This action might not be possible to undo. Are you sure you want to continue?
SCENE 1 : EXTERIOR : HOWRAH STATION AREA Overhead tele shot – Camera pans around from right to left – The Howrah Bridge, Ganges and the Station building are being seen. Sound Effect – Usual din and bustle of the area . Tilt-Up long angular shot – camera fixed – Showing the big clock of Howrah Station Lateral tilt up close shot- focus on a man near the entrance gate. The man is reading a Bengali daily and the date is being shown is as 17th Dec 2012.camera pans showing the EXIT gate. Busy people are being seen moving to and fro over the frame. Focus remains on an old couple, an NEI MAN & an NEI WOMAN making their way through the crowd. Their luggage comprises of a trolley suitcase and two air bags. Over the shoulder shot from their back – They are conversing in their native language (Manipuri) as they walk towards the taxi stand. Lateral perspective shot from front – camera moving and following the Manipuri couple as they proceed for boarding a taxi. Lateral mid Shot from taxi bonnet – camera fixed – The Manipuri couple is being seen boarding a taxi. Near the jetty ghat. SCENE 2 : INTERIOR : INSIDE TAXI Lateral shot from back – (Driver turns down the meter) close shot, camera on ground - Taxi starts moving forwards Lateral shot from back - the taxi approaches the Howrah bridge. The man is seen on the rear view mirror. NEI MAN (in broken Hindi) Hotel chalo. DRIVER (turns around) : Dharamtalla me chalte hai saab.. Waha achha sa hotel hai ek.. Close shot, camera on ground - Taxi moves forward over the Howrah bridge; - camera pans - “Welcome to Kolkata” board is being seen outside. SCENE 3 : EXTERIOR : IN FRONT OF MAA LAKSHMI HOTEL, DHARMATALA Lateral long Shot – Camera fixed –
A young boy is seen entering the hotel through the entrance with two bags of vegetables. A tea stall is seen near the gate of the hotel and hand pulled rickshaws are seen to ply on the street over the hotel building. SCENE 4 : INTERIOR : HOTEL RECEPTION Lateral angular mid shot from right - Camera fixed A plump looking manager with unshaven face is seen reading a Malayalamm paper. A cup of tea is over the table. Few registers are seen to be stacked by the side of the table. The behind wall endorses two large frame photographs – one of Maa Lakhshmi and another of Lord Ganesh. There is a small hanging rack at one corner of the wall where few small photo frames of goddesses are seen to rest. Incense sticks are burning in front of the rack.Sound of someone enchanting mantras is heard from a near by room. The young boy with the vegetable bags enters the hotel (with his back on the frame) and approaches the manager. SURYA Baba koi go ? MANAGER (Looks up from the paper and puts it down) Tor baba pujo’e boseche re. SURYA (Holds up the vegetable bags) Tahole ei bajar gulo ektu rekhe dao. Lateral angular mid shot from left - Camera fixed MANAGER hmmm. de. Manager extends his hands, stands up, takes the bags ,looks for someone on the other end. Surya leaves his vegetable bags on the floor and walks ahead from the frame. the manager shouts : Eai, ke achis, Surya’r ei bajarer thole duto niye jaa !! SCENE 5 : INTERIOR : INSIDE A ROOM Lateral mid shot from one end of the room – Camera on a 360 degree pan from door to door The door is seen to be closed. A towel and few garments like tees and jeans are seen to be hanging on a rope by the wall. A clumsy bed with books, magazines, a pillow and blanket. A cricket bat is seen to be kept standing by the wall beside the door. A pair of sneakers and sandals is lying over the floor beside the bat. An old poster of Sourav Ganguly is pasted on the wall. A mirror is also fixed over the wall. A clink sound notifies the opening of the door. Door opens and Surya enters the room. He closes the door and comes forward. Lateral mid shot from other end of the room – Camera fixed -
Surya puts off his tee, hangs it on the rope, wipes off his sweaty body with a towel and enters the attached bathroom at one corner of the room. Lateral mid shot from the front – Camera fixed, slight tilted down Surya washes his face with water. Reflection is seen on mirror. Lateral Shot from behind – Camera follows – Surya puts on a new tee Close shot, camera on ground - Surya changes his jeans and puts on a track pant hanging from the rope. Lateral Shot from left – Camera fixed – Surya combs his hair, turns around and moves towards the frame. Lateral shot from the back - Camera fixedHe puts on his sneakers, takes up the bat and stands up and steps ahead to open the door when a woman opens the door and enters. Lateral close shot from Mothers’s over-the-shoulder - Surya gasps in Malayali. Lateral close shot from Surya’s over-the-shoulder SURYA'S MOTHER kothaye jas re? Lateral close shot from woman’s over-the-shoulder SURYA Cricket khelte, jabe? SCENE 6 : EXTERIOR : MOHUN BAGAN STADIUM Close shot - a sweating forehead of a batsman close shot - a bowler rubbing the ball against his pants close shot - the bat is slowly striking the ground close shot - the bowler is getting ready for run up, camera follows - the bowler takes a run up. long tele shot, camera slightly tilted down - the bowler is running towards the wicket and the fielders r slowing taking a step forward close shot camera on ground - the foot of the bowler falls on the crease
over the shoulder shot of the batsman, slow motion - the bowler delivers the ball - camera pans and changes position the batsman hits the ball - camera follows the ball - the ball goes behind the stands - camera pans downLateral front shot - Camera rests on Monty and another boy sitting beside him on the gallery. Both Monty and the boy is looking back in search of the ball where it would have landed. BOY (now looking at Monty) : Ki marlo be shot’ta !! Ganga paar koriye dilo bodhy !! MONTY (turns to the boy with an indifferent face) : Ekbar sujog pele ami otake Ganga’y fele ditam.. BOY (inquisitively) : Ball’take ? MONTY (looks towards the ground and replies in a tone of ignorance) : Huh, batsman’take ! SCENE 7 : EXTERIOR : A GHAT IN THE NORTH KOLKATA AREA Lateral Angular mid Shot from left side of ghat – Camera slight tilted up, zooms in The Howrah bridge is seen at a distance. Focus is on a man (Dhiman), aged around 50 years who is talking a bath emerges from the water. Lateral front close shot – Camera pans up from water level Dhiman (the man) in waist deep water is doing aanhik and surya-pranam . DHIMAN (mummers incantations) Om namah Suryay namah... Lateral center shot from the ghat – Dhiman takes a dip, turns around, adjusts his wet cloth and starts coming up the ghat stairs. Lateral angular shot from rightDhiman takes up a towel from the ground, wipes his head and body, then puts on his clothes which were stacked on the ground where he is standing.A common man is seen crossing the frame from the other side as he goes down to the river with a bottle.
Lateral shot from back – camera fixed – Debjani holds Diman’s arm.. .. Mid long shot from front . Debjani turns around . a street at the end of the by-lane and finds himself in front of a palatial house where a middle aged woman (Debjani) is waiting for him. A tram approaches from behind. Lateral shot from front – Camera moving along backwardDhiman walks along the narrow by-lane and looks around the close buildings on his both sides. Lateral shot from back – Camera moving along forwardDhiman crosses the road and enters a narrow by-lane on the other side of the street. Sounds of tram bells is heard near by as tram tracks run along the same street. Then he extends his hand and calls out “TAXI” .. Lateral angular shot from right – camera fixed – DHIMAN (with an assuring face) Thik ache.5 Lateral shot from back – Camera moving along forwardDhiman climbs up the stairs up to the street. DEBJANI (In an excited tone) Ai sono na Tram’e kore firbe ? Sound of a moving tram and ringing bells.. DHIMAN tumi bhitore jao tahole. Kal ashi borong ? Aj noy.. Over the shoulder shot of Dhiman – Camera fixed DEBJANI (bit nervously ) : Umm. Lateral mid angular shot from left – camera fixed – Dhiman approaches Debjani . Lateral long shot – Camera fixed Dhiman enters the frame. Lateral shot from opposite – Tram moves away ahead.Dhiman looks ahead for some thing. Lateral Shot from front – Camera fixed Dhiman looks around the street and walks forward. Kal asha jabe.
