AA

MI
R
TWO BRIDES
(working title)
KH

Original Story by
Biplab Goswami

Screenplay and Dialogues by

Sneha Desai
AN

Additional Dialogues by
Divyanidhi Sharma
FI
LM
S
LL

Copyright (c) Aamir Khan Films LLP 2021

P
 SUPER: 2001, NORTH INDIA
AA
1 EXT. PHOOL’S HOUSE - DAWN 1

In a modest village house decorated for a wedding, a bright

eyed bride PHOOL (18) is surrounded by village women who cry
as they perform rituals for her bidaai. Their wailing makes
PHOOL uncomfortable, and as they crowd and fuss over her she
begins to feel suffocated.
MI
PHOOL
Saans nahi aa rahi!

The groom DEEPAK (24) sits next to her, and observes the
R
rituals. Her aunt GEETA, with complete disregard, puts a
mithaai into her mouth as part of a ritual. A small
packet/batwa of betelnut, rice grains, haldi and dubha leaves
is tied to the edge of PHOOL's sari pallu by the same aunt
KH
GEETA.

GEETA
Ee khoicha pati ka raksaa aur mangal
ke liye hota hai. Sambhaalkar rakhna,
haen?
AN

PHOOL nods. Aunt GEETA then pulls a veil over Phool’s face
and the visuals around her blur. As she looks around getting
used to seeing through the ghunghat, the women begin to lead
PHOOL and DEEPAK out towards the open courtyard.

2 EXT. PHOOL’S HOUSE - DAWN 2

FI

DEEPAK wears a loose suit, with a cheap sehra. He looks a bit

awkward with all the crying around him. Phool's uncle
SASIDHAR talks to him.
LM

SASIDHAR
Kal subah daak-khaane ke phone se
aapke ghar baat hui Deepak babu.
Aapke amma baau ji aur saara baraati
parso hee pahunch gaye they.
S

DEEPAK nods and smiles, but looks concerned as PHOOL walks

carefully with her ghunghat. They both go over to her
grandmother for blessings who is also crying.
LL

PHOOL'S GRANDMOTHER
(to DEEPAK)
Bas ee samjha ki gau-daan aur kanyaa-
daan saath-ey kar diye beta… bityaa
kaa hai, gaay hai gaay. Dhyaan
rakhna.
P

DEEPAK nods and smiles. They take blessings of the other

elders present. The women continue to wail and hug PHOOL one
by one.
 2.

From PHOOL'S POV, we see DEEPAK'S legs calf-down, as he

performs a ritual of crushing a clay vessel full of ash with
his foot.
AA
2A EXT. PHOOL’S HOUSE - DAWN 2A

They troop out through a gate decorated with banana leaves,

and cross a rickety bridge, the relatives and neighbours
trailing behind them. One relative carries their suitcase and
MI
duffel bag. As they walk, PHOOL trips over a stone.

GEETA
Arre, sambhalke. Lagi kaa, Phool?
(she nods no)
R
Ek baar ghunghat le liye toh phir
aage nahi, neechey dekhke chalna
seekho!
KH
PHOOL walks on carefully, as they all make their way across.

2B EXT. ROAD OUTSIDE PHOOL'S VILLAGE - DAWN 2B

On the other side of the bridge Phool's brother SAILENDAR

(19) waits on a motorcycle and makes space for PHOOL and
AN

DEEPAK to ride pillion. Her parents and a few relatives get

into a waiting tempo with their luggage.

PHOOL turns to see her house on the other side of the bridge
slowly disappear behind her.

PBS 1 Begins.
FI

3 EXT. RIVERBANK - DAY 3

LM

They reach a ghat by the river. They all disembark and as

they turn to head down SAILENDAR starts his bike again.

DEEPAK
Tum bhi chalo Sailendar, chhoti bahin
ka sasuraal dekh lo?
S

SAILENDAR
(curtly)
Tyusan janaa hai.
LL

As SAILENDAR leaves, SASIDHAR apologetically explains -

SASIDHAR
Science le rakhi hai na!

CUT TO:
P

Their luggage is loaded onto the small boat, as DEEPAK and

PHOOL take blessings from the elders.
 3.

PHOOL’S MOTHER cries as she holds her close, and her father
is being stoic through his emotion.
AA
GEETA
Sadaa suhaagan raho. Ab agli baar
teen hokar aana, haen?!

DEEPAK helps PHOOL get onto the boat and they settle between
other passengers. DEEPAK very considerately makes sure she
has some space, though now he is aware that their shoulders
MI
are touching. Deepak takes off his sehra and puts it inside
the bag. As the boatman pulls away from the bank, we see
tears in PHOOL's eyes as she watches her family slowly shrink
on the horizon. When they disappear, she pulls her veil down
and her head hangs low. She instinctively checks for the
R
khoicha tied to her sari and closes her fist around it.
DEEPAK notices this and smiles gently. PBS 1 continues.
KH
4 EXT. MAHADEV BUS STAND - DAY 4

The couple walk up a slope and arrive at a bus stand. It is

fairly crowded. DEEPAK makes sure PHOOL finds a spot to sit
in the shade.

DEEPAK
AN

(softly)
Bus aaney mein der hai... chai biscut
chahi ka?
(she shakes her head)
Nimbu paani?
(She shakes her head)
Siraf paani?
FI

(she nods yes)

Baitho eeha, hum leke aate hain.

PHOOL is worried as she watches him walk away, her eyes

LM

straining to see him through the veil as he disappears round

the corner. Three young men sitting nearby notice her alone,
and decide to tease her. They come close and make comments
about her being alone. She immediately stiffens and looks
frantically through her ghunghat for DEEPAK. They sing some
bawdy song, and PHOOL panics and her eyes dart around trying
to find DEEPAK in the crowd.
S

The bus luckily arrives and the three men run to get in among
all the other people who were waiting. There’s pushing and
shoving as people try to get in. There is no room in the bus
LL

so the BUS CONDUCTOR ushers people to climb atop. PHOOL

wonders where DEEPAK is and what should she do - when he runs
up to her, and urges her to climb up the ladder. She starts
climbing nervously as he struggles with their bags. She looks
back at him, and he urges her on -
P

DEEPAK (cont'd)
Arre aa rahe hain na, jagah roko
humaara - phail kar baithna thoda,
haen!
 4.

She settles down facing the back of the bus, and DEEPAK
pushes through to sit beside her, relieved. He smiles at her,
showing her the water packets and some pakoras wrapped in a
AA
newspaper, but she looks away, annoyed by the worry he had
caused. He nudges her again, but she doesn’t respond. He
bites open the water packet and offers it to her again. She
contemplates it. He leans closer and nudges her with a smile,
and we can tell she’s smiling. She takes it and drinks it
under her veil. He smiles and drinks his own packet.
MI
As more passengers get on, DEEPAK tells PHOOL.

DEEPAK (cont'd)
Bheed bahut hai. Gahna utaarkar humko
de do... Chori na ho jaaye.
R
She dutifully removes the bangles, earrings, necklace and
gives it to him.
KH
DEEPAK (cont'd)
Hamre eeha kahaawat hai -
‘jewar chori, dui dukh paana -
chhota dukh chori, bada dukh thaana’!

He looks at her as if waiting for more, but she protectively

touches the mangalsutra and says no. He smiles, understanding
AN

her faith in the sacred mangalsutra. He looks around, ties

the jewellery discreetly in a kerchief, and puts it in his
jacket pocket. As the bus starts and begins to move, he puts
an arm around her to hold the side railing, settling closer
to her.
FI

5 EXT. MOVING BUS 1 - DAY 5

The newly-weds travel cattle class atop a bus with all kinds
of other co-passengers and their luggage - including a goat.
LM

PHOOL relaxes a bit against DEEPAK as the bus rattles off

down the bumpy road, leaving clouds of dust in its wake. As
they eat the pakoras and chat, PHOOL now looks happy, seeing
the passing landscape through her veil. PBS 1 continues.

6 EXT. BISWA BUS STAND - AFTERNOON 6

S

DEEPAK shakes PHOOL who is asleep on his shoulder, as the bus

has stopped and the conductor is yelling for people who want
to take the train to get off. They climb down the ladder in
LL

the middle of nowhere. As there are fields all around, DEEPAK

asks the conductor which way to go. The BUS CONDUCTOR points
towards a path going through the fields. As the bus starts to
leave, PHOOL suddenly remembers her khoicha. She anxiously
looks around to see if it has fallen somewhere and is about
to run behind the bus. DEEPAK watches her panic with a
P

mischievous smile, and finally reaches into his trouser

pocket to pull out the crumpled packet. She takes it from him
with utter relief.
 5.

DEEPAK
Khul gaya tha toh hum rakh liye. Abki
sambhal ke rakhna.
AA
(suggestively)
Hamri rachha isi se hogi…

He can tell she’s smiling, as she ties the khoicha into her
pallu. They start walking. DEEPAK walks a few steps ahead.
Through the ghunghat we see from PHOOL’s POV that she sees
DEEPAK’s trousers and shoes as she follows him.
MI
7 EXT. FIELD BY THE RAILWAY TRACKS - AFTERNOON 7

PHOOL and DEEPAK walk through fields, smiling and talking.

R
PBS 1 ends.

7A EXT. FIELD BY THE RAILWAY TRACKS - AFTERNOON 7A

KH

PHOOL and DEEPAK arrive at a tin shed that functions as an

unofficial train stop by the railway tracks. Run by a TOUT
with his few chelas, the shed has some people who are waiting
there, including an old couple AMMA and BABA (70s). DEEPAK
can see a number of stools resting just a little away from
the tracks. An old ghee tin serves as a bowl in which people
AN

drop 20 rupee notes.

DEEPAK
(to Tout)
Train rukwaaye ke bees rupiya?!

TOUT
FI

Aadha to agle faatak ke guard ko

jaata hai, oo jhandi dikhaaega tabhi
to bina tesan gaadi rukega.
LM

DEEPAK
Aur aadha?

TOUT
Estool ka, varna tirain pe chadhogey
kaise?
S

DEEPAK
Apna stool laaengein, toh dus rupiya
kamti hoga?
LL

TOUT
(mocking)
Tirain bhi apna le aao, poora bees
tho bach jaaega!

His chelas laugh and DEEPAK looks embarrassed, checking to

P

see if PHOOL has heard this insult. He puts money in the bowl
and comes to sit near her.

The train is heard coming, and the TOUT instructs a lad.

 6.

TOUT (cont'd)
Jaa bey Bisnu! Chaar-chha ko udhar se
chadha... Belpur-Katariya waale aage
AA
aana!

7B EXT. FIELD BY THE RAILWAY TRACKS WITH TRAIN - AFTERNOON 7B

The train approaches and slows down as a red flag is waved,

the TOUT counts the notes, and his chelas place stools at the
MI
exact spots where the doors of the train will stop. BISNU
shuffles people into groups of 4-5 at each stool. The stool
is at just the right height for people to climb on.

The train stops. The passengers all get hurriedly pushed onto
R
the train. PHOOL helps AMMA climb the stool and passes her
the luggage, as DEEPAK follows with their luggage. DEEPAK
hoists PHOOL and the bags and gets in himself, and the train
almost immediately starts. AMMA and BABA settle themselves in
KH
the passage near the door.

8 INT. MOVING TRAIN - AFTERNOON 8

The couple walk through the bogie which is already packed to

capacity. People watch the new entrants with interest. They
AN

stop at a compartment which is slightly less packed.

Passenger 1 (Smart Alec) nudges G Man -

SMART ALEC
Ee lo! Tritiya pe bali hua ek tho aur
joda aa gaya. Subh din pe saadi karke
jaise sankar parvati ban jaaye sab.
FI

Scattered laughter. DEEPAK requests G Man, gesturing towards

PHOOL -
LM

DEEPAK
Aye bhaiyya tanik bithaayi lo, ladeej
hain.

SMART ALEC
Baithne de re, teen ghanta se gaand
jamaakar baitha hai!
S

G man gets up for PHOOL to sit. DEEPAK continues to stand.

One of the passengers (newspaper man) is reading a local
Hindi newspaper which has a headline about ‘Pradhan Mantri
LL

Atal Bihari Vajpayee'. Like DEEPAK and PHOOL, there are two
other newlywed couples seated in the same bogie. The brides
wear the same kind of red saris with a ghunghat covering
their faces, mehendi and bangles. Among them is the family of
HARKUMAR (65), SARLA (55), a heavy set man PARDEEP (32) and
his bride JAYA (21).
P

PARDEEP looks busy with his new mobile (Nokia 2810). SARLA
touches DEEPAK’s suit and comments to HARKUMAR:
 7.

SARLA
Pardeep ka iss se achha hai.
AA
DEEPAK looks annoyed and takes a step back, to protect his
suit from the prying lady. PARDEEP just smirks.

SARLA (cont'd)
(to DEEPAK)
Saadi mein kaa mila?
MI
As soon as she asks this, everyone looks at DEEPAK. DEEPAK
wilts under the pressure but the passengers are unfazed, it’s
a very casual, normal conversation for them.

SMART ALEC
R
Motorcycle toh common chal raha hai
aajkal.

The other groom (besides Deepak and Pardeep) says -

KH

GROOM 1
Humko bhi mila hain, tank-phull!

SARLA
(gloating)
Hamko toh motor-cycle, dedh laakh
AN

cash, aur mobile mila!

DEEPAK looks awkward as everyone is still looking at him.

PARDEEP has been getting increasingly frustrated with his
phone, remarks to JAYA -

PARDEEP
FI

Mobile toh mila, ab tower ka humre

bauji lagvaayenge?! Rakho apne paas.

He gives the phone to JAYA, who puts it in her purse. SARLA

LM

turns to DEEPAK again.

SARLA
Tumko kaa mila bataaye nahi?

DEEPAK looks away. Everyone looks disappointed in him.

S

SARLA (cont'd)
Jaroor ladke mein kauno khot hoga…

HARKUMAR nods. The train keeps moving through the rural

LL

countryside.

9 INT. MOVING TRAIN - AFTERNOON 9

One hour later. There has been a shuffle in the seating.

P

PHOOL has moved towards the middle of the seat, BRIDE 1 is at

the window with GROOM 1 beside her, and DEEPAK has managed to
find a seat at the edge.
 8.

The passenger reading the newspaper, now reads a different

page - a headline reads "Wedding party duped by local gang".
The train slows down nearing a station, DEEPAK whispers to
AA
PHOOL, gets up and goes to the toilet.

10 I/E. TRAIN STATION - AFTERNOON 10

The train pulls in at a station. BRIDE 1 and GROOM 1 get up

to leave. PHOOL makes way for them to pass and slides to the
MI
empty seat by the window where BRIDE 1 was sitting. A ’thanda
pani wala’ jumps inside the bogey selling chilled water
pouches from his thermocol box.

THANDA PANI WALA

R
Thanda paani bolo... paani bolo!

PARDEEP stops him.

KH
PARDEEP
De oye - ek pakit paani de.

PARDEEP gets up to pay for the water and settles on the

opposite side, next to PHOOL, since the seats are now empty.
He gestures to JAYA to also move next to him. PHOOL can’t
protest and the compartment fills up entirely, right up to
AN

people sitting on the top bunk. Three friends enter the bogey
leaving no space for Deepak to sit.

Simultaneously Watermelon man, who is seated the other side

window seat, calls out to a FRUIT VENDOR on the platform
where the train has stopped.
FI

WATERMELON MAN
Aye santra kaise diya?

FRUIT VENDOR
LM

Pandrah ka teen…

WATERMELON MAN
Swargvaasi lag rahe hai santre.
Tarbooj kaisa diya?

The WATERMELON MAN's WIFE, who is lying down on the top bunk,
S

chimes in:

WATERMELON MAN'S WIFE

Santra lo na…
LL

FRUIT VENDOR
Meetha hai, le lo. Bees ka diya.
Jaldi lo, gaadi nikal jaayega…

WATERMELON MAN
P

Laa de.

The train jolts to a start. WATERMELON MAN hurriedly pays and

takes the watermelon in his hands.
 9.

As the train leaves the platform, he realises he is stuck

with his arms outside the window holding the watermelon and
can't bring it in unless the train stops.
AA
WATERMELON MAN'S WIFE
Kahe they santra lo!

Everyone notices the watermelon man and chuckles. DEEPAK

appears wiping his face with his hanky, seeing his bride
where he left her (he thinks), but no seat left for himself.
MI
11 I/E. MOVING TRAIN - MAGIC HOUR 11

Another couple of hours have passed. The train races through

R
an expanse of fields. Inside the compartment, the sunset
flashes through the windows. Some people have dozed off, and
DEEPAK has found a bit of space at the edge of the seat to
sit.
KH

12 EXT. MOVING TRAIN - NIGHT 12

The train clatters through the night, casting shadows on the

passing landscape. Everybody is asleep, including DEEPAK and
PHOOL.
AN

WATERMELON MAN'S WIFE

Aaja beta binnie, so ja!

A man switches off the light in the compartment.

FI

13 I/E. MURTI RAILWAY STATION WITH TRAIN - NIGHT 13

The train approaches a station and halts with a jerk that

wakes DEEPAK up. He rubs his eyes and glances out of the side-
LM

seat window. It is 'Murti', his station. In the dimly lit

compartment DEEPAK panics, pushing between people’s legs to
get to the bag under the seat. He shakes JAYA by the knee to
wake her up, thinking it is PHOOL.

DEEPAK
(over the train horn)
S

Utho! jaldi! Tesan aa gaya!

JAYA gets up in a panic, as DEEPAK pulls out the bag, and

follows him towards the door. They push their way over people
LL

sleeping on the floor and get off. AMMA and BABA have already
got off and are walking towards the exit. The train horn
sounds - indicating the train will leave soon. Once off,
DEEPAK immediately moves towards the station exit.

DEEPAK (cont'd)
P

Jaldi chalo! Aakhri bus hain, nikal

jaayega.
 10.

JAYA stops momentarily disoriented by his voice. The train

starts moving out of the station. JAYA looks at the train go
and then turns to see DEEPAK near the exit shouting -
AA
DEEPAK (cont'd)
Arre kaa hua! Chalo!

JAYA rushes towards the exit to catch up with DEEPAK.

MI
14 EXT. MURTI BUS STAND - NIGHT 14

The night bus to Surajmukhi is about to leave. "Pushpa

Travels" is written prominently on the outside. DEEPAK waits
outside with the luggage and lets JAYA climb on to the bus
R
first. Once DEEPAK gets inside, he sees that most of the
seats are taken. AMMA and BABA sit down on the only two empty
seats next to each other. DEEPAK gestures JAYA to sit down on
an empty seat towards the front and he himself sits down on
KH
the only other seat available, a couple of rows behind her.

15 I/E. MOVING BUS 2 - NIGHT 15

The bus starts moving and makes its way through the dark
under-lit roads - with weird disco lights and Bhojpuri music
AN

playing in the bus.

16 EXT. SURAJMUKHI BUS STOP – NIGHT 16

GUNJAN, BILAS and RAGHU are waiting for the bus to arrive at
a bus stop by the main road opposite a tea stall. There are
FI

five band-waalas sitting on their haunches, looking bored and

smoking beedis. BILAS looks impatient, he is checking his
watch time and again. GUNJAN looks at him and gestures
'what’s wrong?', BILAS replies apprehensively.
LM

BILAS
Agle maheene hamra bhi biyah hain na.
Suhaagraat kaa bahut tensan hai yaar,
Deepu aaye toh system thoda
samjhenge.
S

GUNJAN rolls his eyes as one band-waala walks up to them.

BAND-WAALA 1
Bhaiyya hum jaaye?
LL

GUNJAN
Bhapp! Abbe tumre bharose gaana
taiyyar hua hain aur tum...
(spots the bus)
Aa gayi, bus aa gayi!!
P

We see the bus approaching at a little distance. The three

friends and bandwallahs get up. The bus, with the prominent
"Pushpa Travels" sign, stops.
 11.

The band launches into a popular tune. DEEPAK and JAYA step
down to the loud off-key melody. The boys hug DEEPAK and
welcome his bride.
AA
JAYA looks back to see if the parents have alighted but is
caught in the commotion and is forced to pay attention to
RAGHU.

