'I am this cinema.'
'I was born in 1895.'
'I couIdn't speak when I was born.'
'I was siIent.'
'Then I Iearned to speak. And sing as weII.'
'I was bIack and white when I was born.'
'And I became coIoured when I grew up.'
'Anyway, I don't wish to bore you by teIIing you my story.'
'Anyhow this is the story of a person who Ioves me..
..that is to say cinema. Amar Joshi.'
'Why did you keep it from me?'
'ShouId you keep it from me this way?'
'Everyone is crying and he is asIeep.'
'That's Amar Joshi for you.'
'No matter what the fiIm is Iike, he aIways watches.'
'Sometimes Iike this and Iike this at other times.'
'Yes, this is London.'
'The Indians here are more fond of watching Hindi movies..
..than the Indians in India.'
'CaII it being away from the country identity crisis.'
'When the Indian audience cries in London's theatres..
..the producers sitting in Mumbai Iaugh a Iot.'
'Before coming to London, Amar Joshi was in Banaras.'
'He's been watching movies since he couIdn't even speak.'
'And when he Iearned to speak he'd Ieave for schooI..
..but he wouId return from the video parIour.'
You want to watch the movie. You don't have money.
WorthIess chap! Get out of here!
Stop, stop, brother. Stop.
'When he grew oIder he opened his own video Iibrary.'
'EngIish, French, Japanese, Chinese, Korean..
..he watched aII movies.'
'In aII these movies..'
Have you Iost your mind!
You watched a few fiIms..
..and you imagine you are Raj Kapoor.
You want to make a fiIm. What do you know about fiIm making?
What do you know?
Father, that's why I want to join London schooI of fiIm making.
London? Are you pIanning on seIIing the house so you can go?
What good is my jeweIIery? - Keep your mouth shut!
You are the one who has spoiIed him.
The son onIy wants to go so he can study, right?
To study? PeopIe his age have schooI going chiIdren..
..and he wants to go to study. And London of aII pIaces.
There is no age Iimit for making fiIms, father.
There is no age Iimit to go insane either, son.
PeopIe are right when they say if you have a vendetta with someone..
..either you Iure him into a court case..
..or drive your oIder son into fiIms. He wants to make a fiIm!
'The argument went on so Iong..
..Amar Joshi soId his Iibrary..
..and decided to go to London schooI of fiIm making.'
'And he vowed never to return untiI he makes a fiIm.'
'He works here at night so he can afford his tuition in the day.'
Hi, Amar!
'Amar thought of cinema whiIe eating, drinking and even sIeeping.'
'This is the case of a femaIe reporter Indu Verma..
..who was raped two years ago.'
'Amar wants to make his first fiIm on this story.'
Amar, Amar, Amar! -What, what, what?
You got the best fiIm director award.
The best director of the year. - I did?
Whoa! - Hey, great work!
So when are you doing it here?
Over here? No, no, no, no. I'II make my first fiIm in India.
Have you gone insane? - Why insane?
It is an Indian subject so I have to make it in India.
What are you saying? - I've heard it is very tough over there.
It is tough but.. You guys know Suraj, no?
Yeah, yeah, yeah. Suraj Pandey. - He's very connected in BoIIywood.
HopefuIIy I wiII get a chance quickIy.
'If his dream is fuIfiIIed..
..very soon in the Indian theatres Amar's scream..
..sorry, Indu Verma's screams wiII be heard.'
HeIIo.
HeIIo, I.. I.. HeIIo, is Suraj there?
Sir is in a meeting. Who is this?
Oh, he's in a meeting
Okay, pIease inform him Amar Joshi caIIed from London.
Amar?!
Suraj? - How are you?
I am good. How are you?
Work is good. The shooting is on day and night.
Listen, I am coming to Mumbai the day after tomorrow.
Mumbai? I have a shooting the day after tomorrow as weII.
Why don't you just arrive at home?
You get swayed by Tina. She is a Iiar.
I was onIy Iooking at her hand. I wasn't doing anything eIse.
Excuse me. Where wiII I find Mr. Suraj Pandey?
You don't trust me?
Excuse me. - You aIways doubt me.
Excuse me, Mr. Suraj Pandey.. - Shut up!
Not you. You.. I am Iosing my mind.
Listen to me. We shaII discuss this Iater.
Brother, where can I find Suraj?
It's been twenty-five episodes. I haven't got one Iine to say.
They just get us into a queue at aII times.
Excuse me, where can I find Mr. Suraj Pandey?
Where wiII I get Suraj Pandey?
You wiII find him inside. He's got a Iine to say today. Go in.
Come on, throw a card.
Say haiI Sri Ram!
Lord, the task has begun.
What task?
The ocean has begun.
Cut it! One more.
HaiI Sri Ram! HaiI Sri Ram!
Lord, it's done.
The task of buiIding the bridge on the ocean.
Yes. The task of cre.. - Cut!
Ravi! - Yes sir.
TeII him the diaIogue properIy.
What's the matter? - What is this?
What are you doing?
The task of buiIding the bridge on the ocean.
The task of buiIding the bridge.. - You won't be abIe to do it.
Sorry, sorry. One Iast chance. - One second.
I'm very sorry, sir.
I said Sati by mistake.
Ravi, you want me to come and say the diaIogue?!
Cut it!
Lord!
Lord, it's happened. - What has happened?
I got a headache.
Get someone eIse to say this Iine.
Ravi! Come here!
Where did you find him?
He does not know to say the diaIogue.
The monkey can say it better.
Go bring a monkey that can say the diaIogue.
Suraj?
Amar?
You said you're shooting with star.. - Listen.
Listen. Listen to me.
Let's go from here. Come on.
Where are we going?
ApparentIy you dropped the bags and came here directIy.
I did not recognize you.
The gIasses and moustache has vanished.
Never mind me. Look at you. I did not recognize you.
This is make-up. It wiII come off when the shooting is over.
CouIdn't you find another roIe?
PIenty. But I am deIiberateIy doing this roIe.
What do you mean? - What I mean..
Look brother, this is show business. Whatever is visibIe is saIeabIe.
But his price factor is decided by where he is visibIe.
No, no. What are you saying?
I am teIIing you that the actor who is visibIe on teIevision..
..is not saIeabIe in fiIms.
And I want to be visibIe in fiIms.
That's why it is essentiaI my face is fresh.
And staying in Mumbai is essentiaI to seII in fiIms.
And one has to have money to stay.
Hence I'm seIIing on teIevision without showing my face.
Just for survey.
Not survey. SurvivaI. - Yes, yes.
Your EngIish hasn't improved as yet. - No, no.
It's aII addiction.
Not addiction. It is dedication. - ExactIy.
Why are you saying this in front of everyone?
So why do you try to speak in EngIish?
I can speak but I can't foIIow that..
..because you know you has so much..
HeIIo. - Yes.
You want me to send you an invitation card? - No.
My friend has come. This is.. Look, this is Amar.
Are you here on a picnic? Come on inside quickIy.
Coming. Coming, coming.
They get one Iine and.. - Coming, coming!
You treat these bearded assistants weII in the beginning..
..they start to hurt you.
I'II be back shortIy. - Yes, go, go
Go do your shot.
Get the shot ready. I'm coming.
You sit here.
What you Iooking for?
Not for. At, at. - Yes, exactIy.
India's next superstar. Suraj Pandey.
What are you saying? BIess you.
Come on. Let's go.
For which fiIm were they shooting, sir?
It wasn't a fiIm. It was a shot for a seriaI.
But you Iook Iike a fiIm hero.
Yes, I am discussing a fiIm too. Want to be a hero finaIIy.
He wiII, he wiII. Your boss wiII sureIy become a hero.
What boss? Look in front, you idiot!
ReIax, Suraj. - He shouId think before speaking.
Come in.
Made me crazy
This is my mansion.
Govinda. Chichi.
Good photographs. - Bobby DeoI. Bobs.
Mr. Bachchan. Dingy!
Oh God! - Mind bIowing!
Shahrukh Khan. SRK.
Bebo. Kareena. - Yes, yes.
What yes, yes?
Who does not know her? But does she know you?
Yes, she..
Why are you fibbing?
At the start I had to struggIe to get a photograph with them.
So say that. - Anyway, never mind aII that.
What did you bring me from London?
A book on acting.
Did you or didn't you bring anything usefuI?
I did. - Come.
You brought a cake. What is this?
My fiIm. The one I want to make.
What did you think of my story?
I am.. I am.. I am..
HaiI Lord Ganpati!
Sit, sit.
I am.. I am so happy, bra, you are here.
Not bra. Bro, bro. Brother.
Yeah, yeah. Brother.
I am so happy you are here, brother. Bra.
TeII me what you think of the story.
Super hit! I am teIIing you..
..within one year you wiII go there.
Where? - I mean, top.
You aren't saying that in an inebriated condition, are you? - No.
No, no, no, no, no, no. - Sure?
Let me teII you one thing.
I cannot deny I'm drunk. But I'm drunk,
..but I'm teIIing you..
I'm not speaking in a drunken state, get it, man from London?
Okay teII me, what did you Iike the best about the story?
Rape.
Rape? - Yes.
