NO PAIN LIKE THIS BODY

A Screenplay

by

Tony Hall

Christopher Laird

Errol Sitahal

based on the novel by

Harold Sonny Ladoo

JULY 2000

There is no fire like passion;

there is no losing throw like hatred;

there is no pain like this body;

there is no happiness higher than rest.

The Dhammapada

CAST OF CHARACTERS

PA, (Babwah) Father of the family, in his thirties.

MA, (Roona) Mother of the family, in her early thirties.

SUNAREE Daughter, about 11.

BALRAJ Eldest son, about 12.

PANDAY & RAMA Twin sons, about 9.

NANNY Maternal Grandmother. Born in India.

NANNA (Dowlat) Maternal Grandfather. Born in India.

THE PUNDIT, BENWA, JADOO, PULBASSIA, JASSO,

ONE-LEG, WHITE MAN, CHIN, LALOO and other villagers.

Title Sequence

1. EXT: Riceland. Day. Drizzle.

Wide shot. The sky is overcast. Heavy dark rain clouds are gathering. There are flashes of lightning in the distance and a fine mist of drizzle veils the surrounding forest. The sun still shines through the drizzle.

A flock of birds flies across the sky and lands on trees near the riceland. Camera pans following them and comes to C.U. of SUNAREE’S face. She squats on a rising playing (a bhajan) on a rough-hewn bamboo flute. The sound of a one-stringed instrument, an ektara, gradually fades up and blends in with her playing. She stops playing and turns her head in what she imagines is the direction from which the sound is coming.

Behind her and below is the riceland and their thatched ajoupa: Ma and Pa’s house.

Beyond the riceland and the house on Tola Trace she spies a slight figure traditionally dressed in dhoti, bare-backed, with a bag hanging over his shoulder. He carries an ektara and plucks its single string. He is blind in one eye.

A smile of recognition crosses Sunaree’s face. She rises.

SUNAREE, 11 years old, is a slight figure with long black hair. She is wearing an oversize, hand-me-down dress.

Beyond and below her Ma is about ten feet away from the edge of the riceland near the hog plum tree. She is washing clothes in a tub. She is small and thin with long deep-black hair. She is wearing a faded cotton dress and a white silk orhni.

BALRAJ, Sunaree’s brother, is sweeping his hands through the water in the rice lagoon trying hard to catch tadpoles. He chases them. They swim rapidly away.

He is twelve and is wearing a pair of his father’s old trousers cut off at the knee, and a sleeveless flour-bag ‘T’shirt.

The twins, RAMA and PANDAY, aged nine are a short distance away from Balraj running around in the water. They wear only sleeveless flour-bag ‘T’ shirts.

BALRAJ looks up in the direction of Sunaree.

BALRAJ

Soona! Ma, look at Sunaree again!

SUNAREE turns in their direction. MA looks up at the children.

MA

Is alright, Balraj. Leave she by sheself lil bit nuh.

BALRAJ

And who holdin the bag for the tadpole an them? Chut, man!

BALRAJ tries to lift the bag from the water and doesn’t succeed in getting a handful of tadpoles into it. He throws it down in a temper and stands looking defiantly at Sunaree. SUNAREE starts down toward the house. She runs down the hill. Balraj’s eyes following her. The blind beggar, SADHU BABA, stops and turns in her direction. SUNAREE stops.

BALRAJ

Soona!

SADHU turns and continues on his way. As SUNAREE watches, he disappears into the forest, the sound of his ektara fading with him. C.U. of SUNAREE’S face. freeze.

FADE TO BLACK.

GRAPHIC Tolaville, Carib Island, 1905

Fade up from black

2. EXT: Riceland. Day. Drizzle.

The children are in the riceland catching tadpoles and Ma is washing nearby.

THE TWINS are running close to SUNAREE splashing her dress.

SUN

Now Rama and Panday behave all you self.

SUNAREE turns with the bag hanging from one hand.

SUN

And stop kicking up the water so. You ain't see it

wetting up me clothes?

PAN

Is not me. Is Rama.

RAM

You lie, is you.

SUN

I don't care who it is.

BALRAJ turns round with another handful of tadpoles.

SUN

Stop it I tell you.

BAL

Sunaree I going to kick you! Where the bag is?

SUNAREE turns to Balraj.

SUN

The bag in the water brother.

BAL

An’ what it doing in the water?

SUN

It not doing nothing brother.

BAL

Well pick up that bag and open it.

SUN

Alright.

SUNAREE picks up the bag and opens it. BALRAJ drops the tadpoles inside and bends down in the water again.

RAMA and PANDAY , lifting their feet high with each step, walk "splunk splunk", towards Sunaree.

BALRAJ looks up.

BAL

Rama and Panday all you only walking

'splunk, splunk'. These crapaud not stupid you know. When they hear all you they go run away.

THE TWINS do not listen, they hold on to the bag, open it and peep inside, eyes bulging.

The darkness of the bag's interior

PAN

I can't see in that dark.

SUN

Well they black like the dark too, Panday.

RAM

(sucking his teeth wistfully)

Cheups. I want to go in that bag.

A hand and a foot come into frame as Rama tries to get into the bag.

SUN

No Rama you can't go inside.

The bag is pulled away, RAMA falls in the water.

