSHEED
I ask you to leave this building and to stop
coming to the shrine. Or should I stop going
there myself?
27.
He turns pale.
RAHMAN
Your wish is an order for me.
She turns her back on him. He clears his throat.
RAHMAN
“I have put duality away, I have seen...”
HORSHEED
Oh, spare me, please, this pathos. You’ve
seen too many Bollywood movies. Yes, I hear
that you are good with words... But what you
showed me in the market place was the
adoration of a dog. This made me feel
offended. And sick.
RAHMAN
Your purity could not be soiled by my
impersonation of a dog...
HORSHEED
I see you start another discourse. I will
cut it short. Let me ask you something.
Would you please answer me honestly? Anyway,
the smallest lie would immediately make me
despise you even more.
(sadly)
28.
SPOJMAI
Please sit down.
HORSHEED
I will stand, if you don’t mind.
She takes a pose, resting her thigh against the wall.
HORSHEED
I hear you came here to make a film, and I
suppose that when you saw me, you imagined
introducing me into the economy of your
daily routine...
It’s true.
RAHMAN
HORSHEED You are young and an easy pray to small and
dirty temptations. By watching me... you project me on a screen, which allows you to do your dirty job, something that my father had the folly to encourage.
It’s true.
RAHMAN
HORSHEED At least you are not a liar. I understand
you will stay for an unbearably long time. It is unbearable not only because I have to suffer every day your dirty stare, but also because you have abused my family’s hospitality. I used to sleep in this museum when working late. Now I can’t anymore and I will be forced to go home early because of you.
29.
She pierces him with her eyes. Her lips are trembling with indignation.
HORSHEED
It makes me mad when I see how you twisted
everybody’s mind. My father and my aunt,
because they lived abroad and loved their
Western life, they were afraid of appearing
retrograde, so they took you in. But nobody
asked me, like always in this country.
She stomps the ground with her foot.
HORSHEED (CONT’D)
You have no right to make me think of you
everyday. I do not want to have men in my
mind. I do not want to have to think of
filth and perdition. My mind is directed
towards my art and towards God. So, get out
of here.
He pales and leans against the wall.
She sees his wretched state, and her victory seeming total, she becomes slightly less vehement.
HORSHEED
It is possible that you didn’t realize the
gravity of your acts. I don’t think you are
a pervert. I suppose that you commit these
evil acts instinctively, but the confusion
that you seem to go through now plays in
your favour.
She stops and watches him.
30.
HORSHEED (CONT’D)
You know, you don’t need to carry that
camera around all the time to show that you
are an artist. That camera is something
extremely violent, and it is irrelevant
whether you are filming toes, or any other
part of the human body. Did you try to
imagine how I feel when you point those eyes
at me, making me feel that you have a webcam
behind your eyes? You make me feel impure
with your stare. Tell me, is it true that
you get a secret delight imagining that my
toes, which look so perfect - and now
because of you I am forced to wear socks in
summer- that my toes reflect all my secret
untouched beauties?
They both look at her feet. She is wearing woollen socks with coloured stripes.
RAHMAN
It is true.
HORSHEED
Your evil act is not to have gazed at me
every day, with your mouth wide open... I know
myself that I am beautiful. What is evil is
that you extracted a secret vile pleasure
out of my appearance. You are a coward. You
have no right to try to reveal to a pure
young girl pleasures that love only can
reveal... You, who obviously cannot love!... Was
I clear enough?
RAHMAN
Yes. I see that I have lost...
HORSHEED
You have only lost your pagan little
shameful pleasure. Now go and film toes
somewhere else. Or film your own.
31.
RAHMAN
Please. Let me explain to you... Let me find
my words. I am not very well right now.
I never felt anything dirty in my head or in
my heart about you. When I saw you, I was
simply transported by your beauty, but
without thinking anything...
HORSHEED
And this beauty pushed you to try to
transfer to me your moral confusion.
He opens his mouth. She stops him with a gesture.
HORSHEED
I really don’t see why I have to talk like
that, but did you ever consider even the
total and definitive social gap between us?
RAHMAN
Please, understand that there was no plan in
my head!... I was just admiring you without
even thinking... Or if there was a thought, it
was that your toes are worth infinitely more
than my soul.
HORSHEED
(indignant)
My toes will rot in a hole when I die, but
your soul will have to meet your creator. I
will not permit such insanities in front of
me, or you will lose the little esteem that
I...
She grabs her veil without looking at him.
HORSHEED
This meeting is over.
32.
RAHMAN
I didn’t realize I was so seriously under
your spell. Or, when I did, it was already
too late. Please, believe me, it is not me,
it’s you. No, I’m not saying that you are
responsible, no. But you will do this again
and again to other people, because...
HORSHEED
(mockingly)
That’s why I should have worn a total burqa,
like everybody else... Which is what I shall
do from this day on... I want you to get out
of here by Friday, otherwise I will inform
my father about all this.
She throws the veil over her head and walks out of the room, followed by a silent Spojmai.
Rahman remains dumbstruck, expressionless, arms hanging limply, staring into the void.
INT. THE JUDGE’S HOUSE – DAY Horsheed rushes in.
Her old father turns towards her, smoking, and he suddenly freezes.
FATHER
What happened?
What?
HORSHEED
FATHER Is anything wrong?
33.
HORSHEED
N-... No, no. Why?
FATHER
You look strange. I never saw you like that.
HORSHEED
How do I look?
FATHER
Uh... Scared.
INT. RAHMAN’S ATTIC – DAY Spojmai knocks. She enters. Rahman is spread over his couch, motionless.
SPOJMAI
I certainly did not expect anything like
this when I accepted you. He closes his eyes full of tears and shakes his head. Spojmai puts her clenched fist in front of her mouth.
SPOJMAI
Rahman, it is only a moral pain, right? Tell
me that nothing really happened!... You didn’t
fall prey to some... to... You didn’t really
expect that some day you could...?
He pushes himself up, regaining some force.
34.
RAHMAN
How can you believe such a thing?
He falls back on the couch. INT. RAHMAN’S ATTIC – LATER Feverish, he lies on his back, shaking. Spojmai and the servant are watching him.
SHUGUFA
He wouldn’t eat anything. He has the evil
eye for sure.
SPOJMAY
Look, we won’t throw you out in this
condition, of course... But... How could I pull
you out of this?
RAHMAN
(in a weak voice, to the servant)
Would you bring me some of her food? I think
I could eat that. I only want some remains
from what she eats. Certainly I deserve at
least what you would throw to a dog.
The two women exchange a puzzled look. INT. KITCHEN – DAY
Horsheed is picking up some food from a platter, chewing slowly, lost in thoughts and balancing her naked foot.
The old servant enters carrying some dirty plates.
35.
SERVANT
Your father says it was delicious.
HORSHEED
(absentmindedly)
Sure. The servant comes to look at her plate.
SERVANT
You are not really eating... (pause) That boy
is very ill.
HORSHEED
Please, stop talking to me about that
madman, otherwise I will lose my temper and
my father will think again that there is
something wrong with me. He doesn’t even now
that Spojmai lodged the lunatic inside the
museum for such a long time.
SERVANT
I suppose she can’t throw out someone who’s
ill. If I may... Just a little thing...
HORSHEED
(impatiently)
What?
SERVANT
I talked to your aunt and she knows this
remedy as well...
HORSHEED
What remedy? Speak up.
36.
SERVANT
Well, it can’t be an easy burden for your
soul to know that someone is slowly being
wasted away because of you. He is really
possessed... So, if would allow me...
She produces a plastic bag.
SERVANT
You are not finishing it, anyway.
HORSHEED
My God!... I didn’t know my aunt was as
ignorant and superstitious as you are... She points to the plate.
HORSHEED (CONT’D)
If you think a good Muslim should eat what
we usually throw to the dogs, please take
it... But don’t you start talking about him
again.
The servant empties the plate in the plastic bag.
SERVANT
Never, never, I swear... Unless you do it.
She goes out with the bag. INT. RAHMAN’S ATTIC – DAY He lies on the couch, feverish, under a blanket.
37.
Spojmai and the servant come in together with a plate on which the remains from Horsheed’s lunch have been rearranged.
SPOJMAI
You want me to reheat it?
Rahman shakes his head fixing the plate. They place it on a little table close to the couch and leave.
He painfully lifts himself on an elbow and with his fingers moves some cold rice around on the plate.
He picks up a bit of meat, puts it in his mouth, closes his eyes, falls back on the pillow and starts chewing slowly.
INT. RAHMAN’S ATTIC – SOME TIME LATER
Old Shugufa knocks and comes in carrying a cardboard box. She smiles.