SCENE 9: SONG SEQUENCE SCENE 10 (THROUGH VIDEO RECORDING FRAME ): EXTERIOR : PRINCEP GHAT/NALBAN/VIVEKANANDA PARK Lateral Shot from front – Camera in hand held mode – Focus on Riya SHUBHADEEP(VO) (in a grave tone) Seriously re... Bong culture’r aatur ghar Kolkata’kei chinlam na.. SHUBHADEEP(VO) (excitedly ) Kotha theke suru kora jaye bol to ? Tell me the best places from where I can breathe in the royal. this kiss is for you.. Amder asol intention’tai to is to roam around the cultural and heritage capital of India and explore Kolkata throughout our stay.. For bringing us to Kolkata and for this tram ride.6 SCENE 8 ( THROUGH A VIDEO RECORDING FRAME ) : INTERIOR : INSIDE A TRAM Lateral Shot – Camera as in hand held mode – The tram is moving along a busy street and the frame captures a lively group of five boys and girls in their early twenty's . A girl (Geetanjali) comes slight forward towards the frame.. vintage & colonial feel of Kolkata !! Lateral close shot – camera fixed – focus on Riya RIYA . janlam na. RIYA (smiles ) Sei jonnie to toke Kolkata chenate niye esechi re. GEETANJALI Shubhadeep.. RIYA (in a sense of appeal ) Hey guys – I guess you all remember our promise to speak as much BANGLA as we can all through these days !! CHORUS Nischoi – Just Bangla Sholo Aana Anglo Tamil Na-Na Na-Na. Bangali hyeo sarajibon banglar baire manush holam – ‘Rajini Bhumi’ te bere uthlam .
camera follow to lips . He is brought back to present a welcoming voice (of Amlan) from the front – AMLAN Kire Robin.7 (with a proud smile) : Coffee House !! Sound effect : The guitar tune of “Coffee Houser sei adda’ta” hymns in the background.and looks up around the ambiance with a gloomy face.Camera in moving style flowing a waiter carrying a tray of coffee – The waiter approaches a table at the center position of the hall and serves a cup of Black coffee to a man seated there. Lateral shot from 1st floor – The clock behind the counter is showing 6 pm . Amlan sits down. Close shot of hand. Some are looking over for empty seats at the other end as certain people approach for exit. bosh Lateral angular shot from Robin’s left . Camera mover leftwards and frames towards Amlan and waiter AMLAN .Camera fixed A man wearing Kurta-Pyjama and with a typical Bong look of long hair & beard-mustache approach the table. camera turns 180 degrees ROBIN (Looks up with a dry smile) Ei 10 min holo. SCENE 11 : INTERIOR : COFFEE HOUSE Sound effect : Manna Dey’s “Coffee House’r sei adda’ta” hymns in the background amidst the constant chattering sounds of the many people who make this place so lively. Over head angular shot from 2nd floor of Coffee House – Camera fixed – A busy scene inside the Coffee House during the peak evening hours.Camera fixed – Amlan lights up a non-filter cigarette (Charminar) / bidi and looks up as a waiter approach them. kotukkon esechis ? Lateral shot from the suited man’s back . Scattered groups of waiting customers are seen near the entrance gate. The footfall is high enough to fill up almost all the tables as busy waiters are seen taking orders and servicing the customers. Camera moves closer to the man -The man is dressed in a black suit and is seen smoking a mild cigarette. He continues to puff and seems to be lost in the environment and its lively appeal and heritage touch.He sips the coffee served to him .the camera moves 360 degrees.
Ruti ruji tai to dotnet. Emni din’e to baad’i dilam – weekend gulo teo sorir jeno ar chalte chaye na. java script ar networking’e joriye ache. Er theke to age Houston’e better chilam mone hye akhn.8 (orders) Ekta Infusion ar Pokora. Camera pans rightwards towards Robin – ROBIN slight uneasily) : Abar pokora bolli keno ? Acidity hbe ! Lateral Close shot camera fixed over Amlan - AMLAN Tui tham to !! Sala IT Land’r Micky Mouse !! Not-naroncharon hye sarakkhon ghar guje computer’e pore thakleo acidity hye.. huh...camera fixed over Amlan – Waiter approaches from back side and serves the Infusion and pokora at the table.. Ei protham to aj Coffee house eli !! Over the shoulder Close shot camera fixed over Robin - ROBIN (sadly) : Ki korbo bol. Amlan takes up the cup and sips his coffee... ekbaro dekha korechis ? Kimba dekha korte bolechis ? Ki je ekta khaja company te kaj koris – din nei raat nei – aathero (18) ghanta duty. . Baire theke Kolkataye ese jodi oi Salt Lake’r concrete’r jangol’e din raat pore thakte hye tar cheye frustrating r ki hote pare.. AMLAN Chhar to pokora !! Last Chhow (6) mash dhore Kolkataye achis .. Over the shoulder Close shot camera fixed over Robin - ROBIN (bit surprised) : Jabbaba !! IT abar ki korlo !! Ami to pokorar kotha bolchilam !! Lateral Close shot .
... Ashchi. Aj thak. Or even worse. Over the shoulder Close shot - camera fixed over Robin - ROBIN Elam shikorer taane. NISHI (from inside)Snan korchilam... Lateral shot from back – camera moving and following the boy – He stops in front of a door and rings the bell. SCENE 12 : INTERIOR : APARTMENT STAIRCASE Lateral angular shot from left corner of the staircase midland – Camera fixed and slight tilted up – A boy in tee and jeans carrying a polythene packet walks up the staircase. Sachholotar map kathi’te to Markin muluk besi nambor pabei bhai !! Tahole r eli keno. sob bogus sala.camera fixed over Amlan – Amlan lets out a ring... Ebar ektu siddhi chorbe naaki Hadua’r khola haway ? Lateral Close shot camera fixed over Robin - ROBIN ( sadly) : Na bhai... HADU (murmers) Ei bhor sondhebela’teo snan . Flat’e firte hbe. AMLAN (smirks) : Hmm. as I was saying. ei shatabdi prachin kokkher anache kanache ure berano monishi’der pretatma sakol to bhaloi tomar ghare choreche dekhchi bondhu. bangali. Lateral Close shot camera fixed over Amlan – AMLAN (jokingly and bit dramatically) : Hmm. But unfortunately I feel it all the same. onek sunechilam... Getting no answer from inside he keeps on ringing the bell repeatedly.9 Lateral Close shot ... kolkata.... Late hye gele PG’r gate bandho hye jabe.
Lateral shot from the same position. AAschi darao. Few magazines are lying over the centre table and a tv remote is also there. Lateral Shot from the back – Camera follows Hadu – Hadu opens the door of the room. Hadu enters the frame from the left side and sits on the sofa. Lateral shot from back – Camera pans from right to left – Nishi closes the door and moves towards a room in the left side. Hadu is shocked to see the girl (Nishi) in that attire.. Lateral shot from Nishi’s back – Camera fixed.. NISHI Ami change korchi sona. Hadu walks towards the kitchen to keep the packets. Hadu start to shiver with excitement and nervousness. Lateral angular shot from one corner of the room – camera fixed – The drawing room is being shown on the screen. Nishi is now in only a bikini. There’s a television over a small trolley on the other end of the room facing the frame. Over the shoulder shot of the girl – camera fixed and focus on Hadu’s face. She unlocks the door and finds Hadu standing at the other end as the door opens slightly. Asbe na ? HADU (stammering ) Hha.10 korche !! huh. a centre table and two fibre chairs adore the central part of the drawing room. takes the remote and switches on the tv. Nishi unfolds the towel . He finds Nishi in the same short towel and giving him horny looks.. SCENE 13 : INTERIOR : INSIDE A FLAT Sound effect .. The girl moves aside as Hadu enters the room and close the door. She throws the towel over him. Camera follows Nishi as she approaches Hadu and starts kissing him wildly. He keeps on surfing the channels.Calling bell rings. A sofa. Lateral shot from back – camera moving and following a girl – The girl draped in a short towel is approaching the main door inside a flat. Hadu looks back in a jiffy as Nishi calls from inside the room. . Camera pans from right to left – Hadu proceeds towards the room.
Hadu is also coming on the mood as the door bell rings and they both put a break in their role-play.. . NISHI Jao. They are at the last shop on the right side of the exit gate. Over the shoulder shot of Nishi – Camera fixed over Hadu. Overhead shot from back of the queue – camera focused on the couple. Hadu looks tensed. Lateral close shot from left side of the man – camera showing. and picks up the towel. Lateral shot from back – camera moves and follows the couple as they join the queue for entering the temple. They are holding garlands and other packets containing item for puja. Overhead shot from front – camera focussed and zooms in slowly on the couple in the queue and the security personnel present near by. the security guard spots that and takes out his walky talky Lateral close shot from front – camera showing . Camera pans from right to left. tomar dada ese geche.11 Break-in close shots of their love making scenes. Focus out .Focus in. tilts up slightly and lays focus on the temple building as the couple proceed towards it.. Ebar giye or sathe kheye deye ghumiye poro. Over the shoulder shot of Hadu – Camera fixed over Nishi. Lateral shot from the left side – camera fixed – The policemen and the security personnel pulls out the man from the queue.nThe security personnel notices the man closely.a kukri tucked in his belt. Nishi pushes him. People look around in confusion but move ahead with the queue.After completing their shopping the couple moves for the exit.2 policemen enter the frame from the back and approach the couple. SCENE 14 : EXTERIOR : DAKKHINESWAR TEMPLE COURTYARD Lateral angular shot from right side of the exit point of the “Dala” arcade – camera fixed and focused on the old Manipuri couple – The old couple is being seen buying flowers and sweets for puja. The wife follows her husband and holds a frightened face..the security personnel talking over the walky-talky .
