Миллионер из трущоб. Сценарий (англ.)
Guess not.
Right in the eyes.
JAMAL
The most beautiful woman in the
world.
Constable Srinivas snorts. Suddenly, Jamal is out of
his chair and at Srinivas’ throat. The combined force
of the Inspector and Srinivas force him roughly back
down. He is again handcuffed to the chair.
INSPECTOR OF POLICE
Well, well. The slum dog barks.
Money or women. The reason for
most mistakes in life. Looks
like you got mixed up with both.
Srinivas, you need the exercise:
a trip to VT Station to check on
the statue. And lock your bloody
bike up.
Constable Srinivas swears under his breath but bumbles
out.
31.
(CONTINUED)
INSPECTOR
That’s the chutiy? out the way.
Now, man to man. How did you
know all the answers?
JAMAL
If I knew, I’d tell you.
46 OMITTED 46
47 OMITTED 47
48 INT. STUDIO. NIGHT. 48
PREM
Now we’re into the serious
money. For two hundred and fifty
thousand rupees, ladies and
gentlemen, a quarter of a
million rupees…the song Chalo
Ri Murali was written by which
famous Indian poet. Was it A)
Surdas. B) Tulsidas. C) Mira
Bai. D) Kabir. Remember you
still have two lifelines- fiftyfifty
and Phone A Friend.
Tempted to use one?
JAMAL
No.
PREM
No?
JAMAL
I know this one.
PREM
Oh. I see. An expert on the
poets, huh?
The lights dim, the music swells and Prem presses his
computer.
49 EXT. MUMBAI STREET. NIGHT. 49
Jamal is studying a piece of paper and reading out
numbers from it. There is something not quite right
about Jamal- perhaps the fact that there are two feet
by his ears. Salim is standing on his shoulders and
spraying the numbers on a wall with an aerosol and a
certain lack of confidence.
32.
45 CONTINUED: 45
(CONTINUED)
JAMAL
Four, nine, zero, nine- the one
with the stick going down, Salimsix-
stick going up-
Latika’s head appears from around the corner.
LATIKA
(whispered)
Oi!
But they don’t hear. Then she is running for her life
past the pair of them.
JAMAL
Six, one, shit, let’s go-
Salim collapses off Jamal’s shoulders and all three run
off down an alley past a dozen of the gang’s sprayed-on
adverts all reading: “Beanbags- 989 4909661”. A fat
Security Guard with a long stick huffs round the
corner. Chases them up an alley. Nowhere to go except
through an imposing gate that clearly leads to a
private house.
SECURITY GUARD
Got you now, little shits.
50 EXT. GARDEN. NIGHT. 50
They charge across the lawn, down one side of the house
where all the washing is hanging. The Guard gets caught
up in drying sheets, towels. He fights his way through
to see Salim, Latika and Jamal leaping over the wall to
safety. But Jamal turns, jumps back and grabs a girl’s
dress from the line.
SECURITY GUARD
Aha! Little thief!
The Security Guard lands a couple of blows on Jamal’s
back as he dodges around him and back across the lawn,
dress in hand. The Security Guard gives up.
SECURITY GUARD (CONT’D)
Pervert!
51 INT. ALLEY. NIGHT. 51
Jamal is examing the bruises on his legs.
SALIM
Useless bloody look-out. What
good is she, huh?
33.
49 CONTINUED: 49
(CONTINUED)
LATIKA
(infuriated)
I tried to warn you.
JAMAL
It’s okay, Salim.
Latika slips on the dress. Spins. Both of them look up.
Stare. She pulls her hair back, smiles, is transformed
into a beautiful girl.
52 EXT. GORAI BEACH DUMPING GROUND. DAY. 52
Blazing sun. Diggers and trucks are shifting mounds of
rubble on a rubbish dump that seems to stretch for
ever. Oblivious to the dust kicked up by the trucks,
Latika is picking up old plastic bags, examining each
one and putting the less worn in a big sack. The dress
is recognisable but dusty and torn. She stoops to dig
another bag out of the dirt, but stops and stares.
Shimmering in the heat, a rickety pick-up truck comes
through the rubbish dump gates. Toots at the Guard who
waves, pulls up in the dump. “Hope Orphanage is written
on the side of the van. A man gets out. Looks around.