SUNAREE is clutching the bag to her protectively.

SUN

You go kill the crapaud fish.

RAMA is spluttering in the water trying to get up and PANDAY looks up at Sunaree.

PAN

I want to go in that bag too.

SUN

But I say all you can't go in that bag.

PAN

Why?

SUN

(gently)

Them is only little little baby crapaud .

SUNAREE is peering in the bag.

SUN

And all you go kill them.

THE TWINS try to pull the bag from SUNAREE.

SUNAREE tries to turn, to put her body between THE TWINS and the bag but they hang on.

SUN

Leave the bag all you.

RAM

Kill them before they come big crapaud.

SUN

Move all you tail.

RAM

Kill them! Kill them!

THE TWINS snatch the bag from her, lift their shirts and shake their naked bottoms in SUNAREE's face, chanting

RAMA and PAN

We don't have no tail.

SUNAREE stands helplessly.

SUN

Give me back that bag.

BALRAJ is stalking the tadpoles intently. He bends slowly and stretches his arms. His hands sweep through the water "wash wash". He turns to put the tadpoles into the bag. There is no bag. The tadpoles fall back into the water. He looks around. He is mad as a bull.

RAMA and PANDAY are dragging the bag in the water.

BALRAJ starts to move threateningly towards them.

BAL

What the hell all you doing with that bag?

PAN

We just playing brother.

BALRAJ charges towards them.

BAL

Bring that bag.

THE TWINS drop the bag in the water. They run towards the cashew tree.

BALRAJ stops and turns towards Sunaree.

SUNAREE stands and stares at Balraj. She is frightened.

BALRAJ is quiet. He walks slowly towards Sunaree.

BAL

Soona.

SUN

Yes brother.

BAL

Why you give them two son of a bitch that bag?

SUN

I not give them it brother.

BAL

I give them it?

SUN

(becoming slightly defiant)

No brother.

BAL

(mocking her)

“No brother”.

Then who give them it?

SUN

I tell you they take it they self.

BALRAJ's hand reaches out and grabs her hair. He starts kicking her.

The TWINS laugh.

SUNAREE pushes him and he falls in the water. She doesn't run.

BALRAJ gets up.

SUNAREE looks at him.

BALRAJ grabs her hair again and pulls her, dragging her in the muddy water. Sunaree screams. Ma looks up.

Hidden in the banana patch, insidious, threatening , PA watches like a snake. He is dark, slim and hard muscled. He is dressed in an old cream cotton shirt, khaki trousers held up by a broad, brown leather belt. He is barefoot. He coolly lights half a cigarette, not taking his intense eyes off the scene in the rice lagoon.

MA has left the clothes tub and is walking toward the edge of the lagoon.

MA

Let go that child Balraj!

BAL

I not letting she go.

MA

Let she go before you Pa come and see you, boy!

PA is watching as he moves through the banana patch.

BAL

I not, I tell you!

MA

But ay ay! Listen to me, boy!

THE TWINS are squatting near the cashew tree. Dragon flies are flitting around.

RAMA is poking a stick in a crab hole.

MA and BALRAJ & SUNAREE are in the background.

RAM

Today, I go catch a crab.

PAN

And do what with it?

RAM

Kill it ner.

PAN

Sunaree say it not good to kill nothing.

RAM

Wot Soona know?

PAN

Nutten, ner.

Cut to MA. BALRAJ and SUNAREE.

MA is at the edge of the water.

MA

Balraj, I is you mother. I make you. Listen to me. Let she go.

BAL

I not letting she go!

MA

I coming in that water for you right now Balraj.

MA starts to enter the water.

PA

(in a voice like thunder)

Come out of that water! Now!

MA stops with one foot already in the water and turns back to the tub.

PA is now outside the banana patch. He sucks on his cigarette. RAMA and PANDAY run past Ma, who is now back at her tub, and hide behind the rainwater barrel. They peer out from behind the barrel. BALRAJ has frozen still clinging to SUNAREE’s hair.

PA’S voice is now lowered. He is the picture of calm.

PA

Let you sister go, boy.

BALRAJ releases Sunaree. SUNAREE walks to the rainwater barrel, keeping her eyes on PA.

BALRAJ is alone in the riceland. He has a look of defiance on his face.

PA

Now you, come out of that water!

BALRAJ does not move. He is looking at Pa. He is playing man for Pa.

PA

I not going to do you nothing boy. Just come out of the water.

PA takes a final pull on his cigarette and throws it into the water. It fizzes out. He starts to enter the riceland. BALRAJ, afraid, steps back. PA stops. BALRAJ stops. MA slowly and automatically continues her washing motions keeping her eyes on Balraj and Pa.

SUNAREE gathers THE TWINS near her behind the rainwater barrel and they watch shivering with cold and fear.

PA talks softly as if a child is talking.

PA

Come out of the water, beta.

BAL

You will beat me Pa.

PA

Why I will beat you, Balraj? (Pause)

No, I won’t beat you. (Pause) Come.

BAL

No Pa.

PA

(slowly walking forward, Balraj backward)

Look how you wet, beta, and mud all over you, and the rain soaking you skin. Come out the water an go inside the house. That’s all I saying.

PA stops walking.

