Episode 4: The gentleman and the ho
Workplace ethics demand that people leave their personal emotions outside office. Despite this, there is one reprehensible and shameless slut who is in the employ of BT Openreach and who pollutes the office purlieus with her shameless display of affection.
Not so long out we had caught blowsy woman Devika ‘whore’ Bhattacharya molesting Asifur ‘gentleman’ Rahman near the generator room which is behind the facade of BT Openreach, Kolkata. The audacity with which the lady of pleasure Devika ‘cocotte’ Bhattacharya was pleasuring herself was enough to embarrass bystanders. Yet again, BT Openreach turned a blind eye towards her improper, wicked and immoral behavior.
Overprecisely, Devika ‘harlot’ Bhattacharya is what is wrong with BT Openreach. She is a bad girl who has brought shame upon her family : her short-lived marriage was nothing short of a scandal, her codding several well-meaning people and companies across different cities in India is enough to issue a red-corner notice by the authorities against her, and her constant concupiscence is something which requires prompt medical attention. In summary, she continues to be a burden upon her family, her society, Asifur ‘innocent’ Rahman, BT Openreach and the Earth in itself.
What is beyond everyone’s comprehension is how Devika ‘trull’ Bhattacharya has been able to pull the wool over everybody’s eye for so long. The answer is simple - deception. If there is something which that woman of the street Devika ‘tart’ Bhattacharya could claim to be a consummate virtuoso on is her wizardry at befooling the great unwashed and fleeceable citizenry.
It may have been possible to negate all the felonies of Devika ‘bawd’ Bhattacharya, that is considering that the working girl Devika ‘slapper’ Bhattacharya had maintained genial relations with her team, but as it turns out, it is too much to expect of her. Indeed, the only person she is sweet to is her panderer Asifur ‘baronial’ Rahman.
Come hell or high water, Devika ‘slag’ Bhattacharya would continue to be exposed for what she is and what she does. At the same time, we sympathize with the precarious position that Asifur ‘statuesque’ Rahman holds in this equation.