She looks around for help but find no one approaching them.Camera revolves swiftly to focus closely on the policemen interrogating them – POLICE 2 (in disgust ) Ki bolchen ? Banglay bolun !! Camera moves frequently to focus closely on the security and policemen interrogating them – SECURITY PERSONNEL (in a sense of order ) Apni thanay cholun.as she tries to stop the policemen from arresting her husband ..12 Over the shoulder shot of the man – camera focused on the policeman interrogating them POLICE 1 (with an angry face) Ki byapar !! Apni komore kukri niye mondir’e dhukchen keno ? Over the shoulder shot of the policeman – camera focussed on the Manipuri couple . van’e tol to mal’take !! Lateral Shot from front – camera revolves over to focus on the terrified Manipuri couple – The Manipuri couple in utter despair tries to convince them as the man is taken over by the police men. The wife crying and pleading for help holds on to the closed door. Okhane giye ja bolbar bolben. The wife is on tears.camera revolves around the woman – Smoke and dust fill the frame as the sobbing woman kneels down .Both the couple try to explain themselves but in their native language. They sense fear and hopelessness as they understand about the trouble they are going to face for this incident. The Manipuri couple continue with their native tongue as the group reach a police van parked outside the main entrance gate. Lateral shot from front . Lateral Shot from left side – camera fixed – The policemen takes the man inside the van and slams the door shut. POLICE 1 (turns to Police 2) : Ei.two lady policemen comes and drags her away as the van moves off. Overhead close shot from back – camera slight tilted down follows the woman . Lateral shot from back .
Surya and Shilpa are being seen walking hand in hand and giggling as they make their way through the crowd. Amongst them is a young girl (Shilpa) in salwar. some moving along with packets in their hands. starts the engine and rides off the frame. puts on the helmet. << SONG SEQUENCE>> SCENE 17 : INTERIOR : INSIDE CITY CENTRE/ANY OTHER MALL Overhead tele shot from the 2nd floor of the mall – camera fixed and slowly zooms in towards the ground floor – Many people are roaming inside the mall arena . Lateral Shot from front – camera moving and proceeding Surya and Shilpa – They are in all smiles and looking around the posh surroundings and talking intimately. Walks rightwards towards a bike (pulsar) parked nearby on the footpath.13 on the street and the van disappears from the frame. Lateral shot from the ground level – camera fixed – Amidst the smoky effect of emission the bike moves off ahead. Close shot of Shilps's face. SCENE 16 : EXTERIOR : BUS STAND Lateral shot from back – camera fixed – Few people are waiting in the bus stand under the shade.they are holding each others hands passionately. Lateral close shot of their hands . some doing window shopping. Over the shoulder close shot on right – camera fixed and focussed on an approaching bike as the girl looks on – Lateral shot from back – camera fixed – The bike stops in front of the bus stand. and Shilpa (the girl) hops on the back seat and rides off the frame. some having snacks at the food counters. Tilt up left angular shot from the ground – Camera fixed – Surya mounts the bike. suddenly the loosen the grip Very close lateral shot from the front – camera fixed and focused on both Surya and Shilpa’s face – freeze for 2-3 secondsOver the shoulder shot of the couple – camerafixed – . SCENE 15 : EXTERIOR : OUTSIDE LAKSHMI HOTEL Lateral shot from other side of the street – camera fixed – Surya comes out of the hotel entrance with a helmet in his hand.
Lateral shot from front – camera fixed – The man turns around and drags along Shilpa. Lateral Shot from the back – camera moving and following the man –The man stops in front of the couple. Drinks are being served to the players and they are lazing around.camera fixed – A break time takes place. Lateral shot from back – camera follows Monty as he runs down the steps of the gallery Lateral close shot from ground – camera fixed and focussed on . Lateral close shot front – camera fixed on Monty’s face – Monty looks closely and seems to notice something. Close shot from ground level . Over the shoulder shot of the couple – camera fixed and focussed on the man’s face – SHILPA'S DAD Ki hochhe ekhane ? Chole aay Shilpa !! He grabs Shilpa’s arm and drags her forward.the balls comes and rests against the boundary rope.14 A middle-aged man with angry look approach them from the front. Lateral shot from front . Camera pans 180* from left to right the crowd towards the exit gate.The bowler bowls and the batsman hits for a boundary. Lateral shot from the sideline . Monty is sitting steadily and seems deeply focused on the match. as the man walks past SCENE 18 : EXTERIOR : MOHUN BAGAN GROUND Over the shoulder shot of Monty – camera focused on the ground – A cricket match is going on. There are scattered crowds on the gallery like the other day. Lateral close shot from left side of Monty – camera focused on Monty’s side face – The people at the gallery cheered for the batsman. He gets up. Monty’s face is grim and eyes gleaming with determination.
Lateral close shot from front – camera moving backwards The focus is on a pair of hands at chest level with the ball gripped firmly for an in-swinger delivery. He takes a quick stance casually. Overhead close shot from back of Monty – Camera focussed on the pitch – MONTY (loudly ) : Le. Lateral close shot from ground level – camera pans leftwards and starts following a pair of sneaker clad feet The movement takes up pace as the feet starts running. GUARD 3 Dhor sala’k !! GUARD 1 Hey. Lateral shot from sideline – camera fixed – Few security guards notice someone and calls off to stop him.Khel issko !! Lateral shot from front – camera fixed on Monty Monty delivers the ball. thamte bolchi !! Lateral shot from front – camera fixed – The batsman was chatting with a light mood with a drinks boy at his crease when suddenly he and the others notice something at the other end of the pitch. Lateral shot from left side of the pitch – Camera fixed – Batsman tries to defend the attempted Yorker as the ball swoops in for the stumps. Lateral close shot from back of the stumps camera fixed – .15 the ball – A hand loops down and takes up the ball. Lateral shot from side – camera moving leftwards – Three guards with sticks are chasing someone and calling him to stop as some players look on in surprise. GUARD 1 Ei !! Kothaye jachhis ? GUARD 2 Dhor dhor maal’take dhor !! They make a chase for stopping him.
Ami bhetor’e ekbar ghure ashi. Ami baire achi. She looks around and proceeds ahead. gangar ghat. She enters the passage way leading towards the courtyard. Lateral shot from front – camera fixed – Monty ends his run up and expresses mild jubilation for getting the batsman out. She constantly looks around stealthily. They are looking around the house from outside.16 Batsman misses the delivery and the ball hits the middle stump. DHIMAN Thik ache. Angular tilt-up shot from left – camera fixed DEBJANI (turns to Dhiman) : Tumi ekhane darao. Debjani moves ahead towards the closed gate. The guards approach him from the back and grab him by the arm and take him down. SCENE 20 : INTERIOR : INSIDE THE DEURI Lateral Shot from front – camera fixed – The door opens inwards and Debjani enters cautiously.(blank frame) SCENE 19 : EXTERIOR : OUTSIDE THE PALATIAL HOUSE Lateral shot from back – camera fixed – Debjani and Dhiman are standing in front of the house. Lateral close shot on the gate – camera moving – A hand approaches and pushes the wooden door slowly open. MONTY (with a cunning smile) chude chat. Lateral shot from back – camera follows Debjani. Lateral angular shot from right – camera fixed – Dhiman looks ahead and nods. Tilt up angular shot from right – camera fixed – Debjani takes out a digital camera from her bag as a hand stroke her right shoulder. Lateral shot from back – camera follows Debjani. .
Barita dekhe bhalo laglo tai chhobi tulchilam. Apnar asubidheta kothaye ? Over the shoulder shot of Debjani – camera fixed – DEBJANI(JR) (threateningly) Amar asubidhe kothaye ?? Apnar sahos to kom na !! Ami e barir meye.mane… ghurte esechi ekhane. bollam to tourist ami. DEBJANI (emotionally) : Dekho. Ekkhuni beriye jaan. Ami . Chhobi tulchilam. Nyto ami police dakbo !! Lateral close shot – camera fixed and focussed on Debjani’s face and her embarrassed..17 Lateral angular shot from left – camera fixed – Debjani thinks the hand to be of Dhiman’s and remains unnerved... Over the shoulder shot of Debjani – camera fixed DEBJANI(JR) Ke apni ? Ekhane ki chai !! Over the shoulder shot of the girl – camera fixed DEBJANI (taken aback) : (with a guilty face) Ohh.. Lateral shot from left – camera fixed and focussed on the girl & Debjani– DEBJANI(JR) (angrily) : Mane !! Chhobi tulchen !! Na bole koye apni dum kore e barite dhuke porlen ki bhebe ?? Lateral close shot – camera fixed and focussed on Debjani – DEBJANI (persuasively) : Aah.... etodineo bhetor ta kichui serom bodlay ni !! Oi dekho pujo’r dalan – Radha Gobindo’r murti !! Lateral overhead shot from back – camera fixed – A girl of about 20 years strokes Debjani on the shoulder and makes her turn around. tearful eyes– ...
Hand held camera elevates and pans around the surroundings Few bus and taxis ply in the distance but no trams are being seen. Lateral shot form front . Bhul hye geche. APARNA (anxiously) : Hey Riya. The group of young guys and girls are being seen scattered moving around the frame.... The sound of a political speech in favour of the tram strike . shall we get what we are looking for in this area ? RIYA (confidently) : Surely. Depot’ta to kachhei. SHUBHADEEP(VO) Anekkhun to hye gelo re.18 DEBJANI (emotionally) : (softly) Na. SCENE 21 ( THROUGH A VIDEO RECORDING FRAME ) : EXTERIOR : OVER KHIDDERPORE-DHARAMTALLA TRAM ROUTE Lateral shot from ground level – camera as in hand held mode A pair of tram tracks running down straight over a stone paved street is being seen on focus. Ektu egiye dekha jak.... Lateral shot from front – hand held camera pans back on the direction of the tracks and starts moving ahead – GEETANJALI (assureingly ) : Yeah. That’s not a bad idea either... The group proceed towards the entrance gate which is partly closed and is studded with many posters in favour of an on-going strike and suspension of services. Lets move ahead with the tracks.. engaged in private discussions. Kichui chokhe porlo. SCENE 22 : DHARAMTALLA TRAM DEPOT Lateral shot – hand held camera follows the tram tracks and pans around the surroundings – The tram tracks from many adjoining streets are seen to meet at an unison and leads towards the Dharamtalla Tram Depot ahead. Have patience dear.. her head hung low passes the girl aside and retreats for the exit door. Over head close shot from Debjani’s back – camera fixed – Debjani... mane ami bujhte parini. Etai shei jayga jekhane amra tram cholar best view ta capture korte parbo..