PA

Come beta. Don't fraid. I not going to beat you.

BALRAJ starts to walk slowly towards Pa, but trying it in a little arc. His eyes are riveted on Pa. There is no trust here, none at all. But he moves as if hypnotised by Pa.

PA

You is only a little child, how I go beat you? Come. Pass Here.

PA indicates a route closer to his side. MA is watching. SUNAREE and the TWINS are watching. BALRAJ appears to be beginning to trust Pa a little. His arc straightens out slightly. SUNAREE senses it and tentatively voices a warning but no one hears

SUN

No, bhai-ji, no.

There is a cold wind blowing and the sky is black.

BALRAJ is watching Pa. He is trembling and his teeth are chattering. He moves tentatively closer to Pa.

PA stretches a hand to him.

Thunder rolls in the distance.

SUN

(tentatively again)

Run, bhai-ji, run!

PA lunges forward. BALRAJ turns and runs through the water, scrambles up on the meri[1] and stops. The camera goes with him. From over BALRAJ's shoulder the distant figure of PA is seen running along the rice bank, stopping and jumping up and down in anger.

PA

Come back here, you little bitch, lemme skin you arse!

BALRAJ runs back into the water on the other side of the meri, away from Pa and stands near the Barahar tree.

PA picks up clods of mud and pelts them at BALRAJ who dodges them. PA pelts with quiet madness and intent.

PA

Is alright. I ain’t pelting you. You see them snake holes? What you think waiting inside them snake holes, Balraj?

PA pelts the holes. The water is bubbling.

BALRAJ stands, looks at the water and looks at PA.

Cut to SUNAREE and THE TWINS by rainwater barrel. The rain is falling. RAMA and PANDAY are cold and trembling.

RAM

Pa stupid.

PAN

Hush Panday else Pa go burst you liver with a kick.

RAM

Pa stupid just like God.

SUN

(looking out to the riceland)

Don't say that Rama.

RAM

But God stupid.

SUN

(reprovingly)

Rama! (she turns to him) God will hear you and he seeing what you doing.

RAM

He can’t see me behind this barrel.

SUN

He have a big, big eye. Big like the sky, you know. Awright!

SUNAREE turns back to the riceland

PA is pelting the snake holes.

BAL

Oh god, Pa! It have big snake in them hole. Stop pelting, Pa! I begging you!

PAN

(voice over riceland scene)

You mean that God does see when Rama pee on me in the night?

SUN

(V.O.)

Yeah.

RAM

(V.O.)

Well somebody should hit God one kick and burst open he eye.

PA

You feel you is a big man?

BAL

No. I is a little little chile. Little little.

PA

Well I goin to make a little snake bite you little arse.

MA is watching, going through the motions of scrubbing.

PA is still pelting the snake holes.

SUN

(V.O.)

God don't ever sleep. And he always riding a elephant in the forest.

PAN

A what?

SUN

A elephant.

PAN

What is that?

SUN

I dunno. And Nanna say god don’t even drink.

PAN

(V.O.)

He does bring food for the crapaud fish and them?

BALRAJ is cold and trembling. He is watching Pa.

SUN

(V.O.)

Everybody.

RAM

(V.O.)

So why he don’t bring food for we?

PAN

(V.O.)

So what he does eat?

SUN

(V.O.)

He don't eat.

RAM

(V.O.)

Then God like a stone.

SUN

God is not no stone.

PAN

How you know?

SUN

I see.

PAN

You see god?

SUN

Yes, ner.

PAN

Where you see god?

SUN

In that forest.

RAM

You stupid too.

MA straightens up and focuses on PA

MA

(to Pa)

I bleed blood to make that child, Babwah.

PA turns to MA.

PA

Now you just shut you kiss me ass mouth woman.

SUNAREE turns to THE TWINS.

SUN

All you come inside the house. Come.

THE TWINS hesitate then follow SUNAREE quickly into the house.

MA watches the children go into the house.

MA

Babwah, I bleed blood to make that child!

PA

Shut it!

PA turns back, digging for more clods of earth.

MA

You is he father but you heart is a stone.

3. INT: Kitchen. Same Day.

THE CHILDREN have just entered the kitchen and run to the wall to peek through its cracks.

4. EXT: Riceland. Same Day. Drizzle. (Seen through the cracks in the kitchen wall.)

MA, PA AND BALRAJ. Children's P.O.V.

MA

Well I telling you. If anything happen to that boy I walking the whole three miles to Tolaville, just to get police to lock you up.

5. EXT: Riceland. Same Day. Drizzle.

PA

Kiss me ass!

And the Police could kiss my ass too!

MA

All you could do is cuss. What kind of father you is. You come home and you want to run down you own

children and look to kill them. Jail too good for you.

PA is rankled by MA's talk and is pelting more dirt in the snake holes (aiming carefully)

A HUGE WATER SNAKE emerges. BALRAJ starts to run.

BAL

Maaaaa!

THE SNAKE moves after BALRAJ like oil on water.

BALRAJ doesn't look back and keeps running until he reaches MA.

THE SNAKE stops chasing him and turns back to its hole.

BALRAJ reaches MA and looks back.

PA is running toward him.

PA tramples the tadpole bag now lying against the bank. He reaches the

tub.

MA steps in his way.

