the rubicund face of veejay chattergee, 50, and more british than churchill. behind him, his cherubic wife, ravi.  and making her way toward the enclave of small planes, their daughter, manubai, 26.
we see now that, contrary to our assumption that veejay would be in the left seat, it's manubai who's flying the plane. the noise of the engine forces them to speak somewhat loudly.
the pals, scared, dispirited, weary, consumed by the crowd. they've been walking a long time. shambu cries; aloka tries to ease his fear. they stop numbly at the edge of the park, put their bundles down against a long wall. across the way, a thin policeman shares a cigarette with a group of traders. there is a deeply fearful look in hasari's eyes, a look he is having difficulty controlling now. he needs to revive the family's confidence. he takes out his precious bundle of rupees and gives one to manooj. manooj, though, is fixed on the cinema across the street. hasari indicates a stall just across the main road.
ravi in her bathrobe.
a line of a hundred men stretches from a door. hasari is on the edge of panic, but when he turns to the family, he's wearing his confident smile. as before, he gathers the family into the protectorate of his arms and guides them onward. as he pushes off into the sea of humanity, we pull back and up, filling the frame with street upon street, disappearing hasari.
shambu runs to his dejected family.
max is guided by a grumpy hall porter wearing an off- white shirt and bellbottoms through the walled and well planted courtyard of an inexpensive hotel. max gives the cow a bemused eye.
swarming police.
hasari seated on a stool, watching his blood leave his body, his face broken out in perspiration.
max on a cot in a tiny, spare room, a butterfly bandage under one eye. joan, irish, short, stout, hovers over him. behind her, hasari pal.
 to find perhaps fifty people, largely women and children, staring at him.
behind him, the godfather walks up to the desk, putting his glasses on. he barely glances at his son, but waves him out of the chair. ashoka doesn't like it, but he steps aside. as he does, he turns a look of hatred on hasari. through no fault of his own, hasari has made an enemy. ghatak chews on a pan and casts a benevolent eye on hasari.
ashoka, astride his motorcycle, gunning the engine as a boy runs out of a store with an armload of cassettes.
ram and hasari return home. hasari can hardly walk. shambu runs to his father, explaining excitedly.
it's an amazing sight. two lepers: anouar, bearded with a sharp intelligent, unmarked face, makes his way along on a small wheeled board, at an amazingly fast pace, ahead of said, a huge, mute leper. they stop some feet away. lepers aren't often welcome. out from behind said steps poomina.
joan turns to max, who hasn't heard the exchange.
ashoka, with the goonda and two henchmen, in the b.g.
hasari, with shambu in the rickshaw, arrives to take the children home. as he looks inside, he notices.
hasari arrives with max, anouar, and meeta.
max . max slings the goonda against the side of a truck.
ashoka astride his motorcycle, behind his dark glasses, with more thugs, these with molotov cocktails and pick- axes, ready to raze the clinic and school and the surrounding neighborhood. sunil drags mehboub inside. people chant: "white monkeys, go home! white monkeys, go home! no lepers here! no lepers here!" the thugs cock their iron bars and bricks and molotov cocktails. max picks up an iron bar of his own and starts for ashoka. suddenly, there's a detonation followed by a blast of air so fierce, max is thrown to the ground. a bottle of gasoline has exploded just behind him. he's enveloped in smoke.
for the first time, we see who ashoka's speaking to.
hasari seated on the stool, watching his blood leave his body, his face again broken out in perspiration.
there, in the entrance to a building, is gangooly. seeing a potential victim, he swoops in.
max, in an indian shirt, heading for the square; rather naturally, he brings his hands together in the indian salutation. he carries several bottles of distilled water, a large value pack of bar soap, and a carton of medical supplies. as he passes, his eyes hook on aloka's. he lifts a hand in greeting. after a moment, she ducks her head. he turns and continues on coming face to face with ram, an enormous smile on his face. with him, hasari. he glances at his wife in the water.
he finds himself face to face with aloka. without a word, they start walking side by side toward the square. it's several seconds before she says.
max hurtles down the corridor with a young intern in tow. almost a kid, he's been up for days. but he's going to help.
we see hasari and max blocking the street with the new rickshaw. the goonda jumps out of the car, comes threateningly at hasari.
shoba, a deeply concerned look on his face. slowly his hands come forward, holding his parrot, with a broken wing. he puts the parrot on the examining table.
manubai and ravi, their car parked at the entryway to the clinic. a big puddle separates them.
max, hasari, rassoul, and chomotkar up to their necks in water; hasari and rassoul have a door on their shoulders; on top of the door, a sick leper woman. max is lifting one child, then another onto the door. the two pullers make their way slowly toward the mud bank.
manooj, seated between hasari and max.
amrita is dressed in the beautiful sari her father bought her. father and daughter are alone. he hands her the flower and adjusts her veil tenderly.