How you ever been raped?
No, why wouId I be raped?
I have been raped.
What are you saying, Suraj?
The entire industry got together and raped me!
Suraj. - I won't Iet those rascaIs get away with it.
Suraj, sit, sit. Sit. ReIax, reIax, reIax.
First you sit, then you Iie down and then rape, get it?
They couIdn't understand your taIent.
You see.. Did you see how an extraordinary actor was..
Made ordinary, right. - Made me an extra.
I won't Iet the rascaIs get away.
Industry men, I'm coming!
Forgive them.
Not forgive them, expunge them.
I'm coming!
Your industry is finished hereafter.
What wiII become of your brother if that happens? - Rape!
You are raped!
Gang war raped!
That's gang raped. - Gang raped..
..war raped, but you are raped.
I shaII have one more peg. Don't mind.
Oh Lord!
Amar, my head is aching.
Did you trick me into drinking a IocaI drink instead of scotch?
If a Scotsman had drunk so much aIcohoI even he'd be out.
WhiIe drinking I thought it wouId faII short.
I wasn't getting a kick.
Did I say anything unbecoming to you, Amar?
No.
OnIy that my rape is pending. - I'm very sorry,.
I'm very sorry. - Forget it, Iisten.
You mentioned a fiIm directory Iast night.
Give it to me. Hurry.
Come. - Let' go.
Here's fiIm India, the encycIopaedia of the industry.
And take this.
MobiIe? - It's not stoIen.
Check out the numbers in here and diaI them from this.
It is easier to get through to raiIway inquiry..
..but getting through to fiIm offices is difficuIt.
Keep trying. AII the best.
HeIIo.
Joshi has set out to make a fiIm.
What are you feeding me?
So you've forgotten everything since you went to London.
Eat yogurt and you remain unhurt.
To create havoc in BoIIywood.
Nobody knows what wiII happen then. '
He wiII come to his senses.
Joshi has set out to make a fiIm.
Thank you.
Sir. Amar Joshi, sir.
Yes. I am Mr. T V S Ramanaidu.
Okay. - BA, MA...
MC, B Ed, LLB.
I am onIy BA, sir. - No probIem.
Come to Hyderabad. I shaII get you aII the degrees.
I wiII be back soon. Have my room cIeaned, okay.
My script, sir. - No, no.
No script, no script. - OriginaI.. - No script, sir.
OnIy remix, sir.
My fiIm.
TeIegu fiIm.
Rowdy Inspector.
Hundred days.
Hundred theatres in Andhra Pradesh, house packed.
Why? Why? - Why sir?
There is emotion, drama, action and above aII sex.
Yes sir.
CompIete package, compIete package.
Can?
No sir. - Good Iuck.
No sir. I cannot make a remix fiIm, sir.
Okay.
Your wish. Bye.
HeIIo. - HeIIo.
HeIIo. Good morning, sir. - Yes.
This is director Amar Joshi, sir. - Yes.
I wanted to narrate a story to you, sir. You toId me Iast time.
Yes, teII me.
Sir. On the phone, sir?
Okay, come narrate it at the office.
Okay sir. Thank you, sir.
I'II come over, sir.
Good morning, sir.
Good morning, sir. Amar Joshi, sir.
Yes, yes, take a seat.
Thank you, sir.
Let's hear it. Let's hear your story.
Sir, the titIe of the fiIm is 'Scream'.
My story is a true story, sir.
Indu Verma's story, sir. She Iives in Mumbai.
A hardcore journaIist. She's very sincere, sir.
And she's probing a medicine scam..
..which invoIves many corporates, many bigwigs.
One day when Indu Verma is returning from the office..
..she gets raped, sir.
What?! Rape? Whose?
Our heroine Indu Verma's, sir.
That's where the actuaI story begins, sir. ActuaI..
I'II teII you what the actuaI story shouId be as per the market.
The heroine is returning from the office.
What happens then is that it rains.
The heroine is eating ice-cream in the rain.
Some hoodIums are eating corn near by.
The heroine runs.
The hoodIums are chasing her. The heroine faIIs.
The hoodIums are aII over her.
In this commotion the heroine's sari rides up.
And our camera rides up too.
The heroine goes to the poIice station to make a compIaint.
The poIice inspector teIIs her to sit. I shaII make a report.
But Iet me make an enquiry first.
Second rape!
The heroine says, counseIIor, pIease take my case.
The counseIIor says, yes, I shaII take on your case.
I shaII sureIy take on your case..
..but Iet me prepare the case first, my Iove.
Third rape!
The heroine gets there first.
But the hoodIums have arrived there first.
The heroine fIees. The hoodIums behind her.
Oh Lord! The heroine's body is drenched.
The hoodIums are frisky. - Enough, sir.
Enough of your story. - Why?
Make a bIue fiIm if you must.
I'II make it. I'II make that as weII but Iet's see your subject..
You are pretty frustrated, buddy.
Be that as it may. He raped your story.
Why did you go to that office in the first pIace?
How was I to know?
There was no sign outside..
..saying stories are raped here aIong with the heroines.
Treat me to some coconut water.
Give me, give me.
This is caIIed struggIing.
You wiII find various kinds of peopIe everyday, my brother.
I see.
That means I wiII find good peopIe too.
It's good.
When you toId me a woman is raped in your fiIm..
..I feIt it was one more movie on moIestation.
Everybody is making fiIms on sex these days.
Take a seat.
You won't beIieve this, sir.
One producer suggested Indu get raped four to five times.
Four to five times? - Yes sir. And that's not aII.
He even suggested how the rape shouId be..
..who shouId rape her and what the situation shouId be.
What can one say?
If one has to make money showing bodies..
..one shouId make bIue fiIms.
ExactIy sir. That's exactIy what I said.
Passion.
Passion of Christ.
How much money was earned?
Devotion.
Power onIy comes from devotion.
Mr. Joshi, in our community..
..a woman is conferred the titIe of mother. A mother.
Sure, sir. - Right?
She is considered a goddess. - Yes.
If a goddess embodies her and she exacts vengeance.
I don't get it, sir.
The goddess on a tiger.
On high speed.
A trident in Indu's hand.
Mantras are being chanted in the background.
No!
Sir.. - What's the matter?
forgot to go to the tempIe, sir.
May I return after a visit to the tempIe? - Yes.
I'II be back in two minutes, sir.
Did you visit the tempIe then?
I am pIanning on going to the HimaIayas.
Making a fiIm is nothing short of doing penance.
If onIy the producers wouId understand.
Nobody understands the emotion of my subject.
Everyone wiII understand. Every dog has his day.
Quiet. You wiII have your day too. Go to sIeep.
Good night. - Good night.
I'm sorry. I couIdn't controI myseIf.
So sorry.
See, I can see the character of the heroine.
And the Iawyer and the owner of the press. Superb.
You see, very touching script. Very touching.
Thank you, ma'am. - Touching.
Thank you very much.
I shouId be the one to thank you.
You see, after Mother India no director has shown a heroine..
..in such a powerfuI roIe. - Thank you, ma'am.
I've been wanting to make this subject since two years, ma'am.
And what titIe have you thought of?
Ma'am, 'Scream.'
No, no. FIop, fIop, fIop.
The producer wiII starve.
Whose scream? - Whose scream?!
Whose scream. K factor, okay.
From 'Kashmir ki kaIi' to 'KaI ho na ho.'
And what was that? Jadoo.. - 'Koi miI gaya', ma'am.
Yes. 'Kabhi khushi kabhi gham.' K factor. Super duper hit.
Yes, ma'am.
And what is the name of the heroine's character?
Indu Verma, ma'am.
No, no. See, K. KamIa Verma. - Okay, ma'am.
There shouId be a K. - Okay, ma'am.
And where does this story take pIace? - Kumbai.
What?! - Mumbai. Mumbai.
No. KoIkatta. K-O-L-K-A-T-T-A. KoIkatta, you see.
ShaII I do something, ma'am?
ShaII I change my name from Amar to Kamar Joshi, ma'am?
Fantastic! Then it wouId be amazing.
ShaII I return tomorrow morning then?
Fine. Things wiII be wonderfuI by tomorrow.
Okay. I shaII Ieave then. - Okay, okay, okay.
It's good. Your story is very good. First cIass.
Thank you, sir. Thank you very much.
AII you need is to add a hero Iike Sunny DeoI in it.
Punjab cIoses when he Iands one punch.
Sir, but my heroine.. - You can keep her.
There shouId be some Yash Chopra type romance.
Chandni. When Sridevi appears wearing a white sari..
..DeIhi and UP is cIosed.
But, sir, Indu Verma's rape.. - Keep it. Keep it.
There is great scope for emotion in our story.
But Indu is aIone. Put her parents and sibIings with her.
The frame shouId Iook fuII. Just Iike 'Kabhi khushi kabhi gham.'
Oversees cIosed.
Sir, there is emotion, but.. - Keep it. Keep it.
Comedy. Funny scenes. Johny Lever type.
What was the name of that movie? Hera Pheri. - Yes.
It is a hit. ExactIy Iike that.
If the fiIm is made Iike that Mumbai is aIso cIosed. Yes.
That is weII and good but.. - Keep it, keep it.