SERVANT
Today she ordered a pizza from that
restaurant in the centre. She opens the box, pulls out an aluminum plate with the pizza.
RAHMAN
(protesting weakly)
But it is intact.
SERVANT
No, no. You see? She chewed the crust here
on the borders. She wasn’t hungry.
38.
She puts it on his lap, arranges his pillows and he starts eating.
INT. HORSHEED’S ROOM – DAY
Horsheed sits cross-legged reading distractedly. A plate of food is close to her on the carpet.
The servant comes in.
SERVANT
I should go to the museum now.
HORSHEED
(pretending to read)
Well, go.
SERVANT
I should take the food.
Horsheed shrugs without looking.
HORSHEED
Take it. The servant squats on her heels and inspects the plate.
SERVANT
But you haven’t even touched it.
HORSHEED
I’m not hungry.
39.
SERVANT
Take at least a little bite.
HORSHEED
(hissing, irritated)
You take a little bite. It wouldn’t matter,
anyway.
SERVANT
(gently)
It would. Otherwise it doesn’t function.
(pause) Please...
Horsheed sighs. She throws the book away, grabs a chicken drumstick, takes a bite and slams it back on the plate.
HORSHEED
Here. Take it to the dog.
Trying to remain expressionless, the servant takes the plate and carries it away.
INT. KHORSHEED’S ROOM – SOME TIME LATER
She sits in front of a plate of food, a book in her lap. Tries to read.
She turns a couple of pages, closes the book, looks at the food. She starts taking little bites from everything.
40.
INT. RAHMAN’S ATTIC – DAY The servant comes in with her bag. She opens it. She is beaming.
She arranges the food. She carefully places a little bottle close to the plate.
SERVANT
Use this carefully. This is powerful stuff.
He looks at her, intrigued. She whispers.
SERVANT
Water from her bath.
Slowly, Rahman pulls himself from the cot and manages to sit. He pulls a slug from the bottle, swallows and closes his eyes for a second. He seems in a much better shape.
RAHMAN
Sister, I want to thank you very much.
Shugufa smiles, mouth open, and nods.
RAHMAN
Listen, I want to explain something to you.
You know that I have what people might call
the evil eye. This is not always given
voluntarily, and comes not always from evil
persons. Your mistress is not evil, but she
put a spell on me. There are beautiful
creatures who can harm us if we don’t
protect ourselves. This is how God made
things.
41.
Shugufa nods.
Yes.
SHUGUFA
RAHMAN Just think: the sun is good and beautiful,
but it burns and kills if we don’t protect ourselves. Water is marvellous, but it rots what it covers... Now, in such things we have to follow the old traditions, the customs of the simple people from the countryside. The food helped me, but my soul is still ill and heavy. I’m not cured yet. What I would need is little things that have been in contact with her, things that she uses and throws away.
Like what?
SHUGUFA
RAHMAN
Like... Like the hairs that remain on her
comb. Or... bits of clipped nails, especially
if they are from the toes... Or used socks...
Remember those with coloured stripes... See if
she doesn’t wear them anymore...
The servant stares at him, expressionless. She doesn’t seem astonished, but doesn’t say anything.
RAHMAN
Did you understand me? You know that I am
right and that only this functions when
someone gets the evil eye.
SERVANT
Yes, I know, but then the spell is rejected
back on the person who originated it.
42.
RAHMAN
(hurriedly)
No, no, that’s only when it was thrown
willingly. In this case, there was no
willing spell... You know what? Forget what I
said about the evil eye... It wasn’t that, it
was like what I said about the sun... My soul
got sunstroke. I exposed myself too much to
the sun.
The servant watches him, still thinking.
SERVANT
Do you swear that there is no evil...
RAHMAN
I swear.
Shugufa, the servant, comes in, making a funny face.
Rahman smiles to her.
She comes closer to him. She has her hands behind her back. She smiles too.
She hands him a little parcel.
SHUGUFA
First time I steal something in our house.
He opens the package... It is...
LATER
43.
A pair of crumpled black fishnet stockings!... He looks up at her, beaming.
INT. HORSHEED’S ROOM –DAY Horsheed is lying on a cot, pale and feverish. A female doctor is taking her pulse. The father stands behind, worried.
DOCTOR
You should try to make her eat something.
FATHER
Is it serious? What does she have?
DOCTOR
She’s exhausted. Burned out. I think it’s a
depression.
FATHER
Depression?!... What reasons would she have
for being depressed? The doctor just stares at him with blank eyes.
44.
INT. RAHMAN’S ATTIC – DAY
Shivering, he puts on her stockings. He then sits on the couch caressing his legs.
The fishnet stockings are torn in places, and his toes come out through the net.
He leans over and picks up the bottle filled with bath water. He takes a slug, shivers, thrusts his head back and drinks it all, staring at the ceiling.
Footsteps are heard. He quickly sits and brings his legs under him.
Shugufa comes in empty handed and with an angry look.
SERVANT
You should give me back everything I brought
you from her. I shouldn’t have done that.
But…
RAHMAN
SERVANT
Please, I am just a simple ignorant woman,
but don’t let me threaten you with something
else. It’s very good that you recovered. Now
please give everything back. I should
denounce you for this.
He looks at her without moving.
45.
RAHMAN
Will you please wait outside?
SERVANT
You don’t need to get up. I’ll gather them
myself. She picks up a comb, checks it, puts it in her bag, looks around.
RAHMAN
Please, please, I’ll do it. Wait outside.
She looks down at him. She sees the stockings. She walks quickly out and SLAMS the door.
INT. JUDGE’S HOUSE – DAY Horsheed sits, still shivering, but looking slightly improved. Her father is holding her hand.
FATHER
Horsheed, there isn’t something happening in
your life or soul, is it?
She gives him a quick look, checking his face, and shakes her head.
Her father taps her hand.
FATHER
Look here. You know how much I trust you.
Promise to me just one thing: that you will
never let any man touch you.
46.
FATHER (CONT’D) The only man who will ever touch you will be
the one whom you will marry. Will you promise me that?
Yes.
HORSHEED
FATHER
Do you swear it?
HORSHEED
I swear it on God.
FATHER
I believe you. You know that I do.
EXT. ENTRANCE OF THE MUSEUM – DAY
Weakened and stern, Horsheed is walking towards the entrance, through the heat of the day.
Rahman is waiting at the foot of the stairs.
She sees him. Her eyes narrow and she has a sudden expression of disgust mixed with a beginning of fear.
He is nervously wriggling his hands, as if in a prayer.
Instead of walking away, she walks toward him, decidedly, with a somber face.
He has a pitiful look and seems incapable of saying anything.
47.
She stops, stares at him.
Her lips tremble.
Her eyes lose their hard expression.
She turns her back and walks away from the museum.
He looks on silently as she walks away.
INT. HORSHEED’S ROOM – DAY
Horsheed sits staring somberly at a point in space.
Spojmai comes in.
She sits down in front of her niece. She takes her hands in her own.
SPOJMAI
He talked to me. He doesn’t want you to
suffer. Tell him again to go and he will
leave forever. I will pass him the message.
HORSHEED
That’s very noble from him.
SPOJMAI
Dear, you know as well as I do that there
would be no future to such a relation. Horsheed starts silently crying.
(whispering)
48.
SPOJMAI
(reproachfully)
Dear, dear…
HORSHEED
What? Do you think I’m love with him? If I
loved him, I would know it immediately. It
would be a feeling clear and sharp as a
blade. No, I don’t love him, but his eyes
hurt me. Why did he crush me with such a
humble love? It’s not fair.
INT. RAHMAN’S ATTIC – DAY Horsheed comes in without knocking and walks straight to him.
HORSHEED
Dog! You are an animal, with animal
passions. I am ashamed of this beauty of
mine, which transformed you into a beast.
See? You are not even listening, you are
like a trembling dog, you understand the
master’s fury, but not his reason for it...
RAHMAN
Shugufa told you everything.
HORSHEED
Stupid dog!... I knew from the beginning what
she was up to. I chose to let her do it. I
pitied you. I was ashamed of my beauty, if
it is doing this to someone. If my front
teeth were missing, would you still love me?
I would have the same heart, I know, but
what if I were disfigured...?
RAHMAN
You would be like that Fairy who becomes
ugly in order to spare her lover’s sanity.
49.
HORSHEED
You think you have an answer to everything,
huh? Master of the word...
RAHMAN
Words are my beauty.
HORSHEED
Beauty? Look at yourself. You don’t even
dare move in front of me. And I accept your
detestable adoration, because it’s the
adoration of a dog. Before you came, I was
pure. I never thought of skin and toes. For
staring at a patch of skin and at ten toes
you lost your mind and made me lose my
purity.