RAGHU
Bhauji swagat hai!
MI
She does a namaste. They take the luggage from DEEPAK's hand
and start walking towards the village like a small baraat.
BILAS tries to find a moment with DEEPAK while walking…
R
BILAS
Aur sab...
(clears his throat)
Jo hai… sahi se… matlab… sahi se ho
KH
gaya? Kaise kiya…

But the conversation is interrupted by RAGHU.

RAGHU
Arre abhiye sab pooch lo ge kaa?
Chalo ab jaldi!
AN

BILAS
(softly, to himself)
Phak saala!

They start walking towards the village. The band keeps

playing some irrelevant song. JAYA is following the men, and
FI

seems confused. From her POV, under the ghunghat, she sees
DEEPAK and the others - calf-down walking 4 steps ahead of
her. Like PHOOL, JAYA sees DEEPAK's trousers and shoes only.
She stops for a moment as she notices a milestone on the road
LM

which says ‘SURAJMUKHI 1 KM’ in Hindi. The boys stop and look
behind towards her. JAYA resumes walking.

17 I/E. DEEPAK’S HOUSE, COURTYARD - NIGHT 17

They approach a little village house has been modestly

S

decorated with a sparse toran, garlands and some diyas. Some

neighbours have gathered outside the gate in the lane. Seeing
DEEPAK and JAYA approach, two 6-8 year old kids BABLU and
HARI who were at the gate, shout facing the house -
LL

BABLU
Nayi chachi aa gayi! Nayi chachi aa
gayi!

Upon hearing this, the women in the courtyard get busy. Some
P

of them start playing dholak and manjeera with full gusto and
start a traditional song to welcome the bride. All the women
present are in small, medium or big veils.
 12.

The older women have smaller veils than the younger. Among
these women we see DADI and YASODA.
AA
DEEPAK’s father VIDUR (55) feels relaxed on seeing them.

VIDUR
Bahut der kiye Deepak?

DEEPAK
Bakhat pe kuch chalta kahaan hai ee
MI
des mein Bauji. Parnaam. Godh laagi
Amma.

JAYA and DEEPAK take blessings and enter the gate of the
house, and the bandwalas give way to the dholak and manjeera.
R
Grandmother DADI (65) is happy to see them, while grandfather
DADDA (70) - who always sleeps on a charpai in the courtyard -
just watches. DEEPAK and JAYA take their blessings.
KH
DADI
Hum to kabse chinta mein the ki kaa
huwa. Yasoda! Mandir me mannat ka ek
tho diya baar de!

YASODA
(aside, but loudly)
AN

Roti se jaada ghee inke mannat ka

diya pi jaata hai! Aye Poonam, puja
ka thaal leke aa.

DEEPAK
Godh laagi dadi. Dadda parnaam.
FI

DADDA, eyes half open, simply lies on the cot, hardly

flinching. DADI nudges him.

DADDA
LM

Jaagte raho!

DADI
(Face palms)
Arey aaj toh ‘Jeete raho’ kah dete!

DEEPAK’s sister-in-law POONAM (28) brings the puja ka thaali

S

as YASODA leads JAYA to the courtyard decorated with a big

rangoli and lights for their welcome.

DEEPAK
LL

(to Poonam)
Sarvan Bhaiyya sahar pohoch gaye kaa
Bhauji?

POONAM nods. YASODA and others place a pot filled with rice
and a plate of red alta on the rangoli. As per tradition,
P

JAYA kicks the pot to spill the rice and then steps on the
plate. The singing continues as JAYA is escorted by YASODA
further into the courtyard, leaving behind a trail of red
footsteps.
 13.

JAYA is in a deep confusion as she listens to DEEPAK’s

conversation with his family members. She tries to peep out
through the opening of her veil, and is looking uncomfortable
AA
and fidgety.

DADI
Hum puja karenge!

YASODA
(muttering)
MI
Jinagi khatam ho gaya, ichha khatam
nahi huwa. Lo kar ko!
(to Poonam)
Humre terahvi ka puja bhi inhi se
karvaana!
R
DADI and Yasoda have a little banter regarding the puja
thali. Finally, Yasoda takes the thali and does an aarti on
DEEPAK. She puts a tika on DEEPAK’s forehead and turns to
KH
JAYA.

YASODA (cont'd)
Ghunghat ab upar kar lo beta, sabhi
gharwaale hi hain!

YASODA has sindoor in her fingers ready to apply a tika to

AN

her, holding the thali. But JAYA is visibly flustered and

fidgety. YASODA notices this.

YASODA (cont'd)
Ka hua? Ghunghat hataao Phool…?

Everyone looks at her, puzzled. We build the moment. JAYA

FI

stands there like a stone for a while, and then slowly lifts
her veil. Everyone is stunned. DADI’s smile changes to shock.
YASODA gasps in audible shock and drops the thali with a loud
clatter.
LM

YASODA (cont'd)
Arre Devi maiyyaann!

We see JAYA for the first time. JAYA (20) looks nervous, but
her pretty eyes have a kind of intelligence as she tries to
figure out how this happened. DEEPAK stares at JAYA in
S

disbelief and shock. No one can say anything, and the

musicians go silent as everyone stares at her.

YASODA (cont'd)
LL

Ee kaun hain re?!…

DEEPAK
Tum… tum… kaun?

JAYA
P

Hum…tum… hum tirain mein…

 14.

17A DEEPAK freezes, flashing back to the sequence of events in 17A

the train - his hurry when reaching for the bag, shaking her
hand thinking its PHOOL's and going through the crush of
AA
people, and getting off the moving train. He realises at that
moment that he must have left PHOOL on the train and brought
home the wrong bride. He stares at her in shock, and she
looks back at him, almost reading his mind.

DEEPAK
Toh hamri Phool kahan hain!?
MI
18 I/E. MOVING TRAIN - NIGHT 18

PHOOL is still asleep by the window on the train as it

R
hurtles on in the darkness, PARDEEP asleep next to her.

19 I/E. DEEPAK’S HOUSE, COURTYARD - NIGHT 19

KH

BABLU stares at JAYA, as a curious crowd looks on. In the

stunned silence of the house we hear BABLU -

BABLU
Chachi badli ho gayi? Chachi badli ho
gayi!
AN

His friend HARI runs behind him chanting the same tune.

HARI
Chachi badli ho gayi!

YASODA
FI

Ay Bablu, ruk! Poonam, rok usko!

The crowd slightly disperses as gossip begins on the matter.

A shell shocked DEEPAK almost collapses as he sits on his
LM

haunches. His friends surround him.

RAGHU
Bhauji hi gumaaye diye?

BILAS
Oh phak!
S

DEEPAK sits holding his head in his hands. JAYA feels bad for
him, looking sort of apologetic for the situation. YASODA
glares at JAYA while DADDA is chuckling, enjoying the
LL

confusion from his khaat. VIDUR is enraged.

VIDUR
Humre baap dada bhi nahi suney aisa
gajjab kiye ho tum Deepak! Arre saath
kaun chal raha hai woh kaise pata
P

nahi chala?
 15.

DEEPAK
Bauji hum aage the... ee peeche.. toh
ab hum aage hi dekhenge na?
AA
YASODA
Tu aage tha, aur ee peeche to ee
kaahe nahi dekhi tumko?

VIDUR
Arre, saamaan badal jaaye, juta badal
MI
jaaye, cycle-chhatari-ataichi kisi
aur ka uthaaye le aadmi. Haen?!
Doosre ka gharwaali kaise utha laata
hain koi?
R
DEEPAK
(trying to make sense
of it)
Ab Bauji… kad-kaathi ek jaisa, laal
KH
saadi ek jaisa… aur phir ghunghat tha
toh…

VIDUR
Chup ekdum!… Ghunghat tha!

There's silence.
AN

JAYA
Theek toh kah rahe hain.

Everybody turns to look at JAYA, stunned at the audacity of a

woman speaking out of turn. The women are particularly
shocked, but JAYA continues to their embarrassment -
FI

JAYA (cont'd)
Iss tambu jaise ghunghat ke paar naa
toh ladeej ki sakal dikhti hai, naa
LM

ladeej ko joote ke alaawa kuch dikhta

hai…

DADI
Arre toh joota hi pahchaan leti?!

JAYA
S

Pati bhi naya, joota bhi naya… Kaise

pahchaanti? Ek toh tirain mein itna
bheer! Upar se dabba mein teen-chaar
saadiwala joda aur tha. Koi bhi
LL

gadbada nahi jaayega kaa?

Awkward silence. DEEPAK notices how bravely she stood up for

him despite being in trouble herself.

JAYA (cont'd)
P

Aur woh jo tirain mein rah gayi hain

woh bhi toh ghunghat mein hain. Usko
toh saayad pata bhi nahi hoga ki ye
nikal gaye hain.
 16.

DEEPAK looks panic stricken.

DEEPAK
AA
Aise kaise pata nahi chala humko?!
Bauji... hum tesan ja rahe hain.

DEEPAK rushes to leave.

RAGHU
Ruk Deepu! Hum bhi aate hain.
MI
(turns to Gunjan and
Bilas)
Chal!

GUNJAN, who seems taken with JAYA, looks at her and remarks -
R
GUNJAN
Inka ka karein…?
KH
Everyone exchanges a look, undecided. DEEPAK and RAGHU leave
on their cycles in the background.

GUNJAN (cont'd)
Inki bhi toh dhundhaai ho rahi hogi?
Saath le chalein?
AN

VIDUR
(bursts out)
Itta raat ko double seat cyclebaaji
karoge kisi aur ki aurat ke saath!
Chapaat saala! Ee raat yehi rahegi.

The women are taken aback. YASODA wants to object but DADI
FI

jumps in complaining -

DADI
Ghar-baar, jaat paat ka kuch pata
LM

thikaana hai nahi, aise kaise ghar

mein... (rakhlenge)

VIDUR
(interrupts)
Ab jab tumra pota jaat paat pooche
bina haath pakad ke le aaya hain toh
S

jimmedari banta hain ki nahin? Ki

chhod de bechaari ko rasta pe?

POONAM nods. VIDUR turns to JAYA -

LL

VIDUR (cont'd)
Kaa naam hai tumra?

JAYA looks around for a moment.

P

JAYA
Pu... Puspa. Puspaaraani.
 17.

VIDUR
Pati ka naam?
AA
JAYA is fidgety and looks down at her hand.

YASODA
Koi aurat apna munh se pati ka naam
leti hai kaa?

JAYA
MI
Pankaj.

The women of the house, especially POONAM exchange a look,

stunned at her coolness and composure.
R
VIDUR
Maika?

JAYA
KH
Sambelaa.

VIDUR
Oo kidhar padta hain?

JAYA
Ch...Chhatisgarh.
AN

VIDUR looks at GUNJAN. This is clearly going to be tough.

VIDUR
Kaun tesan sasuraar ja rahi thi?

JAYA takes a moment to think, then shakes her head.

FI

VIDUR (cont'd)
Ghare pe kauno phone hain?
LM

JAYA
Haan...

VIDUR
Number bataao. Likh re Gunjan.

He looks for a small diary and pen and notes.

S

JAYA
6.5.2.3.5...
LL

BABLU
(to Hari)
Badalwa chaachi to angrej baa!

She stops taking a calculated pause, he waits then looks up.

P

GUNJAN
Aage?
 18.

JAYA
(as if recalling)
7.9.
AA
BILAS
79 unaasi hota hai ki nawaasi?

JAYA
Unaasi.
MI
GUNJAN
Itta bada aankda yaad raha - woh bhi
angreji mein, bahut bada baat hain.

VIDUR
R
Tesan pe kauno phone wala khula ho
toh inke ghar khabar karo… Bhaago ab!
Aye Poonam, ee tumre kamra mein
rahegi.
KH

POONAM nods. GUNJAN leaves with BILAS. The distant sound of a

train overlaps on to the next scene…

20 INT. TRAIN AT PATILA RAILWAY STATION - NIGHT 20

AN

The train stops at Patila Railway Station. HARKUMAR wakes up

PARDEEP.

HARKUMAR
Chalo beta. Saaman utaaro!

PARDEEP tugs PHOOL’S arm thinking its JAYA -

FI

PARDEEP
Utho ab! Tesan aa gaya…
LM

PHOOL opens her eyes disoriented. PARDEEP is managing the

bags, as his parents get up and go with the exiting crowd.
PHOOL and PARDEEP get down after them. They go in separate
directions on exiting.

20A I/E. PATILA RAILWAY STATION WITH TRAIN - NIGHT 20A

S

PARDEEP spots his parents ahead and puts their bags down next
to them. PHOOL realises DEEPAK is not around and begins
looking for him inside the train through the window bars. In
LL

the background PARDEEP looks around and shouts.

PARDEEP
Jayaaaaaa!

The crowd scatters as the train whistle blows. PHOOL panics,

P

lifts up her veil to see more clearly. PARDEEP keeps shouting

”Jaya! Jaya!”. As the crowd thins he spots PHOOL in her
bridal attire and mistakes her for JAYA. He goes towards her.
 19.

PARDEEP (cont'd)
Arre o Jaya!!!
AA
PHOOL turns to him, and he sees her face.

PARDEEP (cont'd)
Maaf karna, humko laga kauno aur
hain…
(interested in a
creepy way)
MI
Kho gayi ho?… Hum madad kar de?

PHOOL is distinctly uncomfortable and moves away from him.

The train starts pulling out of Patila. PHOOL scans the faces
of everyone sitting by the window as the train moves faster
R
and leaves the station. She stands there, shocked, wondering
what to do. She sees that people are moving towards the exit,
so she heads that way.
KH

21 I/E. PATILA RAILWAY STATION - MOMENTS LATER 21

PARDEEP walks towards his parents who have settled on a

bench, tired of waiting.

HARKUMAR
AN

Mili?

PARDEEP
Nahi.

He digs in his pocket for his phone.

FI

PARDEEP (cont'd)
Bhakk saala - phone bhi ohi ke paas
hai!
LM

SARLA
Hamko de dete, par nahi, biwi aate hi
amma toh kaatne daudti hai na!

PARDEEP’s cronies SHAMBHU, SUDHIR & MOHIT approach with a

coolie, touch parents' feet etc.
S

SHAMBHU
Kaa hua Pardeep bhaiyya? Paresaan
dikhte ho?
LL

PARDEEP
Jaya nahi mil rahi sasuri. Dekho
jara…

As the cronies get going to search, PARDEEP calls back

P

SHAMBHU.
 20.

PARDEEP (cont'd)
Oye Sambhu! Edhar aa. Duno ko leja
Gokulpur.
AA
SARLA
(as they leave)
Theek se dekhna, humra chadhaaya huwa
mangalsutra-kangan samet dahej ka
pandrah tola sona pahni hai… Ek toh
thakaa haara sab, ab ee dhoondhai ka
MI
khitpit!

SHAMBHU and the COOLIE take off with the parents. PARDEEP
settles down to drink from a quarter bottle after telling the
others to search for JAYA.
R

22 I/E. PATILA RAILWAY STATION - NIGHT 22

KH
PHOOL comes to the exit gate desperately looking for DEEPAK.
A drunkard lies on the ground and stares at her. Outside, a
group of rickshaw drivers accost her and start asking her
loudly where she wants to go, etc. PHOOL is terrified and
rushes back inside to hide.
AN

23 EXT. SURAJMUKHI COUNTRYSIDE- NIGHT 23

Riding along the dark mud path DEEPAK and RAGHU cross the
closed small tea stall of Surajmukhi bus stand on their
cycles, and vanish into the darkness.
FI

24 I/E. PATILA RAILWAY STATION - NIGHT 24

MOHIT and SUDHIR look for JAYA in different sections of the

station : toilet, train shed, behind closed stalls on the
LM

platform. As they cross the main section shouting "Jaya",

MOHIT sees PHOOL sitting on a bench, her veil pulled back.

MOHIT
Sudhir! Ee laal ‘engine’ koun hain
re? Patri chhod, tesan pe kaahe chadh
baitha hai? Bhabhi toh nahi?
S

SUDHIR
Bhabhi hoti toh ‘jaya jaya‘ ki pukaar
pe jawaab deti na?
LL

(Mohit advances
eagerly)
Chal jaldi, bhadkega Pardeep! Ek toh
suhaag raat pe biwi kho gaya hain.
Pursaatan dhara ka dhara rah jaayi
sarir mein!
P

They snigger as they cross her from behind and start

searching again. PHOOL has heard their conversation. She is
frightened and begins to look around for help.
 21.

MOHIT and SUDHIR look in and around the ladies' toilets, then
finally give up. As they walk back they look across to the
bench where PHOOL was seated. But it is empty now.
AA
MOHIT
Arre! Kidhar gayi? Bhoot thi kaa?!

SUDHIR
Chal be! Bhoot-voot kuchho nahi hota.
MI
MOHIT
Oo dulhan ke jode mein thi dekhe nahi
kaa? Suna hai - suhagraat pe jo aurat
ka santos na mile pati se, uu daayan
bannkar raat bhar bhatakti hai!
R
SUDHIR
Bhakk saala! Aurtan mein koi santos-
vantos na hoye! Khaali hoye hum, bhar
KH
jaaye woh! Phir kaahe daayan banegi
sasuri? Chal!

PHOOL peeps out from behind a penguin-shaped dustbin which

says ‘USE ME’ after they cross her. MOHIT and SUDHIR reach
the main exit where PARDEEP comes walking from the other
side, downing what’s in the quarter bottle.
AN

SUDHIR (cont'd)
Kahin nahi hai, aakhir tak dekhe.

PARDEEP
Bhaad mein jaye. Kal tak nahi mili
toh thaane aur uske maike khabar bhej
FI

denge. Waise bhi dahej ka fatfatiya

toh aa chuka hai ghar mein!
(everyone laughs)
Chal, hum Dolly ke ghar ja rahe hain…
LM

(seeing Sudhir’s
surprised reaction)
Ab suhagraat hai, manaana to padega
na?

They all laugh naughtily as they go out through the main

exit. Hearing the fading laughter, PHOOL breathes a sigh of
S

relief and leaves to find a better place to hide.

25 I/E. MURTI RAILWAY STATION - NIGHT 25

LL

DEEPAK and RAGHU reach the station. They park their bikes
outside and walk towards the station.

RAGHU
Murti tesan utarna hai bataaye the ka
P

Bhauji ko?
 22.

DEEPAK
Bataane ka kaa matlab? Uske ghar se
motorcycle pe Ranighat, phir naav se
AA
Mahadev bus adda, phir bus se pohuche
kauno khet ke paas, jahaan estool se
chadhe tirain mein! Phir tirain se
Murti tesan tak, ooha se bus pakad ke
Surajmukhi bus adda, phir paidal -
tab toh ghar padta hai hamaara!
MI
RAGHU
(nods)
Itta yaad rakhne ka dimaag thodi hota
hai ladeej log mein.
R
25A I/E. MURTI RAILWAY STATION - NIGHT 25A

They reach the main waiting area. The station seems empty
KH
except for a guard sleeping under a blanket. DEEPAK goes
towards him while RAGHU goes ahead to search elsewhere.
DEEPAK shakes the GUARD. He wakes up and pulls down his
blanket.

DEEPAK
Phool naamki kisi kaniya ko dekhe ho?
AN

Laal sari pahni hui hai?

The GUARD shakes his head and goes back to sleep under the
blanket. DEEPAK walks away dejectedly. GUNJAN and BILAS
arrive and all of them search in different areas
unsuccessfully : relay room, washroom, different corners of
the platform.
FI

The friends regroup and walk towards the exit, feeling

frustrated. DEEPAK looks like he is about to break down.
LM

RAGHU
Hum dhoondh nikaalega Bhauji ko. Dil
chhota mat kar Deepu…

They exchange a helpless look. As they cross the waiting area

again, DEEPAK remembers something and turns to GUNJAN.
S

DEEPAK
Oo... Jo kaniya ghar mein hai... Oo
ka naam kaa hai?
LL

GUNJAN
Puspa.

DEEPAK goes to wake up the sleeping guard again.

DEEPAK
P

Kauno Puspa naam ki kaniya ko

dhoondhte aaya tha kaa?
 23.

The GUARD once again pulls down the blanket, he seems really
irritated.
AA
GUARD
Khoyi kaun hai bhai, Phool ki Puspa?