53 INT. ‘TENT’. DAY. 53
Under sheets of plastic propped up on sticks, Jamal and
Salim are sleeping out the hottest part of the day.
Jamal wakes to see a figure standing over him- a
silhouette with a halo of sun behind him. Out of his
bag, the man produces a bottle of Thumbs Up. He uncaps
it with an alluring hiss. It is almost an advert for
thirst-quenching affluence. Almost instinctively, Salim
and Jamal stir.
MAN
Hello.
He hands the bottle to Salim, gets another from his bag
and waves it questioningly at Jamal.
MAN (CONT’D)
Hot, huh? My name is Maman.
54 EXT. ORPHANAGE. EVENING. 54
The hills on the edge of Bombay. Greenery and space,
for the first time in the film. The pick-up truck pulls
up outside a building with Jamal, Salim and Latika
sitting on a bench in the back. Maman gets out. Drops
the gate on the back of the pick-up.
MAMAN
Anyone hungry? Come on in.
34.
51 CONTINUED: 51
55 INT. ORPHANAGE COURTYARD. EVENING. 55
Twenty children are eating at long benches in a
ramshackle courtyard. Maman, ushers Jamal, Salim and
Latika in and sits them down at one of the benches. He
waves a hand and a giant man, Punnoose, comes over with
a big bowl of food. The three tear into it. Cleaning
every last morsel of rice from his plate, Jamal looks
up and notices a table peopled entirely with blind or
crippled children. Some of the legless are eating on
the floor next to the table. Jamal leans over to Salim.
JAMAL
He must be a very good man to
look after these people.
SALIM
(glancing at them)
A saint.
Arvind, a boy smaller than either Jamal or Salim
overhears.
ARVIND
We’re not allowed to talk to
them.
LATIKA
Why not?
Arvind shrugs. Latika licks her plate, glances at Maman
who is looking right at them.
LATIKA (CONT’D)
Well, if there are seconds,
Maman is definitely a Saint.
As if telepathic, Maman signals to Punnoose and he
brings a large bowl of rice and dhal over to them.
Latika looks at Jamal and Salim. They burst out
laughing.
LATIKA (CONT’D)
I tell you, Lord Siva is with
us.
56 INT. ORPHANAGE. EVENING. 56
Salim, Latika, Jamal and a group of children are
standing in a line singing a doha- ancient lyrics set
to music. Maman is leading the singing, walking up and
down the line listening to each one individually. He
stops at one small boy, Arvind, and listens. Nods his
head, pleased, and continues down the line until he
stops in front of Jamal. Holds up his hand.
MAMAN
Stop! You. Again.
35.
(CONTINUED)
Jamal starts singing again. He has the sweetest of
voices. Untrained but pure. Maman smiles, ruffles
Jamal’s hair, impressed.
MAMAN (CONT’D)
Everyone.
They all join in. Maman continues down the line. He
stops at Salim whose octave-slipping singing is lusty
and appallingly out of tune. Maman winces and moves on.
Standing next to Salim, Latika giggles. Immediately,
Salim is on her. Before a fight breaks out, Punnoose
pulls Salim off Latika and hurls him across the room.
Salim gets up and charges at Punnoose. For a second,
Punnoose is back-footed, but then pins Salim’s arms to
his side. Maman laughs. Approaches Salim.
MAMAN (CONT’D)
You sing like one, and you fight
like one. I think you’ve found
your dog, Punnoose.
57 EXT. CENTRAL MUMBAI TRAFFIC. DAY. 57
A group of children are sitting in the jumble of
concrete under a motorway flyover. Cars surround them,
bumper to bumper. Latika and Jamal are playing an
improvised hopscotch on concrete slabs. They are
giggling, bumping into each other, tickling, laughing.
Salim and Punnoose are sitting together, smoking. Salim
is staring hard at Jamal and Latika until Punnoose
grunts, a sign for Salim to clap his hands.
SALIM
Okay, let’s go, let’s go! It’s
not a bloody holiday!
The children get to their feet. Latika sighs, puts a
patch over her eye and grabs a pair of crutches.
Suddenly, the lame beggar. Salim goes over to one of
the girls, who is carrying a sleeping baby. Puts out
his hand.
SALIM (CONT’D)
Give me that.
The girl shakes her head. Salim grabs her by the hair
in one hand and takes the baby with the other. He
shoves her to the ground. The other children stare.