He protests feebly.
RAHMAN
You keep going on about purity.
HORSHEED
Oh, yeah? In what state of mind do you think
I was when taking a bath and knowing that
you would drink the water? That you had lost
all natural disgust and self respect?
Listen: the man who will be my husband will
have to have seen my soul; he will not be
one to abandon himself to such a violent
vision of my shape. You are just a dog!
Pause. Both are breathing heavily.
HORSHEED
But you are my dog.
50.
He is so struck that he seems to faint. He suddenly falls on his fours and advances towards her feet with his head lowered.
HORSHEED
Don’t you dare touch me!...
He looks up at her.
RAHMAN
“A man who would have seen your soul!...” And
you think I haven’t seen it?
HORSHEED
Get up. I know you did.
He gets up slowly and keeps at a distance.
HORSHEED (CONT’D)
And I have seen yours. I know how you are
inside. You are a faithful and devoted dog. He has an ecstatic expression.
RAHMAN
Oh, thank you, thank you...
He swallows hard.
RAHMAN (CONT’D)
I will adore you from afar. Do not worry,
for me you are perfect as a virgin. If you
were losing this quality, you would become
someone else. (pause) This future husband of
yours, what a responsibility for him, the
day when his rights will become your duties...
51.
He fixes her with his stare.
RAHMAN (CONT’D)
But I feel myself extremely guilty. Listen:
I’m gambling now with the happiness of my
life, but I have to tell you, in order to
deserve being your dog. No, I can’t say it
if I keep looking at you.
He shows her his profile, looking away.
RAHMAN (CONT’D)
I hope my sincerity will protect me from
your wrath. I felt like dying when you
ordered me to leave the city... I didn’t want
to die without seeing you again. So... apart
from the food, I also obtained some of the
objects you are using... and I transmitted
back into them a part of the magic that
irradiated inside me... So... I want you to know
that your presence here that you attribute
to your free will... is the result of your own
magic... because I am your mirror...
Her face is suddenly deformed with rage. She shouts.
HORSHEED
You did what? You invoked the demon? Oooh,
you are really worse than I thought. You, my
mirror? I hate my image in this mirror!...
He falls again on his knees, silent. He doesn’t dare look up.
HORSHEED (CONT’D)
A filthy animal with a filthy mind. I should
kick you in the snout. On his fours again, his face is close to her toes.
52.
RAHMAN
Yes, I’ve eaten all the bits of nails, and
other things. I wanted to throw back to you
some of the spell you put on me.
HORSHEED
But that’s black magic!... You invoked the
devil?!... You... You... Coward!... She pierces him with an angry look, lips trembling.
He sobs.
HORSHEED You have almost sold your soul to the devil
because of me. (on a sweeter tone) So you were really suffering, wretched animal. Well, you deserved that suffering.
HORSHEED (CONT’D) (lowering her voice)
You are my dog. Will you be my dog? He gasps for breath.
HORSHEED
Be my dog.
He is slowly starting to cry. His rash breath touches her naked foot, and tears fall on her toes.
53.
HORSHEED
I might be cruel, especially when I see
weakness, but I am loyal. I can’t reject
someone who risked his soul for me. You were
sick; I made you healthy again. I will not
let you lose your soul. Poor soul, you
abandoned yourself like others give
themselves to God. Don’t cry, I’ll keep you.
I’ll keep you on an invisible leash... mad,
noble animal.
A close-up of his face, crying now calmly, his face almost touching her toes, but not daring touch for good.
HORSHEED
You do well not to touch me. I swear to God
that you will never do. I am a virgin and I
will remain one. The rest... we’ll see.
INT. MUSEUM’S WORKSHOP – DAY
Horsheed rushes in with a happy look, whistling, wearing sunglasses and jeans under the burqa.
Spojmai is putting together the pieces of a statue, which form the head of a Greek-Indian female goddess.
Rahman is sorting out bits of broken stone. They look at each other with huge silent smiles.
HORSHEED
Ah, finally a Friday without the perspective
of being bored to death.
SPOJMAI
(pointing to the statue)
Should we start with this one?
54.
HORSHEED
Wait. I have to feed my dog first.
She walks to him, takes something out of her bag and dangles it in front of his face.
He opens his mouth and thrusts his head forward to get it, but she pulls her hand back and teases him.
They repeat the game a couple of times.
Suddenly, she throws the bit of food in the air and he adroitly claps it with his mouth, slamming his teeth and making a dry sound of closure and swallowing, just like a dog.
HORSHEED
I always hesitated having one of these
unclean pets; now I would miss him, were I
to lose him.
Spojmai puts her pieces of stone back on the table.
SPOJMAI
My children... I know, I feel, that you will
not deceive me... but you should never forget
that the danger in this relationship comes
less from the outside, than from yourselves.
HORSHEED
Don’t worry. We’ll stay pure. Otherwise, it
would be not only deceiving you, or my
father, but it would also mean deceiving
God. We are just soul mates.
55.
RAHMAN We are real, profound believers... because we
see the beauty of all this...
HORSHEED
Please, no Rumi.
SPOJMAI
Still... Horsheed... How many days are there
since you wanted to chase him from the city?
And now you started telling your father that
you would like to spend the nights at the
museum again, because walking back home at
night would be dangerous...
HORSHEED
Well, it would be, wouldn’t it?... And taxis...
Pfff... Taking a seat in a stranger’s car at
night!... And driving with my father could be
even more dangerous.
Rahman is just looking at them, silent, with an unchanged smile.
HORSHEED
Look at him. He masters the word, but when
he sees me he is like a drunk!... He delights
in everything I say or do. This dog, if I
beat him, it would make him happy, because I
would touch him...
SPOJMAI
Sometimes you scare me, both of you.
(to Rahman)
Do you consent to being called a dog, a
thing, a fetishist and a drunkard? Are you
happy with these insults?
He looks at her as if hearing these words for the first time.
(brusquely)
56.
LATER
RAHMAN Dear Spojmai, if you had listened to the
intonation of her voice, you would have understood... When she said “You are my dog”... I don’t think any other man will ever hear anything like this from her mouth...
SPOJMAI Children, I see you are playing with sin,
which might be in the nature of youth, but please don’t play with your reason.
RAHMAN There will be no sin. We will never touch.
We promised.
Spojmai has spread a carpet in the middle of the room and covered it with food.
HORSHEED
Look at this dog’s face!... He has such an
art of receiving that I find it useless to
give.
SPOJMAI
Dear, dear, be careful. Both of you. Shugufa
is faithful, but you shouldn’t scandalize
her too much. Ok, let’s chat for a while.
Let the dog walk around us for a while,
instead of forcing him to stare at you with
these white eyes.
HORSHEED
Yeah, one can only read stupefaction on such
a face. Believe me, I tease him for his own
good.
57.
Horsheed picks up a slice of watermelon, passes the purple flesh of the slice along her lips, like a flute, and hands it over to Rahman
Rahman starts munching it like a rabbit, swallowing the crimson juice, which is slowly dripping down his chin and chest.
Horsheed takes another slice, repeats the game, but this time she licks the flesh of the fruit.
Rahman takes it, rolling his eyes like he was fainting and starts eating it ecstatically.
They both engage in biting slices of fruit and passing them to each other.
HORSHEED
See? Dogs have no feelings of disgust.
She picks up a radish, bites half of it, examines the other half, holding it by the tail. She bites the remaining half and hands him just the green stem.
HORSHEED
I touched it, and that should be enough for
you. He eats the green stem.
She chews, thoughtfully. She gathers some breadcrumbs and rolls them into a dirty-looking grey little ball.
58.
HORSHEED
Just think of it: this little ball made of
breadcrumbs is worth nothing. Nobody would
want it, not even a beggar, but my dog would
implore me to give it to him. Is there
anything viler than this, or more
insignificant? I didn’t even put it to my
lips, but I touched it. Nobody on the whole
planet would want it, but since I made it,
for him it is precious.
Spojmai looks silently at her and nods slowly.
HORSHEED
If you can explain this mystery to me, I
will give you the little ball.
RAHMAN
You put some of your soul into it. And if it
would come out of your mouth, it would be
the sweetest of kisses.
HORSHEED
No, that would be too ecstatic. I’m not sure
you would survive.
She rubs it and rolls it on the skin of her forearm. She wipes drops of sweat with it.
RAHMAN
That’s what the alchemists were doing.
Transmuting vile matter into eternal youth.
She bites the top of a hardboiled egg, which proves to be not so hard, because a yellow liquid pearl remains hanging on her lower lip.
She hands the egg to Rahman.
59.
He rubs it against his lower lip, smearing it with the yellow moisture of the yolk.