MA

Behave yourself and leff me son alone.

PA

Shut you kiss me ass mouth woman!

PA grabs MA beside the tub. He pulls her as if uprooting a Sapodilla tree.

MA holds on to BALRAJ. BALRAJ holds on to the Hog Plum tree.

PA is trying to kick BALRAJ. MA is in the way.

6. INT: Kitchen. Same Day

THE CHILDREN are looking through cracks in the wall.

7. EXT: Riceland. Same Day. Drizzle.

PA is holding on to MA by the tub.

PA

(sweating and blowing)

I going to drown you ass in that

tub woman!

MA

Balraj is a little child. You is a big man. God watching you. Babwah!

PA

God could kiss me ass!

8. INT: Kitchen. Same day.

The children are looking through cracks in the wall.

RAMA laughs nudging PANDAY.

SUNAREE looks at them reprovingly.

MA

(voice over scene)

Well when a man could curse God...

9. EXT: Riceland. Same day. Drizzle.

PA and MA are in a clinch.

MA

... he deserve to dead.

PA

You go make me dead?

PA picks up MA like she is a little child. MA lets go of BALRAJ.

BALRAJ runs by the rainwater barrel, confused, he just stands and stares at PA.

MA tries to grab the hog-plum tree but misses it. She is turning and twisting like a worm and bawling.

MA

Let go me, Babwah! Oh God, I have children to mind.

PA

You go mind them from you grave.

Cut to the eyes of the children through the cracks in the kitchen wall.

Cut back to PA and MA.

PA holds MA high, turns her over and pushes her face inside the tub. Her feet are in the air, her whole body is shaking.

BALRAJ is trembling and looking.

Cut to the Children's eyes watching through wall.

RAM

Look how God big eye watching and he ain't doing nothing to help Ma.

Cut back to PA.

PA takes MA out of the tub. MA coughs and coughs. Unable to stand, she falls and rolls on the ground. She vomits up the soapy water.

PA runs at BALRAJ and grabs him and strikes him.

BALRAJ falls to the ground.

PA grabs his feet and drags him clear of the rainwater barrel.

BALRAJ is rolling and bawling like a pig.

10 INT: Kitchen. Same day.

SUNAREE

(to twins)

Stay here!

SUNAREE runs out

11 EXT: Riceland. Same day. Drizzle.

SUNAREE runs to MA

SUN

Pa, Balraj didn’t really do me nothing.

PA

He playing man for me . That is what he doing.

BAL

Oh God, Pa I not playing no man for you. I is only a little child Pa!

PA stands on his chest.

PA

Shut up! I go burst you liver today!

MA, struggles to get up. SUNAREE tries unsuccessfully to restrain her. Seeing what is going on, she runs at Pa like a rat.

PA's back is turned.

MA gives him a good push.

He almost falls but remains standing on Balraj's chest. He turns to Ma.

PA

Oh, so you playing man for me too. Then you could take hand like man!

PA steps off BALRAJ's chest. He cuffs MA on the head. SUNAREE screams.

10B INT: Kitchen. Same day.

LIGHTNING dances in the house.

THE CHILDREN are still peeping through the wall.

11B EXT: Riceland. Same Day. Drizzle.

MA staggers back, stunned, holding her head which is now bleeding from the blow. SUNAREE goes to her pulling her away and crying.

PA picks up BALRAJ like a bundle of wet grass and throws him in the drain. SUNAREE pushes MA away from PA as PA turns like a bull, looking for MA.

MA runs past the rainwater barrel and goes by the outhouse.

PA runs through the banana patch trying to cut her off.

MA runs across Tola trace and disappears in the sugarcane field.

BALRAJ gets out of the drain and he too runs across the trace and into the cane field.

PA turns back. SUNAREE runs to the entrance of the house, looks at the twins and then stands in the doorway looking at PA and not moving.

PA: Get inside that house, chile!

SUNAREE doesn’t answer. She just looks at Pa through her tears. Their eyes lock.

PA turns, takes a flask out of his back pocket, opens it and takes a drink. He begins to walk toward the riceland.

PA

You mother playing man for me and you playing woman. I will carry you and loss you little ass in that forest one of these days, you play woman for me.

12. INT: Kitchen. Same Day. Interior.

THE CHILDREN are inside the kitchen. SUNAREE enters, squats down beside them.

PAN

God go care for we.

SUN

That is true brother.

RAM

Care for who? God does only eat and drink in that sky.

SUN

God going to give you sin for that, Rama, and when you dead de devil go ride you like a horse in the night.

THE CHILDREN peep again.

13. EXT: Riceland. Same Day. Drizzle. Seen through cracks in kitchen wall.

PA is walking toward the house.

14. INT: Kitchen. Interior. Same day.

THE CHILDREN are inside kitchen.

SUN

All you, come with me quick!

SUNAREE holds their hands and they dash out of the kitchen.

15. EXT: Tola Trace. Afternoon. Drizzle.

THE CHILDREN dash out of the house and run along the trace.

Lightning, thunder and dark clouds.

16. EXT: Further down Tola Trace. Afternoon. Drizzle.

SUNAREE, PANDAY and RAMA run down Tola Trace. As their feet splash through the water filled holes in the trace the mud jumps up and falls "toots toots" in the grass alongside.

