Dark Matter

by
Rachit Agarwal

Based on a Story by
Harshvardhan

Previous drafts by
Rachit Agarwal, Harshvardhan
1 INT. BEDROOM - NIGHT

It’s one of those bachelor pad bedrooms. Messy,

unordered, with just the master of the house knowing
where things are.

The walls are all adorned with POSTERS. Classic movies.

Rock bands. All with people on them, no cars or bikes for
the master. And the largest, J.M. Flagg’s celebrated
UNCLE SAM POSTER. It’s hanging right next to the only
WINDOW in the room, which opens onto the busy street
outside. Right now, gentle streetlight is pouring in
through it.

In the middle of the room, against the wall perpendicular

to the window, is a DOUBLE BED. Why double bed for a
bachelor? Well...for moments like these.

What moments? Ah...on the bed are two forms. We can

vaguely make out that it’s a man and a woman. Both naked,
of course, save for the BED SHEETS protecting their
modesty. Must be around 20 years, but age can be
deceptive these days, you know?

The man, JAI ARORA is his name, is riding the woman or

KAVISHA ANAND, with amazing familiarity. And, KAVISHA
seems to be enjoying it, as evidenced by the way she
moans and lovingly calls out his name time and again,
egging him on.

You might think of me as a pervert, but there’s something

rather pleasant and soothing watching a young couple go
at it like this. The grace with which these young lovers
are, well, making love, makes one wonder why a filthy
term like “man’s carnal pleasure” has been used to
describe sex.

And then, KAVISHA lets out one joyous shriek and you know
they’re about done.

CUT TO:

2 TITLES.

3 INT. BEDROOM - CONTINUOUS

A. MCU of KAVISHA and JAI (SIDE PROFILE)

JAI leans down a bit and lightly pecks KAVISHA on her

forehead. And then, as an afterthought, goes for her
lips. Only, KAVISHA, being the tease she is, will have
nothing of it. Oh well, no tease goes on forever, and
KAVISHA finally relents.

(CONTINUED)
 2.

JAI opens his mouth to say something, but then stops. He

thinks a little, and then-

JAI
(with hesitation)
Was I good, Kavisha?

KAVISHA clutches at his HAIR, pulls him towards her and

tongues him voraciously.

KAVISHA
(playfully)
Does that answer you, Tiger?

JAI gives a somewhat eerie grin.

JAI
It might. Got a real answer,
though?

KAVISHA
(mock sternness)
Is this a ploy to get laid again,
Master Arora?

JAI doesn’t answer.

KAVISHA (CONT’D)
(slutty)
...‘coz I would gladly oblige
anyway, as you so deliciously
know...

JAI licks her entire face, crazily. And between licks-

JAI
Answer me, Kavisha...was I...good?

Out on the street, a siren can just about be heard.

KAVISHA
(joking, for all the
world to see)
You know, Dev was rougher, of
course.

And she smiles playfully.

B. POV of KAVISHA

JAI sits up, shocked. He then gets up and goes to the

WINDOW, disgusted.

(CONTINUED)
 3.

KAVISHA (CONT’D)
(offhand)
Since you’re up anyway, mind
getting me a light, Tiger?

C. POV of KAVISHA

JAI gives her a disgusted, angry look. And the cop car
passes the window at this moment, bathing the room in RED
for a fraction of a second.

JAI turns his back to KAVISHA, taking a moment to

contemplate. Then he storms into the KITCHEN, a rabid
urgency in his step.

D. POV of BEDPOST

KAVISHA, alarmed at this rather “shocking” turn of events

also sits up, covering herself with the BED SHEETS as she
does so.

KAVISHA (CONT’D)
(calling out after
JAI)
Come on mister, quit being so
serious! I’m just kidding! Now you
coming back, or do I have to
wiggle my tits again?

JAI enters the bedroom, the same determined man, holding

a length of TWINE in his hand.

E. MS of KAVISHA

JAI leaps onto KAVISHA rather brusquely, covering her

mouth with one hand and pushing her down with the other.
The camera also FALLS ON ITS SIDE, tracing JAI’s
movement.

F. CU of KAVISHA’S HANDS

In one swift motion, he ties her hands to the BEDPOST

very tightly.