SPOJMAI
Be careful, children. You promised. Don’t
get intoxicated with sensuality.
HORSHEED
Believe me, I could sleep alongside this dog
without the slightest worry.
RAHMAN
And I would have no personal merit in this.
Your trust is the greatest protection
against any false step.
SPOJMAI
Anyway, my boy, you are more serious when
you contemplate her than when you pray.
HORSHEED
Oh, you’ve seen him praying!...
LATER The three of them are praying silently, bowing on the carpet. They get up with happy faces.
HORSHEED
Since he looked at me in the bazaar with
those hungry eyes, I am a better person, and
even... I... I think I pray better.
60.
She leans forward and whispers into Spojmai’s ear.
HORSHEED
What will become of me when he leaves?
Spojmai is stony faced.
HORSHEED
Go away! I will make you mad!...
Rahman shrugs. INT. THE MUSEUM’S WORKSHOP - DAY Horsheed is patching together the head of a statue. Rahman is watching her doing it, transfixed.
RAHMAN
Can I film you doing it?
She shakes her head, slightly smiling.
HORSHEED
Not my face.
RAHMAN
Of course not.
He unpacks his camera. He starts filming her hands.
(to Rahman)
61.
PAUSE She smiles.
HORSHEED Are you already tired of my toes?
RAHMAN Your toes were only a promise of what was to
come.
HORSHEED Nothing will come.
HORSHEED (CONT’D) Everything is there already.
Rahman is beaming while filming. The camera pans slowly from down up, from her feet to her hands.
It stays there, on the fingers carefully pushing bits of mortar into a crack on the face of the statue.
HORSHEED
I can make you suffer...
She thinks it over.
HORSHEED
No, I can make myself suffer.
62.
INT. THE ATTIC – EVENING Horsheed comes in trembling, with a triumphant air.
HORSHEED
My father said there would be no problem if
I wanted to sleep with my aunt. He is unable to say anything, looking at her as if in fear.
HORSHEED (CONT’D)
Spojmai is panicking. I told her we would
place some knives between ourselves. They spread blankets on the floor.
HORSHEED (CONT’D)
You will have half of my nights, if your
love reaches the devotion necessary to be
able to sleep with a virgin.
They place food all around them and sit in the middle.
HORSHEED (CONT’D)
Both she and Shugufa love me so much... if I
came to them with a dead baby, they would
just take a shovel and follow me without
asking.
She points to the victuals.
HORSHEED
I’m thirsty. Hungry. Feed me.
63.
RAHMAN
What would you like to eat?
HORSHEED
Whatever you would cut with your teeth and
would give me from your lips... She lies on her back, opens her mouth.
He presses the flesh of a couple of red oranges in a glass, fills his mouth with the juice.
He comes over her and, without touching her, lets the juice drip into her mouth...
Some of the juice spills from the corners of her mouth and, blood-like, is flowing down her neck in thin rivulets...
She throws back her head and makes gargling sounds. She sits up and wipes her mouth.
HORSHEED
Can you save me from my instinct?
RAHMAN
We will have to fight every day.
HORSHEED
We? What are you here for? You have to
protect me. She gets up.
64.
HORSHEED
You worry me... You seem to control me too
much. LATER
They lie face to face on different blankets. Their heads are close.
HORSHEED
There surely couldn’t be anything wrong in
feeling someone’s breath.
RAHMAN
Of course there isn’t. Otherwise God
wouldn’t have made us aspire the air into
our lungs. Every second we breathe atoms
from someone else’s breath. The atoms of the
air are so delicate, that maybe at this very
moment we inhale something that was breathed
in by Alexander the Great.
No, your breath is so pure, that it seems to
be a unique matter, something that only you
can produce.
HORSHEED
Do angels kiss?
RAHMAN
All the time. And because they are not made
of earthly matter, but of something
ethereal, they fusion when they do that.
They have a fluid envelope. They pass into
each other.
HORSHEED
I would love to come into you.
65.
RAHMAN
The rent is very high.
They blow warm and cold into each other’s face. They make funny faces.
HORSHEED
And what would the angels say if they saw us
kissing?
RAHMAN
They wouldn’t be too happy. I am sure they
are envious.
HORSHEED
You confuse me. You take my soul so quickly
from lust to sainthood!... How then can I love
you without offending the angels?
RAHMAN
Stay a virgin. You will thus be loved both
by them and by me.
HORSHEED
Why then did you talk about that forbidden
fruit? Do you want me to offer it to you?
RAHMAN
When I breathe you, I don’t want anything
She pouts.
else. They blow again into each other’s face.
66.
HORSHEED
Funny. You desire me so much that you are
vibrating.
RAHMAN
I do not think that everyone could feel what
we feel now. Otherwise this world would be
ruled by kissing.
HORSHEED
What is your power? Where does it come from?
Could you make me be as strong as you are?
RAHMAN
But you are strong!... You abstain yourself
from everything impure as much as I do.
HORSHEED
If you only knew what is in my soul!... How I
am overwhelmed by desire!...
RAHMAN
So am I.
HORSHEED
Are you? They approach their heads.
HORSHEED
It is like drunkenness.
RAHMAN
What do you know about drunkenness?
67.
LATER
HORSHEED I once emptied a full glass of vodka.
They lie very close, face-to-face, and, with their mouths open, they breathe each other’s breath.
RAHMAN
Open your mouth.
She opens it and roars like a panther.
RAHMAN
Stay like that.
She remains with her mouth open, making noises as if gagged. He examines the interior of her mouth.
RAHMAN
Yes, everything is there.
Staying with her mouth open, she tries to pronounce correctly.
HORSHEED
What do you mean, “everything”?
RAHMAN
All your teeth and all the pinkish rest.
She shuts her mouth and pulls herself up on one elbow.
68.
HORSHEED
Now show me yours.
He shakes his head.
RAHMAN
I have some missing molars. I wasn’t raised
on a scientific diet, like in your rich
family.
HORSHEED
Good. I couldn’t stand you if you were
perfect. I’m sure you would be vain. You
would look at other women.
She falls silent.
HORSHEED
Maybe you did already. I hate your past.
RAHMAN
You can’t hate nothingness. You can’t hate a
void. There’s nothing there, don’t worry.
HORSHEED
Have you ever been attracted to another
girl? I hate her already. Are you still...
pure? Are you like I am?
RAHMAN
The purity of a man is different from that
of a girl. I didn’t leave anything behind.
There’s nothing there worth remembering. My
heart is a page with only your name stamped
on it...
69.
HORSHEED Yuck!... That should be so boring, reading
such a book…
RAHMAN Behind me, in my past, there’s only work and
yearning for God.
HORSHEED But are you like I am?
RAHMAN I could answer yes, but then you would come
with other questions and get into places in which someone like you has nothing to do.
(Stubborn)
I want in.
HORSHEED
RAHMAN Listen, this is the first time that I say no
to one of your demands. I forgot everything from my past when I first saw you. I refuse to remember. ...
HORSHEED Did you ever look at other women? The way
you look at me?
RAHMAN I don’t know... It might have happened, in
the world outside. But I never...
70.
HORSHEED
I hate you!... Why did you need to look at
other women, when all you hoped for was that
someone like me would exist? I can’t accept
that. I’m leaving.
He stares at her, as if dumbstruck. She gets up, walks toward the door, opens it. She stops, her back rigid.
HORSHEED
If you let me pass this threshold, you lose
me. He gets up, walks to her and slams the door shut. She turns and faces him.
HORSHEED
That’s the way, bravo. But I still have to
punish you. You need to suffer a little bit.
Be fair and choose yourself your punishment.
Don’t force me to choose for you.
RAHMAN
I don’t want to be punished when all I did
was being honest with you. She stomps the earth, impatient.
71.
HORSHEED
You can’t be more honest than I am. Give me
the means to torture you, Rahman. Come ooon,
I’ve done so much to please you, can’t you
give me a little pleasure in return?
RAHMAN
Do you really want to see me suffer?
HORSHEED
If it’s a suffering invented by yourself, it
will be sweet for me. He closes his eyes, thinks hard, with a painful expression.
RAHMAN
Take out your handkerchief, kiss it, rub
yourself with it, put it inside your
garment, rub yourself with it down, down, in
the secret of your sweaty skin... and then,
instead of giving it to me, throw it away.
Her eyes spark with a malicious expression. She takes out her handkerchief, licks it, smells it, and sticks it slowly inside her bosom.
Her hand dips deeper inside her garment. She is now apparently rubbing her belly. She closes her eyes.
HORSHEED
Is this still spiritual?
Shut up.
RAHMAN
HORSHEED This is how you should talk to me, my
master.