PANDAY stops.

SUNAREE and then RAMA stop.

SUN

What happen with you?

PAN

Me belly hurting me.

SUN

Look Panday, that sky coming. You have to run faster.

PAN

But me belly hurting real bad, Sunaree

SUN

If you run fast fast that pain going to pass.

RAM

(laughs and sings dancing round Panday)

If you run fast fast that pain going to pass pass.

SUN

(takes Panday's hand)

You just have to run more fast.

PANDAY begins to run. Suddenly he stops again. He stands upright as a palm tree.

SUNAREE and RAMA stop.

RAM

Why he stop now?

SUN

What you standing there for?

PAN

I can't move.

SUN

(stumped)

He can't move.

RAM

For why, Panday?

PAN

(on the verge of tears - to Sunaree)

Because I messup!

They look at him.

PAN

(pleadingly to Sunaree)

What to do?

Sunaree and Rama hold their noses.

SUN

(holding her nose)

Go in that canal and wash off. And hurry up or me and Rama going to run and leff you.

PANDAY goes to the drain and looks into the water where hundreds of tadpoles are playing in the current. He washes himself quickly, glancing anxiously towards RAMA and SUNAREE.

PAN

Don't leave me Sunaree.

SUN

Do quick.

PANDAY rejoins the others. He holds SUNAREE's hand with his left hand (the hand he used to clean himself).

RAM

You holding that 'cac' hand?

PANDAY pulls his hand away from SUNAREE's. SUNAREE picks up his right hand and they start off.

SUN

Come on Panday.

PANDAY offers his left hand to RAMA who scorns it and runs to SUNAREE's right to hold her other hand.

They run like that for a short distance then stop suddenly as a streak of lightning runs to earth turning and twisting like a golden rope and lassoes a tree in the forest. "Crash!".

They stand. Three figures silhouetted against the lightning sky on the flooded trace.

17. EXT: Under the Long Mango Tree on Tola trace - Afternoon. Rain has begun to fall.

THE LONG MANGO TREE leans over the trace in a threatening way. It is near Tola river, half-way between the house and Rajput road.

MA and BALRAJ come out of the sugarcane field.

MA

Come sit down and rest youself, beta.

They go and sit under the Long Mango Tree. The rain is beating the leaves "wish wish".

BALRAJ sits with difficulty.

MA

Rest you head on me, beta. Which part hurting you?

BAL

All about hurting. Ma.

MA

Alright. Jest remain quiet little bit. It will go away fast. You still young.

Pause. MA stares out at the forest in a veil of rain.

MA

Why you does provoke you pa so for? You must do what he tell you, beta. Is true you does play too much man for him, you know. You know that? You is still a little child, beta.

BAL

Yes, ma.

MA

Awright. You must learn to obey you pa.

BAL

Yes, ma.

MA

Awright.

MA has a deep cut in her forehead. The blood and water mix on her eyelashes forming a little ball which slips gently down her nose and falls from the tip to her wet bosom. She feels her forehead with her hand. BALRAJ looks at her, then at the forest, then back at her.

BAL

Ma?

MA

(staring out)

Siew Baba.

BAL

What, ma?

MA

(as if suddenly remembering BALRAJ is there)

Bring some Guava leaves son. Bring young ones.

BAL

Yeh Ma.

BALRAJ walks away from the mango tree. He finds a guava tree and climbs into it.

He grabs a branch, bends it towards him and picks the tender leaves from the tip of branch.

CLOUDS are piling up and the sky is dancing in blackness.

BALRAJ walks back to the Long mango tree. Ma is not there.

BAL

(fearfully)

Ay Ma!

MA

This side Balraj. This side beta.

The trunk of the tree is so large that BALRAJ cannot see Ma on the other side.

BALRAJ walks around the tree. MA is sitting on the other side leaning against the bark.

BALRAJ hands her the leaves and sits beside her.

MA holds the leaves in her right palm, spits on them and crushes them between her palms. A greenish juice leaks out and falls on the ground.

MA looks at her right palm. It looks as if moss is growing in her palm.

She gathers the bits of leaves together with the fingers of her left hand making them into a green worm.

MA lifts her palm carefully,"slap", she slaps the green stuff on her forehead. With her finger, MA gently fixes the green poultice into the wound.

She loosens her silk orhni. Her hair is long and black and shiny. She rips a strip with her jaw teeth and dresses the wound then re-ties her head.

THE RAIN is like fat white worms invading the earth.

MA is looking intently into the distance. BALRAJ looks at her, looks at the distance and looks back at her.

BAL

Ma?

MA

Look how God tying up the world and sky with rain.

MA begins to chant. Her head goes back against the trunk of the tree. Large black ants crawl one after another up the trunk against the rain which runs down wetting Ma's head and back. Her eyes close and her hands are held, green-stained palms upward, then clasped slowly together on her breast.

MA

Ram Ram O Lord Rama! O Lord, you spend fourteen years in that forest seeing all kinda trouble an’ loss you beloved Sita to the cruel king Rawan. What is my little crosses to bear in my little time, Bhagwan?

BALRAJ watches the wind and the layers of blackness and rage in the sky. The LIGHTNING like a gold cutlass swipes an Immortelle tree beyond the river.