JAMAL
Hey, Salim!
He challenges Jamal.
SALIM
What, chot? bhai? You got a
problem?
36.
56 CONTINUED: 56
(CONTINUED)
He laughs and walks over to Latika.
SALIM (CONT’D)
Here. For you.
LATIKA
I don’t want it.
SALIM
You’ll earn double. I’m doing
you a favour, Latika.
JAMAL
She doesn’t want it.
SALIM
Chup, Jamal.
Latika turns away and begins to walk towards the cars.
SALIM (CONT’D)
I’ll drop it.
He holds the baby up. Latika grabs the baby with a cry
just as Salim releases it from his hands. Salim pinches
the baby.
SALIM (CONT’D)
Triple if it’s crying.
Latika snatches it away. Salim laughs, goes back to
sitting with Punnoose. The children scatter to the cars
trapped at the lights, tapping plaintively on the
windows and making the universal begging gesture.
58 INT. ORPHANAGE. KITCHEN. NIGHT. 58
Surrounded by beer bottles, Punnoose is slumped asleep
by the kitchen door. Latika edges past, avoids the cook
sleeping under the table and goes to a shelf laden with
vegetables. She pulls down a bunch of chillies still on
the vine, strips a few off and tip-toes out with them.
59 INT. ORPHANAGE. DORMITORY. NIGHT. 59
Sleeping children, three or four to a mattress on the
floor. Latika tip-toes around the mattresses. She
pauses over one in particular where we see Salim,
asleep. She carefully pulls up the sheet, delves
underneath. Pleasant dreams cross Salim’s sleeping face
for a second. Then suddenly, he is bolt upright and
screaming. He charges around the room clutching his
genitals in agony.
SALIM
Madher chod…!
37.
57 CONTINUED: 57
(CONTINUED)
He sprints out of the room, wailing.
60 INT. ORPHANAGE. SHOWERS. NIGHT. 60
The lights are on and two dozen children are screaming
with laughter as Salim stands under the make-shift
shower directing the water down his pants to his
burning genitals, his face a picture of agony. Latika
wipes crushed chillies from her hands.
SALIM
You’re dead, sala.
She smiles and walks past Jamal with a shrug. Then
Punnoose comes stalking in and the children scatter
away.
PUNNOOSE
Get back to bed, dogs! What the
hell…
JAMAL V/O
They taught me every song in the
history of Indian music.
INSPECTOR V/O
And why would they do that, I
wonder?
61 INT. SHACK. NIGHT. 61
In a shack, Arvind is singing one of Surdas’ bhajans in
front of Maman and an old man who by his ragged
appearance must be a villager. Punnoose and Salim sit
behind Arvind.
MAMAN
Very good, very good. I am
pleased, Arvind. He is ready.
ARVIND
Ready?
Maman nods to Punnoose. Before Arvind can turn round,
Punnoose has covered his mouth with a cloth and after
the briefest of struggles, Arvind’s body goes limp. The
villager puts an old tin box on the table. Taking the
lid from the tin, he brings out a cloth and unwraps it.
Inside is a spoon. He checks the edge with his thumb.
Sharp. Douses it with a clear liquid from a bottle and
passes it over a candle flame. The spoon whooshes with
a high flame for a moment. The villager wipes it with
the cloth nods to Punnoose.
PUNNOOSE
Salim!
38.
59 CONTINUED: 59
(CONTINUED)
Utterly bemused, Salim nevertheless helps Punnoose lay
Arvind on the table. The villager takes hold of
Arvind’s eyelid and pulls it open. He brings the spoon
close. Suddenly, Salim is being sick in the corner of
the shack. By the time he has turned back, the villager
is wiping the spoon on a blood-soaked rag.
MAMAN
Okay. Take him out the back.
Punnoose picks up Arvind and carries him out.
MAMAN (CONT’D)
Now the other one. Salim, go get
Jamal.
A frozen moment.
SALIM
What?
MAMAN
Gunfighter Number One, isn’t
that right, Salim? The money,
the women, the cars…you want
them bad, huh? And why not?
Maman gets out of his chair. Approaches Salim.
MAMAN (CONT’D)
The time has come to choose,
yaar. The life of a slum dog or
the life of a man. A real man. A
gunfighter, Salim.