Robin and Anwesha are walking along a lonely lane in Salt Lake.. I’m really really happy that you have come over to meet me here. Riya she comes over at the frame and moves towards the posters pasted over the walls and gates.ei concreter jongol – it suffocates me like hell .. Geetanjali along with the others also move over to her. Amader shooting hobei. Be positive dear !! SCENE 23 : EXTERIOR : A LONELY LANE OF SALT LAKE CITY Lateral shot from back – camera moving and following Robin and his girlfriend Anwesha. RIYA (consolingly) : Subha please. hand in hand and talking privately lateral close shot from left of the couple – camera moving and following them ROBIN (quietly) : Anwesha.19 is being heads at a distance.. We will surely find a way out of this !! APARNA (assureingly ) : Impossible is nothing dear. Robin follows her. RIYA (gravely) : Holy shit !! She turns around with a sulken face. SHUBHADEEP(VO) (form behind the camera) : Crap !! Now what do we do !! Its an indefinite stike from today !! (disheartenedly) Amader documentary ta ki hobe na tahole ? Riya comes over to Subhadeep along with Aparna . Erom bhabis na. Lateral close shot from back – camera focussed on Robin's face ROBIN (stops and turns to face Anwesha)Ami tomake bole bojhate parbo na .. Lateral very close shot from front – camera moving backwards .. Anwesha turns around and smiles shyly then starts walking past the frame onto left.
kal anek din baade Amlan’r sathe dekha holo – Coffee House’e !! Lateral angular shot from left – camera moving – ANWESHA (softly ) : Kothaye ? Lateral close shot from front – camera focussed on their face and moving along backwards – ROBIN Coffee House’e. Ei protham bar gelam. Alpo kichukkhn chilam… Kintu khub bhalo laglo go. Overhead angular shot from left – camera pans along from right to left as Robin-Anwesha pass the group and move ahead LOAFER 1 (after spitting a mouthful of gutkha chews on the road looks up ) : Mal’ta bes chikna chilo to !! Lateral angular close shot from front – camera fixed – LOAFER 2 (with a wicked grin) : Ekdam Makhom kintu bhai… Lateral angular shot from front – camera focussed on the couple and moving backwards – Anwesha looks down with embarrassed face and Robin sports a grim face. They look like college students of about 20 – 22 years old. The loafers are seen to follow them from behind.20 and focussed on their hands – Their hands are held together and fingers locked passionately in romance.. There were four of them and they were standing and sitting casually around two bikes perked on the pavement. Lateral shot from right side – camera moving – ROBIN Jano... Lateral angular shot from right – camera fixed – They pass a group of loafer looking boys gossiping and giving them looks as they move over. LOAFER 3 (with a mischievous smile): Ei je Babu Bhola r Madam Cola Cola… Tumi ki jhajhalo na rosalo ? ANWESHA ( holds on to Robin tightly and .
jib chhire deb janowar gulor !! Lateral angular shot from left – camera moving – LOAFER 4 (maliciously) – Mamoni. Matha groom koro na !! ROBIN (shaking with anger) : Ar ekta baje kotha boluk. ROBIN (fumingly) Ki.. orom bhabe dhoro na – Munni badnaam hye jabe !! All four of them laughs nastily. ROBIN (in ruthless anger) : Bastards !! Lateral shot from right – camera fixed – Loafer 2 releases himself from Robin and punches him hard on the stomach. Amader chokh rangachho ?? LOAFER 2 (threateningly) Ei Hero… Amader sange besi pongtamo marte eso na… Puro machine’r format kore chere debo… Tomaro. r tomar oi Maagi’ro !! Over the shoulder shot of Loafer 2 – camera fixed – Robin loses his control and holds on to the collar of Loafer 2. Amra customer. Problem ta ki tomader ? Over the shoulder shot of Robin – camera fixed – LOAFER 1 (nastily) Ja babba !! Culfi niye jachho. Several lateral break in shots – camera jerky – .21 pleads ) : Tumi please kaan diyo na... Anwesha rushes forward in aid. Robin shrieks in pain. Lateral close shot from front of Robin – camera fixed – Robin rolls off his sleeves and comes over them with fuming anger. Overhead close shot from front of Robin – camera fixed Robin turns around with a jiffy...
Lateral close shot from right side – camera fixed – Nishi and Hdu’s face are just few inches apart. SCENE 25 : INTERIOR : INSIDE FLAT Lateral angular shot from left – camera fixed – The couple enter the flat and Hadu turns around and closes the door. Door opens and the couple enters inside. Nishi clutches his collar and drags him towards her. Lateral shot from back – camera fixed at the door of the bedroom – Nishi throws Hadu at the bed and jumps on him. . Overhead close shot from back – camera fixedNishi holds Hadu from behind as he tries to open the door. They stop in front of a closed door. Over head shot from the back – camera fixed – Anwesha cries for help and tries to lift the bleeding Robin off the ground as the loafers leave them over there. Over the shoulder shot of Nishi – camera slight tilted down and fixed – Hadu stands up with a sweaty face. Over the shoulder shot of Hadu – camera fixed – Nishi also bends down to remove her sandal and intentionally shows her cleavage. SCENE 24 : INTERIOR : APARTMENT STAIRCASE Lateral shot from front – camera slight tilt-down fixed ahead – Hadu and Nishi walks up the staircase towards their flat. Hadu searches his pocket and takes out a bunch of keys.22 Robin is severely beaten up by the goons. Lateral angular shot from left – camera fixed – Nishi drags Hadu by his hand and takes him towards the room at the left side of the frame. Lateral close shot on Hadu – camera fixed – Hadu gapes with rounded eyes. Hadu bends down to untie his sneeker. She gives a mischievous smile and kisses him on the lips. Swallows a breath and looks up at Nishi’s eyes. Lateral close shot on Nishi – camera fixed – Nishi bites her lips seductively and keeps on with the provocation.
And Hadu with his jaws wide open. BIPIN (from behind the frame) : (heavily annoyed) Ki hoche ekhane !! Lateral close shot over Hadu – camera as in hand-held mode – HADU (stammers severely) Aaaa aaamra m mm mane !! Camera pans swiftly to Nishi – NISHI (awkwardly) Bad timing. Nishi covers herself with the bedsheet and looks down . r kichui na. looks like a dead man in shock. Lateral close shot from right side – camera fixed – Nishi kisses Hadu’s lips and bites his ears. Lateral shot from back – camera fixed – Hadu unhooks Nishi’s bra and reveals her bareback.. Lateral shot from back – camera fixed – Nishi puts off her kurti and bends down on Hadu.... hye geche.. Lateral shot from Bipin’s front – camera fixed – Nishi springs up from over Hadu and covers herself with a bedsheet .23 Over head tilt down shot from Hadu’s end – camera fixed – Hadu is lying over the bed and Nishi is bending down on him with horny looks. Sorry. Over head tilt down shot from Hadu’s end – camera fixed – They make out in passion when suddenly a man (Bipin) enters the room and shrieks as he sees them in that situation. He grabs her with both hands and pulls her down on him. Camera pans swiftly to Bipin – BIPIN (angrily) Hye geche mane !! Yearki hochhe !! Dorja khola rekhe !! Abar bad timing !! Lateral close shot from front of Bipin – camera fixed – Hadu tries to say something but keeps on swallowing his own words. Hadu enjoys the moment with closed eyes and puts his hands around Nishi’s back.
camera fixed – BIPIN (still angry) : Thik ache.. Ebhabe bolo na.24 in embarrassment – BIPIN (from behind the frame ) : (in same angry tone) Onno keu ese gele !! Ekhane amar r thaka jeto ?? Eta ki mangsher dokan peyecho naki !! Lateral close shot on Bipin – camera fixed – BIPIN (in a sense of order) : Anek hyeche .. Tai hbe... Amar ekhane ekta respect ache.” etc can be made out of his illegible statement. Erokom r kokhono habe na. Dharamtalla. R duto din ekhane theke jai please !! Very close lateral shot on Bipin’s face. The OC is sitting on his place and few constables are loitering around with files on their hands. Raaji ?? Camera swiftly pans right wards towards Hadu and Nishi – HADU (assuringly) Tthhik ache Bipin’da.. SCENE 26 : INTERIOR : POLICE STATION Lateral angular shot form right corner of the room. The Manipuri man is seen to be seated opposite the OC on a chair and constantly trying to say something on his native language.. Tomader chadti jawani’r doulate ami seta khowate chaina. Photographs of wanted criminals and goons are pinned up on the board. Abar ami fire ele pore dhukte parbe.... Baki furti kono hotel’e giye koro. There are two tainted looking almirahs side by side over one wall of the room. Few large size photographs of Gandhi’ji .camera fixed – then slowly pans around the room from right to left The room depicts the office of the OC of the Police Station... Ei flat’e tomader r thaka cholbe na. Ekhane r noy !! Very close shot on Nishi’s face – camera fixed – NISHI (pleadingly) : Please Bipin’da. There is a pin board over the wall behind the OC’s table. IIT Kharagpur.. Seriously bhul hye geche khub.. Nothing but the name of some Hotel.Nehru are hanging over from the walls. Neta’ji and J. As the frame stops .. Tbe only on one condition.L. Tomra thakte paro kintu jokhun ami barite thakbo just tokhoni. Ami office beriye gele tomadero beriye jete hbe....