72.
Her hand comes out with the handkerchief. She examines it with an indifferent expression and then she throws it away.
He starts crying silently. She falls on her knees.
RAHMAN
What are you doing?
HORSHEED
I didn’t think it was possible to love you
more than I already do. But when I see you
crying like that, I see the magic being that
you are. You... beautiful creature. I tried
to torture you... I don’t know why... and
you conquered me again with your weakness...
I know now that you are as much of a coward
as I am... How could I not love you? Death,
only death could be stronger than you.
She lifts her both hands behind her head, letting her hair fall down.
HORSHEED
Before you came, I didn’t know what a boring
life I was living. Oh, how you made me lose
myself that day, when you ate the apple that
I had thrown away...
RAHMAN
Get up, dear soul...
HORSHEED
If I get up, I won’t be humble anymore... You
know, when I called you a dog, I was biting
you in my head... But also... You are a dog,
because I am not allowed to touch you... Were
you happy, when you were my dog?
73.
RAHMAN
Yes, I was... but who am I today for you?
She reflects in silence.
HORSHEED
The man to whom I give myself every day.
RAHMAN
Beautiful... And who else?
HORSHEED
The man who will leave me here and go away
when his film is over. He groans, not knowing what to say.
HORSHEED
When you leave me, I will be this monstrous
thing: a widow and a virgin at the same
time.
He remains silent.
RAHMAN
Your father would never agree for us to get
married. You said so yourself. She sends him an unpleasant stare.
HORSHEED
I know now what you are hiding. Do you
masturbate a lot?
74.
RAHMAN A lot!... Why a lot? Of course I don’t... But
why do you think it would be a lot?
HORSHEED Well, a little or a lot...
RAHMAN Of course I don’t.
HORSHEED
You lie.
RAHMAN Of course I do. Why do you ask that?
HORSHEED I think all men masturbate.
RAHMAN Well... don’t you?
(impatient)
I don’t.
You lie.
HORSHEED
RAHMAN
HORSHEED
I do. A lot. But only in little things.
She gets up from her knees.
75.
HORSHEED
I can make you suffer...
RAHMAN
You said so.
HORSHEED
Better still, I can bring suffering upon
myself, and then you would suffer as well.
LATER – NIGHT They have turned out the lights.
Moonlight is coming in through the curtains, drawing the silhouettes of the Buddhas.
They lie face to face, breathing heavily, without touching. Their eyes are wide open. He opens his lips...
HORSHEED
Shhhh... I don’t need your words.
INT. THE ATTIC – MORNING They lie in same position. He is asleep, breathing heavily.
76.
She lies wide-awake, watching him intently. He opens his eyes and smiles to her.
HORSHEED
You are snoring, my lord and master.
She gets up and goes to the mirror on the wall.
She sees herself and shivers. Swollen lips, black-rimmed eyes, a Bacchante’s face.
HORSHEED
It is horrible that happiness can have such
a face.
They hear footsteps and start gathering the stuff from the floor quickly.
A light knock on the door.
SPOJMAI’S VOICE
Children, get up.
Horsheed runs to the door, opens it. Spojmai enters and throws a quick look around. She sees Horsheed’s face and gapes in amazement.
HORSHEED
Don’t worry. I am more proud of this night
than I would be of a crown.
77.
SPOJMAI
Do something to your face. Your father is
bringing some foreigners to visit the
museum.
She grabs Horsheed by the hand and drags her out of the attic.
SPOJMAI (CONT’D)
Rahman, lock yourself inside and don’t move.
INT. BATHROOM – DAY Horsheed washes herself and arranges her hair.
Spojmai, her back to a wall, is watching her with a transfixed expression.
HORSHEED
It’s not sensuality, do you understand? I
would be happy to be his sister. I could
then kiss him and hug him. I showed him my
armpits... and he almost fainted.
SPOJMAI
Yes, dear, but don’t forget that he is a
man…
HORSHEED
No, he is my dog. Is he talented? Is he a
genius? I don’t even care.
SPOJMAI
I think I will become mad before you both.
You don’t even distinguish anymore whether
you are happy, or whether you suffer. Are
you so sure that you can contain yourself?
78.
HORSHEED
You heard him. Yes, I am sure of myself. And
of him too. When I see his moist eyes, and
tears dripping down his face, my heart
sinks. I wouldn’t mind him seeing my naked
flesh... but pity would break me down.
SPOJMAI
Dear, dear, I’m afraid for your future.
Where does all this lead?
HORSHEED
Last night, I prayed God to reverse all
this, to take me back before I met him. He
didn’t do it. My heart remained as warm as
before. As long as I can still pray, I am
pure.
SPOJMAI
And how long do you think you can carry on
like this?
HORSHEED
I don’t know... Years?
She sees in the mirror Spojmai’s stony face.
Months?
HORSHEED (CONT’D)
SPOJMAI Where will you both be in six months?
HORSHEED We won’t touch!...
79.
She throws the cotton she was using in the sink and screams.
HORSHEED (CONT’D)
I swore it!... I want to honour my father...
and also the burden his trust puts on me.
SPOJMAI
I, myself, would not be able to live in this
state in which you seem to thrive. Forgive
me, but I can’t convince myself that you
both can be happy like that.
HORSHEED
Suffering, happiness, aren’t they the same
thing, according to the character of each
person? Paradise would be for me to live
forever here, with you both.
She checks her face in the mirror with what seems to be the beginning of satisfaction.
HORSHEED (CONT’D)
Without me, he would have loved you.
SPOJMAI
Don’t be silly.
They smile to each other in the cracked mirror.
SPOJMAI (CONT’D)
When you were a little girl, I used to take
you on my knees and I was asking you: would
you like me to be your second mother, the
one which is never harsh to you, the one who
only cajoles you and caresses you?... and
you were answering yes, yes... Your father was
so hopelessly clumsy with you... I became your
mother, in a way... No? Yes?
80.
Horsheed turns to her and runs into her arms.
EXT. THE SQUARE IN FRONT OF THE MUSEUM - DAY
Cars are stopping in front of the museum.
Drivers jump out and open car doors.
Horsheed’s father and a number of foreigners go up the stairs of the museum, chatting.
Spojmai and Horsheed wait on top of the stairs. Horsheed shakes the hand of each of the foreigners. The father is chatting happily. Bibi Malalai, limping, closes the cortege of visitors. THE ATTIC’S WINDOW, SEEN FROM THE OUTSIDE Rahman’s is watching intently through the curtains. His face becomes somber.
BIBI MAMALAI’S VOICE
You get wireless Internet in my guesthouse.
INT. THE ATTIC Rahman shuts the curtains and starts pacing about the room.
81.
EXT. THE SQUARE IN FRONT OF THE MUSEUM - LATER
The foreigners are leaving, shaking hands again with Spojmai, who remains on the stairs.
Horsheed follows her father into one of the cars.
Before getting in, she turns and waves her hand in Spojmai’s direction, but in doing so she also waves towards the upper windows of the museum.
THE ATTIC’S WINDOW, SEEN FROM THE OUTSIDE
Rahman is watching with his jaws clenched, hidden by the curtain.
INT. THE ATTIC – LATER
He is still walking around the attic, hugging himself as if he were cold, arms clasped.
Muffled footsteps and a light knock on the door.
It’s me.
HORSHEED’S VOICE
Rahman opens and she glides in gaily, wearing a light summer dress.
She stops when she sees his expression.
What is it?
HORSHEED
82.
He stares at her silently.
What?
HORSHEED
RAHMAN
You shook their hands!...
She hesitates for a second, with an incredulous expression.
She suddenly throws back her head and starts roaring with laughter.
She stops when she realizes that the laughter is becoming artificial. She looks at him.
HORSHEED
Welcome back to reality.
Suddenly, she is angry.
HORSHEED (CONT’D)
If you would trust me, you would have seen
this rare thing. A woman whom everybody
examines and admires and whose only thought
is: if he saw me now, would he feel how I
close myself to these people, how I keep
myself for him, for only his gaze counts for
me?
He is searching for words, mumbling.
RAHMAN
I adore you... You are...
83.
HORSHEED
(angry)
Idiot. You don’t really know how I am. I am
horribly jealous. So jealous, that I could
not live for a single more second if I
suspected you. So how dare you doubt me?
She checks his tortured expression.
HORSHEED
Now, why do you suffer like that?
RAHMAN
Your beauty oppresses me.
HORSHEED
Why are you trembling?
RAHMAN
If you stop loving me, I will lose my
mind... or worse.
HORSHEED
If you can’t carry on with this drunkenness,
maybe we should find a form of severance. He groans and moans.
HORSHEED
What’s on your mind? Don’t wring your hands
like that, little man, speak up.
