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SCENE 41 / IN / LAKSHMI PRINTING PRESS / BOMBAY / NIGHT / 1910 Devanagiri letter types are being fed into an enormous fire, where they melt into a huge lump of lead. Phalke watches the process and questions the technician in charge. PHALKE What are you doing? TECHNICIAN I don’t know, the Seth told us to do it. PHALKE I’d like to check the lay-outs before you print them. TECHNICIAN The Seth has asked us to stop the work on “Swarnmala”. Some other urgent job’s come in from “The Times of India”. PHALKE (shocked and surprised) What! Is Sethji in his office? Phalke turns and makes his way through a maze of typesetters, printers, and binders. He notices various strange activities - from an image of Kamadhenu, a butcher asura with upraised sword is being cut out, as per the Censor’s instructions. At another machine, three-color blocks of some advertisements are being made. Nothing is familiar. The workers gather around him. After standing with them for a moment he rushes to confront Seth Mavji, who is seated at a table in his office. The walls are covered with samples of his print work, and testimonials to his excellence. PHALKE I hear you’ve stopped work on ‘Swarnmala’? SETH Do you realize that your press is running at a huge loss? PHALKE This press is not purely a business venture, which is why I don’t worry about profits and losses. SETH Perhaps you don’t consider profit and loss, but the money that I invested in you was meant to make a profit PHALKE I didn’t realize...if that is the truth, then please release me from my contract. SETH It’s not so easy. Go back; we’ve got a lot of work from ‘The Times of India’ to complete. He gestures towards the poster of Kamadhenu, the divine cow, trembling before the asura with upraised sword. SETH Also, the government wants us to delete this portion of this image. They think it’s propaganda for the anti-cow slaughter movement, and they think the asura is a representative of the Muslims. The Seth turns to an English government official, who is checking back copies of the ‘Swarnmala’ magazine. SETH Am I right? He points towards a young Parsi man. SETH The new machines have arrived. He is here to help you. Do you know how to type? You’d better learn fast, technology’s overtaking you. All this while the newly appointed Parsi technician listens quietly, amused, looking at the older man with the confidence of a new age. PHALKE I want to be released from my contract. SETH I sent you to Germany to learn the craft of printing at my expense on the understanding that you would only use this knowledge for the Lakshmi Printing Press, and you are not allowed to use this know-how anywhere else. You are free to go, but perhaps you are forgetting the third clause of our contract. ‘I will be in the printing business only with Lakshmi Printing Press. Outside, I am free to work in any other business, but not in any business associated with printing and publishing technologies.’ Don’t even think about resigning. I’ve stopped work on ‘Swarnmala’. Make some money first. And you think you’re Raja Harishchandra? Consider yourself sold like him, bound by your word Phalke reads the contract for himself. As he goes through the fine print, his head begins to spin and his sight starts to dim. Darkness descends. PART 2 SCENE 42 / SCENE IN OPERA HOUSE / NIGHT Blind, sitting with his family and relatives Phalke is watching a play. Saraswati sits by his side. The sad tones of the queen reach his ears. RANI: Last night I dreamed bad dreams. I am filled with foreboding... HARISCHANDRA: I, too, have had bad dreams. By his efforts, an enraged Brahmin has acquired the power to control all the divine goddesses of knowledge. And when I took pity on the women and went to rescue them, the Brahmin turned his rage on me. And when I tried to pacify him, he demanded my whole kingdom in return. Where will I find him now? How will I eat my daily meal without thinking of his plate? I gave away my kingdom, even if only in a dream. Send out the town crier. Announce that from this day the kingdom belongs to a Brahmin of unknown origins. GUARD: Your Majesty, an enraged Brahmin is at the door. VISHWAMITRA: So, do you recognize me or not? HARISCHANDRA: Lord, I feel that we have met somewhere. VISHWAMITRA: True! You of the warrior caste! Why would you remember me? Cheat! Do you remember whom you gave the world away to last night? Where is my kingdom? HARISCHANDRA: What's the problem? Even before you