DEEPAK has no energy to explain. He exits with his friends.

26 INT. DEEPAK’S HOUSE, POONAM'S ROOM - NIGHT 26

MI
JAYA is lying awake on a mattress that has been put for her
in POONAM's room. It is dark, POONAM and BABLU are asleep on
the bed. She can hear the last murmuring conversation of
YASODA and VIDUR, and then there’s silence. JAYA waits for a
R
few moments. Then she gets up and tiptoes out of the room.

26A INT. DEEPAK’S HOUSE - DADI'S ROOM - NIGHT 26A

KH

JAYA crosses DADI's room where she is fast asleep and goes
out into the veranda.

26B INT. DEEPAK’S HOUSE - VERANDA - NIGHT 26B

AN

An oil lamp is still burning in the kitchen nearby. By the

dim light she reaches into her bag and takes something out.

GAURI
Mooooo!

JAYA turns to see GAURI, the buffalo tied next to the

FI

verandah, staring at her. She tiptoes even more carefully

towards the kitchen.

DADDA
LM

Jaagte raho!

JAYA stops, paralysed with fear. She turns around to see

DADDA sleeping on a charpai in the middle of the verandah,
his eyes half open. She cannot make out if he is asleep or
awake. Seeing him quiet she tiptoes out to a lamp in the
courtyard and holds up what’s in her hand - its PARDEEP’s
S

mobile phone. She takes out the SIM card and puts it into the
flame and watches it melt. She smiles mysteriously.
LL

A27 I/E. PATILA RAILWAY STATION - MORNING A27

Early morning, a train hurtles past Patila Station without

stopping. No one is on the platform except a sweeper sweeping
away. The sound carries over to…
P
 24.

27 INT. PATILA RAILWAY STATION, LADIES TOILET - MORNING 27

Inside the ladies' toilet, PHOOL wakes up. She has spent the
AA
night sitting on a covered commode. She comes out into the
corridor of the toilet and checks her face in a dirty mirror.
Her kajal has smudged leaving tear-marks on her cheeks. She
removes her bindi and sticks it on her hand. She splashes her
face with water, puts on her bindi, adjusts her ghoonghat and
peeps out of the main door.
MI
27A EXT. PATILA RAILWAY STATION - MORNING 27A

PHOOL walks on the main platform. The station is empty apart

from a sweeper and a few coolies. She looks at her mehendi
R
and thinks about DEEPAK. Suddenly she hears a train approach
the station. She stands up with some hope and anxiety, but
the train doesn't stop here. She looks at the passing train,
hopelessly and turns around.
KH

She sees a disheveled handicapped man at her feet on a wheel

board and shrieks in terror and runs away from him. The man
drags himself on the board and follows her. PHOOL keeps
running in raw terror - and bumps into a young boy called
CHOTU. She hides behind him. CHOTU has the cheery and
confident air of an adult.
AN

CHOTU
Aye Abdul! Kaahe peechhe pada hai
bey? Darr gayi dekh bechaari...

PHOOL peeps out from behind CHOTU and looks at ABDUL with
tears in her eyes.
FI

CHOTU (cont'd)
Gaadi se gir gaya tha toh pair kat
gaya... Eeha thoda aage mila tha
LM

patri par. Tab-ey se heeyan hai.

Jitna dikhta hai utna daraavna hai
nahi. Kahaan jaana hai tumko?
(she just stares at
him, helplessly)
Kho gayi ho?
(she nods hesitantly)
S

Hum madad karenge, chalo... Arre

chalo! Daro mat... Aao...

PHOOL is unsure, but CHOTU is just a child so she follows

LL

him, still suspicious of ABDUL.

28 INT. DEEPAK’S HOUSE, YASODA'S ROOM - MORNING 28

A bunch of keys dangle on the door of an almirah. Someone is

P

watching YASODA as she arranges something inside the locker.

The POV scans the locker, taking note of what is in it.
 25.

YASODA feels the gaze on her back and turns around - to see
JAYA standing unusually close to her with a small bundle of
clothes and jewellery. She has changed into POONAM’s sari.
AA
YASODA
Arre! Hum darr gaye!

YASODA turns around and notices JAYA in a different sari.

JAYA
MI
Poonam didi ne sari di mujhe. Amma
ji, ee sambhaalkar rakh dogi? Jaate
bakhat le lenge aap se.

YASODA hesitates, then takes it from her and puts it in the

R
almirah. Outside, DEEPAK’s friends have come on their cycles
and are ringing the bell to call him.

DEEPAK (O.C.)
KH
Aaya!

YASODA shuts the cupboard and rushes out.

YASODA
Ruk Deepu! Du tho roti leke ja…
AN

JAYA looks at the keys dangling, thinking fast.

29 I/E. DEEPAK’S HOUSE, COURTYARD - DAY 29

Outside, YASODA rushes into the kitchen. VIDUR is about to go

out when he sees DEEPAK emerge from inside the house.
FI

VIDUR
Idhar aao.
LM

DEEPAK goes towards VIDUR, who checks him from head to toe,
notices the watch and the shirt.

VIDUR (cont'd)
Ghadi aur naya kameez utaar lo… varna
police utaar lega… thaana mein
samasya bataao haisiyat nahi.
S

DEEPAK obediently begins to change the shirt as VIDUR leaves.

JAYA comes out of the room adjusting her pallu and veil and
LL

comes face to face with DEEPAK as he buttons his old kurta.

Its an awkward moment for DEEPAK who is feeling very guilty.

DEEPAK
Tum bhi… thaana chalo? Ekke baar mein
saara poochha-paachhi ho jaayega.
P

She thinks a moment, then shakes her head firmly.

 26.

JAYA
Darr lagta hai.
AA
DEEPAK
Kal raat toh koi phone nahi mila, hum
aaj tumre ghar khabar kar denge ki
tum theek thaak ho.
(regretfully)
Hum apna galti par bahut sarminda
hain. Tum fikar nahi karna, Phool
MI
mile na mile, hum tumko sahi thikaane
pohocha denge, ee baada hai tumse.

She nods, touched by his earnestness. They stand awkwardly

for a moment. YASODA comes and gives him a rotis tied up in
R
cloth which he puts it in a bag and leaves. JAYA watches him
go, looking thoughtful.
KH
30 EXT. VILLAGE SQUARE - DAY 30

VIDUR is sitting with a few elders of the village and a

neighbour, SATISH (50). DEEPAK and his friends cycle past
them as they play their dice game. VIDUR looks worried.

VIDUR
AN

Kabhi jindagi mein nahi socha tha ki

thaana ka chakkar lagaana padega.

SATISH
Jaun paristiti hain chaaro taraf
Bidur Bhaiyya, thaana chhodo, saayad
adalat aur jail bhi jaana pade
FI

Deepakwa ko.

VIDUR
Haen?!
LM

SATISH
Galti se jis aurat ko saath leke aaya
hai Deepak - oo bhi toh saadisuda
hai? Deepak ke jaisa uska gharwala
bhi to Puspaa ko khojte thaana
jaayega. Oo agar bole ki Deepak uski
S

biwi ko jabran bhaga kar le aaya!

Utha liya! Agvaa kiya ladki ko,
toh?...
LL

VILLAGE ELDER 1
Arre bhagwaan!

SATISH
Ab sarkar policewaale ko danda di hai
pichhwaade mein daalne ko, toh bina
P

ghusaaye maanegi thodi?

VILLAGE ELDER 2
Satis khelo bhai, tumri baari hai.
 27.

VIDUR looks very worried.

AA
31 INT. STATION MASTER’S OFFICE - DAY 31

In a register meant for “Khoya hua saamaan” there is a list

of lost articles : Peeli attaché, Hara canvas bag, mobile
phone, ghee ka dabba. 'Srimati Phool Kumari' gets written
next on the list. CHOTU and PHOOL sit in front of the STATION
MASTER.
MI
STATION MASTER
Pati ka naam?
(she stares at him)
Arre ab naam nahi logi toh dhoondenge
R
kaise?

Phool shows her hand, where DEEPAK’s name is written with

mehendi, STATION MASTER writes in his diary.
KH

STATION MASTER (cont'd)

Deepak?
(she nods)
Tum nikli kahaan se thi?

PHOOL
AN

Ghar se...
(he reacts)
Gangapur se.

STATION MASTER
Iss des mein jahaan Gangaji nahi
behta ooha bhi har chaar gaanv par
FI

Gangapur padta hai. Du Gangapur to

yehi Patila mein hai. Tesan kaun sa?
Rail gaadi kaha se pakdi thi tum?
LM

PHOOL
Khet mein se...
(he reacts)
Humre gaanv ko kauno tesan nahi
lagta. Khet ke beech mein rail ka
patri tha ooha se chadhaaya humko.
S

STATION MASTER
Aur utri Patila?
(she nods)
Pati ke saath utri na tum?
LL

(she nods)
Phir woh gaayab ho gaya?
(she nods)
Toh matlab chance hai ki tumhaara
sasuraal Patila mein hi hai,
baraabar?
P

PHOOL takes a moment to process the logic. CHOTU nods so

PHOOL also nods nervously.
 28.

STATION MASTER (cont'd)

Hum aas paas ke gaon ka naam lete
hain, saayad kauno yaad aa jaaye.
AA
(Phool listens)
Chhatihari-Garauni-Jiul-Khabariya-
Banapuri-Riwal-Netiyali-Mangatiya-
Lagauli-Silpainti… in mein kauno naam
suni ho?

PHOOL shakes her head and tries to remember.

MI
PHOOL
Kauno phool ke naam pe tha...
Sasuraal...
R
STATION MASTER
Par phool toh tumhara naam hai na?
(She is blank)
Ee ka to naam, number kuchho yaad
KH
nahi, hum kaise dhoondhe? Aye Chotua,
isko thaane hi le jaao.

A terror grips PHOOL on hearing the police’s name.

PHOOL
Nahi hum thaane nahi jaayenge, oo
AN

humka dhoondhte huye aayenge... Par

hum thaane nahi jaaenge!

STATION MASTER
Kaahe nahi jaaogi?

PHOOL speaks, as if reminding herself.

FI

PHOOL
”Jewar chori, dui dukh paana,
chhota dukh chori, bada dukh thaana.”
LM

The STATION MASTER and CHOTU exchange a look.

32 I/E. MURTI POLICE STATION - DAY 32

A WOMAN is singing a folk song in a police station, and we

S

reveal that she is sitting in front of INSPECTOR MANOHAR, the

chief at Murti Police Station who is counting a bundle of
notes. She sings despite the visible stress on her face. When
DEEPAK, GUNJAN, RAGHU and BILAS enter the police station, the
LL

singer stops singing and looks at them.

MANOHAR
Arre… Gaane ka dus hajaar kam kiye
hain madam.
P

MANOHAR gestures her to continue singing, so she resumes. A

tough woman cop BELA JI directs DEEPAK and friends to sit on
a bench by the door, then leaves. MANOHAR moves his head to
the tune, all the while counting money.
 29.

He finds two torn notes, gets them exchanged with the

manager, then makes a neat bundle of the money and puts it
his front pocket. He gestures to a COP, and a YOUNG BOY of
AA
around 19-20 is brought forward by a CONSTABLE. MANOHAR looks
at the boy.

MANOHAR (cont'd)
Dobaara pi ke maar pitaayi nahi
karna, mummy ko problem hota hai.
MI
The SINGER WOMAN gets up to leave, MANOHAR too gets up, folds
his hands in namaskar, touches her feet and she leaves with
her son, relieved.

A constable gestures to DEEPAK and his friends that they can

R
go up to the inspector. GUNJAN takes charge and walks up to
the table.

GUNJAN
KH
Sir, hum Gunjan.
(Manohar ignores him)
Hum MLA sahab ke khaas hain…

MANOHAR gestures for him to sit, GUNJAN points to DEEPAK.

GUNJAN (cont'd)
AN

Ee hamra dost Deepak Kumar, ee ka

teen din pahle biyaah hua, kal raat
vidaa kara ke laut raha tha. Raaste
mein biwi kho gayi.

MANOHAR looks at DEEPAK and asks -

FI

MANOHAR
Kaise be? Hum to bahut saal se try
kar rahe hain, kho hi nahi rahi
sasuri…
LM

The constables start laughing. The senior constable DUBEY

tells BILAS and RAGHU:

DUBEY
Sir majaak like karte hain…
S

The boys start laughing when abruptly MANOHAR stops smiling

and says -

MANOHAR
LL

Pandrah hajaar.

GUNJAN looks at DEEPAK, who digs in the hidden pocket in his

pants and takes out 5 thousand and hands it to MANOHAR, who
counts and looks at GUNJAN.
P

MANOHAR (cont'd)
Paanch hai, baaki ka dus?
 30.

BILAS
(interrupting)
Ee bhi gaana gaa dega sir…
AA
MANOHAR turns his cold gaze to BILAS and says -

MANOHAR
Tum gaao…

BILAS
MI
(suddenly awkward)
Oh phak. Humko nahi aata…

MANOHAR
(smiles)
R
Hum sikhaaye dete hain…Bela Ji!

Bela Ji hits BILAS with a lathi on his posterior. Bilas

shouts - "aaaaa!". MANOHAR turns back to GUNJAN.
KH

GUNJAN
Sir aap kahe to hum MLA sahab se
phone kara de?

MANOHAR sighs, he knows he will have to pursue the case if

MLA calls. MANOHAR puts the money in his pocket and says -
AN

MANOHAR
Dubeyji, register laaiye.

CUT TO:

DUBEY writes in the register, DEEPAK sits and narrates his

FI

story, MANOHAR is all business now. need to add Deepak saying

his name

DEEPAK
LM

Sahab hum Surajmukhi gaon se hoon.

Chaar roj pahile, sattaayis tarikh
ko, mera saadi hua, Gangapur ka
Phoolkumari se. Saadi ke agla hi
subah humra phamily sab waapas laut
aaya. Hum du din sasuraal mein rukey.
S

MANOHAR
(sipping his tea)
Biwi ke saath du din rahe na?
(DEEPAK nods)
LL

Chalo saadi ka kharcha thoda toh

vasool hua!

DUBEY chuckles loudly, and DEEPAK is embarrassed.

DEEPAK
P

Kal bidaai tha. Hum Belpur-Katariya

express par chadhe aur Murti tesan
utrey. Phir bus pakadke ghar pahuche.
(MORE)
 31.

DEEPAK (cont'd)
Ghar pohuch ke dekha, toh jisko hum
ghar le aaya oo humri dulhan Phool
nahi thi!
AA
MANOHAR
Toh kaun thi?

DEEPAK
Puspa, kauno aur ka dulhan.
MI
He exchanges a look of interest with DUBEY.

MANOHAR
Arre bhenchod! Matlab siraf apniwaali
ko kho nahi diye ho, doosre kisiki
R
utha bhi laaye ho!?
(cops laugh)

DEEPAK
KH
Jaan boojh ke nahi kiye sahab...
galti se. Sapna mei bhi nahi pata ki
oo Phool nahi Puspa hai.

MANOHAR
Ee Puspa kiski biwi hai bey?
AN

GUNJAN
Kauno Pankaj ki.

MANOHAR
Accha?… Ladki ka kaa naam bataaya?

DEEPAK
FI

Pusparaani.

MANOHAR
Usko kaahe nahi laaye?
LM

DEEPAK
Thaane ka naam se dar gayi sir.

MANOHAR
Thaane mein kaun sa dar ka baat hai
bey?
S

DEEPAK looks back at BILAS who is still grimacing in pain.

MANOHAR (cont'd)
LL

Apni waali ka photo hai?

DEEPAK
Hai.

DEEPAK takes out a photograph wrapped up in a piece of

P

newspaper from his kurta's pocket. He opens and gives it to

MANOHAR. He looks at the photograph while taking a sip of tea
and almost freezes. He somehow manages to gulp down the tea -
speechless.
 32.

DEEPAK and PHOOL stand side by side in a wedding dress in the

photograph. But PHOOL is in a big veil covering her head,
face and almost half of the upper body. MANOHAR looks at the
AA
photograph and then at DEEPAK.

MANOHAR
Bahut sundar hai…

DEEPAK feels proud and shy, while MANOHAR sighs in despair at

the lost sarcasm. He returns the photo.
MI
MANOHAR (cont'd)
Kauno nisaani hai? Til? Massa? Chot
ka nisaan?
R
DEEPAK
Naak ke nichey til hai. Sarson
baraabar.
KH
MANOHAR
Photo mein miss kar gaye hum… Likho
til hai naak ke nichey, sarson
baraabar.

Again the sarcasm is lost on DEEPAK.

AN

MANOHAR (cont'd)
Kitte ka jewar pahni hai?

DEEPAK
Sabhey utarvaa liye the, bas mangal-
sutra hai.
FI

MANOHAR
Aur jisko ghar le aaye ho, oo kitte
ka pahni hai?
LM

DEEPAK
Oo pahan rakhi hai theek-thaak.

MANOHAR processes this information with interest.

MANOHAR
Kahaan ki hai?
S

GUNJAN
Chhatisgarh ki. Maike phone hai, par
har baar galat number lag raha hai.
LL

Aur usko sasuraar gaanv ka naam yaad

nahi.

MANOHAR smells a rat.

MANOHAR
P

Yaad nahi? Achcha… Chalo hum

dhundhaai suru karte hain, tum jaao.
Kal iss Pusparaani ko lekar aana,
theek?
 33.

DEEPAK
(joins hands)
Phool kabhi apna ghar se akele mandir
AA
bhi nahi gayi hai. Bahut saant aur
bholi hai sahab. Usko khoj nikalo.

MANOHAR
Haan theek hai jao!

DEEPAK nods. He and his friends fold hands and leave from
MI
there. MANOHAR looks thoughtful.

DUBEY
Sir issi pe apharan ka case thok de?
363, 366 mein daboch le saale ko!
R
MANOHAR
Kameej dekhi thi? Paidaisi gareeb ko
andar daal ke humko kaa milega? Sone
KH
ki chiriya toh oo Pusparaani hai…
Raajes Khanna ka ego saneema tha
Dubey, Ittefaq. Hum ek baar dekhe,
phir agle hafte dobaara gaye… aadhe
mein hi bore ho gaye, humne kaha, naa
bhaiyya, “ISSE JYAADA ITTEFAQ NAA HO
SAKE”!
AN

DUBEY
Samjhe nahi sir.

MANOHAR
(trying to fit the
jigsaw)
FI

Ek paraayi aurat ek paraaye aadmi ke

saath tesan se lekar, bus se lekar,
uske ghar tak saath aayi aur dono me
se kisi ko pata nahi chala.
LM

(scoffs)
Ladki ko sasuraar gaanv nahi pata,
ghar ka number galat hai… thaane ka
naam sunnkar dar gayi. Ittefaq ka bhi
saala koi limit hota hai!

DUBEY is enlightened, impressed and yet a bit confused.

S

DUBEY
Aisa bhi toh ho sakta hai Puspa
saayad sach me galti se aa gayi ho?
LL

MANOHAR
Baitha bithaaya lag raha hai sab!
Kissa sunn… Ek kisaan apni nayi gaay
ko rassi se baandhkar le jaa raha
tha. Chor uss gaay ke galey se rassi
P

nikaal kar ooha ek patli si gaay

baandh deta hai, theek?
(Dubey nods)
(MORE)
 34.

MANOHAR (cont'd)
Ab kisaan chalta rahta hai, ye maan
ke ki gaay toh hai piche! Jab najar
padti hai toh pata chalta hai ki
AA
‘abbe bhenchod, ee toh hamaari gaay
hai hi nahi’! Kisaan daudta hai apni
waali ki talaas mein - itne me idhar
se ee chor ki tirain ki hui gaay bhi
daud jaati hai! Woh milti hai chor ko
3-4 din baad, uske tabeley pe! Hui na
teri gaay meri aur meri to hai hi
MI
mere baap ki!

DUBEY
Matlab Phoolkumari ho gayi hai agua,
aur ee Puspaarani…
R
MANOHAR
Chor ki tirain ki hui gaay hai!
KH
DUBEY
Daboch le saali ko?

MANOHAR
Arre prophesanal criminal hogi toh
baithi thodi hogi tumri raah dekhte
huye! Deepak Kumar jab tak ghar
AN

pohochega uske pahle ye wali chidiya

ho gayi hogi furrrrrr! Bulaaye hai na
kal, dekho aati hai ki nahi!