G. ECU of KAVISHA’s WRISTS

A red tinge comes onto her wrists.

H. MCU of JAI’s HANDS

JAI violently rips one of the sheets and gags KAVISHA.

(CONTINUED)
 4.

I. MCU of KAVISHA’s FACE

Under the gag, we can just about make out a hint of a

smile. We can hear her struggle to free her hands, but
she’s still smiling too.

We see a shadow appear on her face as JAI lowers himself

onto her and under the BED SHEETS.

Then a slight grimace as he begins.

The bed starts shaking, slowly first, then more

violently, as JAI goes about his business.

J. POV of BEDPOST (FISH EYE)

JAI is facing the camera, his face red with effort, an

animalistic anger on it. He’s pounding her really hard
now.

KAVISHA is struggling more violently against her bonds.

The bed is making louder creeks.

KAVISHA lets out a little yelp.

JAI roughly places on of his hands on her mouth to shut

her up.

And then KAVISHA starts gasping for air. But to JAI, it

sounds almost like an orgasm. And he goes harder.

KAVISHA is tugging very, very hard against her bonds.

K. MS of LOWER HALF OF THEIR BODIES

We can just about make out KAVISHA trying to fight JAI

off under the covers.

We also hear her tugging against the ropes, and her

desperate attempts at catching her breath.

L. POV of BEDPOST (FISH EYE)

There’s a little writhing, and then-

All is calm.

JAI still thrusts. But-

All is calm.

With all his might now. But-

All is calm.
(CONTINUED)
 5.

JAI slows his pace down, suddenly aware that KAVISHA

isn’t responding.

And he stops. He looks down at her, a little worried.

He sits up a bit and slaps her on the face. But-

All is calm.

JAI
(concern)
Kavisha?

No answer.

He sees the red wrists. He sees the dilated pupils. He

slaps her more violently now.

JAI (CONT’D)
(frantic)
KAVISHA?

No answer.

M. HANDHELD, behind JAI

JAI stumbles back in shock. His hands are shaking. He

gets off the bed, almost buckling under his guilt. A
solitary tear drops down.

He starts crying.

JAI (CONT’D)
Fuck! Fuck! FUCK!

He leaps onto her again.

Presses his lips against her, trying to resuscitate her.

Presses down on her chest, then blows into her mouth,

then chest, then mouth.

N. ECU of KAVISHA’S EYE

The PUPIL is dilated.

We can hear JAI still trying desperately trying to

resuscitate her.

O. MS of JAI

JAI’s got his back to the camera.

Presses again. Blows again. And-

(CONTINUED)
 6.

In one fluid motion, KAVISHA sits up, while gulping a

huge amount of air.

SMASH CUT:

4 INT. LIVING ROOM - LATER THAT SAME NIGHT

A. ECU of JAI’s RIGHT EYE

JAI jerks opne his eye. Red. Fearful. Continuously

blinking, and shifting from one spot to the other, as if
searching for something. We can hear JAI breathing very
heavily, and in the distance, the random cars passing by
out on the street.

B. POV of JAI

In front of him, a LEATHER COUCH facing a TELEVISION

which is placed against the wall on his right. A SIDE
TABLE with a LAMP and a TELEPHONE placed next to the
COUCH. Behind the couch is a WOOD PARTITION separating
the living room from the bed room.

JAI’s breathing starts settling down into a normal pace.

C. MCU of JAI

JAI’s left shoulder is leaning against a BAR CABINET. His

back is against a wall. He’s crouched in the corner.
There’s the MAIN DOOR to his right.

JAI is looking a little dazed, trying to calm himself

down. He’s almost like a caged animal, sitting in that
corner.

His breathing is more deliberate now.

He gets up a little and peeks over the BAR and into the
BEDROOM.

D. POV of JAI

We see a form lying on the BED. It’s KAVISHA. She’s lying

absolutely still, dead.

E. MCU of JAI

Similar framing to that of Shot C. JAI crumbles into the

corner, scared. His breathing again quickens a trifle.

We see him trying desperately to regain his composure. It

takes him a couple of seconds and a few very deep
breaths.