BALRAJ hugs himself, twists with fright and trembles and his teeth chatter. He moves closer to MA, seeking comfort , but stops, held back by her apparent distance. MA continues chanting.

SUNAREE, RAMA and PANDAY come running along the trace through the rain. RAMA sees MA under the Long Mango tree.

RAM

Ma!

The children stop.

MA opens her eyes.

MA

Where all you children going?

SUNAREE and PANDAY run under the tree.

MA

Why all you didn’t stay inside the house. This weather is not for all you.

SUN

Pa was coming for we, Ma.

RAMA stands on the trace watching the tree fearfully.

RAM

I not going under that tree.

MA

Come beta.

RAM

I fraid it fall on top me.

MA

It not going to fall.

RAM

But it leaning.

RAMA stands by the drain and watches MA with fear and doubt.

SUN

Ma, look at you head!

MA

Is alright, beti.

SUN

No, Ma. Look all you blood wasting’ away. Let me get some medicine.

BAL

(jealously)

What happen you is a doctor? I get it for she already

MA gets up, tenderly touches BALRAJ, takes PANDAY by the hand and moves toward the trace.

MA

(reassuringly to SUNAREE)

Don’t worry beti, we fix up everything.

(to RAMA)

Come under the tree child. Lightning wouldn't reach you here. God showing it where to go.

RAM

I 'fraid.

MA

(taking RAMA by the hand)

Balraj and Sunaree all you go cross the river and

call Nanna and Nanny.

BAL

(getting up)

But suppose we can't cross the river?

MA

If the river high up then all you could come back. Go now.

BALRAJ and SUNAREE leave.

MA, PANDAY and RAMA are on the trace.

RAM

Take we home Ma. I hungry.

MA

We have to wait for Nanna and Nanny. Pa home and he drunk. You know Pa. He worse than a snake.

PAN

I feeling cold, I want to go home.

MA

Not yet.

Ma faces the wind as a thin living stump. Her dress is pressed against her body and her orhni flutters behind her. She looks towards the canefield.

MA

I go carry all you in that canefield. Come.

RAMA and PANDAY look at the field where the long leaves are going "ssh ssh ssh". They look at each other.

RAM

I 'fraid scorpion bite me, Ma.

PAN

Yes Ma, a time Nanny tell we about how scorpion

eat a child.

MA

Scorpion too small to eat a child. All you going to

be warm inside the canefield. Come.

They follow Ma into the canefield.

18. EXT: Tola River. Bamboo Crossing. Late afternoon. Rain.

Tola River is in flood. The rushing water is only inches below the crossing, washing over it at times. There is the sound of rushing water and the creaking crossing. Lightning plays overhead.

SUNAREE and BALRAJ are crossing. SUNAREE is in front of BALRAJ. Her foot slips on the wet bamboo. BALRAJ steadies her. They stop and look apprehensively at the waters tugging violently at the bamboo.

SUNAREE looks up. SADHU BABA is standing on the other side. A brief assurance crosses her face. The waters tug violently at the BAMBOO. They reach the other side. They continue walking. SUNAREE LOOKS back briefly. SADHU is confidently crossing the bamboo bridge. Thunder rolls.

BALRAJ: Come on!

SUN: Achaa, bhai-ji.

They CONTINUE towards Nanny and Nanna’s.

19. EXT: The canefield. Late afternoon. Rain.

MA is tying the last two cane fronds together to complete the shelter she has made.

THE TWINS are peeling pieces of cane with their teeth. RAMA is coughing and having difficulty peeling the cane.

MA

Give me that.

MA takes the piece of cane from RAMA and peels off the last bits of skin with her teeth and hands it back to RAMA.

MA

All you come now. These leaves go make a nice

bed for all you to lie on. Lie down and finish sucking the cane.

She settles them in the shelter.

PANDAY POKES RAMA with his piece of cane playfully.

MA

Behave, Panday. Come now. All you go be warm and dry here, alright? Rest little bit.

MA SETTLES them in the shelter, showing concern over RAMA is coughing and SETTLING him more comfortably. THE CHILDREN ARE SHIVERING. RAMA is COUGHING like a dog.

20. INT: Inside Nanny's house. Late afternoon.

There is the sound of a drum.

A little bit of India. Warm, secure, comforting. Contrasting with Ma and Pa’s hovel. The walls of the room are smooth clean clay. The camera slowly explores the interior of the house lit with the warm yellow light of a flambeau[2], the food covered down on the table, the shrine to Shiva in the corner, the wavering shadows on the wall, Nanny, sitting on a ‘pirha’ beating her drum. She is small with long grey hair.

21. EXT: Nanny's house. Late afternoon. Rain.

BALRAJ and SUNAREE enter, in silhouette, and start towards the house.

BAL.& SUN

Nanny! Nanna!

22. INT: Nanny's house. Late Afternoon.

NANNY is playing her drum. She stops. She leans her head to one side, listening. Silence. Only the sound of rain. She starts to drum again.

THE DOOR opens and THE CHILDREN enter.

NANNY starts in surprise.

BAL

Nanny!

NANNY

Ay Ay! All you want to frighten a old lady?

NANNY pushes aside the drum. She gets up and goes to the children.