RAHMAN
I... don’t know... You’re right, it must be
a form of doubt...
84.
HORSHEED
(angry)
Doubt!... You doubt me?!... You suffer from
cowardice, that’s all... Come, tell me your
thoughts... What’s that doubt?
RAHMAN
I realised that if you were not an angel, I
would become mad. I understood how one could
kill out of love. And I am afraid to see to
what degree I became your slave.
HORSHEED
Some day I’ll be your slave to the same
degree, but I will not let myself be
frightened. I will lower my head and accept
my yoke. You know, if I were a whore, or an
evil woman, you would be lost. In my hands.
I could eat your soul.
He throws himself on the floor in front of her, face down, sobbing, lost.
HORSHEED
Turn face up.
He rolls silently on his back, arms spread, chest heaving. She knocks away her shoes.
HORSHEED
Since I have stockings, it means that
technically I won’t be touching you. She starts walking on him.
She puts a foot on his face... stands on one leg...
85.
She then steps backwards to his chest, examining his expression. She walks on his face again, then back.
She bends over and looks... there’s blood around his mouth and on her socks.
HORSHEED
Did you bite me?
RAHMAN
It’s my lip...
She steps off him, bends over again and with her finger takes a red drop from her sock and puts it in her mouth.
He groans.
RAHMAN You love me!...
HORSHEED You lick my feet, doggie... I lick your soul.
She also lies on her back on the floor, her knees up. They are both lying, motionless. She is breathing painfully. His breath is also harsh.
86.
Slowly, she pulls her dress up to her chest and spreads her legs, slightly, while her chest is heaving heavily.
When he realizes what she is doing, he closes his eyes and keeps them tightly shut.
HORSHEED
Look. That’s also me.
He shakes his head.
HORSHEED
Well, get your camera, if that helps you to
keep sane. He doesn’t move for a couple of seconds.
He then leans to his right and searches blindly along the wall. His hand finds the bag.
He pulls out the camera and starts fumbling with the buttons without looking in her direction.
Look at me.
HORSHEED
He doesn’t lift his face.
RAHMAN
You scare me.
87.
HORSHEED
You think you are weak, but it is me who’s
trembling... He directs the camera towards her.
She remains lying, her legs spread widely.
RAHMAN
(through the eye of the camera)
The angel who conceived your body poured
into it more light than was necessary.
Horsheed jumps up from the floor and fixes her dress with a bored expression.
HORSHEED
That comment wasn’t necessary, but thank you
nevertheless. She walks over to the mirror and arranges her hair.
HORSHEED
Once I poured shampoo in a bottle of water
and I asked Shugufa to wait until she would
see you drink it. She said you simply drank
it, reverently, like it was water brought
over from Makah.
LATER They lie on their couches.
88.
HORSHEED
(heavy breathing)
I have this mad desire to offer myself to
you... to be your thing... like a bitch...
like an animal... Giving myself to you, the
only irreversible thing... Those moments...
when I would be just anybody, panting and
moaning like any peasant girl... poor,
humiliated, your possession for ever...
There’s such ecstasy in being able to give
what you have most precious. Like someone
who’s insane... or like God...
They turn their backs to each other and start hugging and kissing their respective pillows.
She stops and looks at him.
HORSHEED
What kind of a man are you? Why did you kiss
the pillow? Why didn’t you put your lips on
mine?
RAHMAN
Because anybody else would have done it,
because they would have been driven by
instinct.
HORSHEED
Oh, you must be an evil man, to be able to
control yourself so much. So you push me to
consent to all this spiritually, but you
also want me to conceive the consequences of
the big caress. You don’t want to take, but
to receive, right? This exigency of yours is
oppressive. You control yourself too
much!... My intuition tells me that you
should be less reserved, less lucid, less
systematic.
89.
RAHMAN
I love you so much as a virgin, that I’m not
sure I want you to become a woman. You would
then be a different person.
LATER They lie together in the dark.
HORSHEED
Rahman, you did something inside me... It’s
like there was a swamp there, deep inside,
in the dark, and you disturbed it and now
unknown creatures came out of the slime and
haunt me.
INT. THE ATTIC – MORNING They get up stretching and yawning.
He searches for the camera, opens it, pulls out the tape from the previous evening and hands it to her.
HORSHEED
What? Oh, no, I don’t want it. I trust you,
master.
Still lying down, she opens her handbag, finds her lipstick and starts dreamily drawing toes on the cassette.
INT. FATHER’S ROOM – DAY
FATHER
Do you guess why I called you?
90.
Silence.
HORSHEED (smiling sweetly)
You want to exhibit me to some more foreigners? It rather disturbs me in my work, you know...
FATHER I would like to exhibit you to your
potential husband... I mean, I wouldn’t really force you, but... Your uncle comes from Australia with your cousin... My only nephew... I would like you to like him.
HORSHEED (breathing heavily)
You would like me to like him?
FATHER You know I would not force you.
FATHER (CONT’D) There is no harm in meeting your own family,
is there? She shakes her head, pale.
FATHER (CONT’D)
Good. I almost said no to him in the
beginning. He dared ask whether you were a
virgin. I suppose this is what Australia
does to people.
She gets up to leave.
HORSHEED
Please, don’t bring them to the museum.
91.
INT. RAHMAN’S ATTIC – DAY Rahman is dumbstruck.
RAHMAN
Your father wants you to marry his brother’s
son? She keeps silent, fixing him, trembling.
HORSHEED
Well, after all we are a good traditional
family... I suppose...
RAHMAN
Use Western medical arguments. Tell him your
children will be born blind.
HORSHEED
He says we are of a solid stock. It won’t
happen. (dreamily) This might actually be
true, you know...
(silence)
What should I do?
RAHMAN
You can’t act on your father. His decision
is taken; it might even soon become public.
You have to act on the cousin. From the
beginning of your first encounter.
He starts pacing about the room, thinking, fists clenched.
RAHMAN
I need to see the man. I’ll be at the
airport to watch them when they arrive. Your
father will not spot me. I’ll make a plan
after I see him.
92.
LATER They lie in the dark, back-to-back, motionless.
Simultaneously, they both start howling and crying, wetting their pillows.
Their shoulders shake uncontrollably. They both turn and see each other face to face.
They rapidly roll over again, back to back, and start crying anew.
EXT. AIRPORT – DAY
The small, rundown, building of the airport.
A plane is landing.
The façade of the airport is covered with an enormous picture of commander Massood.
NATO trucks, dogs, Afghans dragging around huge bags and cases. INT. AIRPORT – DAY
The father is pacing back and forth in the waiting hall, smoking and answering people’s greetings.
In the crowd of waiting onlookers, Rahman, wearing dark sunglasses, hidden behind some grinning Sikhs.
93.
Travelers start streaming out of the international zone; waiting relatives or friends jump to hug them, greet them, grab their luggage.
The judge’s brother and his son are dressed like Westerners.
The son is slightly older than Rahman, heavily built, a powerful figure.
The two old brothers hug and kiss, clapping each other’s back.
Rahman is watching intently, his lips pressed tightly together into a thin line.
INT. THE ATTIC - DAY
RAHMAN
You will have to repel him, contradict him,
and make him feel wrong on everything, be it
only the weather report.
She nods silently.
RAHMAN (CONT’D)
And talk a lot about religion, faith and
devotion to God... This, normally, should be
enough to put most men off.
She nods, smiling sadly.
RAHMAN (CONT’D)
Be calm, cold and polite. This kills off
immediately any love assault. He might
complain to your father, and your father
will reproach you this. Then you come into
action. You will complain to your father
94.
RAHMAN (CONT’D)
about any possible scene or irritation that
this cousin would display. This will make
your father’s patience wear off.
He stops to look out through the window.
RAHMAN (CONT’D)
But, first of all and most important: lots
of religion!... You won’t have to lie.
After all, we are really innocent and hidden
inside God’s bosom.
HORSHEED
I told my father that if he brings the
cousin to my workshop here to show me off, I
would destroy my work in front of him.
RAHMAN
Excellent. We’ll cover some lumps of plaster
with wetted towels, so that you don’t really
have to ruin the real stuff, and when they
come, all you’ll have to do will be to start
throwing away everything into the garbage
tank. You’ll do it silently, coldly, without
saying anything.
HORSHEED
(as if in a dream)
I’ll be introduced this morning. INT. JUDGE’S HOUSE – DAY
The father, his brother and the nephew are seated chatting. Horsheed and Spojmai come in. Old Shugufa enters also, carrying a tray with refreshments.
95.