(CONTINUED)
 7.

He again gets up a little, scared, and peeks over the BAR

and into his bedroom.

F. LOW ANGLE CU of UNCLE SAM POSTER

It appears as though UNCLE SAM is glaring and pointing at

JAI knowingly.

G. ECU of “I WANT YOU” line

H. MCU of JAI

Again, framed similarly to Shot C. JAI again crumbles

into the shadows, rattled. He clutches at his hair, and
starts crying, helplessly.

I. ECU of TEAR

A tear forms, dripping down his cheek, drops down and

splashes onto the ground.

CUT TO:

5 INT. LIVING ROOM - SAME NIGHT, LITTLE LATER

A. MCU of PUDDLE

The solitary tear on the ground from the last shot has
now turned into a puddle of drool and tears.

PAN UP to reveal JAI still in that same corner, asleep,

knees pressed tightly against chest, leaning against the
WALL and the BAR.

He has just been crying, and his breathing reflects that.

B. ECU of CORNER of JAI’s MOUTH

More drool formes at the corner of his mouth and drops

onto the ground.

C. MCU of JAI

Showing him in the corner.

Out in the street, a siren is heard approaching.

D. ECU of JAI’s RIGHT EYE

JAI jerks open his eyes. Red. Fearful.

He looks in the direction of the WINDOW in the BEDROOM

out of the corner of his eyes (top right corner of
screen).
(CONTINUED)
 8.

The house is bathed in red for a fraction of a second as

the siren passes by.

E. CU of JAI’s FACE

He’s still looking in the direction of the WINDOW.

He looks dead center, raises his EYEBROWS, as if in deep

thought.

Again looks towards the bedroom, with the same thoughtful

expression on his face.

F. MCU of JAI

Frame like Shot C.

His gaze starts roving frantically around the living

room, as though looking for something.

We TRACK BACK, PANNING 180 degrees and ZOOM out

simultaneously to reveal the LIVING ROOM. We’re now
facing towards the SIDE TABLE.

JAI crawls into frame.

G. CA of DIRTY HANDPRINT on the FLOOR

The dirt on his hands mixes with the drool and tear
puddle, making dirty stains on the white marble floor as
JAI crawls.

H. POV of TELEPHONE

Shallow depth of field.

JAI crawls to the COUCH and props himself up. His LEFT
HAND comes into focus to pick up the RECEIVER.

I. ECU of JAI’s FINGERS

As he dials the number. 1-0-0.

J. ECU of JAI’s LEFT EAR

He places the RECEIVER against his ear.

We hear the call get connected. Ring once. Twice. Thrice.

And again. And again.

K. HANDHELD MCU from BEHIND JAI

The PHONE is still ringing.

(CONTINUED)
 9.

We are gradually moving towards JAI, so that by the TENTH

ring we are within an arm’s distance of him.

The phone rings for the tenth time, when JAI jumps up in
fright, drops the phone and turns his head back, as if
poked on his RIGHT SHOULDER from behind.

L. ECU of PHONE’s EARPIECE

The PHONE is swinging by its CORD after being dropped.

Someone picks up the call at the other end.

POLICEMAN
(grumpy. Over the
telephone)
Police department. Who the hell is
that?

M. LOW ANGLE MS of JAI

He’s still looking to his right, towards the shadows

around the BAR. The phone is still swinging by its cord.

N. LOW, DUTCH ANGLE WS of the LIVING ROOM

JAI is still transfixed on the COUCH.

There’s a MAN, similarly built as JAI standing in the

shadows in front of the BAR (20 paces away from JAI). The
MAN’s just a silhouette.

Just his LEFT HAND is slightly visible through the

shadows. There’s a ROCKS GLASS full to the brim with
WHISKEY and ICE in it. An unopened bottle of JACK DANIELS
and an ICE BUCKET lie on the BAR COUNTER behind the MAN.

The MAN is almost nodding his head, goading JAI to come

to him.

POLICEMAN (CONT’D)
(more forcefully)
WHO the FUCK is that?! HELLO?

JAI gets up and walks over to the MAN, almost in a

trance.

The POLICEMAN bangs the phone down.