Maman holds Salim’s head in his hands.
MAMAN (CONT’D)
Your destiny is in your hands,
bhai. You can be me. Or nobody.
Understand?
SALIM
Yes, Maman.
Maman nods.
MAMAN
So, brother, go get Jamal.
Salim is frozen for another few seconds, then turns and
walks out of the door. Punnoose appears at the door.
Maman nods to him and he slips off after Salim.
62 INT. DORMITORY, ORPHANAGE. NIGHT. 62
All the children are asleep apart from Jamal who is
crouched underneath a couple of wash-basins.
39.
61 CONTINUED: 61
(CONTINUED)
He is talking through a plate-sized hole in the
crumbling masonry. Latika’s eyes can be seen.
JAMAL
…weddings, government things,
big parties. If Maman says my
voice is ready. Big money.
LATIKA
Enough for a room?
JAMAL
Easily. Maybe an apartment.
LATIKA
Really?
JAMAL
That’s what Arvind said. On
Harbour Road. You, me and Salim.
The three musketeers.
LATIKA
Harbour Road! We can have ice
cream from Babanji’s.
JAMAL
Every day if we want.
Salim appears at the door. Nods his head at Jamal.
JAMAL (CONT’D)
It’s my turn.
LATIKA
Good luck, Jamal.
Latika’s hand comes through the gap. Jamal takes it for
a moment. Salim hisses at Jamal. He lets go of the hand
and heads out.
63 EXT. PATH. NIGHT. 63
Salim and Jamal walk along the path, Jamal humming
happily. Salim checks behind him, sees Punnoose
following.
JAMAL
So, this is it, hey, bhai? The
good life, here we come….
SALIM
(conversationally)
Athos.
Jamal is suddenly alert. Slows
40.
62 CONTINUED: 62
(CONTINUED)
JAMAL
Porthos?
Salim nods. Big smile. Puts a hand on Jamal’s shoulder.
SALIM
When I say.
64 INT. SHACK. NIGHT. 64
Salim guides Jamal into the shack where Maman and the
Villager are waiting. Maman smiles. Punnoose slips in
behind Salim.
MAMAN
Jamal, hello. You have done
well. It’s time for you to- turn
professional.
JAMAL
Really?
MAMAN
Sing me a song, yaar. How about
Chalo Ri Murali, huh? My
favourite.
Jamal opens his mouth, then closes it again. Holds out
his hand.
JAMAL
Fifty rupees.
MAMAN
What?
JAMAL
(shrugs)
I’ve turned professional. What
can I do?
Maman laughs.
MAMAN
Sala…!
He throws some notes at him.
65 EXT. SHACK. NIGHT. 65
Outside, a giggle. Latika is peering through a gap in
the wall.
41.
63 CONTINUED: 63
66 INT. SHACK. NIGHT. 66
Jamal begins to sing. Maman waits a while, then nods to
Punnoose. Behind Jamal, Punnoose hands Salim the bottle
of chloroform and the rag. Salim approaches the back of
Jamal. Salim waits until he has finished the song.
Raises his hand with the rag in it. Maman smiles, nods.
Salim flings the contents of the bottle in Punnoose’s
face. Punnoose screams and stumbles back clutching his
eyes, knocking over the table.
SALIM
Go!
Salim and Jamal scramble for the door. The knocked-over
candle catches the spilled chloroform and a curtain
which whooshes up in flame.
LATIKA
Jamal!
JAMAL
Run!
66A EXT. SHACK. NIGHT. 66A
They charge past the prone Arvind- a flash of bloodied
bandages covering his eyes.
67 EXT. HILLSIDE. NIGHT. 67
Heavy, desperate breathing. Feet stumble on roots. Fall
into holes. The three children are running. Branches
smack into their faces. But they are so scared, nothing
will stop them. Behind them, torches scour the
undergrowth. Men shouting. They break out of the woods
and are confronted with a train goods yard.
68 EXT. GOODS YARD. NIGHT. 68
They run over the tracks, between the trains, but the
shouts are getting louder, the torches closer. A diesel
engine is moving out of the station. Jamal, Latika and
Salim sprint for the Guard’s Van at the very back of
the moving train. Punnoose is closest to them. Salim is
fastest and first to jump the train. He holds out his
hand. Jamal grabs it and is hauled in. Jamal holds his
hand out to Latika.