33 EXT. SURAJMUKHI COUNTRYSIDE - DAY 33

FI

DEEPAK cycles home from the police station with his friends.
He notices a lady in ghoongat. He sees PHOOL and himself in
them. A love song (PBS 2) begins.
LM

FLASHBACK

34 INT. PHOOL'S ROOM - DAY 34

DEEPAK wakes up in the morning to see PHOOL sleeping soundly

next to him. He looks with love at her sweet face in repose.
S

He takes a strand of hair off her face, and runs a finger

along her cheek. She frowns and stirs in her sleep.
LL

35 I/E. KULDEVI MANDIR - DAY 35

PHOOL in ghoonghat, does puja in front of the deity. DEEPAK

looks happy by her side. PHOOL's family is seen around them.
P

35A INT. PHOOL'S VILLAGE HOUSE - DAY 35A

DEEPAK is now having breakfast, PHOOL is serving him

kalaakand. He asks her softly -
 35.

DEEPAK
Tum banaayi?
AA
She smiles and runs in the kitchen, and DEEPAK eats with a
smile. He tastes the sweet - its delicious.

36 EXT. PHOOL'S VILLAGE HOUSE - DAY 36

DEEPAK and PHOOL are sitting under a beautiful tree near

MI
PHOOL's house.

DEEPAK
Englis bol ke bataaein?
(Phool nods)
R
Kal hum cooler ke motor ki binding
kara ke aaye!
(She’s silent)
Phull nahi hai, par hamre yahan to
KH
itta bhi bas hum-ay bolte hain…
(she’s quiet, an
awkward pause)
Poori Englis bol ke bataaein?

PHOOL nods, DEEPAK looks around, and when he is sure no one

can hear them, he leans in towards her and softly whispers.
AN

DEEPAK (cont'd)
I lobe you…

There is an audible gasp from PHOOL, and she giggles.

PBS2 ENDS AS DEEPAK REACHES HOME.

FI

37 I/E. DEEPAK’S HOUSE, COURTYARD - DAY 37

LM

DEEPAK reaches home and finds BABLU outside. BABLU shouts in

his usual cheerful tone.

BABLU
Badalwa chachi bhi kho gayi!

DEEPAK
S

Kaa?!

DEEPAK enters the gate and sees YASODA, VIDUR and POONAM
looking tense.
LL

DEEPAK (cont'd)
Ee Bablu kaa kah raha hai Amma?

YASODA
Oo Puspaarani… Tum ooha thane nikle,
P

oo eeha mandir gayi - bas mandir ki

hokar rah gayi.
 36.

DEEPAK
Akele kaahe jaane diye?
AA
YASODA
Arre! Bhakti karne ka phursat hai
kisko ghar mein?

VIDUR
Satees ka cycle pe poora gaanv dekh
aaye hum, kahin dikhi nahi.
MI
DEEPAK looks along the dusty deserted village road in
despair.

DEEPAK
R
Kauno sunega to kaa kahega… Kaise
gair-jimmedaar log hain? Du din mein
du aurat khowa diye?
KH

38 I/E. MANJU MAAI STALL, PATILA STATION - AFTERNOON 38

PHOOL sits in front of MANJU MAAI (62-65), with her wiry grey
hair and no-nonsense look. She has a gruff exterior but a
soft heart. She watches PHOOL eat some bread pakoda hungrily,
as CHOTU is eating too. MANJU MAAI is deliberating over the
AN

story she has just heard.

MANJU MAAI
Aisa durghatna to pahli baar sune
hum.

CHOTU
FI

Tabhi to hum bole ki Manju maai ke

dukaan pe chal. Oo tod nikalegi.
(to Phool)
Chota tha tabbe se heeyan kaam karta
LM

hu. Maai bahut dayaalu hai.

MANJU MAAI looks at him balefully.

MANJU MAAI
Bartan maanjh tu.
(to Phool)
S

Gaanv ka naam-oom pata hota toh kauno

tarah pohocha dete.

CHOTU
LL

Wahi toh. Kahti hai kisi phool ke

naam se hai gaanv ka naam. Gulaab,
Kamal, Champa, Chameli, Motiya,
Kaner, Dhatura - sab pooch liya!
Fulwari ka sab phool-ey khatam ho
gaya par ee Phoolkumaari ka sasuraar
P

nahi mila! Maika kaun sa Gangapur hai

ee isko pata nahi. Aur oo mil bhi
jaaye to isko jaana nahi!
 37.

MANJU MAAI
Kaahe bey?
AA
PHOOL
Bahut badnaami hogi… sab kahengey ki
Phool mein hi kauno dos-gunaah hoga
ki pati tesan par chhod aaya…

MANJU is about to correct her when she notices a frequent

customer RAKESH get up to get chutney again.
MI
MANJU MAAI
Kitta samosa liye hain?

RAKESH
R
Do.

MANJU MAAI
Toh chauthi baar chutney kyu le raha
KH
hai? Chutney chaatne ki cheej hai.
Peene ki nahi. Gatko mat!

MANJU MAAI gives him a stern look and he walks back scared.
MANJU MAAI turns to PHOOL.

MANJU MAAI (cont'd)

AN

Gaanvwalo ka baare mein ghar-ey

jaakar sochna, haen? Pahle khoj-khaaj
ke maike chali ja chup chaap.

PHOOL
Bhale ghar ki bahu-beti bina pati ke
maike nahi jaati.
FI

MANJU looks annoyed and amused in equal measure, she has

heard this before.
LM

MANJU MAAI
Firaud ka matlab jaanti ho?
(Phool shakes her
head)
Kisi ko thagney ko, ullu bananey ko
angreji mein firaud kahtey hain…
(Phool looks
S

confused)
Ee des mein ladki log ke saath
hajaaro saal se ek firaud chal raha
hai, oo kaa naam hai - BHALE GHAR KI
LL

BAHU-BETI!

She laughs and PHOOL feels offended.

PHOOL
Humre saath kauno firaud nahi hua
P

hai, humko bahut achhi sichha dee

gayi hai, bahut achha banaaya gaya
hai!
 38.

MANJU MAAI looks at her for a moment, amused. Then she calls
the CHOTU -
AA
MANJU MAAI
Salman Khan ka pata bata Chotu?

CHOTU
(promptly)
MI
Gailaksee apaatment, Bandra, Bambai!

MANJU MAAI now looks condescendingly at PHOOL.

MANJU MAAI
R
Lawaaris Chotu bambai ka pata yaad
rakh sakta hai, par tum apne ghar ka
nahi. Tumri amma ne tumko achha nahi
banaaya hai, budbak banaya hai!
KH

This hurts PHOOL even more and now she argues with MANJU
MAAI.

PHOOL
Hum budbak nahi hain! Humko ghar ka
sab kaam aata hai dadi, kapda silna,
AN

khaana banana, bhajan keertan-

MANJU MAAI
(interrupting)
Ghar-ey jaana aata hai?

PHOOL is silent, she has no answer, is drawn to tears.

FI

MANJU MAAI (cont'd)

Budbak hona saram ka baat nahi hai,
budbak hone pe garv karna saram ki
LM

baat hai!…
(to Chotu)
Le ke jaa isko heeyan se!

CHOTU
Kahaan jaayegi? Aap du din rakh leti
Manju maai…
S

MANJU MAAI
Arre chal bhaag eeha se! Dharamsaala
khole hai ka hum? Kandha pe baithaao
LL

toh turant kaan-ey me mutengey!

PHOOL has tears in her eyes, but a look of anger and hurt
pride on her face too.
P

39 I/E. PATILA POLICE STATION - AFTERNOON 39

PARDEEP and his cronies enter with swagger.

 39.

PARDEEP
Jai Bholenath daroga babu.
AA
TRIBHUVAN
Arre Pardeep bhaiyya subah subah ka
kaand kar diye ki thaana aana pada.
Phirse maar marod diye kaa kauno ko?

PARDEEP
Humre sasuraar toh khabar bhijva diye
MI
hai, socha aapko bhi bata de, varna
pahli ko jalaane ka iljaam lagaaye
the, bolenge doosri ko bhi nigal
gaya. Beforehand rapat likh lo.
R
TRIBHUVAN
Hua kaa?

PARDEEP
KH
Biwi kho gaya hai humaara.

TRIBHUVAN laughs out, but PARDEEP is grim, so he realises he

is serious. He sobers up and begins to write.

40 I/E. DEEPAK’S HOUSE, COURTYARD - AFTERNOON 40

AN

BABLU comes running into the veranda where the rest are
sitting, crestfallen.

BABLU
Mil gayi! Badalwa chachi mil gayi!
FI

As they all come out -

YASODA
Chup kar, oo chachi nahi hai teri!
LM

They can see JAYA is walking back to the house, but her veil
is down so DEEPAK rushes out to her and tries to peer inside
the ghunghat from below -

DEEPAK
Tum Puspa ho?
S

(she nods, lifting

her veil)
Arre kahaan chali gayi thi?
LL

JAYA
Bol hi ke toh gaye the ki mandir ja
rahe hai, keertan mein hi toh baithe
the.

YASODA
P

Paanch ghanta keertan ki? Sasuraar

jaaye ke hai ki seedha swarg?!
 40.

DADI
Khud toh mandir jaaye ke naam pe moch
aa jaati hai, jo ho ke aayi hai o pe
AA
chilla rahi hai…

DADDA chuckles, but DADI isn’t amused.

VIDUR
Mandir toh gaye the hum! Hum toh nahi
dekha tumko?
MI
JAYA
(looking innocent)
Naye hai na, isiliye ghunghat lamba
kheench ke rakhe the.
R
VIDUR
Arre jaan le lega ee ghunghat sasura!
KH
DEEPAK
Aur daanto humko, ki Phool badli ho
gayi toh kaise pata nahi chala - ab
pata chala ki kaise pata nahi chala?

YASODA
Ulta jawab nahi do Bauji ko Deepu!
AN

Dekh Puspa, ved-puraan kahta hai

Bhagwan har jagah hai, theek? Kal se
ghar-ey mein darsan kar lo! Ee roj
roj koi kho jaayega toh humko dil ka
daura pad jayega, haan! Chalo ab
andar... munh kaa dekh rahi hai, chaa
chadhaa Poonam, sab bhukhe hai!
FI

(keeps muttering)
Oo haraami jyotis maharaj
Bedparkasawa se dachhina waapas
maango! Kaun mahurat mein saadi
LM

karvaaya raam jaane, chapaat saala!

As they all go in to eat, JAYA quietly sneaks into the room.

She takes out DEEPAK’s ration card from under her pallu and
slips it back into YASODA’s cupboard. She can hear the men in
the veranda -
S

VIDUR (O.C.)
Kaa bole daroga?

DEEPAK (O.C.)
LL

Bole khojenge.

JAYA comes and stands in the veranda, listening to them.

DEEPAK speaks up for her benefit -

DEEPAK (cont'd)
P

Puspa ka ghar phone kiye hum - baar

baar galat number aaya…
(to Jaya)
(MORE)
 41.

DEEPAK (cont'd)
Darogaji kal thaane bulaaye hai,
tumko aana padega Puspa.
AA
JAYA looks worried.

VIDUR
Phool ke maike taar kar de ka?

DEEPAK
Uss mein likhenge ka? Ki humse Phool
MI
kho gayi? Humko maaf kar do?

VIDUR
Hmmm… Ruk hi jaa du roj, bhagwaan
kare Phool ka pata lag gaya toh
R
bataane chhupane ka samasya hi khatam
ho jaayega.
KH
41 I/E. MURTI POLICE STATION - EVENING 41

A paper coming out of an old fax machine reads “GUMSHUDA”.

DUBEY pulls it out and reads the details - “Smt. Jaya Pardeep
Singh, Belpur-Katariya Express… Nishaani - Haath mein “Jaya”
gundvaaya hai, Photo awaited.” DUBEY gives the fax to MANOHAR
who reads it with acute interest and attention.
AN

MANOHAR
Register la toh Dubey!

He brings it to him. MANOHAR reads the report filed by DEEPAK

and tallies it with the fax - the matching date and the name
of the train. He picks up the landline and calls up Patila
FI

police station from the number of the fax.

MANOHAR (cont'd)
Murti thana se Inspector Manohar bol
LM

rahe hai.
(reads the name)
Inspector Tirbhuvan? Jai Hind! Aapka
fax mila hai humko. Ji- ji Jaya. Nahi
oo toh nahi mili. Par usi roj se ek
doosri dulhan bhi gaayab hai jiska
rapat humre thaana mein kiya hai…
S

41A I/E. PATILA POLICE STATION - EVENING 41A

LL

TRIBHUVAN
Ek hi gaadi pe se do dulhan?! Ee wahi
Chandpur waali dulhan gang toh nahi,
jo naqli saadi kar ke jewar leke
gaayab ho jaati hai?
P

MANOHAR
Ho sakta hai… Par dikkat ee hai ki
humri waali Phoolkumari jo hai oo
saara gahna utaar ke gaayab hai…
 42.

TRIBHUVAN
Humri waali Jaya toh pandrah tola
sona aur mobile phone lekar gaayab
AA
hai.

MANOHAR
(alert)
Kitta?

TRIBHUVAN
MI
Pandrah tola.

MANOHAR
Rapat ho gaya?
R
TRIBHUVAN
Rough kiya hai.

MANOHAR
KH
Abhi rough hi rakhiyega, aur jara
ladki ka photu fax kijiyega.
Theek? Jai Hind!

MANOHAR is contemplative as thinks aloud on seeing the fax

and DEEPAK’s FIR.
AN

MANOHAR (cont'd)
Dubeyji, jara pata karo, aas paas ka
thaana mein Pankaj naam ka koi aadmi
Puspa ki gumshudgi darj karaaya hai
kaa? Ee Pusparaani par jara najar
rakhna padega.
FI

He is trying to focus on what could be the game plan.

42 EXT. MANJU MAAI STALL, PATILA STATION - NIGHT 42

LM

MANJU MAAI shuts down her shop. She sees PHOOL walk away with
CHOTU and ABDUL down the platform, and looks thoughtful.

42A INT. PATILA STATION, PUMP ROOM - NIGHT 42A

S

CHOTU brings PHOOL to the pump room, where he sleeps.

CHOTU
Ee kamra ko tesan mein sab Chotu
LL

Mahal kahte hain... Aaj tum Chotu

Mahal ki guesht ho!

PHOOL nods, she is touched by his generosity. Meanwhile CHOTU

waves to ABDUL.
P

CHOTU (cont'd)
Chalo Abdul aaj ka chhutti
 43.

ABDUL smiles. PHOOL watches CHOTU help ABDUL off his board.
He unties his leg and PHOOL stares in horror that ABDUL is
not actually handicapped.
AA
PHOOL
(shocked)
Yeh toh...

CHOTU
(smiles)
MI
Langdaa nahi hai, bahut tej bhaagta
hai!

ABDUL grins from ear to ear.

R
ABDUL
Hamaara toh ghar ka naam hi khargosh
hai
KH
ABDUL keeps his wheel board aside, stretches his legs and
lies down.

ABDUL (cont'd)
Chalo good night!

PHOOL is still stunned, CHOTU chuckles and tells her.

AN

CHOTU
Ee dunia bahut-ay ajeeb hai, eeha jo
jaisa dikhta hai, vaisa hota nahi
hai, jaisa hota hai, vaisa dikhtaa
nahi...
FI

43 INT. DEEPAK’S HOUSE, POONAM'S ROOM - NIGHT 43

JAYA lies wide awake while POONAM and BABLU are asleep. JAYA
LM

gets up and this time tiptoes out the other door towards the
back of the house.

43A EXT. DEEPAK’S HOUSE, BACK SIDE OF THE HOUSE - NIGHT 43A

Once outside, she takes out a brand new SIM card pack tucked
S

inside her blouse, and puts it into the phone.

GAURI
Moooooo!
LL

JAYA freezes and turns to see GAURI the buffalo is tied at

the back of the house. From the front of the house, she hears
DADDA...

DADDA
P

Jaagte raho!
 44.

JAYA curses her luck and waits for a few moments of silence.
Then she switches on PARDEEP’s phone, and there is a smile on
her LED lit face.
AA
44 EXT. MANJU MAAI STALL, PATILA STATION - DAY 44

The next day CHOTU and ABDUL are having their morning tea and
pav at MANJU MAAI's stall. PHOOL nervously approaches MANJU
MAAI with her khoichha.
MI
PHOOL
Dadi, ee...ee humra khoichha - isko
dukaan mein sambhaal ke rakhengi?
R
MANJU MAAI
(taking it)
Haldi, doobha aur muthhi bhar chawal
ka daana se raksa karegi? Oo aadmi ka
KH
jo khud-ai tumri raksa na kar paaya?

PHOOL
Oo khoj rahe honge humko. Bharosa
rakhiye Dadi.

MANJU MAAI
AN

Tu rakh bharosa - hum kaahe rakhe

bhai! Jaan na pahchaan...

She casually flings the potli in her cash box and gets back
to business.

MANJU MAAI (cont'd)

FI

Suhaagraat mana liya, gahna utarwaa

liya, torase peechha chhuda liya, ab
kaahe khojta aayega oo?
LM

PHOOL sits dejected. The regular customer RAKESH is there

too, he gets up to take the chutney again, MANJU MAAI looks
at him and he gets scared and stops.

MANJU MAAI (cont'd)

(encouragingly)
Le lo, ek baar to leyi lo…
S

RAKESH is too scared, he timidly shakes his head.

MANJU MAAI (cont'd)

LL

(commands)
Lo!

He hurriedly takes the chutney. The crowd is now growing at

the stall. MANJU is barely managing.
P

MANJU MAAI (cont'd)

Haan babu, kuccho man banaaye? Bared
pakoda?
(MORE)
 45.

MANJU MAAI (cont'd)

- Aye Phool, munh sujaake baithi hi
rahegi kaa? Du tho bared pakoda garma-
garam tal de chal jaldi!
AA
PHOOL is surprised, but readily gets to work. CHOTU smiles at
her, he knows this is an encouraging sign from MANJU MAAI.

45 I/E. DEEPAK'S HOUSE, POONAM'S ROOM - MORNING 45

MI
BABLU has scattered felt pens around as he draws in a book,
all dressed for school. JAYA is getting ready to go to the
police station while POONAM is doing some household chores.

JAYA
R
Maaji bataayi Sarvan Bhaiyya sahar
mein chaukidaari ka naukri karte hai.
(Poonam nods)
Akele rahte hai wahaan?
KH
(Poonam nods)
Aap nahi jaayengi unke paas?
(Poonam shakes her
head)
Bada naaj hua unpar - goonga aurat se
saadi karne ke liye bahut himmat
chahiye.
AN

POONAM
(surprised)
Hum goonge nahi hai!

JAYA
(giggling)
FI

Aise hi chhed diye aapko. Goongi nahi

to itni chup kaahe rahti hai?

POONAM
LM

Bablu ke papa toh hai nahi, aur hai

kaun jisse baat kare?

JAYA
Unka naam kaahe nahi leti aap?

POONAM
S

Pati ka naam nahi lete. Uss din tum

sabke saamne apne pati ka naam li,
hum to danng hi rah gaye.
LL

JAYA
Ab accha khaasa naam rakhe hai to
kaahe e-ji o-ji kahte ghoomenge? Kisi
se milti hai toh ram ram kahti hai
naa, luv-kus ke papa, luv-kus ke papa
thode kahti hai!
P

POONAM, taken aback, bursts into giggles. JAYA laughs along.

 46.

POONAM
Kaise ajeeb baatein karti rahti ho!
AA
POONAM leaves, and JAYA notices that BABLU is staring at her.

JAYA
(amused)
Kaa dekh rahe ho dur se tagar tagar?

BABLU
MI
Kal Hari ka chappal kauno mandir se
utha liya, toh uska Bapu mandir se
kisi aur ka chappal utha laaya.

JAYA
R
Arre aise kaise?

BABLU
Bola, chappal pe kauno ka naam thode
KH
likha hai, jo jiske ke pair mein oo
usi ka chappal! Hari bola waise hi ab
aap hi humaari chachi hai - aap par
bhi kauno naam thode likha hai?