ektu kichu khan r mukhta ektu bondho rakhun .. The OC looks up to his left as the SI approached him.. the entrance gate is seen and a Sub Inspector enters the police station. Over the shoulder shot of the Manipuri man – camera fixed – OC gestures towards the food items. Over the shoulder shot of the OC – Camera fixed – Manipuri man continues with his explanation and remains totally unnerved with the sudden arrival of food and beverage on his behalf. picks up a sweet. pen stands and other stationery items finds it hard to make room for the newly put down food tray. Uni je ki bolchen uni nejii janen. two land-phones.. Over the shoulder shot of the Manipuri man – camera fixed – The OC looks on to the Manipuri man’s face with a confused look as he continuously jabbers on with his native tongue to prove a point.25 panning at the left end of the room.... Anekkhun dhore kotha bolchen . Setai to mushkil. Enake thamte bolleo to bujhbe na.. Camera follows the hand as it moves towards the Manipuri’s . Bok bok kore matha dhoriye dilo sala !! Lateral shot from left side of the OC’s table – camera fixed – An office boy approaches with a tray full of tea. sweets and snacks and puts down the stuff over the table. Moha mushkil’e pora gelo dekhchhi.. OC (whispers back) Hmm. and bent down to say something. The table already quite clumsy with several files. Lateral very close shot from the right of the tray – camera fixed – OC’s hand swoops down at the tray. The SI and the office boy together manages to arrange some space for placing the tray in front of the Manipuri man. Kichui bojha jache na.. Lateral close shot from the front of the Manipuri man – camera fixed and focussed on the OC’s face – OC (smilingly) Nin. registers. amra anek bar jiges korechilam asar pothe. Lateral close shot from back of the OC – camera fixed and focused on the OC’S and the SI’s face – SI (whisperingly) Sir. But the Manipuri shows no sign of restrain from his efforts to explain himself.
. Over the shoulder shot of OC and SI – camera moving long and following them – OC Hmm. But oder room akhono booked ache register’e. Over the shoulder shot of the OC and the SI – camera moves along forward and follows them – OC (whisperingly) Achha.. Dharmatalla’r okhane. Onar wife’k hotel’e pawa jaye ni.Manipuri man chews the sweet and looks down at the other items and seems to understand that those are for him only. ... thikana sab pawa geche register theke. R kono info ? SI Haa sir. se to bolai bahulyo !! Ebar dekha jak onar wife kokhun ashen ? Lateral close shot from front – camera moving backwards and focussed on OC – OC takes out a cigarette from his shirt pocket and lights up. Signature to dekhlam Manipuri’tei kora. oi Hotel na ki bolchilo lokta... OC (thinkingly) Hmm.. Ora Manipur theke asche sir.. Over head close shot from OC’s back – camera fixed and slight tilted down – OC stands up from his chair and leaves the Manipuri man with the food. Sekhane khoj niye kono information pawa geche ?? Lateral shot from front – camera moving along backwards – SI (assuringly) Sir amra okhane khoj niyechilam. Lateral angular shot from right of the room – camera fixed and slowly pans leftwards – The OC puts his hand over the SI’s shoulder and discusses with him..26 mouth – Lateral shot from front of OC – camera following the hand forward – The hand moves ahead and inserts the sweet in the Manipuri’s open mouth to shut it down from talking any more. Khataye entry bodhy Manager nijer handwriting’e koreche.... oder naam. Ek akkhoro Engriji – Bangla Hindi jane na sir..
Faltu jhamela joto !! SCENE 27 : INTERIOR : INSIDE A ROOM IN MAA LAKHSHMI HOTEL Lateral shot from front – camera positioned over the dining table . She worriedly holds on to his shoulder .. This adds to the gloomy feel of the atmosphere. . Surya is in focus and he is seated at the sofa with a dull face. melamesha.fixed – The room is feebly decorated and holds a middle-class outlook. A tube light is fixed over the wall facing the frame and it ejects feeble light effect. A tainted flower vase holding a bunch of dusty plastic flower bouquet is placed beside the TV. A sofa with shabby covers is placed in front of the window. Due to light effect coming from the front the man’s silhouette is only visible over the frame. There is an old showcase at one end of the room which is stuffed with items ranging from tea-sets and dinner-sets to show-piece items and broken toys. His mother holds a worried face and is sitting beside him with a hand over his shoulder.... Chhtobela thekei amader bondhutto. A ceiling fan heavily lidded with dust hangs from the ceiling.27 OC Nyto kono interpreter khuje ene case samlate hbe. There is an open window in the centre of the wall facing the frame and the curtain holds an old look. SURYA'S DAD (the man with his back on the frame) : (with a booming voice to Surya) Tumi Shilpa’r sathe kotodin dhore melamesha korchho ?!! Lateral close shot from front – camera fixed and focussed on the Dad – The man is wearing a half sleeved Panjabi and sports a fumingly angry face. Tumi bhalo korei jano amader ei beparta akosshik noy. Surya’s mother is fearful at her son’s statement. A 21 inch old television set rests over the showcase. prem. SURYA'S DAD (continues with his scolding) : (in the same tone) Tumi jano na oder poribarer sathe amader r kono samporko nei ?? Tomar lojja kore na nijer poribarer sathe gaddari korte !! camera swiftly pans leftwards and focus on Surya and his mother – SU (stubbornly) : Ami Shilpa’k bhalobashi. An elderly man with his back on the frame is seated on a dining chair and is facing Surya and his mother.
Tomar amote ami biye korbo na. leaves for the door at the right side of the room. Ghaar dhakka diye bari theke ber kore debo. Over the shoulder shot of the guard – camera fixed – STADIUM STAFF (inquisitively) Kon chhele ?? ...28 Lateral close shot on Dad’s face – camera fixed – SURYA'S DAD (gets angrier) : (threateningly) Tomar sahos dekhe ami obak hoye jachhi.. With this words Surya gets up... Lateral close shot from front . Camera Lateral close shot from front – camera fixed and focussed on the guard’s face – GUARD 3 Sir. Oi chheleta abar eseche... Camera tilts up – keeps on following the subject from behind – The outline of Monty becomes visible and he approaches the entrance gate. Lateral shot from left corner of the room – camera fixed and positioned in front of the showcase – Surya with no more words. Ar tomar shatrupokkher meye’k to kokhonoi nye.Camera swiftly pans leftwards and rests back on Surya’r face – SURYA (smiles lightly) : (speaks with assertion) Tumi nischinto thakte paro baba. His dad and mother remains seated speechless and follows his depart.. SCENE 28 : EXTERIOR : MOHUN BAGAN GROUND ENTRANCE Lateral shot from ground level – camera moving ahead jerkily – A pair of sneaker clad marches forward towards the gate. Shilpa’r sange tomar biye ami kichutei mene nebo na. Lateral close shot from left side of the guard fixed-The guard approaches a passing official. Lateral shot form other side of the gate – camera fixed – A security guard notices Monty as he approached towards the closed gate.
Ki chai tomar ?? Lateral mid shot from right– camera fixed – MONTY (comically swings his hands and makes a sound) : tok STADIUM STAFF (imitates Montys action) tok mane? Lateral close shot from front of Monty – camera fixed – STADIUM STAFF Kal tum achanak ground me ghuske match me problem create kaiya thha. Aj tumhe hum ghusne nehi denge.Monty walks past the open gate. The Official along with the guard approach him. Lateral close shot from Monty’s front – camera fixed – STADIUM STAFF Ai chhele. . Over the shoulder shot of Monty – camera fixed – STADIUM STAFF ( in a tone of enquiry) Ai chhele.Camera swiftly pans leftwards and focuses on the gate ...Tum haato abhi. The official looks over the frame and notices the arrival of some guest. Sound of an approaching car from behind.. Lateral shot from back – camera positioned over the bonnet of a sedan – Several guards and other officials come over the frame to receive some one.29 Lateral angular close shot from front – camera fixed and focussed on the guard’s face – GUARD 3 Sir – oi kal je chhele’ta – kal match cholakalin dhuke pore jhamela korechilo na ?? Apni chhilen to stand’e. Lateral angular close shot from front – camera fixed and focussed on the official’s face – STADIUM STAFF (in a sense of authority) Dako to chhele take !! Lateral shot from front . Sir aa gaya hai.