JAMAL
Come on! Faster!
She reaches out to him. Their hands almost touch.
42.
(CONTINUED)
JAMAL (CONT’D)
Take it! Take it! I can’t
reach…
Salim barges Jamal out of the way. Jamal stumbles back
as Salim reaches his hand out to Latika, so he doesn’t
see Latika’s hand grasp Salim’s, nor see their eyes
lock onto each other, nor see Salim very deliberately
let go of her hand. Latika stumbles.
LATIKA
Jamal!
Jamal scrambles to the rail. The train gains more
speed. Jamal climbs on to the top rung, makes to jump,
but Salim flings him backward. Jamal tries to scramble
to his feet again, but Salim restrains him.
JAMAL
Got to go back. We’ve got to go
back.
SALIM
He’ll kill us if we go back.
Jamal! He was going to take your
eyes out- with a bloody spoon!
The train is speeding along. Jamal breaks free and
stares back at Latika.
SALIM (CONT’D)
She’ll be alright. She always
is.
Latika stumbles again and stops running. They watch as
Punnoose catches up with her and stops running. He
smashes Latika to the ground.
69 INT. STUDIO. NIGHT. 69
PREM
The question was, for two
hundred and fifty thousand
rupees: who wrote the famous
song Chalo Ri Murali. I should
warn you, Jamal: from this
question on, if you get the
answer wrong you lose
everything. So. Are you sure?
The life-lines are there….
JAMAL
Surdas.
PREM
Surdas. Apka final jawab?
43.
68 CONTINUED: 68
(CONTINUED)
JAMAL
Yes.
PREM
Computer-ji, A lock kiya-jaye.
The lights dim, the music swells. Prem presses a button
on his computer: looks him straight in the eyes for an
age.
PREM (CONT’D)
(simply)
Guess what? You’re right.
Applause, music, lights.
70 INT. INSPECTOR’S OFFICE. DAY. 70
The Inspector is eying Jamal, weighing it all up.
JAMAL
(shrugging)
Blind singers earn double. You
know that.
INSPECTOR
And what happened to the girl?
They blinded her too?
JAMAL
(shakes his head)
They had other plans. Though it
took me a long, long time to
find out.
71 EXT. TRAIN. MORNING. 71
Salim and Jamal are sitting on top of the train. Jamal
is staring blankly down the track.
SALIM
Ar?, Jamal…
Salim puts an arm around Jamal’s shoulder. Jamal wipes
the tears from his eyes, shakes his head furiously.
Salim gets up. Holds out his hand.
SALIM (CONT’D)
Come.
JAMAL
Where you going?
SALIM
First class, bhai. Where else?
44.
69 CONTINUED: 69
72 INT/ EXT. FIRST CLASS CARRIAGE. MORNING. 72
The ancient train is huffing slowly up an incline. A
middle class Indian couple with their three children
are sitting at a table, their breakfast spread before
them. Into this domestic scene, unseen by them comes
Jamal. Upside down and still outside the train, he is
clearly being dangled by his ankles from the train
roof. He gives a few, silent directional signs to Salim
who manoeuvres him across, dips his hand into the open
window, snatches a chapatti and signals franticly to be
hoisted up. The family continue to eat, unperturbed.
Then Jamal appears again. This time one of the children
spots him. Despite Jamal giving her a friendly wave,
she yelps. The father of the group grabs Jamal’s hand
which has just snatched a samosa. There is a tussle,
Salim holding onto Jamal’s legs, the father holding
onto Jamal’s arms and Jamal in the middle, shouting.
Salim is losing the battle and his footing. He stumbles
and the pair of them fall from the train, rolling and
tumbling down an embankment in slow-motion.
Interspersed with the seemingly endless tumble are
images of Jamal and Salim on top of different trains-
- huddled together against the freezing rain…
- surfing the wind at the front of the train…
- admiring the distant Himalaya….
JAMAL V/O
We criss-crossed the country
from Rajasthan to Calcutta.
Every time we were thrown off we
got back on again. This was our
home for years. A home with
wheels and a whistle.
The final tumble as they crash onto flat ground.
73 EXT. RAILWAY EMBANKMENT. DAY. 73
Groggily, Jamal sits up and groans. Somehow in the
tumble, he has been transformed into a twelve year-old.
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