POONAM (O.C.)
Bablu chal! Eskool nahi jaana kaa?
AN

He runs off. JAYA is thoughtful. She thinks for a beat,

hatching a plan.

(ALT)

JAYA parts her bangles and reveals a tattoo near her wrist
FI

which reads : "JAYA". Then she looks at Bablu's felt pens

lying around and hatches a plan.
LM

45A EXT. DEEPAK’S HOUSE, COURTYARD - MORNING 45A

JAYA emerges from the room in a full-sleeved sweater, pulling

more bangles onto her wrist. DEEPAK and his friends wait on
their cycles. JAYA climbs on behind DEEPAK on his cycle and
pulls a long veil on her face.
S

46 I/E. MURTI POLICE STATION - DAY 46

DUBEY is on the porch of the police station. He sees DEEPAK

LL

arrive there with JAYA and his friends, and runs in.

DUBEY
Sir kisaan aaya hai, apne piche chor
ki gaay lekarke!
P

MANOHAR looks disappointed yet intrigued.

 47.

46A INT. MURTI POLICE STATION - DAY 46A

GUNJAN, BILAS and RAGHU sit on a bench near the door, while
AA
JAYA sits on a chair opposite MANOHAR looking nervous. Her
veil saves her face at the moment. DEEPAK sits beside her.
MANOHAR is having paratha for breakfast and is trying to open
the lid of a pickle jar. The lid is too tightly shut, so
MANOHAR hands it to BELA JI. He stares hard at JAYA as BELA
JI easily opens the jar.
MI
MANOHAR
(gesturing to her)
Bela ji… Sports quota hain… hum jo
poochhein sach bataaiega - varna ye
poochhengi.
R
JAYA glances at BELA JI, who looks menacing. JAYA keeps her
eyes down, swallowing nervously. MANOHAR looks at DUBEY to
make sure he is ready to take notes. He turns to JAYA.
KH

MANOHAR (cont'd)
Naam?

JAYA
Pusparaani.
AN

MANOHAR
Pita ka naam?

She looks up and sees a frame of Rajendra Prasad on the wall.

JAYA
Rajendarparsad.
FI

MANOHAR
Ghar ka jo number likhvaayi ho, oo
toh kisi Satyadev darjee ka hai. Apne
LM

hi ghar ka number galat yaad kar

liya?

DEEPAK looks at her nervously. She does not reply.

MANOHAR (cont'd)
Sakal chupaani padey aisa kuch ki ho
S

kaa?
(she shakes her head)
Haan to ee jo ghunghat hai, tanik
upar utha lo, haen. Daaktar aur
LL

daroga se kuch nahi chupaate. Madad

kar rahe hai tumhaari.

She pulls back he veil to her forehead and holds the edge by
her teeth covering one side.
P

MANOHAR (cont'd)
Maika Sambelaa hai theek?
(Jaya nods)
Koi pahle suna hai ee naam?
 48.

The constables shake their heads decisively.

JAYA
AA
Pahle Indirapur tha, phir Atalnagar,
phir Mayaganj. Humaare heeyan Sarkar
ke saath saath gaanv ka naam bhi
badalta rahta hai.

MANOHAR accepts her answer as DUBEY nods understandingly.

MI
MANOHAR
Prades Chhattisgarh?

DUBEY
Oo bhi to ek saal pahle Madhya Prades
R
tha, sir.

Manohar glares at him for giving unwanted information.

KH
MANOHAR
Jaun train mein chadhi - Belpur-
Katariya Express, oo to Chhattisgarh
se aati jaati hai nahin! Kahaan se
pakdi tum train?

JAYA is nervous, she forms an answer and replies with as much

AN

calm as she can muster.

JAYA
Pati pakdaaye wahi se pakad liye.
(beat)
Waise iske pahle du-teen gaadi
badalkar iss pe chadhey the.
FI

MANOHAR
Oo kaun bataayega?
LM

JAYA
Aap pooche nahi toh…

MANOHAR
Sasural gaanv ka naam kaa hain?

JAYA
S

Yaad nahi...

MANOHAR
Pati ke gaanv ka naam yaad nahi?
LL

Humko bataao - du din ho gaya biwi

khoye, tumra pati - Pankaj koi thaana
mein rapat nahi likhvaaya? Kaahe?

JAYA
Ab oo kaahe rapat nahi likhvaaye ee
P

humko kaise pata?

He reads the ‘missing’ report from Patila, reads the lines

‘haath pe Jaya gundvaaya hai’.
 49.

MANOHAR
Hmmm… Kauno nisaan, kauno godna hai
sareer pe?
AA
JAYA is tense as MANOHAR looks at her. We amp up her
nervousness. She meekly removes the bangles from her right
hand, and puts them on the table. She holds out her forearm,
slowly pulls up the sweater sleeve and shows her wrist on
which there is a small tattoo in Hindi that says “SHREYA”.
DEEPAK leans forward to see it, surprised. When MANOHAR tries
MI
to look closely, JAYA pulls her hand away shyly and shows
from a little distance, so that her ‘artwork’ is not seen.

MANOHAR (cont'd)
Sreya? Naam Puspa toh Shreya kaahe
R
gundvaaya?

JAYA
Bachpan mein daddu Sreya kah ke
KH
bulaate the, wohi gundvaaye hai.

MANOHAR stares at her for a second longer. There seems

something amiss, and he tries to figure out what. He looks at
the fax and realises that the tattoos do not match, but there
is a tattoo nonetheless.
AN

MANOHAR
Belaji, inko le jaao andar...

Jaya stiffens upon hearing this.

DUBEY
Belaji toh police line gayi hai.
FI

Sports quota ko naaste mein kela

andaa milta hai na!

MANOHAR
LM

Theek. Toh Dubey ji aap inke haath

kaa godna aur phace dono kaa photo
khinch ke, aas paas ka saara thaana
mein bhijwa do.

DUBEY ushers her. Takes out a camera. JAYA stands against the
wall showing her tattoo - but pulls her veil down. DUBEY
S

looks at MANOHAR wondering what to do.

MANOHAR (cont'd)
Camera hai Puspaji, X-ray maseen toh
LL

hai nahi jo ghunghat ke aarpaar

jhaank lega.

JAYA
Bina ghunghat ke photu nahi
khichvaenge, badnaami hogi...
P

MANOHAR
(losing it)
Saala des hai ki kaa, haen?
(MORE)
 50.

MANOHAR (cont'd)
Gumnaami se jyaada badnaami ka darr
hai log ko!… Arre bina photu koi
pahchaanega kaise? Pohochaayenge
AA
kaise tumko pati ke ghar? Anpadh
jaahil sabke sab… Utha ghunghat Dubey
aur kheench photu!

DUBEY comes to closer to him, says softly, a little hesitant.

DUBEY
MI
Gaanv khede ke log jara jyaada hi
sensitib hote hai sir… ladeej ke
sammaan ka baat hai na, toh
jabardasti nahi kar sakte…
R
MANOHAR
(frustrated)
Theek hai, jaaiye, ungli ka nisaan
deke jaaiye!
KH

JAYA relaxes thinking she’s off the hook. DUBEY puts the
inkpad in front of her. She puts a thumb impression. GUNJAN
is filling out the details on behalf of DEEPAK. We can see
MANOHAR in a whirl of thoughts. He can feel it in his bones
that he is being lied to. He looks at the fax and then at
JAYA. They get up and leave and when they’re at the door, on
AN

an impulse MANOHAR suddenly calls out -

MANOHAR (cont'd)
Jaya!

JAYA turns around on impulse and looks at him, and realises

immediately that she’s made a mistake. There’s a moment of
FI

suspense before she says, with great composure -

JAYA
Humaari choodi… aapke mej pe rah
LM

gayi.

She goes in and takes her bangles and walks out, looking
relieved. MANOHAR looks at her go with a suspicious smile.
DUBEY looks at the fax on the table and sees how MANOHAR has
drawn Shreya over the name Jaya. He looks at him in utter
reverence.
S

MANOHAR
Jaya jaya jaya jaya he!
LL

MANOHAR leans back with a sly smile on his face.

INTERVAL

47 EXT. MANJU MAAI’S HUT - NIGHT 47

P

PHOOL helps MANJU MAAI carry her stuff as they walk down a
slum road and arrive at MANJU MAAI’s hut. She opens her door.
 51.

47A INT. MANJU MAAI’S HUT - NIGHT 47A

MANJU MAAI walks in and switches on a lamp as PHOOL enters.

AA
MANJU MAAI
Aa ja.
(pointing around the
room)
Soch le, eeha rahegi ki tesan hi
achha tha?!
MI
Its a tiny room, very sparse but neatly kept. PHOOL is very
moved by her generosity, and sits down with a smile.

MANJU MAAI (cont'd)

R
Bhookh laga hai?
(Phool nods)
Aata pada hai, roti bana le. Ek tho
hamre liye bhi bana dena.
KH

PHOOL smiles and gets to work. There is a ball of kneaded

flour in a vessel, she starts making a smaller ball for
rotis. MANJU MAAI watches her as she settles down, putting
away her things, and looks for a beedi while she is welcomed
by her cat.
AN

PHOOL
Akele rehti ho dadi?

MANJU MAAI
Haan. Bhagaay diya sabko! Marad, beta
- sabko. Ek to saale sab baithke
humri kamaayi khaaye, upar se daru
FI

peeke humhi ko maare! Upar se kahe

'jo pyaar kare hai oka maarne ka haq
hota hai'! Huh! Ek din hum bhi ghuma
ke haq jataa diye!
LM

She laughs, and lights up a bidi. PHOOL listens, fascinated

by her story. She grinds a paste in the mortar pestle of
salt, chilies and garlic as a roti cooks on the tawa.

PHOOL
Darr nahi lagta akele?
S

MANJU MAAI
Tch! Khud ke saath akela khusi se
rahna sab se muskil hota hai Phool.
LL

Oo seekh liye toh phir koi tumko

taklif nahi pahucha sakta.

Suddenly a thought strikes her.

MANJU MAAI (cont'd)

P

Achcha sunn, ‘Mogra’? Mogra hai kaa

gaanv ka naam?
(Phool shakes her
head)
(MORE)
 52.

MANJU MAAI (cont'd)

Bhawra banaa ke rakh di hum sabko!
Hum aur Chotu poora din phool-ey
khojte rahte hai! Chalo tumre kaaran
AA
chaar naya phool se pahchaan toh hua.

MANJU MAAI finishes her beedi and tastes the chutney.

MANJU MAAI (cont'd)

Chutney accha banaayi ho… Tej. Haath
mein suwaad hai tumre.
MI
PHOOL
Hum kal kuchh bana du kaa dukaan
khaatir? Kuchho meetha?
R
MANJU MAAI
Rasoi paraaya hai, theek se bana
sakegi?
KH
PHOOL
Paraaya rasoi ko apna banana, eehe
toh cheej sikhaayi hai amma.

MANJU MAAI looks at her with a concealed and measured

affection.
AN

MANJU MAAI
Sun... byaah ka kapda badalegi ki
nahi? Humre paas khaas kuch hai nahi
par dekh le...

PHOOL
Nahi dadi... oo jab lene aayenge toh
FI

pahchaanenge kaise?

47B INT. MANJU MAAI'S HUT - LATER 47B

LM

MANJU MAAI snores soundly while PHOOL diligently prepares

kalakand by stirring it in a pot. In another pot where the
kalakand is already prepared, she sprinkles some condiments
on it.
S

48 I/E. DEEPAK’S HOUSE, COURTYARD - MORNING 48

DEEPAK pulls on his sweater, getting ready to head out. He

looks depressed, like he hasn’t slept in days.
LL

DADI
Deepu beta, itna bhore bhore kaha
chala re?! Ruk ja! Du tho roti kha
le… Aye Yasoda!
P

DEEPAK
Humko der ho raha hai dadi.

YASODA comes out.

 53.

YASODA
Jab der ho raha hai to kaahe roti-
roti kar rahi hain!?
AA
(to DEEPAK)
Dahi chooda khaaye le beta?

DADI
Ab dahi chooda khaaye mein der nahi
hoga?! Tu bhi ab dugo ki saas hai
yaad rakhna! Sab yahi bhugatna hai.
MI
YASODA
Waise bhi kaun sa aiyyasi kar rahe
hain? Kismat ka rajaai hi poora
chuhaa kutar gaya hai!
R
She keeps muttering in the background, as DEEPAK cycles away.
KH
48A DEEPAK’S HOUSE, POONAM'S ROOM - MORNING 48A

JAYA overhears this as she gets out of bed, and checks that
her phone is hidden under the mattress. She heads out.

48 I/E. DEEPAK’S HOUSE, COURTYARD - MORNING 48

AN

DADI feeds GAURI the buffalo in the background.

DADI
Aye Gauri! Aajkal raat mein kaahe
chillati rahti hain re?!
FI

JAYA becomes slightly anxious and looks over at DADDA. She

softly asks YASODA who is making roti in the kitchen.

JAYA
LM

Amma, ee Dadda aadha aankh khula rakh

ke sote hain ya jaagte rahte hai?

YASODA
Dadda ki dadda jaane. Paitees saal
Kalkatta mein jo chowkidaari kiye hai
oo ghus gaya hai khoon me. Din-raat
S

ka bhaan bhula diye hai. Jaage-soye

bas ek hi baat -

DADDA (O.C.)
LL

Jaagte raho!!!

They giggle. JAYA looks at him, he stares back. She feels

uncomfortable.
P
 54.

49 EXT. MANJU MAAI STALL, PATILA STATION - MORNING 49

PHOOL arranges a thaal full of kalakand in the display among

AA
the regular items at MANJU MAAI's stall. Some customers are
having their breakfast, RAKESH is there too.

MANJU MAAI
(to Rakesh)
Eeha aao.
MI
RAKESH
(scared)
Hum toh aaj chutney liye hi nahi…

MANJU MAAI
R
(orders)
Kalakand khaao.

RAKESH
KH
Bas paanch rupiya tha, samosa kha
liye.

MANJU MAAI
Ek chammach phiree hai, le lo.

She serves it to him.

AN

PHOOL
Aap toh pahile chakh lo?

MANJU MAAI
(laconic laugh)
Munh meetha kare jaisa kuchho khaas
FI

hai nahi humri jindagi mein!

Turns to RAKESH.
LM

RAKESH
First kilaas. Bahut achcha hai!

PHOOL smiles at the validation.

MANJU MAAI
Lo ek aur chammach khao.
S

RAKESH takes another spoonful. CHOTU comes running in.

CHOTU
LL

Paarijaat?

PHOOL thinks for a moment and says no.

CHOTU (cont'd)
Nalini? Raatrani?
P

She says no. CHOTU leaves from there disappointed.

 55.

50 EXT. HANIF'S SHOP - DAY 50

DEEPAK and BILAS walk through the market, ask around at

AA
different places, and stop at a mattress shop owned by HANIF.
DEEPAK shows him the photo of PHOOL in a ghunghat.

DEEPAK
Bhaiyya biwi kho gayi hai humri…
dekhe ho?
MI
HANIF himself is comfortably lying on a stack of mattresses
and gives a long lingering look to the photograph, and says -

HANIF
Ee mein kaa dekhein! Ghunghat se
R
phull phace dhaka hua hai! Arey phace
hi to sab kuchh hota hai, phace dhak
dena matlab pahchaan dhak dena…
KH
Just then ABIDA, Hanif's wife, face covered in burkha, comes
to HANIF with a cup of tea.

ABIDA
Chai.

While offering the tea to her husband she looks at the

AN

photograph. ABIDA, HANIF, BILAS and DEEPAK look at each other

and become silent at the irony of it all.

50A EXT. CORNER TEA STALL OPPOSITE MOSQUE - DAY 50A

RAGHU has joined DEEPAK and BILAS at a tea stall.

FI

RAGHU
Tesan ho ke aaye. Itta toh gaadi
tesan nahi aata yaar jitta hum aa
LM

rahe hain!

DEEPAK
Toh kaa karein? Dhoondhna chhor de?

RAGHU
Hum ee kah rahey hain ki Gunjan MLA
S

Mani Singh ka khaas hai. Tum ek baar

unse mil lo, hain?

BILAS
LL

MLA thaana phone kar diye to presser

padega.

They look at DEEPAK. He is pressured to agree.

P
 56.

51 I/E. FIELD BEHIND DEEPAK’S HOUSE - DAY 51

JAYA looks at the sky. Birds are flying in the golden light.
AA
She softly sings a few lines from a folk song, letting her
veil fall back. A breeze blows and she opens her beautiful
long hair. She walks through the field. GUNJAN arrives at the
edge of the field and watches her, enchanted. She notices him
and gets shy, and stops singing.

GUNJAN
MI
Meetha gaati ho.

She smiles simply.

JAYA
R
Aap bhi kheti karte hai?

GUNJAN
Nahi nahi, hum toh pirinter hain -
KH
card-poster sab chhaapte hain. Eeha
sab ka saadi ka card humei chhape
hain, bas apni ka nahi…

JAYA
Kaahe?
AN

GUNJAN
(blushes)
Ab tak hui hi nahi. MLA sahab ka bhi
saara posterbaaji hum hi dekhte hain.

JAYA
Publicity?
FI

GUNJAN
(impressed)
Aap ne inter kiya hai?
LM

(she nods)
Ek hi saal mein ho gaya hoga?
(she nods again)
Baaton se pata chalta hai!
(a thought strikes)
Itti padhi likhi hain to thaane mein
angootha kaahe lagaayi?
S

Their conversation is interrupted as they hear VIDUR’s voice.

JAYA puts on her veil.
LL

VIDUR
Aa gaye Gunjan?

GUNJAN
Huh?… Haan ji Chachaji.
P

They walk towards him.

 57.

VIDUR
Grahan samay saanp nikla hai Gunjan!
Kismat ka tarah fasal mein bhi keeda
AA
pad gaya hai. Deepak waise hi
paresaan hai, tumhai dost log keet
naasak chhidak do toh saayad fasal
bach jaaye humra. Ee umar mein jaada
kaam nahi hota ab.

GUNJAN
MI
Hum dekh lenge Chachaji.

JAYA
Keetnasak jahar hota hai. Keede ko
toh maarega par dhaan ka posan bhi
R
maar dega.

VIDUR is embarrassed by her interruption, exchanges a look

with GUNJAN. POONAM pays attention to this while feeding the
KH
cattle. JAYA goes and checks the insects on the crop.

JAYA (cont'd)
Keede ko maarne ka aur bhi tareeka
hai.

GUNJAN
AN

Ab chappal le ke ek ek keeda kahan

tak maariega!

Gunjan chuckles but Jaya remains serious.

JAYA
Hum chappal ka nahi, sticky trap ka
FI

baat kar rahe hain.

GUNJAN
Esticky trap?
LM

JAYA
Tel ke dabba ka ek taraf ka patraa
saaf karke usko peela rang laga do…

Vidur and Gunjan exchange looks.

S

VIDUR
Dabba ka haath peela karne se humko
kaa milega ji!
LL

JAYA
Rang sookhne ke baad uspar gondh ya
laai laga ke, patre ko fasal ke ek
haath upar lakdi par khada kar do…
bas! Ye keeda peela rang se aakarsit
hota hai. Khudai aake chipak jaata
P

hain. Aur khet mein baans se du-teen

taar ka line baandh do… jaise saadi
byaah mein pangat baithti hai na
khaane?
(MORE)
 58.

JAYA (cont'd)
Bas vaise hi chidiya log pangat mein
baith ke keede log ko khaayega.
Kudrati paresaani ka samadhan bhi
AA
kudrati hona chahiye, varna santulan
bigadta hai.

GUNJAN and VIDUR look totally stunned. GUNJAN asks earnestly.

GUNJAN
Tum bahut Krisi-Darsan dekhi ho kaa?
MI
JAYA
(realises she has
said too much)
Humaare Bauji ka bahut bada kheti
R
hai. Sahar se log sikha karke gaye
the toh…

She goes back towards the house, leaving everyone in awkward

KH
silence. POONAM is particularly impressed.

52 EXT. DEEPAK’S HOUSE, BACK SIDE OF THE HOUSE - DAY 52

JAYA comes from the field and helps POONAM feed the cattle.
AN

POONAM
Bahut jaanti ho khetibaari ka baare
mein?