NANNY

What make all you children come so far in this

rain? Look how all you clothes wet.

BAL

Pa beat me Nanny.

NANNY approaches BALRAJ

SUN

He beat Ma too. She hidin by the long mango tree with a big cut on she head, Nanny. With Rama and Panday. She send we for you and Nanna.

BAL

If you see how Pa get on Nanny. Pa is a nasty man. Nasty like a snake.

BALRAJ CRIES. NANNY gently holds Balraj’s face in her hands. She looks into his eyes until he is calm. NANNY hushes Balraj. ‘Sh!Sh!’

NANNY

You father was a bad man from morning. I tired tell you Nanna that. A snake and a drunkard. All you have to change them wet clothes.

NANNY goes into the bedroom.

SUNAREE picks up a flute lying nearby and fingers it longingly. It’s a well-made bamboo flute as opposed to the one she has at home.

SUN

When Nanna coming home Nanny?

NANNY

(from the bedroom)

You mother is a good woman but she too stupid. I always tell she so. Bahut budhu. Too stupid.

You Nanna working late, beti, he should come home jest now.

SUN

Well we have to go back home, Nanny.

SUNAREE PUTS the flute down.

NANNY HURRIES out of the bedroom with dry clothes

NANNY

No no no no no. All you must change them wet clothes and eat something. All you eat anything today?

BAL

We ent eat whole day, Nanny.

NANNY

Kabar dhar! What the wutliss man does do with he money?

BAL

Drink rum, ner. Where the food, Nanny?

NANNY

Take off that clothes. All you want to get sick?

SUN

But Nanny...Ma.

NANNY

Change them clothes. An’ den come an’ eat. You mother better off where she is. As long as she not in that wutliss man way.

23. EXT: Cane field. Almost evening. The rain has stopped.

Insect noises and cawing of huge water birds.

MA is standing up just outside the shelter she built for the twins. She looks up at the sky. It is still overcast with heavy black clouds but the rain has stopped. Thunder still rumbles in the distance and every now and again lightning flickers over the forest.

RAMA and PANDAY are lying inside the shelter on the straw.

MA

Come. I think we could go home now.

MA HELPS the CHILDREN get up. RAMA is slow in getting up. MA PICKS him up and CARRIES him on her hip.

MA

Come, Panday, hold me hand. Come, come.

PANDAY HOLDS on to her other hand. They LEAVE the FIELD.

24. EXT: Tola Trace opposite Ma and Pa's house. Almost evening.

It has stopped raining but the sky is still overcast with dark clouds. The trace is flooded with large pools of muddy water.

THE TWINS and MA come up Tola trace.

MA puts RAMA down.

MA

All you go and see if you father home. Go. Don't 'fraid, he ain't go do you nothing. I coming now

THE TWINS go on to the house. They stop half way and look back. MA motions them on reassuringly. They turn and continue towards the house.

MA has a worried look on her face.

THE TWINS appear at the window. They wave.

MA goes towards the house.

25. INT: Ma and Pa's house. Living room. Evening.

MA enters quickly and lights a flambeau which is on the rice box. RAMA and PANDAY stand shivering.

MA

All you take off them wet clothes.

MA disappears into the bedroom.

RAMA and PANDAY take off their clothes.

MA reappears with some old rags, some flour-bags and some coconut oil. She hands some rags to PANDAY

MA

Wipe yourself with that.

PANDAY takes the rags and begins to wipe himself.

MA puts the flour-bags and the oil on the rice box.

She wipes RAMA down with the rags.

MA

You body so hot, beta. You feeling sick?

RAM

I feeling so, Ma.

MA

Panday go in the kitchen and bring the knife.

PANDAY leaves the room.

MA continues drying RAMA.

MA

All you clothes still washing. We go have to use these flour sack.

PANDAY returns with the knife.

MA takes the knife, cuts holes in the flour-bags to fit head and arms.

PANDAY tries to put on another flour-bag.

MA

(to Panday)

Wait ner, beta. I have to cut hole for you

head and hand first.

MA hands RAMA the one she has cut already.

MA

Put this on, beta.

MA cuts another bag and hands it to PANDAY while RAMA is putting his on.

She picks up some more flour-bags. She spreads them on some empty rice bags on the floor, making a bed.

Panday models the flour bag he has just put on.

PAN

I looking nice?

MA

(without looking)

Yes, beta. You looking nice nice.

RAMA

Ma, you not watching me.

MA STOPS and LOOKS at RAMA. RAMA POSES. MA LOOKS AND LOOKS.

MA

(quietly to herself)

Babwah, Babwah.

Suddenly she RETURNS to cutting, quickly GIVING ONE BAG to PANDAY. She BEGINS to GATHER up the rest.

RAM

Ma.

MA

Yes, beta. ( stifling a sob) You look like...like...nice nice.

Yes beta, you looking nice.

MA SPREADS THE BAGS on the FLOOR MAKING A BED.

MA

Come, come, all you go to sleep.

She motions to the ricebags and settles Rama down, covering him with a flour-bag.

MA begins rubbing RAMA's head with a little coconut oil.

MA

How you feeling, beta?

RAM

Like a flambeau lighting inside me chest, Ma.

MA

It hurting plenty?

RAM

Not plenty plenty. But it hurting plenty.