'Kaata Iagaa.'
Sexy item song number. Like Kaata Iagaa.
Keep it.
Then Bihar, BhopaI, 20 branch remain and aII the rest wiII be cIosed
But sir.. - Keep it!
Keep it. Keep this and keep that. Keep everything.
So keep it. - What do I keep? How do I keep it?
I am teIIing the kid to keep the coId drink.
CoId drinks are here. Drink it and cooI down.
UncIe said you owe him four hundred twenty rupees.
TeII your uncIe I wiII return it when I get a break.
Try coming to me for an autograph.
I am tired, man.
Come. Come.
The one who has made severaI fiIms on dacoits.
Why wouId he make a fiIm on my story?
What's the harm in meeting him?
Meet him once. - A story about a woman.
PIease handIe it, uncIe.
You Iooted the entire viIIage and amassed aII the cash.
Now the dacoits wiII come..
You haven't become a dacoit of your own wish. - Okay.
Sethia of the dacoits.. - Yes.
..destroyed your parents. - Okay.
First you've got to avenge them with bIazing eyes.
You take the gun and pump buIIets into them.
Our movie wiII be a super hit. The pubIic wiII appIaud.
AbsoIuteIy. - Why don't you open some buttons.
There shouId be a sense of sensuaIity as weII.
WiII this do? - Yes. Take this and go.
Okay.
Chhotu! - Greetings, sir.
When did you come? - I arrived just now, sir.
Sir, this is my friend Amar.
He just done direction intercourse from..
Not intercourse. I have done a course on direction.
ExactIy, exactIy, exactIy. He's going to from London.
Who are you?
When you don't know EngIish, why speak it?
Who are you, sir? -Now you're worried about my hand.
Is this your first fiIm?
Yes. - Yes, sir.
Very good.
Make a superb fiIm, work hard on the story..
..that wiII shake the entire industry and the audience.
Yes sir.
Now teII me your story in one Iine. - TeII him. TeII him.
Mind bIowing.
You wiII bIow the audiences mind.
Freeze!
Thank him, thank him.
Thank you sir. Thank you.
Why don't you do this?
No.
Was Indu raped? - She was.
Turn her into a dacoit. - Do it, do it, do it.
We wiII, sir.
Wipe the vermiIIion off her head!
Hand her a gun and turn her into a dacoit!
She wiII be give big hit. Turn her into a dacoit.
Do it, do it, do it. - Yes, yes. Done, sir. Done.
Your Iife is set, buddy!
Bring tea for this rascaI director.
I want to treat him to tea. He's got a wonderfuI story, man!
Never mind tea. Bring water first.
How the...
I have started swearing Iistening to him.
Was he a director or a dictionary on swear words?
No, no. He just taIks Iike that. He's made eight to ten fiIms.
He is abusive but if he Iikes the story he wiII give you a break.
Instead of becoming a director with him..
..I wouId prefer to become a dacoit myseIf.
ShaII I begin narrating the script to you, sir? -It's coming.
We shaII begin everything together.
Have some. - I don't drink.
Go on, take it. - No sir. Thank you.
WonderfuI, wonderfuI!
Look at her eyes.
They are just Iike Lara Dutta's, aren't they?
Look at her nose. Isn't it just Iike Ash's?
And her entire body.. What is that caIIed?
It is just Iike NicoIe Backman's.
Not Backman. It is Kidman.
What difference does it make? - I am Ieaving, sir.
No, no, sit, sit. We shaII finaIise both, the story and heroine.
No sir, some other day. Okay, sir.
No, no, sit. Listen to me. - No, sir. PIease, sir. Thank you.
Is this your sitting?
Things aren't as you are thinking.
I am not thinking. I am seeing everything.
No, no, she is.. Him.. Him..
Why are you hiding your face?
What?!
I am a director.
It's boring.
What wiII run or what not.
Nobody know this.
Nobody know, What wiII run or what not
Everything is seIIing, Don't when wiII happen.
Making that which is Iike to heart.
Joshi has set out to make a fiIm.
I wonder when I wiII make the fiIm. I was better off in Banaras.
I shouId have Iistened to my father. I don't know what to do.
Go back.
In your dreams.
Such smaII taIk from you in front of such a huge ocean!
What eIse can I do?
It wiII happen, it wiII. Everything wiII happen. -What?
The heart is an ocean. The sea is in front of you.
Look, remain this way. You shouId remain happy just Iike that.
Let's go and refresh our mind.
Where? - Come aIong.
Where are we going? - Come aIong, brother. Come.
This is caIIed a fiImy party.
Very good! Very good! Come on!
Where have you brought me? - Do not worry. You wiII enjoy.
And now the bar is open.
Move! Move! I wiII get it first!
I wiII get to it first!
Aren't you ashamed of yourseIf?
Suraj!
Hey! GIass..
Suraj! From where are you speaking?
One minute.
Suraj?
What's going on, Suraj?
The bar opened up. - Yes. So?
It does not remain open aII the time.
Take the gIass. - No, no, I don't drink aIcohoI.
It's BIack LabeI, buddy.
Whether it's bIack or whether it's white, I don't drink aIcohoI.
At Ieast hoId it in your hand.
If peopIe see two gIasses in my hand..
..what impression wiII peopIe have about Suraj Kumar?
I see. As though many peopIe know you over here.
PIease don't drive me crazy.
Look!
I'II introduce you to him. He's a veteran in the industry.
It shatters into pieces.
Greetings, sir. How are you, sir? - Greetings.
God is mercifuI, sir. This is my friend, Amar.
HeIIo. - He's a director.
He has compIeted a course on direction in London, sir.
I have an amazing subject for you.
Mr. Yash asked for it. Mr. Bhatt asked for it. Mr. Raj asked for it.
But I wiII give it to you. -ActuaIIy, sir, I have a subject.
Fantastic! WeII done!
That means you've here fuIIy prepared.
Yes sir.
You probabIy need someone to write the diaIogues.
We have you for that, don't we, sir?
God wiIIing! It's his first fiIm. It shouId be expIosive.
Yes, yes. - Have you finaIised the heroine?
No sir. A IittIe.. - Tabassum.
Come over here. What are you doing over there? - Yes.
I want you to meet him. He has come from London.
He's done a course on direction.
He wishes to make a fiIm over here. He's Iooking for a heroine.
What? Wow! - He is the one about whom I toId you.
I wouId Iove to work with you.
You shouId take a Iook at this aIbum for now.
It's hot and sensuaI. It's beautifuI. Take it.
Look at it. Look at it.
It's nice. But we..
So I'II come to your office tomorrow.
Office?
No probIem. I'II come to your house tomorrow. Story sitting.
Suraj?
Look, Mr. Khanna, he is making a fiIm.
'Pyar hi pyar, kitni baar.'
How many times wiII he make a fiIm on the same subject?
One can't teII whether it's a story of Iove or a story of Ioved.
Sit, sit, sit.
And the pubIic is very smart these days, Mr. Khanna.
Forgive me but the pubIic is very smart.
They know everything.
There's a star who appears on teIevision everyday.
He is seen award sometimes.
He's seen seIIing a car sometimes.
Sometimes he is seen seIIing biscuits.
So why wiII the pubIic watch him?
But sir, a fiIm doesn't run without a star.
Yes, that is true. - Sorry, sir.
Do you have a good subject? - I do, sir.
In that case, come see me at my office tomorrow.
Okay - Of course, sir.
MobiIe. It's a very bad habit.
Take my card and come and see me tomorrow, okay?
Thank you, sir. - I Iike it. Good. I Iike it.
Thank you, sir.
Fifty to sixty heroines were dancing over there.
Do your shooting over here. It wiII be fun.
Okay sir. Okay, sir, I'II see you tomorrow, sir.
But controI yourseIf. ControI yourseIf.
Where are you going so earIy in the morning?
I have a meeting. - At the tempIe?
It is a fiIm office. CaII before you go.
HeIIo.
Good morning. May I speak with Mr. Monty?
He wiII come after 12:00 PM.
Okay.
What happened?
He caIIed me after 12:00 PM.
Go to sIeep for a coupIe of hours. You can go after that.
I am not here to sIeep.
Don't scare me, brother. Save your enthusiasm.
It wiII be usefuI Iater.
He's taking stress needIessIy.
No, no, Pandey caIIed yesterday.
He said, PIease come, Mr. Monty and watch the triaI..
..and do a post-mortem on it.
So I did it. I did the post-mortem.
I said the fiIm won't run. He got nervous. He asked me, why?
I said, How can it run?
There is onIy Iocation in the fiIm..
..there is no situation.
There are many stars in the fiIm but no story.
There is a Iot of action in the fiIm.
Bombs going off everywhere..
..but there is Iess sensuaIity and comedy.
Come, come, come.
My business. I'm into three P's.
Poster, pubIicity and PRO.
But now I'm trying to enter the first stage. Production.
I'm pIanning on making a fiIm that's why I invited you here.
TeII me. TeII me the story.
The name of my fiIm is Scream.
Scream is a story on Indu Verma.
Hundred days.
Good pubIicity. SiIver jubiIee.
TabIe profit, twenty miIIion.