Orom unready abosthaye hotat keu ese kono notice chhara ball kore dile to je keui out hote pare. Security’k bole diyechi na dhukte dite. The official who was interrogating Monty comes over to receive him. A senior cricketer comes out of the car. Tai take atke rakha hyeche. SENIOR CRICKETER (surprised) Dhuke pore mane ?? Ki korechilo ? STADIUM STAFF Sir tokhun drinks break chalchilo.. Over the shoulder shot of the Official and the Cricketer – Camera moving forward and following them .O sir hotat ekta ball kuriye niye doure ese delivery kore daye batsman’k... Clean bowled kore daye.he signs an autograph . Se ager din ese hotat mather modhe dhuke pore ... Lateral close shot from right side of Monty ...... Ajkeo eseche. STADIUM STAFF (worriedly) : Kintu sir o Jodi ajkeo abar bhetore dhuke pore jhamela kore ? Close shot of his hands .. Lateral close shot from front – camera moving backwards along with them – SENIOR CRICKETER Ki bepar ? Ekhane eto commotion kiser ? STADIUM STAFF O kichu nye sir . Lateral close shot from front – camera fixed over the official and the cricketer – SENIOR CRICKETER (turns to the official) : Eke bhetore dhukte dao.The duo approach the gate of the balcony.. SENIOR CRICKETER (surprised) Achha ? Kothaye sei chhele ? STADIUM STAFF Oi to sir dar koriye rekhechi akhono.Monty looks back and camera pans along with his view.. Kintu seta incidental... Ami dekhchi beprta.30 He moves over the frame towards the car.. Ei ekta chhele.
He is dressed in his night garments of Kurta-pyjama and has a towel over his shoulder. A closed door at the left corner of the room opens and Dhiman is seen to come out of the attached bathroom.. SCENE 29 : INTERIOR : INSIDE THE HOTEL ROOM Angular shot from left corner of the room – camera fixed – The room is mildly furnished as per the standards of a lodge.. Debjani is seen to be beautifying herself in front of the dressing table at other end of the room. Lateral angular shot from Dhiman’s right – camera fixed – DHIMAN (in a surprised tone) : Kothaye berochho abar eto shokal’e ? Over the shoulder shot of Dhiman – camera fixed and focussed over Debjani – DEBJANI (turns around) : (confidently) Ami aj dhukboi o barite. Okhanei jachhi. And I’ll not allow that... Aj amake okhane jetei hbe. She is dressed and seems all ready for an outing.. A double bed is positioned at one end of the room and is covered with a printed bed-sheet. Tumi ki and .31 SENIOR CRICKETER (in a commanding tone) : Seta jate r na hoy tar dawitto security’r.. Ok bolo pore amar sange dekha korte.. Lateral close shot from front – camera fixed and focussed on Debjani – DEBJANI (convincingly) : Tahole amra ekhane elam keno ? Ami kichhu jani na. Lateral angular shot from Debjani’s end – camera fixed focussed on Dhiman as he approaches her – DHIMAN (worriedly) Abar jachho okhane ?? Sedin dekhle to kirom jhamela holo... Eto guards acche ki korte ? Lateral very close shot from front – camera fixed and focussed on the cricketer’s face SENIOR CRICKETER (in the same tone) : Kauke jor kore match dekhte na dewa is strictly against the spirit of the game. A couple of pillows and blankets are lying unarranged over the bed.
Low level tilt up shot from Dhiman’s right – camera fixed – Dhiman looks up with a tensed face as Debjani climbs up the wall which is the exterior of the servant quarters. DHIMAN ki korte chao tumi? DEBJANI Asha kori tomar hatu gulo akhono thik thak aache.32 aschho amar sathe ?? Lateral close shot from front – camera fixed and focussed on Dhiman– Dhiman looks to be in a dilemma.An old wall worn out of its plaster and with most of its bricks broken is being seen ahead. SCENE 31 : EXTERIOR : ON TOP OF SERVANT QUARTERS TERRACE .. Lateral shot from left side – camera fixed and focussed on Debjani – Debjani looks around the surroundings and drags Dhiman closer to herself by the arm. Camera zooms in – focus on Debjani’s face –she is thinking something somethind deeply. The wall is of about 8 feet high and can easily be climbed up with the help of an iron ladder attached to the wall.. camera pans to show a dead end. Debjani walks ahead & tries to climb up the wall Dhiman approaches her .. DHIMAN Thik ache. Lateral shot from back – Camera following them as they move ahead – Lateral close shot from their front – Camera moving back as they march ahead – They stop at a point. Then he gives a brisk nod in acceptance of the proposal. Over the shoulder shot of the couple – camera fixed and focussed ahead . Camera pans leftwards on Dhiman – Debjani drags Dhiman off the frame. SCENE 30 : EXTERIOR : NEAR THE PALATIAL HOUSE OF NORTH KOLKATA Tilt-up shot from ground level – camera fixed – Debjani and Dhiman are seen to be standing at one corner of the building. Chalo – amio jachhi.
Riya turns around and calls out loud to the group. Ami r Subho edik’ta cover korchhi. Venkatesh and the others come over in response to her call. I have a plan. Listen...33 Lateral shot from front – camera fixed A girl approaches from behind the camera. She is shocked to see this girl. RIYA Yeah. Good idea Subho. .She turns around and at the same moment Debjani climbs up.. Several lines of tram coaches are found to be stationed in the car-shed. RIYA Hey listen guys. Over the shoulder shot of Debjani – camera fixed and focussed ahead – The young girl who caught Debjani the other day while she was trespassing is standing in front of her Lateral close shot from front – camera fixed She is shocked as well to find Debjani at this part of the building. Riya pushes open the gate slightly and the others follow her.... Camera pans around laterally around the surroundings – The inside of the tram depot depicts a deserted ambiance. Use your mobile cameras and take pictures or videos of any relevant information or photograph if you come across.. In approval of her proposal everybody takes out their mobile and digital cameras from their pocket and starts focusing as per their view points. she turns towards the camera and ties her dupatta to her waist. Subhadeep with the camera enters last. Camera moves ahead keeping focus on the stationary tram The other boys and girls are found to be loitering around over the frame. That way we can incorporate them in the main feature during editing. Other than the boys and girls no other official is seen to around.. SCENE 32 ( THROUGH A VIDEO RECORDING FRAME ) : EXTERIOR : DHARAMTALLA TRAM DEPOT Lateral shot from back – camera as in hand held mode – The group moves ahead towards the closed entrance gate. SHUBHADEEP(VO) Hey Riya. Sobai’k bol mobile cameray ja pare kichu footage capture kore rakhte. her back is towards the camera and is only visible upto the shoulders. Riya comes over towards the frame. Ananya.
The window behind the bed on the other side is half open and long curtains are hanging over. A wooden wardrobe is placed over the right wall of the room. The door opens and Amlan enters. Lateral shot from front – camera fixed and focussed on Amlan AMLAN (surprised and shoked) : Kire haate ki holo abar ? . The camera pans around swiftly to follow the sound Riya and Venkatesh also come over to the frame and they find an uniformed tram employee standing at the gate with an inquisitive face for their trespass. Cut to Cut shots of recordings & clippings by everybody's cameras. Robin with a plastered left-hand is seen to half lying on the double bed at the right end of the room. A small modern looking sofa set is there beside the wardrobe. SCENE 33 : INTERIOR : INSIDE ROBIN’S PG Lateral shot from left corner of the room. ROBIN (voice form behind the frame) : Ke Amlan ? Khola ache re. Camera pans leftwards and moves ahead towards the deserted ticket counter.34 ANANYA (turns to the others ) : Ok. Over the shoulder shot of Amlan – camera fixed and focussed ahead on Robin – Amlan closes the door behind him. The single room depicts a picture of tidiness and class.. A centre table is in between the sofa set.. The sound notifies the opening of the gate. ROBIN (with a welcoming smile) Aay re bhai.. lets split up guys. Suddenly there’s a sound from the other end of the tram depot.. Bos. Today also he is dressed in a kurta and jeans. Robin looks up with a smile towards Amlan. He sits up and puts away the guitar aside. An ash tray and few magazines are seen to be lying over the centre table. There’s a knock over the door.camera is placed over the bed . He is drapes over by a black coloured shawl..fixed and focussed on the entrance door on the other side – A soft tune of guitar is being heard inside..
. oi kichu loafer’der sathe jhamela hye jaye... Aje baje comments korchilo... Akhn r ki korle ki hoto se sab bhebe ki labh. Haat bhengechis... Bastards !! Lateral angular shot from Robin’s left – camera fixed and focussed on Amlan – AMLAN (angrily) Tor ki matha kharap ?? Okhankar o sab local mastan’der sange keu lagte jaye ? Kono thana’y giye report korte partis to !! Over the shoulder shot of Amlan – camera fixed on Robin – ROBIN Chhar. Ja howar hye geche.35 Lateral shot from front – camera fixed and focussed on Robin – ROBIN (smiles dryly) : O kichu na re. Lateral angular shot from Robin’s left – camera fixed and focussed on Amlan – . Jaata kando korchis to... Kal office theke ferar pathe ekta jhamela hye gechilo.. Rastay .... Ektu chot peyechilam ager din.. R khabor bol.... Lateral close shot on Amlan – camera fixed – AMLAN (confused) Jhamela ?? Ki hyechilo ? Over the shoulder shot of Amlan – camera fixed on Robin – ROBIN (looking down) : Anwesha’r sange haatchilam Sector 3 dhore. Over the shoulder shot of Robin – camera fixed on Amlan. Baad de esab katha. AMLAN Tui tor khabor bol... Abar guitar niye bosechis !! Case’ta kii ? Over the shouldr shot of Amlan – camera fixed on Robin – ROBIN R bolis na. Amlan approaches the bed and sits on the other end opposite Robin.