JAYA
Bahut nahi… thoda…
FI

POONAM
Ee jo tha oo thoda tha?

JAYA
LM

Bachpan se thoda thoda Bauji ka khet

bikta dekhte rahe hum… Jo jameen sona
ugaa sake, oo humaari ma ka sona
bikwati rahi… Woh isliye ki humaare
des mein kisaan du cheej pe chalta
hai didi, mehnat aur biswaas… phir
chaar kitaab padhe to samajh aaya ki
S

kheti biswaas ka nahi bigyaan ke

sahaare hona chahiye. Toh krisi
bigyaan ke baare mein thoda seekh
liye.
LL

POONAM
Bhukh hai tumri aankhon mein.

JAYA smiles and leaves.

P
 59.

53 EXT. MANJU MAAI STALL, PATILA STATION - AFTERNOON 53

PHOOL cleans some plates and glasses, while MANJU MAAI in the
AA
background fills samosas. CHOTU comes there with an empty
canister and counts the money in his pocket.

CHOTU
Ek sau baarah chai bika hai. Niche
dekh chota sa kitaab hai. Ome likh de
- number likhna aata hai na?
MI
(she nods)
Aa gaya na kaam? Kaame - kaam sikhata
hai re. Tu phaaltu ka chinta karti
hai.
R
PHOOL
Tum kitna saal se kaam kar rahe ho
Chotu?
KH
CHOTU
Saat saal ka tha tab se.

PHOOL
Anaath ho?

CHOTU
AN

Tch tch! Amma Baba hai, bhai bahan

hai. Har mahine unko paisa bhejte hai
hum.

PHOOL
Itte chote hokar bhi itta jimmedaari
utha liye Chotu!
FI

CHOTU
Naam par nahi jaana! Ee jo thele-
dukaan par Chotu hote hai na, oo
LM

aksar apne ghar ke bade hote hai!

He leaves smiling. PHOOL looks thoughtful, turns to MANJU

MAAI.

PHOOL
Hum ladkiyo ko kaahe mauka nahi dete
S

hai dadi? Na duniya dikhaate hai, na

kaam sikhaate hai. Hum majburi mein
itta kuch seekh gaye, marji se kaa
kuch nahi kar lete. Kaahe humko itna
LL

laachar bana dete hai?

MANJU MAAI
Darr se saayad!
(Phool looks puzzled)
Dekh Phool, aurat anaaj uga bhi sakti
P

hai, paka bhi sakti hai, ghar ka kaam

bhi aata hai, baahar ka bhi, baccha
paida bhi kar sakti hai, bada bhi kar
sakti hai.
(MORE)
 60.

MANJU MAAI (cont'd)

Kamaaye bhi jaanti hai aur kifayat
bhi... Dekhne jaaye to aurato ko
mardo ki kauno khaas jarurat waise
AA
hai nahi. Par ee baat aurato ko pata
chal gayi toh marad bechaare ka baaja
nahi baj jaayega?! Isiliye toh
'bhaley ghar ki bahu-beti' ... ee
maidal dekar chup karaa dete hai
aurato ko. Ab samjhi, ka firaud chal
raha hain?!
MI
She laughs as PHOOL smiles but processes this information.
After a moment -

PHOOL
R
Hum tay kiye hain Dadi, ghar jaakar
bhale hi chhota mota, par koi na koi
kaam jarur karenge… Unka haath
bataayenge.
KH

MANJU MAAI
Unka?!… Pahle ‘unka’ naam lene se
suruaat kar, oo bhi bahut hai!!

Both giggle.
AN

54 I/E. GHODA MAIDAN - AFTERNOON 54

A political rally is about to start in a maidan. DEEPAK and

friends follow MAHESH (45), the personal assistant of the
MLA, to the MLA's car waiting outside the ground. The MLA -
MANI SINGH (55) lowers his window from inside the car. MAHESH
FI

whispers something in to MANI’s ear showing DEEPAK and

friends. MANI smiles.

MANI
LM

Deepak Kumar kaun hai?

DEEPAK does a namaste to him.

MANI (cont'd)
Tumhara biwi kho gaya hai?
S

DEEPAK
Haan sahab.

MANI
LL

Hmm… Bhot dete ho na humare party ko?

RAGHU
Saat logo ka parivaar mein se
samjhiye ki bees-baees bhot jaata hai
aapko.
P
 61.

DEEPAK
Humra barso pahle maraa hua chacha
chachi ko bhi elecsan card pe jinda
AA
rakhne ka taakat hai aap mein MLA
sahab, humri jinda patni ko khoj
nikaaliye.

MAHESH gestures to MANI that he has to leave.

MAHESH
MI
Netaji… Manch taiyyar hain.

MANI
Haan chalo… Aa jaao sab. Hum dekhte
hain.
R
MANI SINGH gets out of the car and walks towards the stage.

MANI (cont'd)
KH
(to DEEPAK)
Tum upar aao manch par.

They all follow him out, a bit nervous.

55 EXT. GHODA MAIDAN - AFTERNOON 55

AN

In the maidan villagers and party workers are attentively

sitting and standing on the ground. In the posters MANI is
seen with a pigeon perched on his hand, which is the party
symbol. BILAS and RAGHU are standing off stage on one side,
while DEEPAK stands at the back of the stage as MANI SINGH
enthusiastically delivers a speech.
FI

MANI
Humari virodhi parti ne rajneeti ko
gundaagardi banaake rakh diya hai.
LM

Yeh log bhot mein humse jeet nahi

paayenge jaanke, humari party ke
karmakartao ko daraane ke liye unke
ke saath ghinona harkat karne lage
hai. Dekhiye inko… Arre bhai bulao
isko...
S

MANI points towards DEEPAK and DEEPAK freezes, nervous. He is

brought to the front of the stage next to MANI SINGH and
garlanded.
LL

MANI (cont'd)
Virodhi party ke gunday humare party
ke karmakarta…
(looks at him)
Kya naam hai?
P

DEEPAK
Deepak Kumar.
 62.

MANI
Deepak Kumar! Virodhi party ne Deepak
ji ki biwi ka apaharan kiya hain!
AA
(DEEPAK turns to him
shocked)
Sirf Deepak Kumar ki biwi nahi khoyi
hai - loktantr khoya hai… samajwaad
khoya hai… des kaa vikaas khoya hai…
janta ka viswaas khoya hai!
MI
As he says all this, we see BILAS and RAGHU talking among
themselves

BILAS
Bahut cheej missing hai yaar…
R
MANI
Hamre saath kahiye, lok-tantr waapas?
KH
CROWD
(led by Mahesh)
Aaega!

MANI
Janta kaa viswaas waapas?
AN

CROWD
Aaega!

MANI
Hamri party satta mein waapas?

CROWD
FI

Aaegi!

MANI seems to be ending his speech doing a namaste, DEEPAK

steps towards him to request -
LM

DEEPAK
Sahab ee loktantr bagairah toh
jaroori hai, par ek baari mera patni
kaa naam aap mike pe kah dengein toh…

MANI nods and turns back to the mic.

S

MANI
Deepak Kumar ki patni humaari hi nahi
poore Murti ki bhauji hai. Hum Deepak
LL

ki Jyoti dhoondh ke rahengein!…

Deepak ki Jyoti?

CROWD
Dhoondh ke rahengein! Deepak ki Jyoti
dhoondh ke rahengein!
P

DEEPAK
(tries to correct)
Phool! Phool, Jyoti nahi Phool…
 63.

His voice is drowned in the naarebaazi. He gets angry and

walks off the stage. BILAS runs to him, but DEEPAK pushes him
away and walks away from all of them.
AA
56 INT. DEEPAK’S HOUSE, POONAM ROOM - AFTERNOON 56

JAYA enters POONAM's room and hears BABLU's voice.

BABLU
MI
Hello? Hum Bablu bol rahe hain!

She sees BABLU has her phone in his hand and is play-acting
as if he is talking to someone. She panics, quickly shuts the
door, and snatches the phone from his hand.
R
BABLU (cont'd)
Arre!! Humko bina taar ke phone se
baat karna hai…
KH

JAYA
Taar waale se kiye ho kabhi?
(Bablu shakes head)
Pahle taar-waale se baat karna
seekhna padta hai, phir ee waale se
baat kar paate hain!
AN

BABLU
Kahaan se aaya?

JAYA
Humaara hai.
FI

BABLU
Toh chhupaaya kaahe tha?

JAYA
LM

Chupaaya kahaan tha?

BABLU
Gadde ke nichey tha. Amma sab wahi
chhupaati hai - lemon ka goli, khulla
paisa… Baba ka photu bhi!
(Jaya is amused)
S

Chhupaaya nahi to sab ko dikha de?

Amma!

JAYA
LL

Shhhh! Shaitaan!… Baitho yahaan.

Dekho isko, is mein ek bahut hi
badhiya khel hai…

She shows him a game. He is already hooked.

P

JAYA (cont'd)
Tumko roj thodi der khelne denge par
kisi ko iske baare mein kuch bataana
nahi… Kaa samjhe?
 64.

BABLU contemplates and nods.

JAYA (cont'd)
AA
Khaao kasam...

BABLU
Kiski khaaye?

JAYA
Lemon goli ka kasam khaao?
MI
Now that's a vow he cannot break since the candy seems dear
to him. After thinking for a second he relents and holds his
throat.
R
BABLU
Lemon goli ka kasam. Ab do khelne?

JAYA
KH
Abhi nahi. Raat mein denge. Ab
bhaago…

He runs off. She heaves a sigh of relief. She hides the phone
and then out of curiosity she digs under POONAM's mattress -
to find a hand drawn sketch of SARVAN. As she admires it
POONAM enters.
AN

JAYA (cont'd)
Ee aap banaayi hain?
(she nods)
Bablu ke papa hai?

POONAM
FI

(nods)
Sarvankumar!
(both laugh)
In ka akele ka ek hi photo tha… oo
LM

raasan card mein lag gaya, toh dekhne

ka man karta tha… Kaa karte, khuda-
aye bana liye!

JAYA
Aur kaa kaa banaayi hain?
S

POONAM
Kuchho nahi, ee phijool kaam ke liye
samay hi kahaan hai?
LL

JAYA
Kala phijool hai?
(Poonam shrugs)
Aapke paas kala kahaan se aayi?

POONAM
P

Ee toh apne-aap aa jaati hai…

 65.

JAYA
Apne aap aa jaati to sabko aati na?
(Poonam thinks)
AA
Kala Saraswati deti hain. Devi Ma
phijool cheej dengi? Aapki saas aapko
sari de to usko paunchha bana dengi
kaa?

POONAM
Saas ke gipht ki beqadri kaahe
MI
karengein?

JAYA
Toh Saraswati ji ke gipht ki kaahe
kar rahi hain?
R
POONAM gets what she’s saying, looks at SARVAN’s picture,
and smiles at JAYA.
KH
JAYA (cont'd)
Bajaar ja rahe hain. Aapko kuchh
chahiye?

POONAM refuses. JAYA smiles and leaves for the market.

AN

57 EXT. DEEPAK'S HOUSE, COURTYARD - MOMENTS LATER 57

As JAYA leaves the house we see MANOHAR and DUBEY, in plain

clothes, follow her on a modest motorcycle with faces hidden
behind a gamchha.

PBS 3 begins (song of searching and confusion).

FI

58 EXT. SURAJMUKHI MANDIR - AFTERNOON 58

LM

JAYA is sitting at a secluded corner outside the temple,

being watched from a distance by MANOHAR and DUBEY.

DUBEY
Iss bakhat mandir kaahe aayi hogi?

JAYA takes out a mobile phone, dials a number and starts

S

talking. MANOHAR takes out a basic camera to click her photo.

MANOHAR
Kyun ki mandir hi ek jagah hai poorey
LL

ilaka mein jahaan mobile ka tower

ooncha pakadta hai.

DUBEY
(shocked)
Mobile phone?
P

MANOHAR keeps trying to get a picture, but misses. JAYA

finishes her call and leaves.
 66.

59 I/E. LOCAL BAZAAR - DAY 59

MANOHAR and DUBEY have hidden behind a corner in the market.

AA
JAYA looks around to check that no one is observing her and
enters ‘Agarwal’ jewellery shop. MANOHAR and DUBEY note this.
Once she leaves, DUBEY follows her while MANOHAR enters the
shop.

60 INT. JEWELLERY SHOP - DAY 60

MI
As soon as MANOHAR enters, the JEWELLER jumps to attention.
MANOHAR explains the issue to him. The JEWELLER brings out a
single bangle from the tijori. MANOHAR takes a picture of the
bangle with his camera.
R
MANOHAR
Isko bechna nahi. Jarurat pada toh
lene aayenge... Kaa samjhe?
KH

The JEWELLER nods, tense.

61 EXT. LOCAL BAZAAR - DAY 61

MANOHAR and DUBEY continue to follow JAYA. She then goes to a

AN

cyber cafe. The cops exchange a look. The moment she leaves,
they enter.

62 INT. CYBER CAFE - DAY 62

MANOHAR asks the manager which computer JAYA just used and
FI

then checks the computer. The browsing history has been

erased. He turns around to DUBEY.

MANOHAR
LM

Sab mita diya chorni ne... Kaa kar

rahi hogi?

He is growing more and more suspicious.

63 EXT. LOCAL BAZAAR - DAY 63

S

DEEPAK shows PHOOL's photo at a sawmill and a metal workshop

in the market. Both shopkeepers can't help.
LL

64 INT. PATILA RAILWAY STATION, LADIES BATHROOM - DAY 64

In the bathroom, PHOOL is on a break - she washes her face

and gets ready to resume work. Her energy has changed, she is
coming into her own as a working woman.
P
 67.

65 I/E. LOCAL BAZAAR - DAY 65

JAYA seeks directions from locals and keeps moving. She

AA
passes a rundown cinema having the poster of movies ‘Dhadkan’
and ‘Kaho Na Pyaar Hain’. JAYA suddenly spots DEEPAK, RAGHU,
BILAS cycling over the bridge. Deepak is showing people
Phool's photo and walking away disheartened. JAYA hides so
DEEPAK can't see her. MANOHAR and DUBEY see this and grow
even more suspicious.
MI
66 I/E. LOCAL BAZAAR - DAY 66

JAYA buys clothes at a salwar kameez stall and tries on

earrings. Throughout, MANOHAR has been trying to click her
R
pictures. He does not realise it but every time her ghunghat,
a passer by, a strand of hair hides her face.
KH
67 I/E. MANJU MAAI STALL, PATILA STATION - DAY 67

PHOOL is at work at the stall. A customer gives her money

which she puts in the cash box. She sees the khoichha and
becomes sad, thinking of DEEPAK.
AN

68 I/E. LOCAL BAZAAR - DAY 68

MANOHAR and DUBEY continue following JAYA as she goes into a

post office. After she comes out, DUBEY runs to the post
office, while MANOHAR follows her.
FI

69 EXT. FAKIRI BABA ASHRAM - AFTERNOON 69

A tantrik looking FAKIRI BABA is seated under an old tree.

DEEPAK appears very distressed before him. BILAS touches his
LM

feet. RAGHU is sitting behind them.

BILAS
Baba ee hamra dost Deepak hai, naya
naya biyaah hua aur…

FAKIRI BABA raises his hand, gesturing that 'no need to say,
S

I know it all' and takes out a pudia.

FAKIRI BABA
Ee pudiya seeghr-patan ka raam-baan
LL

ilaaj hai, din mein do baar khaana…

DEEPAK
Arre hamri patni kho gayi hai aur
aap…!
P

FAKIRI BABA again does the same gesture, shut up, I know it
all and this time gives DEEPAK a small piece of paper.
 68.

FAKIRI BABA
Doobte sooraj ko jal chadhaana aur
iska ek tukda hawa mein udaa dena,
AA
jis disa mein udey usi disa mein
patni milegi…

DEEPAK stares at the little piece of paper disappointed, as

BILAS touches the FAKIRI BABA's feet and he gives Bilas the
pudia.
MI
FAKIRI BABA (cont'd)
Jab patni mil jaaye tab isko ee
pudiya do baar de dena.
R
70 EXT. LOCAL BAZAAR BUS STAND - DAY 70

JAYA is making enquiries at a travel agent booth. MANOHAR and

DUBEY observe her. MANOHAR gestures to DUBEY that the 'bird
KH
is preparing to fly'. JAYA comes out and gets into a tam-tam
and leaves. MANOHAR finds her very fishy. They follow the tam-
tam.

71 EXT. MURTI RAILWAY STATION - EVENING 71

AN

DEEPAK sits alone and on a broken bench at the station. He

stares hopelessly at a passing train that doesn't stop.

PBS3 ends.
FI

72 EXT. FIELDS BESIDE DEEPAK’S HOUSE - EVENING 72

The cops spy on GUNJAN who is setting up a bird perch with

JAYA's help. 4 or 5 sticky trap standees can be seen in the
LM

background. The two laugh and chat, and there is an easy

chemistry between them. MANOHAR and DUBEY exchange a look.

MANOHAR
Ek bakra abhi halaal hua nahi, ki
doosre ko ghaas daala ja raha hai…
S

DUBEY
Kisi Hema Tripathi ko paanch-paanch
hajaar ka paanch money order bheji
hai, Aalamsarai mein. Ek hi insaan ko
LL

koi paanch money order kaahe bhejega?

MANOHAR
Tumri akal ka jaise ek limit hai na
Dubey, vaise sarkar money order par
bhi limit rakhi hai paanch hajaar ka…
P

Paanch alag money order karke oo

pachhees hajaar bheji hai.
 69.

DUBEY
Sahab humaara gut pheeling hai ki
iska vyavahaar theek nahi hai, daboch
AA
le ka isko?

MANOHAR
Court me tumhaare gut pheeling ka
patang banaakar udaayenge magistrate
sahab. Saboot kaun jama karega?
Babuji humaare? Negative dhulwaa ke
MI
kangan ka photo Patila thaana bhejo.
Pata karo ki kangan Pardeep ki biwi
Jaya ka hai ki nahi.
R
73 INT. DEEPAK’S HOUSE, COURTYARD - NIGHT 73

YASODA, DADI, POONAM and JAYA are about to finish eating

dinner.
KH

JAYA
Kamal kakdi ki subji bahut acchi bani
hai Amma, badiya swaad hai.

YASODA
(delighted)
AN

Lo bolo, khaane ka bhi koi tareef

karta hai?!… Humri Amma banaati thi
aisa, pyaaj lasoon ke chhaunk wala.
Humko bahut accha lagta hai par Deepu
aur uske Bauji chhootey bhi nahi, to
banaana hi chhod diye.
FI

JAYA
Chhod kaahe di? Aapko to pasand hai.
Apne liye banaati.
LM

YASODA and DADI exchange a look.

YASODA
Toh ab kaa aurato ke pasand ka khaana
banega?!
(they laugh, then she
grows sad)
S

Dikkat ee hai ki humko ab oo bhi yaad

nahi ki humko kaa pasand hai…

They start collecting the plates and bowls and getting up.
LL

YASODA (cont'd)
Bablu kahaan hai?

JAYA
Er.. eskool ka kaam kar raha hai.
P
 70.

DADI
Aajkal jaada hi padhne laga hai
ladka. Dhyaan rakh, galti se daaktar
AA
engineer na ban jaaye Poonam!

They all smile. It is a rare relaxed moment in the house.

JAYA has brought out a paper bag for POONAM. She opens the
paper bag and looks at JAYA with delight. She takes out the
rolled paper and sketch pencils. YASODA and DADI watch JAYA
and POONAM talk and giggle among themselves. Jaya shows her
MI
the earrings she bought and wears them.

YASODA
Kitte din baad Poonam ka hasi suney.
Sarvan sahar naukri karne ka gaya,
R
iska muskuraana tak chhoot gaya.

DADI
Heeyan hai bhi kaun uske saath hasi
KH
majaak karne waala…

YASODA
Hmmm…
(looking at them)
Pararthana karo Amma, ki Phool jab
bhi aaye, saheli banke aaye… auratein
AN

saas, nanad, jethani-devrani ban

jaati hai. Saheli nahi ban paati ek
doosre ki.
(to Daadi,
mischeivously)
Hum aap bhi saheli ban sakte hai kaa,
amma?
FI

DADI
Tiraai karein?
LM

They both laugh.