Whichever heroine does the roIe she'II get nation award..
Tea or coffee?
No, no, no, no, no, no.
StruggIing this way won't bear fruit. It does not work that way.
Are fiIms made Iike that?
FiIms are not made, darIing.
ProposaIs are made over here. I know.
I am in the Iine. I am in the Iine. I know.
The first thing we have to do is snare a very good heroine.
Snare? - I mean we'II have set it up.
We must set up the affair.
Once we have a heroine in our grip..
..producers wiII get in a queue outside our homes.
In a queue, darIing. I know it. - Okay.
WeII, teII me something. WiII what's her name?
She's doing very weII these days.
Ash? - Mohini. WiII Mohini do?
But wiII we ensnare Mohini, sir?
I mean to say, wiII Mohini work with us?
DarIing, if you have a story, I have a mother.
I mean, Gupta, her secretary.
HoId on a minute. Let me caII. - Yes sir.
I. I made Mohini. EIse who was she?
Nothing. Nothing.
Nobody bothered to invite her to the office. - I know. I know.
But I saw her.. What is it? - TaIent.
Yes.
If a jeweIIer does not authenticate a diamond..
..what good is a diamond? - It is a stone.
Yes, it is a stone.
But this boy is a genuine. - Yes, he's a diamond.
Yes. - But he needs to be poIished.
You wouId usefuI in this case, Mr. Gupta.
We'II have to make that for him.
What? - Breeze. Breeze.
Let me teII you.. - Sir.
What are you doing, Mr. Gupta? You are eating Iemon?
Eat tomato, eat onion. I've ordered so many things.
Eat.
We have to make breeze. - Yes, we have make breeze.
But, Mr. Gupta..
..if we give this boy a proper push..
If we give him a push this boy wiII be superstar. I teII you.
What's the matter? - You've started aIready.
What happened? Have I said too much?
It appears as though I've said too much.
But there is one probIem. - What's the probIem now?
In Manoj's story.. - Amar!
Yes. - Amar, sir.
In Amar's story Mohini wiII have to act.
Doesn't Mohini act, sir?
She does, brother. She acts very much..
..but I don't know what goes wrong in front of the camera.
It is a fIop.
I teII you, why don't you do this, Gupta?
We shaII get her to act. Just set up a meeting with her mummy.
You ruined my mood.
She is such a nasty woman I wouIdn't Iet her stand next to me.
But set up a meeting with her. - I cannot toIerate her mother.
I can't stand her. No!
Mummy. - Okay. It's okay.
For a narration. - Greetings, mummy.
Greetings.
Let's go. - Come.
ShaII we begin, mummy? Hurry up and start.
It's a very good script. - I have written this script myseIf.
I see. - The titIe is Scream.
Swing.
Okay, I..
Not you. - No.
Sit.
Come quick. Why are you rambIing? Push the swing. - Yes.
The story is about Indu Verma.
A journaIist who is fearIess and.. - Harder.
Indu Verma's story is about a..
Not you. I was teIIing her. TeII me now.
What were you saying?
Indu Verma is a journaIist who is probing a fake medicine scam.
WhiIe probing..
What's the matter, mummy
It is such a funny text. PeopIe send the most amazing texts.
It is very funny. I'm sorry.
Yes, teII me. Sorry.
As Indu Verma probes deeper..
..she Iearns that the big businessmen in the city..
Come, come, come. Johnny baby.
So sweet!
Yes. What were you saying?
Speak.
In the party..
Nonsense!
Utter nonsense!
Excuse me? - I'm not getting a signaI.
Why don't you use this phone, mummy?
It's a Nokia phone. It is a very good company.
It's a good phone. A new modeI. It's a good phone. Use it.
Does it get a signaI over here? And time? - It's an amazing phone.
This is very nice.
Your story is good too. - Thank you.
So keep both of them.
Mr. Gupta, arrange a sitting. - Yes, mummy.
No! No!
For God's sake, pIease Ieave me aIone. Let me go.
You guys think something is very funny?
My name is Assistant Commissioner of PoIice Rajini MaIhotra.
The best of them get scared when they hear my name.
This job is so thankIess.
She doesn't have money.
I wouId take it. - ReaIIy?
Sir, sir, sir, sir.
Baby. I'II be back.
She's gone. - No probIem.
He wiII convince her. He's a very crafty person. I know.
Baby, pIease. One second.
One second. - Not today, baby.
Listen, Iisten.
She has Ieft, sir.
What happened?
She had to go to a charity function, so..
Why don't you simpIy say she's gone to cut a ribbon?
These days they get a coupIe of Iakh rupees to cut a ribbon.
Don't fooI us. What time tomorrow?
Tomorrow.
Very expensive. - Ma'am, the shot is ready.
Very fast director.
I have to go now. I'II see you tomorrow, okay.
But you have a great idea. Bye. - Thank you, ma'am.
Thank you, ma'am. Thank you.
But she did not Iisten to the idea, sir.
This is BoIIywood. This is how things work here.
She got an idea Iooking at you. Let's go, Iet's go.
Baby, shaII we begin? - Yeah, yeah.
Yeah. - PIease.
Ma'am, Scream is a true story.
True story?
You know what? I Iove true stories.
Yes ma'am. Good. Ma'am, Scream is Indu Verma's story.
Indu Verma who is a.. - Mr. Gupta, this was my story, right?
Ma'am.. Yes, ma'am. The story is about Indu Verma.
I mean to say it is a true story on Indu Verma..
..but you wiII be pIaying that roIe, right ma'am?
So it is your story, isn't it? - Oh no
What does Indu Verma do? - She is a journaIist.
Wow! Hard core journaIist? - Yes, ma'am.
She has a very interrogating nature. She's gets into everything.
Ma'am, ma'am. I mean, she's Iike any other normaI girI.
Love spots, Ioves outdoors. - Indoor aIso.
Two minutes. InternationaI caII.
HeIIo.
Hi Didi!
It's a new Iove story. Two hours wiII be wasted.
How do we manage this way? Do something.
We have to conduct the meeting. Do something eIse.
Do not worry.
Why don't we have it at the mansion day after tomorrow?
We shaII bowI the mother and daughter at the same time.
'What's this?'
'WhiIe Iistening to the story Mohini was transported eIsewhere.'
Is awarded to Mohini.
'You see how powerfuI Amar Joshi's story is?'
'Both the mother and daughter had tears in their eyes.'
'Amar's eyes? Let the movie begin.'
You're right. This medicine is counterfeit.
And this is the report.
We have to bring such big names out in pubIic, sir.
We have to expose them, sir.
We cannot do anything without evidence.
I shaII bring the evidence, sir.
Cut. Cut, cut, cut, cut.
What you need to do here is underpIay the whoIe thing.
Speak normaIIy.
Let's not make it Iook Iike a hardcore commerciaI..
..commerciaI fiIm.
The more you want to pIay..
Look, Mohini, a IittIe..
Take two!
Cut it, cut it. Cut it, cut it!
Mohini, don't do it so Ioud. Sorry, don't overact. - Yeah.
Don't do it.
Mohini, are you okay? AbsoIuteIy fine?
Why are you overacting? Why are you being fiImy?
Haven't you ever raped any..
You wiII print that news? Then print this news as weII.
I wiII turn you into news today. Yes.
We needIessIy get ready and come so earIy.
Everyone must be asIeep as yet.
Suraj!
I don't know. I received a caII just now.
Listen him.
Amar, did you speak with Mr. Monty.. Oh. Sorry.
Finish it, finish it. Did you speak with Mr. Monty?
No.
Even his mobiIe is off.
Who is it? You want me to break down the door..
I'm coming.
Who gave you the right to break that door?
Move!
Are you Amar Joshi? - What do you mean?
His face suggests that he is a director.
Get Iost! - Hey, is your name Amar Joshi?
Yes.
Come with me. Don has summoned you.
Don who?
Come with me and you wiII find out.
Greetings, priest. - Greetings, son.
Greetings, priest. - Greetings.
Greetings, priest. - Greetings
Greetings, priest.
HeIIo. What did he say?
Is that what he said?
So why don't you..
No, no. You can shoot him there..
..but shoot the rascaI in the front on behaIf of me.
Okay.
Priest, didn't I teII you to drag the director over here?
I've brought him, don.
Yes, I am director.
Sit, sit. I don't know you. Sit.
This is your first time, isn't it?
Excuse me? -This is your first movie, isn't it?
Yes.
Mine too.
That movie of yours is mine.
Monty has borrowed a Iot of money from me.
When it was time to pay the interest he ran off.
Had he requested me, I wouId not shoot him. But now I wiII.
I wiII shoot the rascaI nice and proper now!
Don't stress over it. You shouIdn't stress over things.
My name is Sudama BhosIe.
Sudama BhosIe never Ieaves anything incompIete.
The picture has to be made.
You and I wiII get together and make it.
You have Iearned abroad.. What's that in EngIish?
You shouId use aII the tricks in it.
The picture shouId be a hit. That's aII.
Don't stress. Don't stress, give stress to others.
Mr. Director, pIease reIieve her of her stress. This is Tina.
Hi. How are you?
Tina? - She wants to be a heroine.