O. CU of JAI’s LEFT HAND

JAI takes the GLASS in his LEFT HAND. Slowly. With great
fear.

(CONTINUED)
 10.

P. WORM EYE of JAI

JAI takes a small sip. Then, emboldened, gulps the drink

down, and continues gulping for quite at least 10
seconds.

Q. CU of GLASS

JAI bangs the still full glass down on the BAR COUNTER.

We TRACK BACK, ZOOM OUT and PAN RIGHT to reveal:

a) The bottle of JACK DANIELS is now half.

b) JAI reel back and fall onto the COUCH, clutching his
stomach. As he falls, we-

FADE TO BLACK.

6 INT. LIVING ROOM - NIGHT, FEW DAYS LATER

A. ECU of JAI’s CHEEK

Everything’s out of focus. Slowly, we change focus to

reveal a slight STUBBLE on JAI’s CHEEK.

B. WS of LIVING ROOM

On the left is the COUCH with JAI on it, face towards us,
in a FOETAL POSITION.

On the right, we can faintly make out the outline of the

TELEVISION.

Right in front of us, there’s a small RED LED flashing on

the SIDE TABLE.

The PHONE starts ringing. After 3 rings, the ANSWERING

MACHINE takes over.

JAI’S MOM
(on the phone. almost
unemotional tone)
Hello, Jai? This is your mother.
Call me.

C. TOP ANGLE of the TELEPHONE

The RED LED is flashing on it. On the display counter, we

can see that there are 20 NEW MESSAGES.

JAI’S MOM (CONT’D)

Why wouldn’t you call me?

(CONTINUED)
 11.

And then the click as the call is disconnected.

D. WS of LIVING ROOM

Same frame and set up as Shot B.

After 6 seconds, an aggressive grunting starts coming

from the BEDROOM.

E. CU of JAI’s FACE

JAI jerks open his LEFT EYE. Then the right.

F. WS of LIVING ROOM

He sits up a bit.

And then he hears swearing from the BEDROOM. It’s his

voice. He looks to his right, towards the source.

JAI (O.C.)
(from the bedroom)
Fuck! Fuck! FUCK!

A blurry form enters the frame from the left, in the

foreground.

G. POV of JAI

He sees a clean shaven version (we’ll call him JAI#2)

near the BAR, crawling in from the BEDROOM, towards the
shadows between the BAR and the MAIN ENTRANCE. JAI#2 is
sobbing uncontrollably.

We follow JAI#2’s movement right into the corner. We see

him fall asleep for a fraction of a second.

H. MS of JAI

JAI just stares at JAI#2 in amazement.

I. POV of JAI

We see JAI#2 jerk his eyes open, slowly get up a little

and peek over the BAR, into the BEDROOM.

JAI also starts leening a little forward.

J. POV of BAR

We’re looking at JAI, and we see him lean a little

forward to look beyond the WOOD PARTITION, into the
BEDROOM.

(CONTINUED)
 12.

K. POV of JAI

We see another clean shaven version of JAI (JAI#3) in the

BEDROOM, trying to resuscitate KAVISHA.

We continue looking at his efforts, until JAI#3 slowly

starts fading away.

L. POV of BAR

JAI’s still leaning forward.

Then, slowly, he starts leaning back. There’s a blank

look on his face, unsure of what to make of it all.

M. WS of LIVING ROOM

JAI lies down, curls up into a FOETAL POSITION again, and

goes off to sleep.

Then suddenly, JAI jerks his EYES open. He sits up a bit.

N. POV of JAI, slightly DUTCH FRAME

There’s a MAN, similarly built as him, standing in front

of the BAR, a ROCKS GLASS filled to the brim with JACK
DANIELS and ICE in his left hand. The MAN’s just a
silhouette.

The MAN’s almost nodding his, goading JAI to come to him.

JAI gets up slowly, as though in a trance and walks to

the man, and takes the glass from him.

O. WS of LIVING ROOM

JAI is standing next to the BAR. There’s no sign of the

MAN.

JAI gulps. He continues gulping till he falls down on the

floor in front of the BAR.

P. ECU of GLASS

We follow the movement of the GLASS, just half drained,

as it falls and breaks by JAI’s side.