. ektu tune korchilam just..Robin takes up his guitar and holds that up to Amlan.36 AMLAN (smiling) : Ta se sab na hye chharlam. << SONG SEQUENCE>> SCENE 33(CONT) : INTERIOR : INSIDE ROBIN’S PG Over the shoulder shot of Robin – camera fixed and focussed over Amlan – Amlan finishes his song and smiles at Robin. . flower plants and bushy hedges. The surrounding depicts a serene picture of trees. Over the shoulder shot of Robin – camera fixed and focussed over Amlan – Amlan takes the guitar and starts strumming mildly... Amlan takes the guitar... amake ei guitar bajano’ta ektu sekhabi re ? Lateral close shot from front – camera fixed Amlan – and focussed on and focussed on AMLAN (gasps in surprise with rounded eyes) : Mane !! Seriously ?? SCENE 34 : EXTERIOR : A LOVERS PARK Lateral shot from back – camera fixed – Hadu and Nishi are sitting on a bench cosily with their back on the frame. Lateral shot from left side of the couple –camera fixed – They are looking down and talking privately... ROBIN (shyly) Emnii re. Tui ekkhana gaan sona na. Few couple are seen kissing from behind the hedges. Nishi suddenly looks up and notices something.. ROBIN (applauds) : Ashadahron bhai !! Lateral close shot from front – camera fixed Robin – ROBIN (requests) : Bhai. Kintu tui ei bhanga haat niye hotat guitar chulkachhis keno bolto ? Lateral front shot of Robin .
Over the shoulder shot of the couple – camera fixedNishi looks ahead towards a couple making out over a hedge. They are kissing passionately. She drags Hadu’s attention towards them. Lateral close shot from front – camera fixed – Nishi sits more closely with Hadu. NISHI (naughtily) Dekhchho oder ? Ekta kissi dao na sonu.. Hadu looks pale and turns his face towards Nishi. He is sweating and nervously brings his face closer to her. Lateral very close shot from left side – camera fixed – Nishi holds Hadu’s hand over her shoulder cosily and brings it down to feel her breast. Lateral very close shot from front – camera fixed – Hadu turns red, closes his eyes, moves even closer to Nishi and is about to kiss her on the lips. Over the shoulder shot of the couple on the other side – A sudden running around of people at noticed. Hadu and Nishi looks around their cosy moment. They are about to – camera fixed and focus the other side of them is them, distracted from leave their seat .
Lateral shot from front – camera jerky – A man stops in front of them and bends down. MAN (tensely) Dada, uthe porun.. Police raid mereche.. Kete porun.. NISHI (terrified) Mane ? Sekii !! The man runs away. Hadu and Nishi gets up and quickly moves away from the spot. Camera pans around from left to right and follows them as they move away SCENE 35 : EXTERIOR : A NEARBY LOCALITY Lateral shot from left side – camera moving along with the couple - Nishi still in mood cosily holds Hadu’s arm as they walk along.
Over the shoulder shot of the couple – Camera moving along with them – NISHI (coming even closer to Hadu) : (Quietly) Ai sono na.. Samner medicine store’te dekhchho ? Condom niye nao to ek packet.. Lateral close shot from front – camera moving backwards along with them HADU (nervously) Ei .. ki bolcho !! Na na.. Thak !! NISHI (annoyed) Tumi thamo to... Jeta bolchi seta koro... Jao !! Lateral angular shot from right – camera fixed – Hadu leaves Nishi at a distance and walks over towards the medicine store. SCENE 36 : INTERIOR : MEDICINE SHOP Lateral close shot from front – camera slight tilted up and fixed – Hadu enters the shop with a tensed face. He approaches the counter. SHOPKEEPER (from behind the frame) : Ki chai dada ? Over the shoulder shot of Hadu – camera fixed and focussed on the salesman opposite Hadu – HADU (Stammering) Cccc ccon ddoo mmm... Ache ? SHOPKEEPER (irritated ) Ki ?? Ki chai ??
Over the shoulder shot of the salesman – camera fixed and focussed on Hadu – HADU (very nervous) Eea... mm mane.. Cc con ddom.. Din na ek packet !! SHOPKEEPER (from behind the frame) : (surprised) Ki ? Condom ?? HADU
(tensed) Hh haa... Koto daam ?? Lateral close shot from front – camera fixed and focussed over the Salesman – SHOPKEEPER (angrily) Boyesh koto khoka ?? Akhono to naak tiple duudh porbe !! Over the shoulder shot of the salesman – camera fixed – SHOPKEEPER (in the same tone) Oi dekho baire balloon wala jache – balloon keno giye !! Depo chele kothakar !! Hadu looks down in humiliation. He tries to say something but swallows his words and turns away. SCENE 37 : EXTERIOR : STREET OUTSIDE MEDICINE SHOP Lateral shot from back – camera moving and follows Hadu – Over the shoulder shot of Hadu – camera fixed Hadu comes over to Nishi. Nishi looks up at Hadu inquisitively. NISHI Kinle ? HADU (timidly) Na.. Dokan’dar ta jhamela korlo.. Dilo na.. Lateral close shot from right – camera fixed over Nishi & Hadu – NISHI (irritated) Ufff.. Dokandar’ta ekta chhagol.. (pause for a moment) Tumi r dokandar’ta same !! Achch ekta kotha bolo, decision ta to dujoner, but tumi ato kelani kano? Nishi turns around angrily and walks away. SCENE 38 : INTERIOR : POLICE STATION Lateral angular shot from left corner of the room – camera fixed and positioned behind the OC’s table – The room is more or less empty during this time of the day. A clock at the right wall of the room shows the time to be 2:30 p.m. The OC is at his table with a newspaper at his hand. The SI is sitting at the opposite chair of the OC . The SI appears to be in a relaxed mood. There is a bench being seen at one corner of the room on which the old Manipuri man is seen to be asleep. The entrance door is open and a constable is seen to be on guard outside. The Manipuri man’s wife enters the police
station through the She holds a worried mid way she notices The boy stands over
door and a young boy follows her closely. face and approaches the OC’s table. In the her husband to be sleeping over the bench. there and looks over to the bench.
Lateral close shot from front – camera fixed She halts and moves towards him instead. Lateral angular shot from the position of the bench – camera fixed – The lady reaches the sleeping man on the bench and intends to wake him up. A constable enters the room from the left, notices the lady’s action and urgently comes over to her. Camera slightly pans from left to right CONSTABLE (shouts out) Onake dakben na madam !! Anek chesta kore ektu sowano hyeche !! The lady turns around in response and finds the boy (her son Mainak) coming over to her and translating the message in Manipuri. Lateral close left-angular shot from front of the OC’s table – Camera fixed – The OC and SI were watching the whole affair with an amused face. SI (turns to the OC) : (smiles) Dekhechen Sir... Madam bes smart achhen !! Ekkebare interpretor dhore niye esechhen ekhane !! OC (smiles back) Hmm... Tai to dekhchhi.. Jak.. Ekta jhamela antoto mitlo !! Camera pans slightly from left to right – The boy comes over to them and his mother approaches him after leaving off her asleep husband. Over the shoulder shot of the OC – camera fixed and focussed over Mainak – MAINAK (in introductory tone) : Namashkar sir.. Ami Mainak.. Enara amar baba-ma..
41 SI stands up and offers the chair to the lady and moves over to arrange for another chair for Mainak. if I get through an IIT. hills’e continuous problems’r jonno my parents could not come that time. before the doomsday. focus on the OC and the SI SI (leans forward inquisitively) : (with a tone of surprise) Doomsday mane ?? OC (turns to the SI) : Mane r kichhui na. OC (mildly) :Hmm. MAINAK (with a clear tone) Actually sir..The SI takes his seat on a vacant chair beside the OC.. Mainak sits down to face the OC. Ebar bolun ki bepar. Lateral close shot from front – camera fixed. this year on June I got admitted into IIT Kharagpur with Computer Science engineering. Lateral close shot from front – camera fixed and focussed on Mainak’s face MAINAK And now. onara Dakkhineswar mandir’e ekta pujo deben. Over the shoulder shot of Mainak – camera fixed and focussed over the OC. MAINAK (continues in the same tone) To Sir. Tin bochhor age amar baba-ma mannat korechilo – je. Apnar baba erom ashtro niye mondire dhukchilen kano? Lateral close shot from front of the OC – Camera fixed and positioned over the table – The lady tries to start off again in Manipuri but Mainak stops her. it is their wish to fulfil their mannat this time. Both the woman and her son.... Boshun apnara. Oi sobai bolaboli korche sono ni .... positioned on the table. But sir. OC Hmm.. We are from Manipur. Over the shoulder shot of Mainak – camera fixed and focus on the OC – The OC nods as he listens..