FATHER
So, Horsheed, Jamsheed was asking himself
whether he would still recognize you, after
all these years in which he didn’t bother to
find time to visit us... and here is Mustafa,
a great lad for all I see and a man with a
brilliant future.
Mustafa jumps up and thrusts his hand in her direction. Horsheed doesn’t take the hand. She only nods, staring at her own feet.
HORSHEED
Uncle... Cousin... Salaam.
A second of surprised silence on all sides.
FATHER
Is this how you receive your cousin?
Horsheed looks at him with a perfect expression of astonishment.
HORSHEED
Should I jump and kiss him, father?
Embarrassed silence.
FATHER
Well... You could at least behave in a more
friendly way.
HORSHEED
Is this an order, father?
96.
FATHER Well, yes, it’s an order.
HORSHEED (to her cousin)
Sir (aqa), my father has led a mujahedeen group during the wars, so he behaves like in an emergency situation. I am curious to see whether you will accept a friendship imposed by command.
MUSTAFA Why... No... Miss... Sister... this would have
no value at all.
UNCLE I think, Horsheed, that when you get to know
Mustafa better, you will start liking him very much.
HORSHEED From what point of view?
FATHER From all points of view.
HORSHEED A man one likes from all points of view is a
man one is supposed to marry.
FATHER Well, then...
HORSHEED Sir (aqa)... cousin... I don’t know what our
fathers decided, but I suppose that if you had a personal plan, you would be well qualified to present it yourself.
97.
MUSTAFA
My dad and your father only told me about
your beauty, which appears to be beyond
description.
HORSHEED
If this is so, I am not aware of it and I
get no satisfaction from it.
FATHER
My daughter is unbearable!... Well, she’s an
artist, what do you want. Come on, let’s
visit her workshop...
HORSHEED
Father, didn’t I tell you...
FATHER
Yes, you did, but come on, you can’t be so
serious on this...
MUSTAFA
Sir, I think she doesn’t want to...
FATHER
Oh, please, stop this, after all it’s in the
museum... It’s a public place. Spojmai, come
on, you have the keys.
INT. THE MUSEUM WORKSHOP – DAY They all come in.
A series of shapes wrapped in wet shrouds are lined on tables and against the walls.
98.
The uncle and Mustafa look around, simulating admiration. The uncle tries to unwrap one of the figures.
Horsheed lifts it, walks to the dustbin and throws it inside with a big BANG of broken plaster.
The Father swears and jumps to her, grabbing her by the arm. Horsheed faces him, her lips trembling.
HORSHEED
Are you going to hit me?
FATHER
I certainly should.
HORSHEED
You hurt me already.
FATHER
How so?
HORSHEED
You twisted my arm. I’ll keep the trace of
your fingers.
FATHER
That’s not true. Show me.
The father tries to roll up her sleeve.
HORSHEED
And now you undress me in front of the
guests.
99.
Spojmai intervenes and pulls back the father.
SPOJMAI
Come on, stop it!...
Horsheed turns toward the guests, trembling.
HORSHEED
I regret that I’ve been forced to destroy my
model…
FATHER
You’ve “been forced”?!... I can’t believe my
ears!…
HORSHEED
I thought people in our family kept their
word.
MUSTAFA
I regret giving you so much trouble on a
simple visit.
HORSHEED
Sir, you certainly are not to blame for
this. I don’t know what you have been
promised, but my father should have known
that I am not for sale. I am a person. I
might seem cheap and provincial, for you who
come from Australia, but I have a soul and
even thoughts of my own.
FATHER
Gentlemen, how about a visit to the bazaar?
They all leave in awkward silence.
100.
INT. FATHER’S OFFICE – DAY Horsheed and her father are seated, facing each other, tense.
FATHER
Where’s the young man who’s filming the toe
story?
HORSHEED
Aunt Spojmai gave him a room in the museum.
FATHER
(slightly irritated)
I know that. He was supposed to move out
after a while.
He takes her by the arms and looks straight into her eyes. He is tense. Her lips are trembling.
What?
HORSHEED
FATHER
You took an oath. You swore something to me.
HORSHEED
So I did. I always keep my promises.
A stand off for a few seconds.
HORSHEED
Nobody has ever touched an inch of my skin,
if that’s what you want to know. No man has
101.
HORSHEED (CONT’D)
ever even touched my toes. I am as pure as
when I was born.
FATHER
I believe you. Please, understand me... I
didn’t suspect you of anything... It’s just
that my brother has been enquiring around,
and Bibi Malalai went to tell him...
HORSHEED
(with an incredulous face)
Bibi Malalai? I have to put my word against
Bibi Malalai’s word? Father, father, don’t
let yourself fall so low.
FATHER
I’m sorry. I was only hoping that... Anyway,
Spojmai has to get rid of that boy. I don’t
want any suspicion surrounding you.
She stands up and walks to the door.
FATHER
By the way... I find Mustafa a very boring
person, indeed. But at least I let my
brother see that we tried.
EXT. IN FRONT OF BIBI MALALAI’S GUESTHOUSE - DAY Bibi is fiddling with the lock of the gate of her guesthouse.
Horsheed crosses the road from the museum and walks over to Bibi Malalai.
102.
HORSHEED
Salaam, Bibi. Have you finished for today?
Would you like to see my workshop?
(laughing)
You’ve been in the museum, but you must be
curious about my atelier.
Bibi arranges her headscarf with a cynical expression. She speaks in a syrupy voice.
BIBI
Sure. That would be a real pleasure.
They walk over to the museum.
HORSHEED
I’ve only shown it to foreign guests until
now... And to my father... He found it...
mysterious.
Bibi climbs the stairs repressing an ironic smile.
She stops on the top of the steps, waiting for Horsheed to unlock the door.
BIBI
My dear soul, I knew you were an intelligent
young lady, who can take a friendly advice.
I said so to your father, but he wouldn’t
listen.
HORSHEED
What advice?
BIBI
Oh, but you know very well, you clever
little girl.
103.
HORSHEED
I have no idea what you are talking about.
BIBI
No? You don’t?
She threatens Horsheed with an amused index finger.
BIBI (CONT’D)
And the toe obsessed young man? The one with
the camera?
HORSHEED
(opening the door)
Come on in, we’ll be better inside to
discuss all this.
INT. THE MUSEUM WORKSHOP – DAY Horsheed opens the door and lets Bibi in.
Looking around, Bibi lets out an astonished “Aaaaah!...” only half simulated.
She walks around the workshop, peering at the objects at close range.
She points to a fat, smiling, longhaired Buddha.
BIBI
She’s fat and funny, but such a shameful
naked figure!... One can see her nipples.
HORSHEED
It’s a man. It’s a Buddha.
104.
BIBI
(incredulous)
You’re kidding me!...
HORSHEED
Our ancestors were Buddhists... They used to
revere this fat man’s nipples.
BIBI
No way!...
She leans over to see better.
BIBI (CONT’D)
Not my ancestors, young lady, not mine.
Yours, maybe. Mine have always been good
Muslims. Hm. This place is full of nipples
and nakedness... And, you, poor girl, you have
to touch all that every day.
She turns over to face Horsheed.
Suddenly, at that precise moment, Horsheed SLAPS her in the face so violently that Bibi is THROWN against the Buddha, which promptly FALLS on her.
Bibi opens her mouth for a howl, but Horsheed shoots with her right foot into the old woman’s belly.
The old lady curls up with silent pain.
Horsheed pulls her up by the hair and twists one of her arms behind her back.
105.
HORSHEED
Don’t make any noise, or I’ll break your
arm.
BIBI
(in pain)
Oh, God... You are... mad... Horsheed twists her arm with more force.
BIBI
(breathless)
Please... Aaaargh... Stop, no, please!...
Horsheed pulls at her hair even more, forcing the old lady to face the ceiling.
HORSHEED
Why? Why did you do that?
BIBI
This is horrible... Let me go!
HORSHEED
No, you are horrible, a disgusting insect...
Why did you have to do that?
BIBI
I can’t speak... I can’t breathe... Let me go!
Horsheed lets hold of the old woman’s hair and arm.
Bibi gulps a couple of times, swallows and suddenly jumps up and runs limping toward the door, SCREAMING hysterically.
106.
BIBI
Heeelp!...
Horsheed catches her before she is able to open the door, grabs her neck with both hands and starts strangling her.
The old woman shows the white of her eyes and tries to wrestle off Horsheed’s hands.
HORSHEED
Listen, stupid old cow... Stupid, because when
you went around saying things about me you
didn’t realize how mean I could be...
Horsheed lets go of the old woman’s throat. Bibi leans her back against the wall and holds her throat, panting.
From one of her pockets, Horsheed fishes out a handful of crumpled bills.