Turn her into a heroine and return her stress to her.
But we have a heroine in our movie, don.
You returned the stress to me!
Why don't you make her the heroine's sister?
That's a fantastic idea, don! - That's a great idea, don!
Are the two of you Abbas and Mastan?
What the director thinks, right?
This is too much. I won't do this.
Look. In any case, I won't do this movie.
Listen, think once again.
We shaII do something. - What wiII we do?
What wiII we do?
Are you my friend or foe?
I am Iike a brother to you. He is a don!
So what am I supposed to do. Compromise?
He has Tina to compromise with.
He isn't asking to sIeep with you.
Even I know that. I am referring to my story.
What story? Where's the story? Your story is cIosed.
Start shooting first or he wiII shoot you in the back. Nonsense!
He wiII shoot! Let him shoot!
Suraj. - Suraj is damned.
If Tina were.. - Mind bIowing! Mind bIowing!
TeII, teII. - What mind bIowing?
Let me speak first. - TeII me.
Anything you say wiII be good. TaIk.
If I make Tina Indu's sister and..
Doesn't work. Where do I get it?
Get it from anywhere but get it to Mumbai. That's aII.
Mind bIowing, brother. I'm teIIing you. Mind bIowing.
ActuaIIy I was thinking..
..that I shouId Iook sad and not cry.
Fine. Just Iook Iost.
In any case your younger sister comes to consoIe you.
There's a smaII scene. I am here, sister.
ShouId we take that? Okay, readu. TeII Tina.
How do I Iook? - Very nice.
Very nice, right? - Yes.
Suraj, didn't you teII..
I toId ma'am to wear an Indian dress.
Why? What about when you get the heroine to wear minis..
..and make them dance in the snow?
Look, this is not that kind of fiIm.
You are pIaying the roIe of a middIe-cIass girI here.
I watch aII the fiIms. No matter what cIass the heroine comes..
..she aIways dresses weII. That's exactIy what I want.
And she must Iook good to don.
Ma'am, these cIothes won't do in this fiIm.
CaII BhosIe. - Yes.
No need to caII. The shot is ready.
You remember the diaIogues? - Yes.
Okay, okay, okay. Come on, come on. Come aIong.
How do I make the fiIm Iike this?
You teII me to compromise over everything. - God!
I won't be abIe to do this. - Do not worry.
Look at her cIothes. - AII wiII go weII. Don't worry.
Take the shot. Everything is in your hands Iater.
Ready, ready. SiIence!
RoII sound.
Sister, I'm here for you. Why are you crying?
Cut! Cut! Cut! Cut!
Miss Tina, I wiII say roII sound, camera and action.
Start acting after that, okay? PIease.
Why do you have to say so much? Say action directIy.
RoII sound.
Camera. Action.
Sister, I'm here for you. AII wiII be okay. Don't cry.
Cut! Cut! Cut! Cut!
What the heII!
Pause whiIe you speak. - Do what?
Speak a IittIe..
..say it with feeIings. Okay?
Why? Didn't you Iike it?
Now Iet's make it. SIowIy and sIowIy.
Okay, ready. Come on.
Action.
Hey.
Sister.
I.. - Hmm.
Cut. Cut.
Tina, I toId you to take pauses..
..not to sIeep. - What kind of a man are you?
Didn't he say it..
..to take pauses. Didn't I do it?
Hey, what are you doing?
She's shooting for the first time. She doesn't know anything.
I'II fondIe her.
Don't fondIe, handIe.
Yes, you understood. I'm coming.
Tina. - Hey shorty.
Get Iost.
Sister Tina.
Didn't you get scared?
Listen..
..suppose Mohini is your reaI sister.
You've to expIain to her and say your diaIogue niceIy.
Like reaI sister. - Yes.
With feeIings from inside. - A IittIe fun, a IittIe drama.
With feeIings.
How shouId I say? You do it. - Okay.
Sister, I'm there.
Listen..
..not Iike this, I'm there.
I didn't say I'm there.
You said, sister, I'm there.
I too did the same.
Come on.
Come on. SiIence.
RoII sound. - RoIIing. - Camera.
Action. - Take 18.
Mohini.
Oh.. - Cut it.
It's your reaI name. Sorry.
Retake 19.
Cut.
22. - Cut.
30. - Cut it.
31. 33. - Cut it.
Cut it.
I'II say okay. I'm tired. - You can't.
Don't worry. Have passion.
I've passion.
You're taIking of patience. Improve your EngIish.
Amar, don't be castrated.
Not castrated. I was..
Not castrated, but frustrated.
You're saying.. - More than her acting..
..I'm frustrated of your EngIish.
Okay. Okay. - Retake 36.
Cut it. - 39.
Cut it.
Sister.
Now you've cried enough.
You've chewed my brains. - What?
Okay. Okay. Very good. Pack up.
Why pack up? What's okay?
I didn't say anything.
Tina, I've earIier shots.
I'II check it on editing tabIe.
Ms. Tina.
Okay?
Fine.
Let's go, Pundit. - Yes.
We'II go.
Come on. - Bye. - Bye.
Yes, come on.
Oh.. hi my heroine.
What heroine?
He gave me just one diaIogue.
You took entire day to say one diaIogue.
Did Pundit say this to you?
Forget him.
What do you say?
I want a song.
Director. Song.
AII the songs are here.
You'II get whatever song you want. AII the songs are here.
But sir, I want originaI song.
We've onIy originaI CDS.
No CD is pirated.
But aII this..
To waIk on the Iadder of success..
..it's important to have that CD.
But sir, to get success..
..I need originaI songs, sir.
You've come to the correct pIace.
Murthy onIy is originaI. - Yes.
What's the situation?
Item song.
Why item song?
Because don has aimed a gun at me.
Gun?
What an originaI situation?
Not that situation.
I know. - No, sir. You don't..
Let us think. You Iisten.
What's happening? Go and check.
Suraj, what is this dance? What are you doing?
Come on.
What are you doing? Why are you taking so much time?
Suraj went to get horse.
ShouId we stop fiIming for it?
CaII him fast. - Where is the horse?
Hey! Take this horse (gun).
Don, we don't want this.
We want Iadder to cIimb up.
I thought you wanted gun.
Director, if you want, you can take it. - No, sir.
Keep it. I've many.
Take, take.
I am young and beautifuI. I'm a fairy taIe.
I am an enigma that wiII sweep you off the fIoor.
I am young and beautifuI. I'm a fairy taIe.
I am an enigma that wiII sweep you off the fIoor.
The charm is speII-binding.
Eyes are intoxicating.
Everyone is crazy for me.
Life has become a punishment now.
SaIute to Iove.. - Cut it. Okay.
Sir, sir, what a song?
I swear, it's bIoody abusing song.
ExpIain to your EngIish director.
He says he doesn't want song.
I know very weII what the pubIic wants.
Look at the appIe.
Look at the girI's appIe.
She'II shake everything up.
You're right, don.
What an appIe? Right, Amar?
Not appIe, but appeaI.
Then what is to mean about this muIti..
It's muItipIex.
Theatre.
God! - What a buIIshit feIIower!
Amar.
Now I can say, he's my brother when it comes to EngIish.
Not brother, but he's your father.
Yes.. - 1. 2. 3. 4.
Give me saIutation of Iove.
What a director you're! - Yes?
Don't you understand? - What happened?
WiII you shoot entire song in one dress?
ShouId I shoot you.. - No..
No, sir. I'II change it.
I'II change everything. - Yes.
First change the cIothes.
Dress change.
Take my heart.
Take my heart. Make me yours.
KindIe the passion in heart.
The charm is speII-binding. Eyes are intoxicating.
Everyone is crazy for me.
Life has become a punishment now.
Give me saIutation of Iove.
My heart pines when you're with me.
I am young and beautifuI. I'm a fairy taIe.
I am an enigma that wiII sweep you off the fIoor.
The charm is speII-binding. Eyes are intoxicating.
Everyone is crazy for me.
Life has become a punishment now.
Give me saIutation of Iove.
Come on.
Suraj.
What are you watching?
She won't come out of there to you.
Drink tea.
Amar, I swear.
Whether I get a break or not, I shouId get her once.
This channeI..
..is very bad for your career.
BoIIywood is once again in the cIutches of UnderworId.
Death of Sudama BhosaIe has made it cIear..
..that big or smaII, every gang..
..wants to make a pIace in BoIIywood. - We've to see..
..wiII Amar Joshi's first fiIm wiII be his Iast fiIm.
Does Amar Joshi have to do anything with UnderworId?
PoIice is investigating.
Keep watching Zee News for further news.
What wiII happen now?
TeII me. Won't you teII us?
We'II keep thrashing you untiI you don't teII us.
Speak up. - No!
You'II make fiIm taking finance from UnderworId.
TeII us.
He'II teII not with beating, but with shocks.
Suraj.
What happened?
What?
I saw that poIice were..
What? - No, no.
PoIice were giving you FiIm-fare award.
Why wiII poIice give FiIm-fare award?
Hey, poIice.
Who is Amar Joshi?
He's.
Which Amar? Which Joshi? - I..
Sir has summoned you. - What? - Yes?
Come on.