Q. WS of LIVING ROOM

JAI’s lying on the left of the frame. A RED LIGHT is

flashing on the ANSWERING MACHINE.

FADE TO BLACK.
 13.

7 INT. LIVING ROOM - NIGHT, FEW DAYS LATER

A. TOP ANGLE of JAI

JAI is lying on the floor, where he’d collapsed, in a

FOETAL POSITION. There are smudges of ROTTING PUKE and
DRIED BLOOD around him. His stubble is now a BEARD. His
eyes are open. The lower half of his body is in the
shadows.

The CLOCK TOWER across the street chimes TWICE.

He sits up a bit. He is now facing the MAIN DOOR.

B. HANDHELD POV of JAI

He looks at his hands. There are various DEEP GASHES on

them.

His eyes change focus to the UNREAD MAIL littered under

the MAIN DOOR.

He turns his head to his right. There’s a thin film of

dust on the BAR.

He starts turning his gaze to his left, towards the

TELEVISION, taking everything in. Everything has a thin
film of dust.

C. MS of JAI (LEFT PROFILE)

He’s turning his gaze, and then suddenly stops. A look of

horror is on his face.

SWISH PAN LEFT to reveal the UNCLE SAM POSTER kept midway
between the MAIN DOOR and the TELEVISION. There are BLOOD
STAINS on its edges.

D. LOW ANGLE CU of UNCLE SAM’s EYES

E. ECU of UNCLE SAM’s FINGER

We hear the sound of something scrambling away.

SWISH RIGHT and QUICK ZOOM OUT to see JAI crawling off
and hiding behind the WOOD PARTITION.

F. MCU of JAI

Panting. Scared. Looking slightly upwards. Pressed

against the WOOD PARTITION. Hiding from UNCLE SAM.

Still panting, he turns his gaze turns towards the walls.

(CONTINUED)
 14.

G. DUTCH ANGLE of WALLS

Now bare. No sign of the posters.

H. MCU of JAI

He’s still looking around, bewildered. Panting, yet at

the same time, easing up a bit.

He turns his gaze directly at the camera, and stops. A

tender look comes onto his face, which quickly turns into
sadness.

I. POV of JAI

It’s KAVISHA. Lying on the bed, obviously dead.

J. MCU of JAI

He opens his mouth to call out her name, while at the

same time lifting up a hand, as if to reach out to her.

But, his body fails him, and he starts crumbling into a

heap.

K. POV of JAI

Falling, crumbling into a heap, while-

FADE TO BLACK.

8 INT. BEDROOM - SAME NIGHT, CLOSER TO DAY THAN EVER BEFORE

A. ECU of JAI’s RIGHT EYE

He jerks open his eyes. Red. Fearful. Starts roving it

around, as though looking for something. Stops, so that
he’s looking somewhere to the bottom right corner of the
frame.

B. ECU of FLY

Slow ZOOM INTO a FLY on JAI’s RIGHT ARM.

C. POV of FLY

Slow ZOOM INTO JAI’s face as he’s looking down at the

FLY.

D. ECU of FLY

E. POV of FLY

JAI’s still looking at it, almost zoned out.

(CONTINUED)
 15.

Suddenly, he jerks his head up, towards where KAVISHA is

lying. It’s as though he’s just realized something.

F. POV of JAI

We see KAVISHA’s lithe form lying on the BED. But, this

time, we also notice around 20 FLIES.

G. CU of FLIES on KAVISHA

We see FLIES on various parts of KAVISHA’s body:

a) Her RIGHT ARM.

b) Her RIGHT SHOULDER.

c) Her LIPS.

H. SNORRICAM on JAI

He snaps into an alert position, and runs towards the

BEDSIDE TABLE. There’s anger writ all over his face.

He grabs a LAMP from the BEDSIDE TABLE, and starts

flaying at the flies like a mad man. It’s almost as
though he wants to beat every last one of them to a pulp.

He attacks them with an animalistic anger. Almost like

the ape attacking the skeleton from 2001: A Space
Odyssey.

We can make out that the FLIES have started scattering

away by how the rage within JAI begins to subside and how
his beating action becomes slower.

He finally stops and lowers his arms.