74 EXT. LIQUOR ADDA - NIGHT 74

DEEPAK, BILAS, GUNJAN and RAGHU are sitting in a small local

bar. A half finished bottle of alcohol sits on the table.
S

They look a little drunk. A random guy walks past.

RANDOM GUY
Aur Deepak? Dulhan mili?
LL

DEEPAK doesn’t even bother to reply, GUNJAN rebukes the man -

GUNJAN
Tumko kaa hai? Bhaag eeha se!
(consolingly)
P

Bhauji mil jaayegi yaar…

DEEPAK nods, morose.

 71.

RAGHU
Yaar Deepu ego baat bole? Aaj chaar
din ho gaya Bhauji ko khoye, hum sab
AA
milke dhoonde unko. Aur ijjat se
dhoondhe! Par ab nahi mil rahi toh
kaa kare? Phool Bhauji ko bhi kauno
tareeka se aana hota, toh ab tak aa
hi gayi hoti, hai ki nahi?

DEEPAK stares at him, his worry mounting. BILAS looks at

MI
RAGHU and nods, as RAGHU's drunken theory makes sense to him.

GUNJAN
Ab bas kar Raghu, tumko chadh gaya
hain!
R
RAGHU
Haan chadh gaya hain. Tabhi toh sahi
baat bol raha hu. Humko ab Bhauji ka
KH
theek thaak hona thoda muskil hi lag
raha hai.
(they exchange looks)
Arre dalle ghoomte hai gully gully.
‘Ram teri Ganga Maili’ mein kaise
dhar liya tha oo log gora chitta
Mandakini ko? Haen Bilas?
AN

GUNJAN
Arre filam mein Bilas ooha tak
pohucha hi kaha kabhi - jharna mein
Mandakni ko nhaate dekh ke tikat
vasool ho jaata tha iska!
FI

They all laugh except DEEPAK who has gone into a zone.

BILAS
Phak saala!
LM

RAGHU
Ee tum kaa phak phak bolte rahte ho
bey?

BILAS
Arre gaanv mein hum jisko bhakk
S

bolte hai, sahar mein usko phak

bolte hai. Sukh mein, dukh mein,
ascharya mein aur sadme me bhi, aisa
jor se - oh phak!
LL

All acknowledge the new information.

BILAS (cont'd)
Par baat toh sahi hai - jaanwar jaag
pada hai sab mein. Teen-chaar saal ka
P

bachhi ko bhi nahi chhodte haiwaan

saale, toh yeh toh…
 72.

RAGHU
Uparwaala sab hisaab baraabar hi
karke saara jugaad kiya hai oo toh
AA
saaf hai. Toh ab samjhaayi le mann ka
aur chup chaap Puspa ke saath biyaah
kar le.

GUNJAN looks shocked at RAGHU.

GUNJAN
MI
Paglaa gaya hai kaa?! Saadi na hui
majaak ho gaya? Pooja-mantar-saat
fero ka kauno matlab hai ki nahi?
Peeke ulta-sidha jo khopadiya mein
aaya bak raha hai!!
R
RAGHU
(to GUNJAN)
Iska ghar phir se bas raha hai - ome
KH
teri kaahe gaand jal rahi hai bey?!
(to DEEPAK)
Saala heeyan ee bhauji ke kaaran daru
piye baitha hai, pata chala oo kisi
aur ke saath tik ke ab tak imli kha
rahi hai hogi!
AN

RAGHU and BILAS laugh, but DEEPAK gets incensed hearing this.
He grabs RAGHU's collar and slaps him. BILAS tries to stop
him and gets slapped himself. Some glasses fall and break,
and GUNJAN finally holds DEEPAK, who is too drunk to continue
with the fight. DEEPAK pushes him and staggers out of the
bar.
FI

BILAS
Tum toh dil pe le liye bhai! Hum toh
aise hi badbadaa rahe the! Aye Deepu!
LM

GUNJAN
Deepu… ruk ja! Deepu!

DEEPAK gets on his cycle and drunkenly zig-zags away.

74A EXT. VILLAGE ROADS - NIGHT 74A

S

DEEPAK cycles drunkenly through a narrow dirt path. He loses

control and falls.
LL

75 INT. DEEPAK’S HOUSE POONAM’S ROOM - NIGHT 75

By the light of a torch JAYA puts some stuff in a bag.

P

75A EXT. DEEPAK’S HOUSE, POONAM'S ROOM - NIGHT 75A

JAYA softly closes the door behind her, and sneaks towards
the back lane.
 73.

She sees DEEPAK, drunk and dazed, wheeling his cycle towards
her. He’s stumbling and bleeding, and she hurries to help
him. Putting the cycle down on the ground, she helps DEEPAK
AA
stand and leads him towards his room.

75B INT. DEEPAK’S HOUSE DEEPAK’S ROOM - NIGHT 75B

JAYA helps DEEPAK lie down and he continues to hold on to her

hand. She is aware of the proximity between them, and there’s
MI
a moment as she looks at him with affection. But as she takes
her hand away he whispers - “Phool…”. Her look softens out of
pity for this man who is so troubled for the woman he loves.
She covers him with a razai and notices a newspaper wrapped
square falling out of his pocket. She takes it out, unwraps
R
it and sees a picture of DEEPAK and PHOOL on their wedding
day. She feels guilty.
KH
75C EXT. DEEPAK'S HOUSE, DEEPAK'S ROOM - NIGHT 75C

JAYA comes out of Deepak's room, picks up the cycle from the
ground and places it against the side of the wall. She picks
up her bag, and after a moment of hesitation, goes back into
Poonam's room and shuts the door.
AN

76 I/E. DEEPAK’S HOUSE, POONAM’S ROOM - MORNING 76

GUNJAN is speaking to VIDUR near the fields. JAYA is combing

her hair outside the room. Their eyes meet and a smile is
exchanged, when POONAM comes and shows JAYA a sketch she’s
made. Its a sketch of BABLU - a fairly good resemblance for
FI

an amateur artist. JAYA looks at it, she then looks at GUNJAN

and demurely tells POONAM.

JAYA
LM

Didi, humaare liye ek tho photo

banaaogi? Par kisi se kahna mat.

POONAM looks at her curiously, and JAYA gives her a secret

smile.
S

77 INT. MURTI POLICE STATION - DAY 77

We pull back from an array of pictures on MANOHAR’s desk.

None of JAYA's pictures give an indication of how she looks.
LL

Some are blurred, some show just her lips, an eye, a strand
of hair over her face, a passer by covering her. DUBEY looks
at him sympathetically. Just one picture - that of the gold
bangle has come out well. He gives it to DUBEY and throws the
rest in the dustbin.
P
 74.

78 I/E. PATILA POLICE STATION - DAY 78

We pull back from a picture of the gold bangle on the fax

AA
machine in Patila Police Station. A Hawaldar takes it to
INSPECTOR TRIBHUVAN who stares at it, then picks up his phone
and dials.

TRIBHUVAN
Hello? Pardeep bhaiyya? Ek kangan ka
photo aaya hain, jara aake identiphy
MI
kariye ki aapki patni ka hain kaa...

79 EXT. MANJU MAAI STALL, PATILA STATION - DAY 79

R
PHOOL is sitting listlessly at the stall looking at the
mehendi fade from her palm. CHOTU comes there to collect tea
in a steel canister. PHOOL starts to pour fresh tea into it.
KH
CHOTU
Ab Baarahbajaiya Express aayegi. Iss
me jaada uthta hai chai. Chaalis-
pachaas cup bhar de… Accha du naam
dhoondhe the - Palaash?
(Phool shakes her
head)
AN

Papita? Papita naam tha?

PHOOL seriously considers for a moment.

MANJU MAAI
Arey papita phal ka naam hai phool ka
nahi! Gaanv ka naam phal se hai ki
FI

phool se?!

PHOOL
(dejected)
LM

Chhod do dimaag kasna Chotu. Ego naam

theek se yaad na rakhne ka yahi sajaa
hai. Thoda padh likh liye hote to
itta chota baat pahaad jaisa samasya
na ban jaata.

CHOTU
S

Aur kitna raah dekhegi? Ab toh police

thaana chal.

PHOOL realises that now it is high time she takes help from
LL

the police. A CUSTOMER takes a big spoonful of chutney from

the counter.

PHOOL
Arre chutney chaatne ki cheej hain.
Peene ki nahi. Gatko mat!
P

CHOTU and MANJU MAAI exchange a grin.

 75.

CHOTU
Shabaash! Seekh gayi?
AA
PHOOL
(smiles sadly)
Jindagi kilaas le rahi hai, seekhna
hi padega. Kaa lagta hai tumko Chotu,
itta din hum aawara ka tarah ghar se
baahar rahe, tesan pe soye, oo mil
bhi gaye toh ka apnaayenge humko?
MI
MANJU MAAI
Chhod oo gaya tujhe tesan par.
Patidev apnaaye bhi toh iss bakhat tu
thukraa dena!
R
CHOTU runs off to work. PHOOL looks at the incoming train
expectantly, when MANJU MAAI says -
KH
MANJU MAAI (cont'd)
Sun! Ee rakh…

She holds out some money to PHOOL. PHOOL hesitates, but MANJU
MAAI insists and puts it in her hand.

MANJU MAAI (cont'd)

AN

Kalaakand safachat ho raha hai.

Mahnat ka paisa hai, rakh.

PHOOL looks at the money in her hands (about 200 rupees in

various denominations) and feels empowered with her first
income ever. She gently puts it in her sari ka pallu and ties
a tight knot just like she did to her khoichha.
FI

80 INT. DEEPAK’S HOUSE DEEPAK’S ROOM - DAY 80

LM

DEEPAK wakes up hungover, groggy and totally distraught. He

spots the piece of paper the FAKIRI BABA had given him, which
has slipped out of his pocket and is lying on the bed. He
considers giving it a shot.

81 EXT. SURAJMUKHI COUNTRYSIDE - AFTERNOON 81

S

JAYA meets GUNJAN at an appointed spot and hands him the

rolled up sketch. He opens it and smiles on seeing it. It
seems a romance is brewing. She climbs on the back of his
LL

cycle and they head off somewhere.

82 INT. MURTI POLICE STATION - AFTERNOON 82

JAYA's photo comes out of a fax machine. DUBEY tears off the
P

page and hurriedly hands it over to MANOHAR. MANOHAR takes a

look at it. He feels jubilant. He calls up INSPECTOR
TRIBHUVAN with JAYA's photograph in his hand.
 76.

MANOHAR
Jai Hind, Manohar bol rahe hai… Haan,
photo mil gaya hai. Dhanyabaad.
AA
82A INT. PATILA POLICE STATION - AFTERNOON 82A

TRIBHUVAN
Kangan bhi Jaya ka hi hai, Pardeep ki
Mataji identiphy kar li hai.
MI
MANOHAR
Theek. Hum khabar karte hain aapko.
(hangs up, looks at
Dubey)
R
Eeko bolte hain saboot! Bela ji ko
bulaao.

He has the keen look of a hunter in his eye.

KH

83 EXT. VILLAGE FIELD - EVENING 83

DEEPAK has a pot full of water and the paper, which BABA gave
him, and stands facing the setting sun. He puts the pot and
paper down to roll up his shirt sleeves. Just then a breeze
AN

blows and the paper falls into the water in the pot. DEEPAK
rolls up his sleeves and notices that the paper is now soggy
and wet. Irritated, DEEPAK tries to dry the wet paper on his
shirt. Then he tears a small piece off it and tries to throw
it in the air, but it falls on the ground instead of flying.
He tears another piece and tries to make it fly, but it falls
down too. DEEPAK gets really frustrated. He kicks the pot of
FI

water and throws the paper, and shouts out loud in anger.

84 I/E. DEEPAK’S HOUSE COURTYARD- EVENING 84

LM

DEEPAK dejectedly nears the house, and sees the police jeep
parked outside. Some people are gathered outside and he
rushes in. He sees his family solemnly gathered in the
courtyard. JAYA looks scared, she’s being handcuffed by
BELAJI at the centre of a storm with DUBEY and MANOHAR
present. MANOHAR is playing with BABLU. BABLU is standing and
S

both have fingers on the chair’s armrest, making them fly

with the rhyme.

MANOHAR
LL

Gaiyya udd! Haathi udd, Chidiya udd!

BABLU lifts his finger but MANOHAR grabs his finger.

BABLU
Aap humri chidiya udne kaahe nahi de
P

rahe?
 77.

MANOHAR
Police waale hai na - chidiya ko udne
nahi de sakte!
AA
JAYA looks at DEEPAK with tears in her eyes and he is
instantly aware that something is terribly wrong.

DEEPAK
Ee sab kaa ho raha hai?
MI
MANOHAR shows him the photograph of JAYA from the fax. He
taps with his stick on JAYA's wrist. She turns her arm to
show a smeared tattoo which reads JAYA instead of SHREYA.

DEEPAK (cont'd)
R
Jaya?

MANOHAR
Srimati Jaya devi… tritiya ke din
KH
inki Patila ke Pardeep Singh se saadi
hui, siraf naam ki. Saadi ke baad
saara jewar le kar ee bhaag gayi, aur
police se bachne ke liye itte din se
tumre ghar mein chhupi hai.

JAYA
AN

Nahi, ye jhoot hai!

YASODA
(Showing the phone)
Ee chupaayi thi!

She hands it to BELAJI as DEEPAK looks at JAYA, shocked and

FI

confused.

DEEPAK
Tumre paas phone tha? Toh tum khud
LM

ghar phone kaahe nahi ki? Apne Bauji

ko, Pankaj ko, kauno ristedaar ko?

MANOHAR
Arre iss kahaani ke sabhi paatr
kaalpanik hai Deepak bhaiya! Na koi
Bauji hai, na koi Pankaj hai, aur na
S

koi Sambelaa gaanv hai. Peshevar chor

hai ye.

JAYA
LL

Hum koi chor-vor nahi hai! Humaari

baat…

MANOHAR
(interrupting, angry)
Toh yahaan kaahe apna naam Puspa
P

bataayi? Pati ka naam kaahe Pankaj

bataayi? Kangan becha na Agarwal
sunaar ke paas?
(MORE)
 78.

MANOHAR (cont'd)
Oo paisa money order kiya na apna
gang member Hema Tripathi ko… Kiya ki
nahi?
AA
(Jaya looks shocked)
Tumra poora kaccha chittha hai humre
paas!

DEEPAK stares at her with mounting anger.

DEEPAK
MI
Phool ko kahaan gayab ki ho?

JAYA
(crying)
Arre hum kaahe gaayab karenge Phool
R
ko? Hum toh khudai galti se tirain
mein se aapke saath utre the…

MANOHAR
KH
Toh galti sudhaari kaahe nahi? Ek ke
baad ek naya jhooth, naya kahani
kaahe sunaa rahi thi?

DEEPAK
Aur hum khud ko dos diye jaa rahey
they ki hum apni Phool ko pahchaanne
AN

mein galti kaise kar diye!

JAYA
Arre galti se hi aaye hum…

DEEPAK
(angry, folds his
FI

hands)
Bas!! Ee jhooth kaa pitaara bandh
kijiye varna…
(he is choked)
LM

Arre dhokha ka bhi saala koi limit

hota hai!

JAYA
Humaari baat toh suno Deepak, humne
koi dhokha…
S

DEEPAK
(interrupting)
Bahut chutiya bana liya Puspa - Jaya -
arre jo bhi naam hai tumra! Pahle se
LL

bahut paresaan hain, ab aur nahi

bhatkaana!

DUBEY comes out with a potli of JAYA's jewellery.

DUBEY
P

Sir ee chori ka gahna baraamad hua

hai.
 79.

JAYA
Ye humaara gahna hai…! Deepak, hum pe
bharosa karo, suno humaari baat…
AA
DEEPAK
Daroga ji…

DEEPAK gestures that please take her and turns away. JAYA
realises that nobody believes her. She looks helpless as
MANOHAR puts the phone and jewellery in a plastic bag with
MI
finality.

BELA JI
(taking her away)
Chal!
R
MANOHAR
Aap log Phool ki jagah kaanta le aaye
they… hum nikaal diye.
KH

DEEPAK
Aur hamri Phool?

MANOHAR
Kaarwahi chal rahi hai, milte hi
bataenge.
AN

They leave, and the entire family watches as JAYA is put into
the police jeep. BABLU begins to cry, and POONAM also has
tears in her eyes. The neighbours who have gathered to watch
slowly melt away, gossiping. The family returns to the house,
a heaviness in the air. All look terribly upset.
FI

85 INT. MURTI POLICE STATION - NIGHT 85

As BELA JI removes the handcuffs, JAYA strains to talk to

LM

MANOHAR who settles at his desk.

JAYA
Daroga ji, humko jaane dijiye! Haath
jodte hai! Humaara saara gahna chaaho
toh aap rakh lo par humko jaane
dijiye… humaari baat toh suniye!
S

MANOHAR gives her a non-committal look and dials a number.

MANOHAR
LL

Hello, Jai Hind Inspector! Haan ji,

mil gayi woh…

BELA JI locks the door of the cell and marks a black board
next to it (adds one next to 'chor'). JAYA looks helpless
behind the bars.
P
 80.

86 INT. DEEPAK’S HOUSE, COURTYARD - MORNING 86

A sad, morose day dawns at DEEPAK's house. All are quiet.

AA
BABLU comes out with a text book on Organic Plant Science and
hands it to DEEPAK.

BABLU
Puspa chachi ee bhool gayi humre
baste mein.
MI
YASODA
Uu chachi na hai teri!

DEEPAK looks at the textbooks, baffled. GUNJAN, BILAS, RAGHU

enter the house.
R
GUNJAN
Hum kaa suney re! Puspa ji ko police
le gayi?
KH

DEEPAK
Uska naam Puspa nahi Jaya hai…

YASODA
Kisi thag gang ki chor nikli!
AN

BABLU
Phool chachi ko agua ki hai!

GUNJAN
Bhapp! Agua ki hai toh Phool bhauji
ko dhoondh kaahe rahi hai?
FI

DEEPAK looks at him frowning. GUNJAN takes out a poster from

his bag which has PHOOL's sketch on it, a telephone number
and DEEPAK's Surajmukhi address. DEEPAK looks at the poster
shocked, as the other family members gather round.
LM

DEEPAK
Ee kaun banaaya?

POONAM
Humse banvaayi vo. Hum Phool bhauji
ko dekhe the na, biyaah ke bakhat...
S

GUNJAN
Sadar bajaar mein computer pe Bhauji
ka ee poster banaayi aur humre paas
LL

chhapvaayi. Phir har jagah isko

chipkaney ke liye boli woh.

YASODA
Ee sab kaa chal raha hai? Humko toh
kuchho samajh me nahi aa raha!
P

All are confused. Suddenly DADDA calls out.

 81.

DADDA
Jaagte raho!
AA
DEEPAK stares at the poster, torn by doubt.

87 EXT. MANJU MAAI STALL, PATILA STATION - MORNING 87

RAKESH comes rushing and shows PHOOL’s poster to MANJU MAAI.

MI
RAKESH
Ee yahi ladki hai kaa?

MANJU MAAI
Padh ke bata...
R
RAKESH
Phool kumari mile toh sampark karo
Deepak Kumar, Gaanv Surajmukhi...
KH
Phone number bhi diya hain...

MANJU MAAI is delighted upon hearing this. PHOOL runs to

MANJU MAAI to see the poster herself. She is so overwhelmed
that she starts crying. CHOTU comes along curious to know
what's going on.
AN

PHOOL
Surajmukhi! Surajmukhi naam hai humre
sasuraar gaanv ka, Chotu -
Surajmukhi!

88 INT. STATION MASTER’S OFFICE - MORNING 88

FI

The STATION MASTER is dialing DEEPAK's number to no avail.

STATION MASTER
LM

Ee number pe koi phone uthaa nahi

raha.

Everyone looks very disappointed.

STATION MASTER (cont'd)

Ye Ambreli Katariya khadi hai, voh
S

jayegi Murti… Dus minit mein niklegi.

Bhej dein isko?

PHOOL looks at MANJU MAAI and CHOTU, undecided and emotional.