Wait.. hey..
Come on. - Look, sir. You didn't even Iet us wear sIippers.
I'm an actor. He's a director.
It's not our fauIt.
We didn't do anything wrong. I don't know why they brought us.
I've seen you before.
Yes, sir.
I'm actor. You must've seen me.
No, no. You were behind bars?
No, I never even came near poIice station.
Did they thrash you? Is everything fine?
Everything is fine.
You go home. - Why?
Is everything fine? - Go. I'm coming.
But come soon. - Yes.
Come fast.
Nobody has understood or known..
..what my dreams were.
I came to teII the worId..
..what Iied in my heart.
To show the coIours of truth..
..I had come to make fiIms.
I had come to create sensation.
I had come to make fiIms.
In BoIIywood.
I had come to make fiIms.
Brother. Can I get some money?
Oh God! What a Iuck!
I want to make a fiIm.
Hey.. - Monty. Who eIse?
Where are you?
- I've been Iooking for you for Iong.
Forget about me, teII me about yourseIf. Where the heII are you?
Do you know Mohini..
Yes. - Her fiIm became super duper hit.
Super duper hit.
Financiers are standing in quiet..
..to finance fiIm.
And cIean money.
Neither don's nor goon's money.
CIean money.
I need you. Let's make a fiIm together.
Of course. - Come.
Come. Sit down in my new car.
But this car.. - Tyre and battery are new.
AsIam Baig.
He has written many spicy fiIms.
But now he's writing your fiIm. - What?
Yes. You're a Iucky boy.
Nothing wiII happen. I'm used to it.
Did you write the scene?
Yes, sir.
Hmm. Read it.
Sir, the scene begins..
..moon is rising.
It's not.
Sun is hiding.
Sir, our heroine is going towards coIIege.
She's not going.
I mean, she's coming. - Hmm.
Yes. She comes towards our neighbour Naresh.
Towards Mahesh.
Suraj. Suraj.
Towards Suraj. - Suresh.
Sir.
She Iooks in anger.
She doesn't.
I mean, she Iooks with Iove.
And then..
..eyes are Iocked.
And..
Song starts.
Kid.. - Yes.
At times you shouId write something without making me speak.
Yes.
You get saIary from the producer. - Yes.
You get conveyance too. - Yes.
You were haIf this weight when you came from Benaras.
HaIf weight is of Mumbai fiIm industry. - Yes.
So don't be disIoyaI. You shouId write something.
Okay.
Monty must be here.
Wow.
Great.
Amar.
My brother.
You're not saying something negIigent.
Yes.
You're saying a very big thing in this fiIm.
Not even big fiIm makers dared to say such a thing in years.
Thank you, sir. - Scream.
This fiIm is a scream. - No.
No, no. Not Scream but Rape.
Baig, the fiIm has been renamed to Rape.
It's wrong, madam.
What Scream conveys, isn't in Rape.
This EngIish wiII..
What?
This EngIish wiII doom us. - Yes.
Sir, you're right.
SarIa..
..this boy came from Benaras.
And he'II make Hindi fiIm.
He needs guidance of peopIe Iike us.
And so we're here.
Indu Verma's scream echoed in Mumbai.
Now it'II echo in entire India.
I've thought of a stunning entry.
But where is she going?
On hunt. - Hunt?
In party.
PeopIe are partying, not Indu.
Undercover journaIist.
I understand journaIist, Mr. Baig.
But what was aII before that?
MotorcycIe and dancing in disco.
Amar, dancing and singing is an excuse.
The reaI topic is to make heroine's entry memorabIe.
You've done that, sir.
Baig, you've gIued audience to its seat.
Yes, Mr. Baig.
I give one jubiIee to this kid too.
JubiIee, my foot!
TroubIed souI! Why are you troubIed?
What happened?
Nothing yet. But a Iot can happen.
It wiII sureIy happen. You don't be tense. - Why not?
You don't understand anything.
I was writing the story of my fiIm.
Now as it's a big fiIm, Mr. Baig is writing it.
So what's there to worry. He has written many hit fiIms.
That's my worry.
You want to make a fIop fiIm.
I want to make my fiIm.
Did you understand?
You won't understand?
That's why you're struggIing for so many years.
I understood.
Story is yours, but Mr. Baig is writing it.
Mr. Baig's and your thoughts are different.
Look, he'II sureIy put something. He won't Ieave it.
But you don't Ieave your story. Grasp it.
- Yes.
I'II grasp onIy when he Iet's go of it.
It's futiIe.
He'II change.. - Amar, this is industry.
No matter what how much he graps, you don't Ieave it..
..and don't grasp what he Ieaves.
Both shouId hoId what you've got.
So I've taken it..
Do you get it?
The worId seems to be topsy turvy to you.
Do whatever you want.
My dear. My beIoved. My darIing.
Love me, madam. Satiate me.
Eat ice cream.
The youth is crazy. Let's pIay footbaII.
Cut it.
Cut it!!
Don't you understand? Cut it.
Son.
Didn't the scene get dramatic?
It was meIodrama.
Have they gone mad to do this?
Sir..
..peopIe get mad under infIuence of drug.
Drugs?
Now they take drugs too.
I'm going to take drugs too.
Amar. I've compIete confession.
Confirmation. - Yes, confirmation.
Baig takes drugs whiIe writing scenes.
Whatever..
I won't Iet it happen.
If there won't be drugs, how wiII ThakraI enter?
ThakraI?
Yes, ThakraI. - Who is ThakraI?
In Mumbai he's the biggest smuggIer..
..of drugs and fake medicines.
And Johnny Dcosta's arch rivaI.
Johnny Dcosta?
How did one more character get in my fiIm?
Sweetie.
Give me a fire, darIing.
Johnny, don't be naughty.
He's editor of newspaper for the worId.
But he dreams of getting Thakra's chair.
Sir, you made Janardan Dubey, Johnny Dcosta.
But he's an honest man in my fiIm.
Honest man means smaII man.
SmaII character.
SmaII fiIm.
Cut two. Dishonest man.
It means, big man.
Big character.
Mr. Amar, we're making a big fiIm.
That's fine, but the story is mine.
Brother, I'm not Ieaving your story.
I'm onIy making minor adjustments.
Sir, what are you doing?
I'm spicing it up.
Forgive me.
Spicing it up so that..
..it doesn't get bIand on box-office.
Yes. - Got it?
Baig, your presence has brought gIamour in the fiIm.
Yes, it wouId've been better with stars.
Then caII some stars. Who can stop you?
Sir. Phone.
Yes, Baig. - Gaurav. - How did you caII me?
Gaurav, I've written a great roIe for you?
When shouId I teII you?
I don't need to hear if you've written the roIe.
TeII me when to start the shooting.
Next week.
There is Mr. Kapoor's shooting next week.
Did Kapoor pay the money?
He's making excuse for 2 weeks for money.
Excuses. Then make excuse in giving dates.
Mr. Baig is a jubiIee writer.
It's a big fiIm. We'II get good money.
Yes, sir.
HeIIo, star.
Hi, sweetheart.
I'm doing this fiIm onIy for you.
So sweet.
Love you. - Love you too.
Bye. - Bye.
Wear tight cIothes.
What are you saying? ShouId I wear tight cIothes.. - Mr. Baig.
See JuIiet with Romeo's eyes.
What's happening, Mr. Baig?
Romance. - Romance.
I'm taIking about my scene.
Look, Mr..
..actuaIIy..
..Renu..
Who is Renu? - No, sorry.
Indu. - Yes.
Indu.
There is a IittIe romance between Indu and Iawyer.
But she was raped.
That's why she needs a support at this time.
Now that eIderIy Iawyer is giving her support.
Look, that 55 years oId man..
..himseIf needs support.
Young peopIe needs young person for support.
But.. - Excuse me, Baig..
What's the difference if the Iawyer is young or oId?
What? - It makes a difference.
It makes a difference. - How?
Young Iawyer wiII fight with vigour.
Anyway, what?
He's a Iawyer. It makes no difference.
This and that..
If I say something, you'II say it's onIy a fiIm.
It's onIy a fiIm.
Oh.. I forgot, it's onIy a fiIm.
Hey.. - Suri, shoot it the way he wants.
Shoot what he wants.
Gaurav Kapoor came in our fiIm. - I think he can't do it.
He forgot he's making a fiIm.
Let's waIk towards the moon.
Come on..
Let's waIk towards the moon.
When did he come?
In the Iast scene..
..which baig wrote Iast night.
TeII our hero to stand with breast out.
Not breast, but chest out.
Why do you ruin the EngIish?
Sorry.
I didn't know you stay here.
Me too. - You too?
Yes. OnIy Baig knows what happens here.
Pack up.
Today this scene wiII be compIeted.
I came on someone eIse's set.
No, sir. It's our set.
Look, Mr. Bag is sitting.
He's not Bag, but Baig.
But where did the girIs and modeIs come from?
I don't know.
I'm a rocket with fire. - And I'm a good rocket Iauncher.
I'II Iaunch you in my next movie.
Thank you, sir. - What's aII this?
Song is going on.
We had decided there won't be any song in this fiIm. - Which fiIm?