He turns his gaze towards KAVISHA and a helpless yet

loving look comes on.

I. CU of JAI’s HAND

The LAMP falls out of it in slow motion, and we track its

motion as it falls to the ground.

J. POV of KAVISHA

JAI’s looking down at her with the same expression.

K. POV of JAI

Slow zoom into KAVISHA, and then abrupt turn, as if JAI’s

realized something and needs to be somewhere else.

(CONTINUED)
 16.

L. POV of KAVISHA

We see JAI charge towards the LOO.

M. SNORRICAM on JAI

A determined look on his face, as he charges towards the

LOO.

N. ECU of KAVISHA’S LEFT EYE

MATCH CUT TO:

9 INT. BEDROOM - DAWN

A. ECU of KAVISHA’S LEFT EYE

B. POV of WOOD PARTITION

JAI is sitting on the bed, at KAVISHA’s feet. There’s a

WET SPONGE in his hand. He slowly and meticulously wipes
KAVISHA’s face with it. He bends down.

C. MCU of TUB

A TUB full of WATER is lying at JAI’s FEET. JAI dips the

SPONGE into it. He shakes off the excess water off the
SPONGE, and straightens.

We TILT UP, following his action as he wipes KAVISHA’s

bare SHOULDERS with it. There’s something, loving about
each action of his. Almost as though KAVISHA weren’t
dead, merely bedridden and he were caring for her.

He gets up.

D. HANDHELD tracking in front of JAI

JAI picks up a bottle of WOMEN’s DEODORANT from the

BEDSIDE TABLE.

He opens the cap, raises his the bottle over his head and
sprays the deodorant around the BED.

He returns to the BEDSIDE TABLE and picks up KAVISHA’s

PERFUME from it and proceeds to spray it on KAVISHA’s
NECK.

E. CU of KAVISHA’s NECK

Sprays it lightly once on the left. Then once on the

right.

We hear JAI get up and pick something else up.

(CONTINUED)
 17.

F. CU of KAVISHA’s EYES

Dilated PUPILS.

JAI applies a little MASCARA to her EYELASHES.

We hear things being exchanged from hand to the other.

G. CU of MID THIRD of KAVISHA’s FACE

A little ROUGE on her CHEEKS to hide the rotting flesh.

Again, we hear things being exchanged between hands. And

then the harsh sound of a COMB brushing back matted and
tangled hair.

H. LOW ANGLE MCU of JAI

He’s brushing her HAIR back. Concentrating very hard.

He gets up, walks out of frame.

We PAN RIGHT, 180-degrees.

He’s right next to the BEDSIDE TABLE. He takes a GLASS of

WATER, kneels down next to KAVISHA.

I. BIRD’S EYE of KAVISHA’S FACE and SHOULDERS

Apart from the extra dry lips, KAVISHA looks rather

pretty. JAI is kneeling down beside her, GLASS of WATER
in left hand.

With his RIGHT HAND, he first moistens her lips, then

pries them open a bit, and forces a little water down.

He keeps the GLASS back on the BEDSIDE TABLE and gets up.

J. LOW ANGLE of JAI

He longingly gazes down at her. It’s equal parts love and

sadness, as he (probably) wonders about the “what ifs” of
that night.

Behind him, the first light of day is just about

streaming in through the window.

He moves a little towards KAVISHA, and lies down under

the BEDSHEET, on top of her. We follow his movements.

He bends down to kiss her on her forehead.

K. CU of KAVISHA’s SIDE PROFILE

He kisses her lightly on the forehead.

(CONTINUED)
 18.

L. POV of KAVISHA

JAI straightens a bit.

And then, as an afterthought, starts leaning in for

another peck, this time on her lips.

M. ECU of KAVISHA’s LIPS (SIDE PROFILE)

He pecks her lightly on the lips and straightens up

slightly.

N. MCU of KAVISHA and JAI

Their faces are very close to each other. The WINDOW is

right behind them, and the light is getting brighter.

JAI is looking tenderly at KAVISHA who just stares

emptily back at him.

JAI leans in for another, more passionate kiss, just as

the light get brighter, brighter, and-

FADE TO WHITE.

10 CREDITS.

END.