arrived, I had already transferred to you all that I possess. VISHWAMITRA: And my fee for accepting this grand charity of yours? HARISCHANDRA: Whatever you want. Chief Minister, bring me a hundred gold coins at once. VISHWAMITRA: Is the treasury still yours that you order the minister around? HARISCHANDRA: Forgive me. What if I no longer have any gold? Do I not still have my body? SCENE 43 / IN / ISMAILIYA BUILDING / MARINE DRIVE / BOMBAY / NIGHT Phalke’s eyes are bandaged. His fingers mould some soft wax into different forms. Some of his work lies scattered on the table in front of him – a bird, a mouse, a lion, and a human stick figure. A record of HMV revolves on the gramophone, the logo of the listening dog rotating slowly. Saraswatibai is standing by the window and looking out. The ocean waves look like boats of light. They dance into the shore and break up. The light of a distant lighthouse sweeps across the sea. Saraswatibai is weeping silently by the window, her tears dropping into a tiny sweater that she is knitting for her unborn child. Smoke escapes from a factory’s chimney and evaporates towards the moon. Tired, Phalke sets down the wax and lies down. The moon shines in. Nobody speaks. The song on the gramophone scratches sadly on. Restlessly, Phalke tosses this way and that. Then, abruptly, Phalke gets up and changes the record to a lively popular tune, called ‘The Laughing Song’. SARASWATIBAI If you don’t want to come to an understanding with Mavji Seth, why don’t you start another printing press? Why are you so adamant about giving up the business altogether? PHALKE Have you lost your mind? Do you expect a blind man to succeed in the business of printing? At the moment, I can only see when I am molding the wax. The moment I put it down, my world goes dark. SARASWATIBAI Dr. Prabhakar is removing your bandages tomorrow, and you will be alright. After all, we must plan for the future of our child. PHALKE How many times must I tell you? I cannot compete with that which is like my own child – printing and the business of the Lakshmi Printing Press. I won’t go back. SARASWATIBAI So what will you do next? PHALKE Blind or not, it’s my duty to provide for you. Phalke turns his bandaged white eyes towards the white wall. SARASWATIBAI Tomorrow morning, Dr. Prabhakar will come and return your light to you SCENE 44 / EX / BRAHMGIRI / TRIMBKESHVER / DAY / DREAM / 1892 Standing by a camera mounted on a tripod, 22-year old Phalke gazes on the panoramic view of blue mountains topped by trees of differently colored barks and shapes. Then he buries his head inside the black cloth of the camera. Suddenly, white mist crosses his frame and it turns white everywhere. His head emerges from the dark cloth and he looks around. The whole landscape has turned white, and he can no longer see himself. Waiting for the mist to pass, he lies down on the grass with a towel bunched beneath his head for a pillow. Suddenly he feels something slither through the mist and crawl over him. It stands on his chest above his face with fanned hood. Then, rubbing its head against his chest, the snake begins to slough off the skin covering its eyes. Understanding its plight, Phalke picks up the towel on which his head was resting, and wipes the snake’s eyes clean. Having regained its sight, the snake goes quietly away. The mist clears, and he can see the landscape. Multiple sunbeams are descending from the sky to the earth, scattered by the clouds The sky is blue, but because the mist is still clinging to the mountains, they look white, like the Himalayan range. This is the source of the Godavari. Phalke is exhilarated by this vision. He bends beneath the camera once more, and is astonished, for Kamala, smiling, is approaching through the lens towards him. SCENE 45 / IN / ISMAILIYA BUILDING / BOMBAY / DAYBREAK Phalke turns in bed, and finds Kamala, instead of Saraswati, by his side. Surprised, he springs to his feet. With bandaged eyes, he stumbles against the chair and table. Saraswati wakes up, new life stirring in her swollen womb, and makes him sit. She fetches a glass of water. SARASWATIBAI. If you have a daughter, what will you name her? Dawn is breaking. Outside, a lamplighter douses the lamps. SCENE 46 / IN / ISMAILIYA BUILDING / BOMBAY Prabhakar removes the bandages. Some people offer to open Saraswati press. Every one is surprised at his attitude. What stops him from coming back to printing industry?

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