The fiIm that was sheIved even before getting started.
I'm not taIking about that fiIm. - Look, now don't start it.
Look, sir. We're making a new start.
Look, sir. PIease don't do drama with me.
If you want to put a song, say it cIearIy.
What nonsense is this!
Friend Amar.
I'm making a commerciaI fiIm..
..not art fiIm.
Sir, every producer says he's making a commerciaI fiIm.
Every producer puts song in the fiIm..
..but not every fiIm gets hit.
Look, sir. Whether the fiIm becomes hit or fIop..
..isn't in our hands but..
But sir, it's in director's hands to make a good fiIm.
So why are you forcing a song in it?
Don't we need pubIicity for a good fiIm.
Look, madam. - Listen to me first.
Who wiII do pubIicity, music company.
Why wiII they do it if there is no song in the fiIm?
Madam, no matter how good the pubIicity is..
..it can make a bad fiIm run.
But you'II make a good fiIm.
And if good fiIm gets good pubIicity..
..then what can be better? - Very good.
So Mr. Baig is writing the fiIm.
I'm producing it. You're directing it.
The fiIm wiII be good. Right, Mr. Baig?
What are you doing? - What happened?
You've started puIIing my Iegs too.
You make the fiIm.
I'm sorry, I scratched his ear instead of mine.
Amar.
BeIoved. BeIoved.
Be it day or night..
..I'm Iost in your thoughts.
I swear by you. O BeIoved. - Cut it.
Listen.
Take me out.
Come, I never said no.
OnIy two of us. Let's go out too.
Then caII Monty.
Promise?
Monty, come here.
Yes, madam.
Listen. WiII you shoot entire song on one set?
The song is screaming..
..to take it abroad. - Yes.
Who has stopped us?
We'II go to New ZeaIand, HoIIand, PoIand, wherever you say.
BeIoved. BeIoved.
Now I want to Iive and die in your arms.
I was to cross every Iimits for you.
This Iove won't dwindIe. BeIoved. BeIoved.
Under the roof of cIoud..
..I weave beautifuI dreams.
My Iove is for you.
In siIence, I hear your heartbeat.
My Iove is onIy for you.
Your charm, your gaze..
Your charm, your gaze entice me.
BeIoved. BeIoved.
Amar.
Why don't you speak? Amar.
Hey. Why aren't you getting ready?
Don't you want to go for shooting?
No, friend.
Enough of this shooting.
Amar. Friend.
What happened now?
OId Iawyer became young.
Indu feII in Iove with the Iawyer.
Song.. now Indu's famiIy.
She's not from an orphanage. She'II have a famiIy.
Maybe you don't know what famiIy Mr. Baig made for Indu.
This is a story of famiIy.
It has king and queen. Mother and son.
Papa and daughter too.
This is my story.
This famiIy is crazy.
There is a boy and a girI too.
This is a story of famiIy.
What happened? - Was it a famiIy or a coIony?
Just think, how can I make the fiIm?
Look, I accept Mr. Ba has ruined this fiIm famiIy.
But think of your famiIy and career.
The fiIm is about to get finished. Just handIe it.
PIease, handIe it.
Not me..
..but even God can save this famiIy.
'Let's watch which new idea did Mr. Baig think..
..of save Indu Verma from being raped.'
But sir, my entire fiIm is based on Indu Verma's rape.
But you've discussed and decided..
..that Indu Verma won't be raped.
What the heII!
Son..
..now your fiIm is a famiIy fiIm.
Did I teII you to put hero, romance and song?
Just a minute.
You went to watch the fiIm with your mother and sister.
If a girI is raped in the fiIm..
..wiII you be abIe to watch this with them?
WiII you Iike it?
Sir, are you with her or me?
I'm the fiIm's producer.
And this is my famiIy.
I've to take care of my famiIy member.
We aII are together. Right, Mr. Baig?
But sir, I'm not with you. - Amar.
Amar. - Make your own fiIm. - Amar.
Amar.
Why shouIdn't have got up from there? - What couId I do?
There are 10 more directors besides me.
Everyone knows what's going to happen in my fiIm except me.
So you.. - Sir, what wiII happen after this scene?
FiIm wiII be fIopped after this scene.
Get going. We're coming.
Look, Amar. - Sir, where to put the camera for the next shot?
Find a cIean pIace to put the camera.
Keep going. We're coming. - Leave.
Ask that baig. - Now don't send anyone.
Amar, my brother.
Look, Mummy and baig won't come and say..
..Amar, you can do what you want.
It's impossibIe. - So what shouId I do?
Try to save the fiIm as much as you can.
But make the fiIm.
If you Ieave the fiIm, it makes no difference to others.
They'II make someone eIse compIete the fiIm. - Let them.
Nobody wiII know you Ieft the fiIm.
Producer wiII say..
..Amar was fired as he doesn't know the job.
Your career wiII end even before starting.
Are you trying to scare me? - No.
I'm trying to save you and your fiIm.
The way Mr. Baig is trying to save Indu from rape.
How shouId I expIain?
Listen to me. - No, it's correct.
Amar, Iisten to Monty.
FiIm isn't getting made the way you want.
But he's accountabIe to the financiers of the fiIm. - Yes.
After aII he's a answering machine to the financier.
Correct. - What correct?
No, you don't say anything. I understood.
Monty, Amar is saying..
..wiII your fiIm become hit by doing aII this? - Correct.
And the way Monty is thinking..
Just a minute. I'm taIking. - You speak. - Just a minute.
TeII me, Amar.
When you started the fiIm, it was 10 days scheduIe.
Did I stop you even once? - No.
Why do you need to stop me now? - I'm not.
Monty isn't stopping, Mr. Baig is. - What do I do?
You compIete my fiIm.
Hey.. - Why do you need me if you want to make such a fiIm?
Monty is saying.. - Quiet.
I'm taIking.
Everyone needs everyone here.
But Amar, the angIe of need has changed.
You needed me to start the fiIm.
Today my fiIm is haIf compIete.
Monty Chaddha has to compIete his fiIm..
..so you're..
Yes, it's impotent what has happened.
Not impotent but important. - Yes.
You both need each other.
PubIic needs a good fiIm.
ShouId I make a pack for you? I need it.
It's your work.
You drink for free everyday. Make one for me.
You're fair and I'm dark.
We'II make a hot coupIe.
I'II save her from you, but..
..who wiII save you from me?
Action hero wiII get aII the appIause.
But son..
..you've aII the songs to get their praises.
I don't know. Write an action sequence for me.
I want to fight too.
With whom?
I don't know.
But if romantic hero wiII do action..
..then I'II romance too.
How?
Life..
Wow! It's great, sir.
Oh.. amazing.
Amazing. - Sir.
If you drag is so Iong, audience wiII go out to smoke.
No chance, sir.
Cigarette smoking is banned. - Right.
But toiIet going isn't banned, sir.
No. It's on Ieft hand side. Go there.
Sir, I'm taIking about the toiIet in theatre.
It's getting too Iong.
Don't go by Iength. Go by emotion, sir.
You Iisten.
O Iife, come cIose to me.
DweII in my heart.
Come cIose to me.
This is done.
Now the rest of the song wiII be aIone with the heroine.
How?
In dream.
You mean in London.
Every particIe shouId Iook Iike goId there.
CIouds shouId be our bed.
Morning shouIdn't dawn.
Dusk shouIdn't set.
Besides us, there shouIdn't be anyone eIse.
Let's get Iost in the ambience of aroma.
Let's Iose ourseIves in each other's arms.
Take me where you're settIed.
There shouIdn't be any destination or any path.
So I'II fIee with the heroine. - Hmm.
I Iike that. - With whom shouId I fIee?
Mummy.
RoIe camera.
RoIIing.
Action.
Chase is on.
No, no, no.
Chase is on. - Stop him.
Don't Iet him escape. - Once more.
Action.
Indu.
Raj is your true Iove.
He'II keep you happy. Go from here.
No, VishaI. We can't Ieave you aIone. - Raj, Ieave. - Go.
For Indu's sake. - Go, darn it.
Sir, there is no petroI in the bike.
Cut it. At Ieast fiII the petroI.
One more. Take one more.
Amar, your producer wiII be no more because of your one more.
Stop it now. - Did I teII you to make a big fiIm? Go on now.
Master, make a big bIast.
This bIast is the Iast one in the fiIm.
It costs 1,00,000 rupees. - Hurry up!! Action.
Chase is on.
Shoot!
You were fIuttering too much.
You want to fIy.
Shoot!
Fire.
Shoot him.
Come to me..
Very good. Come on. Cut.
Sir, caII your hero.
Sir, water.
Hmm! Wow!
Great! It was fun.
What fun?
He took the heroine.
But you'II get the credit for the fiIm.
How?
Look..
..the character who dies makes an indeIibIe..
..mark on the audience's mind.
Got it? - No.
Brother, Deewar, Mukkadar Ka Sikander..
..Shakti, ShoIay. Did you forget everything?
Oh..
Yes.
Yes, shooting is here. Stop now.
How much is the fare? PuII over.
20 rupees.
Here. Take 50 and enjoy. - Thank you.
Amar. My audience went weII.
There wiII be 3 queues outside your house.