There is the sound of cattle outside. "moh umoh"

MA stops rubbing RAMA's head.

She stands up.

MA

Now Rama and Panday, all you stay in this house.

I going to change the cattle.

PAN

I coming with you.

MA

Why?

PAN

I 'fraid a spirit come from the forest and hold me in

this house.

MA

It not have no spirit in that forest.

PAN

Well I still 'fraid.

Ma gently puts her finger to her lips and whispers

MA

Shh! I coming now.

Ma leaves the room.

26. EXT: the house, evening.

The land is almost totally flooded. It is getting dark. Lightning plays in the distance.

MA comes out of the house, wades through the large puddles, picks up the sledgehammer by the lime tree and, slinging it over her right shoulder, walks to the rice land behind the house.

She stands, looks at the water around her feet and upwards to the horizon at the flooded riceland like a brown sea.

Through the opaque evening haze the slight figure of the blind SADHU BABA is swallowed up into the forest and mist.

27. INT:. Nanny and Nanna's house. Evening.

SUNAREE pours water from a goblet into a cup that NANNY is holding. NANNY takes the cup and places it on the table in front of her husband, NANNA,

NANNA is sitting at the table, eating. He is wearing a dhoti. He is grey, slightly built but sinewy. He is picking at his food.

BALRAJ is squatting nearby, eating.

SUNAREE places the water goblet back on the floor. They eat on banana leaves, with their hands. The children are wearing oversized clothes of their grandparents.

NANNY

Eat fast, nuh. Jest now the rain go ease up an’ we could go. You is a kiskidee this hour? Worry don’t full people belly, you know. Is too late to worry now anyway. Me daughter should have left that man. She seeing too much trouble with him. Itnaa Dukh. Too much trouble.

NANNA

The chirrens should stay here. Let jest the two o’ we go.

NANNY takes up the flute and gives it to Sunaree who looks proud and pleased and tentatively puts it to her lips.

NANNY

Play something, beti. Play something what I teach you. Play for Nanna. Make he laugh. Watch at that monkey face he have, he cyar even eat he food self. Go? You think you daughter go want to know we leave the chirren by theyself alone so far from home?

NANNA pushes away the food. He stares at the flambeau.

NANNA

This is home.

NANNY

How much time already we tell she to leave the animal man and come here with the chirren. She want to stay there. She say she place is by she husband. An’ besides if she come here you don’t think the man go come too? You want him here with you?

There is the sound of the flute, slight but clear.

NANNA

Mayray ko iss duniyaa may ek hee beti. Hay oosko shaanti nahi hai. Mara jaa-ay toe achchaa howayla.

(Subtitles I have only one daughter in this world. There is no peace for her. It is better if she were dead.)

NANNY picks up her drum and sitting on the floor begins to play.

NANNY

Come Soona, beti. We go play to stop the rain. An’ then all o’ we go go. Come.

SUNAREE sits down beside her and joins with the flute.

NANNY

Ay boorho! Chintaa na karo. Hamaaraa ant aanaywaalaa hai. Doe-chaar saal may chal jaayayngay.

(Subtitles Ay old man! You have no right to worry yourself. We are close to our grave now. In a few years we will be dead and gone.)

NANNA

(softly as a prayer in Hindi)

Hanuman-ji, take me beti away from this pain.

NANNY

Play! Play! Look the rain starting to run away awready!

BALRAJ

Sunaree frightenin the rain!

NANNY

Hush you mouth, bwoy! Play, beti. Make Nanna laugh. Laugh, Old Man!

NANNY LAUGHS AND PLAYS. NANNA SAYS nothing but stares at the flambeau’s dancing flame. Cut on C.U. of flame.

28. INT: Ma and Pa's house. Living room. Evening.

RAMA and PANDAY are lying on the rice bags on the floor. A flambeau is on the rice box nearby.

RAMA is groaning in his sleep, making noise in his breath as when a fowl scratches the ground.

There is the cawing of water fowls outside.

PANDAY looks around him frightened. He feels Rama's chest. He looks around fearfully at the shadows in the corners of the roof and walls.

An owl screeches overhead.

PANDAY starts. He gets up and goes to the door.

29. EXT: Ma and Pa's house. Evening.

PANDAY comes outside. He stands by the house looking out. He is frightened.

PAN

Ma! Ma!.

His eyes explore the shadows.

There is a noise of clinking iron by the Doodoose Mango tree.

PANDAY turns in the direction of the noise.

There is a white cow, ghostlike in the dusk under the tree. A figure steps in front of the cow.

PAN

Ma?

MA

Go back in that house!

PAN

I 'fraid a spirit eat me.

MA

Go back in that house boy!

MA rests the iron pickets under the Carat tree "clank" and rinses her hands in the drain.

PAN

I not going. I 'fraid!

MA moves toward PANDAY. Her dress is wet and clings to her as if trying to eat her bones.

MA

What you doing in this yard?

PAN

I was 'fraiding in that house.

MA

Boy it getting night. Go back in that house.

PAN

I hear a jumbie bird screel over the house.

MA

Is... was nothing.

PAN

Rama making noise like dead dog in that house!

MA

Dead dog don't make no noise. You hear me? Now you go in that house and stay with you brother.