LL

89 EXT. PATILA STATION WITH TRAIN - DAY 89

PHOOL goes up to MANJU MAAI.

P

PHOOL
Aate rahengein dadi, ab ee tesan
hamra doosra maika hai…
 82.

PHOOL bends to touch MANJU's feel for blessings but MANJU

MAAI catches her and hugs her instead.
AA
MANJU MAAI
Jeeti reh, khush reh.

She hugs CHOTU, high-fives ABDUL and runs towards the train.
The train has started moving and all of them run behind her.

STATION MASTER
MI
Chotua ko saath leke jaao, akele phir
kho jaaogi Phool!

MANJU MAAI touches him on the shoulder, stopping him as if

saying this is her journey, let her undertake it herself.
R
PHOOL catches the handle and jumps onto the train. The
STATION MASTER and CHOTU run beside her and ABDUL drags
himself waving.
KH
PHOOL
Chotu uu number pe unko phone karte
rahna. Lagey to kahna Phool nikal
gayi hai Surajmukhi aane.

STATION MASTER
Yahaan se nauvaah bada tesan. Bhairwa
AN

ke baad aayega - Murti! Gintey rahna!

PHOOL bids goodbye to all the people waving up at her,

emotional. Then looks ahead as the train speeds up.

90 INT. MURTI POLICE STATION - DAY 90

FI

MANOHAR looks with interest at the 'Organic Farming'

textbook, the hostel receipt of Dehradun, and PHOOL's poster,
as DEEPAK and friends look on. JAYA is brought out of the
LM

cell and they all turn to look at her, a million questions in

their eyes. MANOHAR still looks suspicious. JAYA spots the
textbook on the table and looks thoughtful.

FLASHBACK :
S

91 INT. JAYA’S HOUSE - DAY 91

JAYA’s mother KALPANA (40s) throws the same textbook on the

bed angrily, and shouts at JAYA. We can see two younger
LL

sisters in the background.

KALPANA
Kheti baari padhegi? Paagal ho gayi
hai kaa? Saadi hai hafte bhar mein…
Khet dekhegi toh chulha chauka kaun
P

sambhelaga? Pati tumhaara? Aur khet

bech ke jo dahej ka intejaam kiye
hain uska kaa?!
 83.

JAYA
(pleading)
Bheed mein jodkar bhed mat banaao
AA
humko Amma. Awwal aaye hai hum aath
sau ladka aur chhiyaasi ladkiyo mein!
Dehradun jaake course karna chaahte
hai - Organic phaarming ka naam suni
ho? Jaivik kheti! Bina dawaai aur
keetnaasak ke khetibari. Aaj se dus
saal baad uska danka bajega likhva ke
MI
le lo humse. Pandrah din baad
daakhile ka tareekh hai…!

KALPANA
(with finality)
R
Aur hafte bhar mein biyaah ka.
Ladka acchhe ghar ka hai, ameer hai,
prem se baat karogi to saayad aage
padhne bhi dega.
KH

JAYA
Aur nahi padhne diya toh?

KALPANA
Toh bhaagya tumhaara.
(threatening)
AN

Hafte bhar ma tumhaari doli nahi uthi

toh humaari arthi uthegi. Tumhaare
bauji ki kasam.

JAYA keeps staring at her with tears in her eyes, hating the
fact that she is being manipulated, and we dissolve to a
teary eyed JAYA in the present.
FI

92 INT. MURTI POLICE STATION - DAY 92

LM

Everyone listens intently.

JAYA
Ambrai gaanv mein Hanuman Mandir ke
saamne ghar hai humaara. Saadi bhi
asli, aur usko karne ka dukh bhi
asli… Saadi ke bakhat ristedaar se
S

pata chala ki bachha na hone ke

kaaran Pardeep ki pahli biwi jal ke
marr gayi thi. Ab jal gayi ki jalaayi
gayi, oo toh bhagvaan jaane.
LL

(all exchange a look)

Dahej mein dus hajaar kam tha toh sab
ke saamne humaari amma ko gaali de
diya, ab aisa aadmi humko aage kahaan
padhne deta?
P

DUBEY
Itta problem tha to saadi ke pahle
bhaagti, mandap se bhagti… Railgaadi
se bhaagta hai koi?
 84.

JAYA
Bhaagne ka kaun kambakhat socha tha?
Hum toh ghunghat odhkar kismat se
AA
samjhauta kar hi liye the ki ye haath
pakadkar humko railgaadi se utaar
diye. Kismat itta bada isaara kare
phir bhi hum wapas laut jaaye itte
bade chutiye thodi hain hum?!

The boys grin, GUNJAN is in awe. DEEPAK looks convinced.

MI
MANOHAR still looks suspicious, unconvinced.

JAYA (cont'd)
Aap police ki najar se dekhe isliye
har baat mein chori dikhi aapko. Hema
R
Tripathi bahan hain humaari - ek woh
hi hai jo hum se humdardi rakhti hai…
Kangan bech ke didi ko money order
bheje taaki woh humaare liye course
KH
aur hostel ka fees bhar sake.
Computer ka dukaan se course ka
application pirint kiye hum… Teen din
mein course suru ho raha hai hamara.

JAYA picks up the textbook and flips through the pages to

find a registered post receipt and some travel tickets tucked
AN

inside. She holds a bus ticket and two train tickets.

JAYA (cont'd)
Ye dekhiye. Murti se Patna, Patna se
Dilli, Dilli se Dehradun... Aaj saam
ko humaara bus hai...
FI

DEEPAK is still terribly confused, and a little upset.

DEEPAK
Itta jhooth boli, ek baar sach bol
LM

deti?

JAYA
Sach bolte toh kaa maan jaate? Rahne
dete humko akele? Kaa maange the hum
apni sagi maa se? Thoda bakhat? Oo
bhi kaahe? Padhne ke vaaste, kuch
S

banne ke vaaste - mila? Humaara

samaaj hi aisa hai. Ut-pataan jhooth
galey utarta hai par eko saada sach
nahi pachta kisiko. Ladki ke haath ka
LL

rekha par mahendi leep ke kismat aise

badal dete hai ki har maamuli cheej
ke liye gidgidaana uska kismat ban
jaati hai. Humko siraf ek hafta
chhupe rahna tha, par poori duniya
jut gayi na humko ghar pohochaane
P

mein?… Inspector sahab hum churaaye

hai to bas ek mauka churaaye hai apne
liye jindagi se!… Yahaan se bhi nikal
hi rahe the hum!
(MORE)
 85.

JAYA (cont'd)
Par Deepak ko itta paresaan dekhe
Phool ke liye, toh laga madad karna
chahiye. Tabhi toh poster chhapvaaye
AA
hum taaki koi Phool ko dekha ho toh
humaare phone pe…

A sudden realisation that her phone has been confiscated.

JAYA (cont'd)
Arre hey bhagvan - humaara phone
MI
kidhar hai? Jaldi dekho poster padh
ke saayad koi phone kiya ho!

DUBEY brings out the plastic bag which has her ornaments,
phone etc. She reaches out for it but MANOHAR takes it.
R
MANOHAR
(Checking it)
Baara missed call.
KH

JAYA
Lagaiye na number!

They all excitedly watch MANOHAR.

MANOHAR
AN

(dials)
Hello - haan iss number pe phone kiye
they aap… hello… Phoolkumari? Haan
haan… awaaj cut raha hai aapka…
kahaan? Patila tesan? Accha… train
ka? Hello! Hello??
(loses connection)
FI

Arre yaar!

MANOHAR calls the number again but it doesn't connect. DEEPAK

impatiently asks.
LM

DEEPAK
Kaa bataaya saab? Phool mili?

MANOHAR
Lagta hai poster kaam kar gaya.
Phoolkumari Patila tesan par hai.
S

Daudo ab.

DEEPAK is ready to leave, and in her excitement JAYA wants to

join him too, but MANOHAR stops her.
LL

MANOHAR (cont'd)
Chor nahi ho, par saadisuda ho,
bhaagi hui ho apne pati se. Oo rapat
likha hai. Case close toh karna
padega na?
P

JAYA
Matlab?
 86.

MANOHAR
Pardeep aa raha hai tumko lene…
AA
JAYA
(suddenly scared)
Usko kaahe bataaye? Hum nahi jaayenge
Inspector sahab! Hum bole the aapko,
gahna paisa sab le lo par uske saath
mat bhejo humko!
MI
MANOHAR pays no heed so she asserts herself a little more
strongly.

JAYA (cont'd)
Baalig hai hum, aap humaare saath
R
jabardasti nahi kar sakte!

DEEPAK
(protectively)
KH
Oo nahi jaana chaahti sahab… Aur oo
nahi jaayegi.

MANOHAR
Biwi phirse ghum jaaye uske pahle tum
jaaoge ki tumko bhi rok le?
AN

DEEPAK
Nahi saheb, Jaya ko yahaan aise
chhodke nahi jaayenge hum.

MANOHAR
Bela ji.
FI

BELA JI takes JAYA away. JAYA urges DEEPAK to leave.

JAYA
Hum siraf Phool ke liye ruke they
LM

Deepak, oo nahi mili to humaara rukna

bekaar jaayega! Jaao Deepak, tumko
humaari kasam. Jaldi jaao!

DEEPAK is reluctant, but JAYA's urging forces him to agree.

DEEPAK walks out, but GUNJAN is looking at JAYA.
S

MANOHAR
Aur tumre liye kaa poori bhaaji
mangvaaye? Samdhi ban ke khade ho...
LL

GUNJAN reluctantly leaves as JAYA is locked up again.

93 EXT. RAILWAY FAATAK - DAY 93

PARDEEP and his cronies about to cross the railway faatak,

and the faatak comes down.
P
 87.

94 INT. MOVING TRAIN - DAY 94

PHOOL looks out eager and anxious as the train makes its way
AA
towards Murti. She passes by a station, counting it.

95 EXT. VILLAGE ROADS - DAY 95

DEEPAK and his friends cycle to the station.

MI
96 EXT. MURTI RAILWAY STATION WITH TRAIN - DAY 96

DEEPAK, RAGHU, BILAS and GUNJAN almost dump their cycles

outside the station and run onto the platform. A train is
R
leaving the platform as passengers get off it. DEEPAK runs to
the guard sitting there.

DEEPAK
KH
Ee gaadi Patila jaayegi? Jaldi bolo
bey…!

GUARD
(clucks his tongue)
Oo toh kab ki nikal gayi, ee
Khabariya jaati hai.
AN

DEEPAK
Patila ki agli tirain kab hai?

GUARD
Raat nau baje.
FI

DEEPAK looks frustrated, disappointed. The train has pulled

out of the station.

DEEPAK
LM

Arre yaar!… Ab kaa kare, bus le le?

GUNJAN
Haan haan chalo, kuch karte hain…

They move towards the exit in a hurry. As he is about to

leave the platform, he hears a desperate call.
S

PHOOL (O.C)
DEEPAK!!!
LL

DEEPAK freezes on hearing the voice. He looks towards the

platform and sees PHOOL on the other side through the crowd
of exiting passengers. DEEPAK is overwhelmed and runs towards
her. PHOOL also runs towards him and hugs him in a tight
embrace. Its a tearful happy reunion.
P
 88.

97 INT. MURTI POLICE STATION - DAY 97

PARDEEP enters the police station, a couple of his cronies

AA
with him. He approaches MANOHAR.

PARDEEP
Inspector Manohar? Pardeep Singh,
Patila se. Inspector Tirbhuvan bheje
hai.
MI
MANOHAR
Baithiye, baithiye.
(he sits)
Fijool ka badnaami hoga soch ke hum
paperwork kiye nahi… Ab aap hi
R
bataaiye kaahe ka case banaaye -
chori ka, bhaagne ka, ki kho jaane
ka?
KH
PARDEEP slides a bundle of notes towards him that delights
MANOHAR.

PARDEEP
Kho jaane ka.

MANOHAR
AN

Laiye Bela ji, Jaya ko laiye.

JAYA is brought out. She looks defiant, though one can tell
that she’s worried and doesn’t meet PARDEEP’s eye. PARDEEP
walks up to her with bitter contempt.

PARDEEP
FI

(softly to her)
Aur PT Usha…

He slaps her with raw power, she staggers backwards shocked,

LM

her lip bleeding. MANOHAR silently looks on. His subordinates

are shocked at his inaction. MANOHAR shows no emotion.

PARDEEP (cont'd)
Ee siraf munh dikhaayi tha… Charbi
ghar chalkar utarengey tumra. Gahna
kidhar hain?
S

MANOHAR takes out the potli from his drawer and slides it
towards PARDEEP.
LL

MANOHAR
Ek kangan to ye bech chuki hain.

JAYA
Gahna humaara hai! Bauji ke khoon
paseene ka hai! Khet bech ke khareeda
P

Amma ne...
 89.

PARDEEP
(Pocketing the potli)
Dahej dulhe ka hota hai. Kangan toh
AA
phir se vasoolenge tumri Amma se, tum
ghar toh chalo rani.
(prepares to leave)
Dhanyavaad Inspector Sahab, bahut
madad kiye aap.

MANOHAR
MI
Hum toh bas duty kiye apna.

PARDEEP walks, pulling JAYA along. MANOHAR stops them.

R
MANOHAR (cont'd)
Ek minute Pardeep ji - duty poora
nahi hua abhi. Ye bhagi, aap FIR darj
kiye, humko mili, hum lautaye. Case
KH
khatam hua. Oo mil gayi ek baat hai,
par oo lautna nahi chahti oo ek naya
aur alag masla hai. Maidam baalig
hai, man-marji ki maalik hai,
jabardasti nahi kar sakte. Aur abhi-
abhi jo ye aap kiye ho - police
station mein dahej lene ki baat,
AN

police station mein aurat par haath

uthane ki himmat, dhamkaana, daraana -
ye apradh hai Pardeep Babu.

JAYA is stunned, PARDEEP gets angry.

PARDEEP
FI

Ee ka chutiyapa hai bey?

MANOHAR
Kaanoon kahte hai isko… Ye agar dahej
LM

ka, phijical abuse ka rapat likhaati

hai, toh humko andar karna padega
aapko. Khud ko ginn kar -
(looks around and
counts)
Ek… do… teen… chaar gawaah hai
humaare paas. Aur phir iske upar se
S

puraana afwaa ko jor milega… File

khulega - pahli biwi jal gayi thi ki
jalaayi gayi thi… Samajh rahe ho na?
LL

PARDEEP
Isko lautane ka niyat nahi lagta
aapka, Inspector Sahab!

MANOHAR
Niyat humaara is case ko poora tarah
P

se bandh karne ka hai.

(MORE)
 90.

MANOHAR (cont'd)
Toh aapas mein sulah karne ka aakhri
mauka de rahe hain… Ya toh jaao jail
aur court kacheri ka jhanjhat paalo,
AA
ya chup chaap isko jaane do. Iska
ajaadi ke badle aapke khilaaf rapat
nahi likhenge ee jubaan dete hain.
Aur agar jindagi mein kabhi isko
dhoondh karke paresaan karne ka kosis
kiye, toh duniya ke koi bhi kone se
khud chalkar aayenge tumko hathkadi
MI
lagaane. Ee vaada hai tumse.

JAYA has tears of joy and relief. PARDEEP boils with anger
because he knows he's been cornered.
R
PARDEEP
Hum dekh lenge aapko…!

MANOHAR
KH
Arre on duty afsar ko dhamki dena bhi
judd jaayega list mein! Kaahe apni
paresaani badhaa rahe ho bhai mere?!
(as Pardeep is about
to leave)
Gahna?… Arre gahna to rakhte jaao,
warna ab chori ka case banega.
AN

PARDEEP flings the potli on the table and sees the bundle of
notes.

PARDEEP
Humara paisa?
FI

MANOHAR
Oo riswat toh nahi tha?… Oho... Tab
toh aap ko jail me daalna padega!
LM

PARDEEP storms off. JAYA is relieved and shellshocked.

MANOHAR hands her a kerchief. She wipes her bloody lip. JAYA
picks up the potli of jewels and slides it to MANOHAR.

JAYA
Thank you.
S

She turns to leave, when MANOHAR slides the potli back at

her.

MANOHAR
LL

Padhai achche se karna.

JAYA is surprised and emotional at his change of heart. She

opens the potli. Takes out a kangan and slides it to him.

JAYA
P

Ee hamara nahi hai.

She is about to leave when she stops, turns back and removes
the Mangalsutra from her neck and places it on the table.
 91.

JAYA (cont'd)
Aur ab ee bhi... Thank you.
AA
JAYA does a namaste and leaves. MANOHAR pockets the jewellery
and has a respectful amusement on his face.

MANOHAR
Ee ladki bahut door jaaegi Dubey.

Dubey nods.
MI
DUBEY
Haan sir! Dehradun 800 kilometre ke
aas paas toh padega.
R
Manohar opens his mouth with a retort, but laughs and lets it
pass and sits back on his chair.
KH
98 EXT. SURAJMUKHI COUNTRYSIDE - DAY 98

DEEPAK cycles briskly with PHOOL seated in the front, both

happily smiling. Behind them, GUNJAN carries JAYA on his
cycle, both happily smiling too.
AN

99 I/E. DEEPAK'S HOUSE - DAY 99

A happy family reunion. PHOOL gets hugs from YASODA, DADI and
POONAM. Meanwhile, BABLU sets the village telegraph in motion
one last time…

BABLU (O.C.)
FI

Phool chachi mil gayi!

HARI and other children repeat the same news as it echoes in

the distance.
LM

100 INT. MANJU MAAI STALL PATILA STATION - DAY 100

MANJU MAAI, CHOTU, ABDUL and RAKESH are waiting anxiously at

MANJU MAAI's shop, the STATION MASTER comes running and
announces.
S

STATION MASTER
Humaari Phool ghar pohoch gayi!
LL

They all rejoice. MANJU MAAI has tears in her eyes. She feeds
everyone a piece of kalakand.

MANJU MAAI finally sits down and eats one piece herself with
absolute relish and joy in her eyes. Just then a CUSTOMER
hands her some money, and when she opens her cash box she
P

sees PHOOL's khoiccha there - she smiles to see it at the

memory of PHOOL through her tears.
 92.

101 EXT. LOCAL BAZAAR BUS STOP - EVENING 101

The entire Surajmukhi gang has come to drop JAYA at the bus
AA
stop. JAYA is wearing the salwar kameez she had bought
earlier at the bazaar. POONAM hugs her lovingly and gives her
a rolled up sketch of JAYA. Her eyes well up on seeing it.
She touches VIDUR and YASODA's feet.

VIDUR
Khet me fasal lahrayegi toh yaad
MI
karenge tumko.

YASODA hands over a small tiffin.

YASODA
R
Kamalkakdi ka subji aur roti hai.
Pohuch ke khabar dena…

They hug. JAYA turns to BABLU.

KH

JAYA
Aye chawanni, sahi se padhna, phir
humaare hi collage mein daakhila
lena.

He smiles and nods. PHOOL touches JAYA's feet. JAYA stops

AN

her.

JAYA (cont'd)
Arre! Ee kaa kar rahi ho?

PHOOL
Aap nahi hoti to hum kabhi na milte.
FI

JAYA
(hugging her)
Tum nahi hoti toh humko hum nahi
LM

milti.

They all smile. The BUS CONDUCTOR says its time, and JAYA
climbs up and looks at DEEPAK -

JAYA (cont'd)
Bahut takleef diye aapko, maaf kar
S

dena.

DEEPAK
Sapna dekhne ka maafi nahi maangte.
LL

GUNJAN whispers something to DEEPAK.

DEEPAK (cont'd)
Apna ghar samajhke aati rehna…
(Gunjan whispers
P

again)
Hum sab ko tumra intejaar rahega…
(MORE)
 93.

DEEPAK (cont'd)
(Gunjan whispers
again)
Chitthi likhte rehna!
AA
Everyone laughs. GUNJAN blushes as JAYA exchanges a look and
a hint of a smile. JAYA waves from the door as the bus leaves
them behind. She looks out at the road ahead. Her windswept
face glows with the first taste of freedom.

Meanwhile the family gets onto a tam-tam to head back to the

MI
village, but DEEPAK and PHOOL choose to walk down the road
together, laughing and catching up.

THE END
R
KH
AN
FI
LM
S
LL
P