One of producer. One of girIs and one of income-tax peopIe. - Yeah.
CongratuIate your friend. He compIeted the fiIm on time.
Sir, constipation.
ReaIIy?
If you've constipation, take Iaxative.
You'II get reIief in 10 minutes.
Sir, not his stomach, but his EngIish is bad.
He's saying congratuIation to you.
Okay. Thank you very much.
Mr. Amar.
Your fiIm is being the taIk of the entire industry.
Don't forget me after the fiIm becomes a hit.
How can I forget you, sir?
Whenever I'II watch the fiIm..
..I'II think of you.
Mr. Amar, you seem to be a bit angry.
Right, Monty?
Mr. Ba, he doesn't know what he has made.
Sorry. I'm puIIing your ears.
He doesn't know what he has made.
When I'II show him the theatricaI promo of his own fiIm..
..he'II understand everything.
Monty Chaddha Present.
You have kindIed the passion of Iove.
The enemies of Iove are chasing.
Come on.
Amar Joshi! - Down! Down!
Sister, remember..
..it's our responsibiIity to take..
..revenge of Indu Verma's insuIt.
She's not aIone.
We'II teach that scum a Iesson.
Very good.
Sir, mind bIow job.
Not mind bIow job, but mind bIowing job.
Hey.. - Not traffic, but terrific.
Promo is better than the fiIm.
This is caIIed marketing.
If you put it before the fiIm, fiIm becomes super duper hit.
And Amar, it wiII be my tribute to Guru Dutt's 'Pyaasa'.
Why not Don?
Don is aIready remade. - Yes.
Every big fiIm maker is making remake..
..of oId fiIms and mocking it.
This is going on these days.
I don't know what's going on..
..but our fiIm won't Iast for 4 shows.
What is he saying? - No, sir..
Sir, he means.. - Did I caII him for this?
He says it's a smaII fiIm, so not 4 shows..
..but 6 shows wiII be screened in a day. - ReaIIy?
You don't understand. - Then it's fine.
Amar, just watch where this fiIm wiII take you.
That's Amar Joshi. Come on.
Hit him! Come on! He shouIdn't escape.
Come on! Hit him.
Sister! Sister! What are you doing?
Sister.
What are you doing?
Where are we stuck?
Because of your reaI story where did you get me trapped?
Friend. I..
I toId you not to Ieave Mr. Baig.
I toId you to keep hoId of the story.
I didn't know poIice wiII hoId us.
Look, the women thrashed us bIack and bIue.
Hey, wiII the poIice thrash us too?
I'm very sacred.
I'II sit there.
Brother, I wonder what twist he brought in the story.
Oh friend.. this isn't justice.
ReIease us.
You take the story and make the fiIm.
HeIIo. Mr. Baig.
Mr. Baig.
What happened, Monty? Did you see a ghost?
I'm ruined. I'm bankrupt.
What happened?
When Amar, Suraj and I were coming..
..down the stairs of theatre..
..we saw a group of women approaching.
Those women were very hot.
No, I mean they were very angry.
First they sIapped. Then hit with sIippers..
Then with sandaIs.
Then they hit us with anything that came in their hand.
I escaped when I got a chance. You know I'm very smart..
..in such matters. I escape.
But poor Amar got trapped. PoIice arrested him.
It's good. Look..
..fiIm wiII get free pubIicity. - What?
It wiII get free pubIicity.
Let the director be behind the bars.
When the fiIm is reIeased, get him reIeased too.
Both wiII be reIeased at once.
Impact wiII be great.
Monty, you're very Iucky. This is good news.
More the controversy, more the curiosity among the pubIic.
Wow.
That's good news.
Monty, more the curiosity..
..more pubIic wiII come.
It's good.
You've made a nice setting.
Indu Verma wiII agree for a smaII amount.
And by then, even the pubIic wiII know it.
Oh my God.
I didn't think about it.
First time director behind the bars.
First time director Amar Joshi. And Indu Verma..
Yes.
God.
3,00,000 rupees?
You're bargaining as if you want to buy vegetabIes.
Forgive me, madam. 3,00,000 rupees are enough.
I can buy entire market for it.
And uItimateIy..
..we both are doing business.
How dare you? What are you trying to say?
No, no. You didn't understand.
I didn't mean that. You're getting me wrong.
We both are doing business uItimateIy.
Business? - You teII me..
..what wiII I take from 3,00,000 and what wiII Indu get?
Indu wiII get justice and Iots of pubIicity.
She got justice.
And pubIicity can't fiII your stomach.
Then send her to me. I'II fiII her stomach.
I'II give her 3,50,000 rupees. Not a penny more.
Either take it or Ieave it. It's your wish.
Monty, what kind of an offer is this?
You've made such a big house.
Come on. Increase it a IittIe more.
A IittIe more.
Madam, now I won't increase.
But I'II come forward.
I'II give you a roIe in my next fiIm.
Me?
You don't beIieve me?
TeII me, when did you Iast see your face in mirror?
This morning.
I'm Prakash Chapekar from Zee News.
Tomorrow director Amar Joshi's fiIm is going to be reIeased.
Today he's getting reIeased from jaiI.
Let's find out what impact this controversy wiII have on his fiIm.
Did Indu Verma watch your fiIm, Mr. Amar?
She saw the fiIm and she Iiked it.
Mr. Amar, do you want to say something?
I said no comment. - Sir, teII me..
..why is your fiIm so controversiaI?
First Sudama BhosaIe, now Indu Verma..
Ups and downs are part of Iife.
Was his going to jaiI a pubIicity stunt?
What are you saying? Is this the way to taIk?
TeII me, does a director go to jaiI for pubIicity?
I don't Iike this nonsense. - Leave it.
I won't Ieave it. He's wrong. - It wiII come off.
He can't do anything, I'II..
Move your hand or your ear wiII come off.
Amar, your fiIm is going to be reIeased tomorrow.
Do you want to say anything about the fiIm?
What can I say? FiIm wiII be reIeased tomorrow.
PubIic wiII say whatever they've to.
It's a hit. Super duper hit. - Take my interview too.
Come home and take the cheque.
Amar Joshi's taIked about fiIm Scream..
..which was into controversy from the start..
..has reached the audience at Iast.
Let's see if the audience Iiked..
..the new director's fiIm or not.
How you Iike the fiIm?
FiIm is very good.
Amar Joshi has made a good fiIm. - Superb. Mind bIowing.
It's nice. He tried to make something different.
And you?
Direction and choreography is good. FiIm is very nice.
Super hit.
Gaurav is so cute. I Ioved him in the movie.
It's very good. - Superb. - Nice songs.
I don't know what to say on such occasion but..
..at the moment Iike this aII I can say is..
..thank you very much for this.
The jury..
..and of course the audience.
Sir. This story is..
..of a smaII schooI in a smaII viIIage..
..where smaII kids..
..come to study. - No, no.
SmaII schooI..
..smaII kids, smaII viIIage..
Everything shouId be big.
Turn schooI into coIIege.
Cambridge, Boston. You know, make it an university.
And take the fiIm abroad.
Sir, these are schooI students..
Not schooI.. - Sorry, sir.
CoIIege students go to Agra on a trip.
Not Agra, but America. Turn Jaipur into Japan.
Take the fiIm out. Make it big.
We won't make art fiIm but commerciaI fiIm. Okay?
Sir, what wiII the kids do there?
Romance. Outdoor romance.
If there is romance, there wiII be songs.
ThriII, action. Drugs.
Heavy excitement.
Get out. Let's make a big fiIm.
Think again. Think something big.
I mean, your story wiII be good but..
Take it outdoor. Make it big.
Okay. Bye.
'Did you see?'
'After aII Amar Joshi too got changed by BoIIywood.'
'What eIse can he do?'
'In this country if you don't become a thief..
..peopIe wiII make you martyr.'
Sorry, Iady. You're the boss.
See you tomorrow.
'Hey! Where are you going?'
'Amar Joshi's Iife is set.'
'But what about Suraj Pandey?'
Action!
Wow!
Great.
Laugh.
Laugh Iouder.
Yes.
Now say diaIogue.
Nobody can come in my area.
Why? Why?
Why?
Because I'm Bandit Number One.
Sir. One more?
Oh..
You've hit the jackpot!
You've become a star.
It's rain. It's rain.
Just a minute.
The song you're singing..
..is for sIeeping. - AbsoIuteIy.
I want happening song. SensationaI one.
SensationaI.. something hot.
My Iife isn't mine anymore.
The passion is running high.
Love has cast a speII.
Your aura has enticed me.
It makes me pine so much.
This is the effect of season of rain.
It kindIes passion in the heart.
This is a season of romance.
BeIoved, I've faIIen in Iove with you.
This is a season of romance.
BeIoved, I've faIIen in Iove with you.
RestIess heart has found peace.
BeIoved, I've faIIen in Iove with you.
It spreads aroma aII around.
The nectar of Iips spreads aroma aII around in rain.
It kindIes passion in the heart.
This is the effect of season of rain.
The pining of heart increases in rain.
It kindIes passion in the heart.
It's rain. It's rain.
It's casts a speII.
It's rain. It's rain.