HORSHEED
Look here. This is what it takes to have you
killed. I could pay anytime not only to have
you shot in the face, but also your idiot of
a son, and even his donkey. And, believe me,
I would come to piss on your tombs. So... Now
you know whom you are dealing with.
She throws the handful of bills into Bibi’s face.
HORSHEED
Take this and go away. And when you spend
it, remember... This is how much you are
worth... plus a bullet in your ugly face.
She holds the door open.
107.
HORSHEED
May God protect you.
BIBI
(almost inaudible)
May God protect you too. The old woman runs out limping.
Panting, Horsheed rests her back against the wall. She starts sobbing silently. Rahman appears on the threshold.
RAHMAN
You didn’t have to do that, you really
didn’t…
HORSHEED Oh, yeah? And why not?
RAHMAN Now everybody will find out about us. I
don’t think she can be stopped.
HORSHEED (exasperated)
Oh, you are so helpful and optimistic, thank you!... Wouldn’t you be a bit of a coward too?
(panting)
108.
RAHMAN Look, stop that. I really think we shouldn’t
remain here. We should run away. Hide somewhere.
HORSHEED Where to? Do you have any idea? Did you make
any plans?
RAHMAN (now he is exasperated)
What plans? What are you talking about? You said there was no future!...
HORSHEED I can’t believe what I’m hearing!... I’ll
tell Spojmai to throw you out. Or... No... You stay. I’d better go to Australia, after all. Give me that tape on which you filmed me naked.
RAHMAN (incredulous)
Why?
HORSHEED What do you mean why? I don’t want you to
have it.
RAHMAN (breathing heavily)
You don’t want me to have it!... Do you think I could use it, or what? Post it on the Internet? Watch it together with your father?
HORSHEED What?!... Are you mad? You really have a
filthy mind.
109.
RAHMAN
Filthy mind!... You knew that all along and
you liked it!...
HORSHEED
I was liking it!... I was!... So you are
really convinced that it’s finished between
us. Oh, you give up so quickly!...
RAHMAN
(changing his tone)
Come on, Horsheed, come ooon... Don’t ruin our
love for something like that.
HORSHEED
“Our love”!... You are talking as if it were
a child, or something...
Rahman steps towards her and opens his arms with a pained expression.
RAHMAN
Horsheed, please!...
HORSHEED
Don’t take on that humble expression again.
You really look like a beaten dog. Give me
the tape. Give me all the tapes!... I want
to be sure. You were never going to make a
film anyway.
RAHMAN
I will certainly not give it to you.
HORSHEED
Then I’ll go and tell my father.
110.
RAHMAN
Tell your father? Your father would kill you
with his own hands.
HORSHEED
Aha. And maybe a mob from the neighbourhood
will come shouting: “We’ll fuck the whore
and then stone her”... And you would run away
meanwhile. What a despicable creature!...
I’ll go up and get the tapes myself.
With a resolute air, she steps towards the attic. Rahman block her way.
RAHMAN
No, you won’t. You have to trust me.
HORSHEED
Don’t touch me.
RAHMAN
(blocking the passage)
I don’t touch you. See? You are almost
touching me.
HORSHEED
Aha! I am touching you!... Things only
happen to you, huh? You take no
responsibility.
RAHMAN
Oh, yeah? Who came to you? Who took the
initiative? Who made a fool of himself in
the bazaar in order to attract your
attention?
111.
HORSHEED
That’s what you are good at: making a fool
of yourself. Spojmai rushes in, alarmed.
SPOJMAI
What are you doing? What’s going on?
Horsheed walks resolutely towards the exit.
HORSHEED
Make sure you see him off tomorrow. This
time for good... Her pace is heard in the staircase.
HORSHEED’S VOICE
I’ll get that tape.
Trembling, Rahman clutches his chest looking at Spojmai.
SPOJMAI
No, no, you can’t faint again.
INT. RAHMAN’S ATTIC – LATER
He is systematically crashing all the cassettes with a stone Buddha.
After crushing them, he jumps on them and from time to time he picks up one of them and the tape to pieces.
Spojmai enters and looks at what he is doing.
112.
He stops for a moment, gives her a stony look.
RAHMAN
If someone asks, you will tell them that I
lost everything.
SPOJMAI
It would have been enough to erase them.
She walks out, carefully closing the door. INT. RAHMAN’S ATTIC – MORNING
He has made up his bag. He walks around the big room, arms folded on his chest, hugging himself.
Spojmai opens the door.
SPOJMAI
They are here.
(worried)
Are you ready?
He points to the bag. She doesn’t say anything. She holds the door open.
He picks up his bag and the camera and goes past her, walking out and down the staircase.
ON THE STAIRS Spojmai extends her hand to him.
113.
Rahman takes it, looking her in the eyes.
SPOJMAI
Well, good-bye then.
RAHMAN
Bye.
SPOJMAI
Horsheed sends you her good-bye as well.
RAHMAN
How kind of her.
Spojmai gives him her hand a second time.
SPOJMAI
Well, good-bye.
EXT. IN FRONT OF THE MUSEUM – DAY
The light is blinding and Rahman, while stepping out, closes his eyes for a second.
The jeep is waiting. The father sits behind the wheel, his brother in the other front seat. Mustafa sits in the back, arms folded, beaming.
RAHMAN
As-salaam aleikum.
There is a chorus of answers.
114.
FATHER
Get in, boy.
He gets in and crumbles in the back. INT. DRIVING CAR
UNCLE
So you are the man with the camera...
FATHER
Poor boy. He wanted to make this nice movie
I told you about, but he lost all the
footage of his casting...
The uncle laughs, slapping his thigh.
FATHER
Jamsheed. This isn’t funny.
He turns slightly his head towards Rahman, while driving.
FATHER (CONT’D)
Please, don’t feel offended. It’s only that
we are very happy. We just concluded
Horsheed’s betrothal to Mustafa. They are
now returning to Australia for the
preparations.
Mustafa beams and sighs, seemingly happy.
FATHER
And, about your tapes, I think there is at
least one that was saved.
115.
While driving, he fishes the red-smeared cassette from his pocket and waves it in the air.
FATHER
My daughter gave me this for you. She took
it by mistake when she gathered some stuff
from the museum.
MUSTAFA (sneering)
Would she have qualified for the role?
I mean, was she any good?
UNCLE
Mustafa, please watch your manners. You are
only betrothed for the time being. The father hands the cassette to Rahman, over his shoulder.
FATHER
I didn’t check it, of course.
MUSTAFA
Anyway, we couldn’t have watched it. I have
a much newer camera, for which I use a
totally different kind of cassette.
He picks up one of them.
MUSTAFA
These!…
UNCLE
My boy, I don’t know you, of course, but
believe me, you should get yourself a proper
job.
116.
The father stops the car, waits for Rahman to get out.
FATHER
I understand you are not flying abroad.
Here’s your terminal. INT. THE KABUL AIRPORT. INTERNAL FLIGHTS - DAY
Long queue of people advancing very slowly. Pilgrims, dignified enturbaned old gentlemen, veiled ladies, screaming children.
A couple of Western military are watching the scene, smoking.
A porter rushes to take Rahman’s bag, but he wouldn’t let go of it, shaking his head absent-mindedly.
He arrives in front of the control booth.
CUSTOMS OFFICER Documents, brother?
FADE OUT
117.
2 Responses to TOE STORY (a screenplay)
Ieri mi-aţi înveselit o zi tristă la serviciu.
E o greşeală de redactare la pagina 69, replica Horsheedei nu e precedată de numele ei.
russia has nothing to offer .
dictatorship? poverty? mafiocracy ? brainwashing?kgb mafia? horrible sounding language? praising the “beloved leader”?
no,thank you.
everybody try to run away from russia. even majority of russians will try to flee russia ,if they will have a choice .
in 10 years russian oil reserves will be depleted and russia will be in free fall ,together with all its vain and empty arrogance
.
legi necesare pentru a elimina agresiunea canina:
-pedepsirea abandonului cu inchisoare pe viata
-pedepsirea inmultirii cainilor fara autorizatie
-sterilizarea si inregistrarea obligatorie a cainilor
-dresajul obligatoriu al cainilor,pentru a preveni contactul nedorit,atacul ,sau latratul
-pedepsirea celor care isi lasa cainii sa atinga sau sa se urce pe alti oameni fara acordul acestora
-interzicerea folosirii cainilor la munca,paza sau circ.
abandonul de animale e tentativa de omor pentru ca:
-animalul poate ataca ,mutila sau ucide pe cineva
-animalul poate muri sau trai o viata plina de suferinta.
de aceea cred ca pedepsa sugerata de mine e chiar moderata comparativ cu gravitatea faptei.