Lateral angular shot from left OC Case lodge hoye gache.. Over head left-angular shot – camera fixed and tilted down on Surya – Surya after pausing for a moment extends his hand and rings the calling bell.. Dekhi kotota ki kora jaye. Amader okhane ei sob pore mondire dhokha allowed. Over the shoulder shot of Surya –camera fixed and focussed on the door in front of him – The door opens and Shilps’s dad Mr. Slow zoom in MAINAK Sir eta amader traditional poshak. Kailash Patil” . Over the shoulder shot of Mr. Patil comes out. SCENE 40 : INTERIOR : A LIVING ROOM INSIDE MAA LAKSHMI HOTEL Lateral angular shot from left corner of the room – camera fixed and focus on Shilpa – Shilpa is sitting over the sofa in the living cum dining room of Surya’s place at Maa Lakshmi Hotel.42 ?? Je ei 21st Dec 2012.. mane porsu. He intends to close the door on Surya’s face.. Sir khoma kore din na. Shilpa na.Surya promptly raises a hand and restrains him from banging the door close upon. Ami nije koriyechi. SHILPA'S DAD (abruptly) Shilpa nei barite. ami apnar sange kotha bolte esechi. Apnara ekhon ashun SCENE 39 : EXTERIOR : OUTSIDE A CLOSED DOOR OF A HOUSE Lateral shot from back – camera fixed – Surya is standing outside the house. Uni bujhte paren ni j ekhane ato security hobe. Focused on Mainak. Patil – camera fixed and focussed on Surya . He expresses his surprise and shock to find Surya at his doorstep. The name plate over the closed door reads “Mr.. SURYA (pleadingly) Uncle please. Surya’s mother is sitting beside her and holds a . sedin naki prithibi dhangsho habe !! (turns to Mainak) Sheta to bujhlam kintu ai ashtro? Over the shoulder shot of the OC.
Lateral left angular shot from the sofa – camera fixed and focussed on Surya SURYA (affirmatively) : Uncle.... Lateral close shot from front – camera fixed and focussed on Mr. The living room appears to hold a touch of elegance and urban essence from its interior decor and furnishings. A hanging wall showcase is seen to be positioned opposite Surya which is nicely and tidily arranged with show piece items.43 worried look. dinner and crockery sets. SHILPA'S DAD (in a tone of hopelessness) Setai . That treacherous. and Mrs. Aajker din’e dariye amra keui chain a tomader family’r sange r kono samporko rakhte. Amar katha sonenni. khub kharap koreche !! Ei niye ami babar sange anek bar kotha bolechilam. and Mrs.. Eksange khelechi. while Surya’s father is sitting in front of Shilpa on a dining chair and holds his back on the frame.. amar baba jeta koreche . Few magazines and newspapers are neatly stacked in the lower chamber. SCENE 41 : INTERIOR : LIVING ROOM OF SHILPA’S PLACE at Over the shoulder shot of Surya – camera fixed and focussed ahead over Mr... The upper chamber beholds a small flower stand. soft toys. A glass top centre table is positioned in between the sofa set and Surya .. ami jani. SHILPA'S DAD (on a serious tone) Kintu sei samaye r ei samaye to r ek nei. Not after what your father did to me. Patil lights up a cigarette and leans back on the sofa.... an ash tray and a 20’s pack of king-size cigarettes along with a Zippo lighter... etc in separate chambers. porasuna korechi ar sara jibon ek sangei thakte cheyechi. Apnara’o nischoi sei samaye taai cheyechhilen jokhun amader family ar apnara ek sange chilen. Patil seated on a sofa.) SHILPA (pleadingly) Uncle apnara to janen ami r Surya chhhoto bela thekei ek sange boro hye uthechi.. He lets out a ring of smoke and looks up on the ceiling. Patil – Mr. Kintu uni nijer bhul bojhenni.. (Interior decor is same as was seen in the previous scene this same location.. Patil – Surya is sitting on an arm chair facing Mr.
... Anyhow amra thakboo. Amader jonno . but shanti’r habe na...44 swabhabik !! Or kachh theke er theke beshi r kii ba expect kora jeete pare !! Huh. SCENE 42 : INTERIOR : LIVING ROOM OF SURYA’S PLACE AT MAA LAKSHMI HOTEL Lateral close shot from front – camera fixed and focussed on Shilpa – SHILPA (pleadingly) Uncle sei jonnie to ami esechi. Kintu tomader ashirbad chhara amader sei jibon hyeto sukher habe.. atleast Surya’r jonno antoto tomra ei tuku chesta koro please. Purono man abhiman bhule abar phire chalo na. Over the shoulder shot of Surya's Mother SHILPA (in the same tone) : Aunty. party korechhe... berate gechhe. purono sei din guloe !! SCENE 43 : INTERIOR : LIVING ROOM OF SURYA’S PLACE AT MAA LAKSHMI HOTEL Lateral close shot from front – camera fixed and focussed on Shilpa’s face – SHILPA (tearfully) : Atleast Doomsday’r age ?! SCENE 44 : INTERIOR : CABIN OF MOHUN BAGAN GROUND .. Tomader abar ek kore dite.. tader chhele meyeder niye swapno dekheche. please tomra ar ekbar chesta kore dekho na. SCENE 43 : INTERIOR : LIVING ROOM OF SHILPA’S PLACE Lateral close shot from front – camera fixed and focussed on Surya – SURYA (in a sense of declaration) : Ami r Shilpa sara jibon ek sange thakte chai. Baba thik mene jabe. With tearful eyes she holds her shoulder consolingly... Je dui family age kotobar eksange dinner korechhe..... tader abar unite korte !! Shilpa turns around towards Surya’s mother for support..
SENIOR CRICKETER (in a light mood) : Sambit’da tahole ajker match thekei to final selection hoye jachhe Ranji team’r jonno ? Kader kader shortlist korechho motamuti ? SCENE 45 : EXTERIOR : GALLERY OF MOHUN BAGAN GROUND Lateral close shot from left side – camera fixed – Monty is deeply observing the game. Lateral very close shot from front – camera fixed on the . STADIUM STAFF (angrily) Dekhechen sir. Lateral angular shot from left – Camera fixed Monty loops down grabs a ball form the boundary and starts running towards the pitch. The Cricketer comes over the frame and sits on a chair in the cabin and is busy observing the players and is chatting with the other officials. An official comes over beside him and he also looks down in the same direction. There is a bold determination in his view. The players are warming up and are getting ready for the match.45 Lateral shot from back – camera fixed – The ground is clearly visible by virtue this view from the pavilion end. Tele shot from the cabin – camera fixed and focussed on Monty – Monty is being seen breaking into the field as he dodges the security guards and picks up pace as he approaches the batsman taking stance. Suddenly he sits straight back and leaps up from his seat. Lateral shot from back – camera follows Monty – He jumps over the steps of the gallery and advances towards the ground. Tilt up very close shot from ground level – camera fixed and focussed on the stumps – The ball hits the middle stump and sends the bell off in the air. Ei jonnie ami ok dhukte dichhilam na... The umpires along with the two batsmen are seen to be approaching the pitch. Lateral shot from front – camera fixed and slightly tilt up – The cricketer stands up and leans ahead from the cabin in surprise as he notices Monty taking charge. Ajkeo abar. Lateral shot from behind the wicket – camera fixed – Monty releases the ball as the batsman tries to block it..
Mujhe bhi khelne ka man karta hai sir... Ami kotha bolbo.. SENIOR CRICKETER (in an impressed tone) Brilliant bowling !!(Then he turns to his left to the guards.. lekin jab bhi koi match chalta hai to mai khudko rok nehi pata hu. Ap hi boliye sir mai kya karu ? Lateral close shot from front – camera the cricketer – fixed and focussed on SENIOR CRICKETER (in confused tone) : To tum chahte kya ho ? Lateral very close shot on Monty – camera fixed – MONTY (determinedly) : Main sir bas ekbar India ka blue jersey pehen na chahta . Lekin koi mujhe mauka nehi dete. Ap ne to abhi dekha.. Lateral close shot from front – camera fixed and focussed on Monty – SENIOR CRICKETER (from behind the frame) : (surprised) Mane ?? Tai bole tumi erom bhabe khelar modhe dhuke pore problem create korbe ?? MONTY (with a sad face) Sir main koi club ya association me khelta nehi hu.46 Cricketer’s face – The cricketer holds aloft an awestruck face... Over the shoulder shot of Monty – camera fixed – SENIOR CRICKETER (sternly) : Tumi bar bar eom bhabe mathe dhuke porchho keno ? What’s your problem ?? MONTY (in a tone of fear) Sorry sir. In logo ne bhi dekha hai sir... Lekin main achha khelta hu Sir. Over the shoulder shot of the cricketer – camera moving along ahead as he walks down the stairs towards the ground – Two guards accompany Monty back towards the pavilion. They stop in front of the Cricketer.) Oi cheletake niye esho to .
Lateral close shot from front – camera fixed and focussed on Debjani DEBJANI Ar tomar baba ? Camera swiftly pans around back over to the Debjani(Jr) – DEBJANI(JR) (with pride) Mr. SCENE 46 : EXTERIOR : TERRACE OF THE SERVANT QUARTERS Lateral angular shot from left – camera fixed – The terrace does not have a wall around its boarder. Debjani (Sr) lets out a sigh of grief after hearing this. Over the shoulder shot of Debjani (Sr) – camera fixed and focussed over the Debjani(Jr) – Debajni keeps on sobbing silently as the Debjani(Jr) looks on with a surprised look. Lateral angular shot from right – camera fixed – Debjani (Sr) is seen to have her head hung low in sorrow. Her hands cover her eyes and face.47 hu. Wohi bas mera ek khwaish hai sir. Doomsday se pehle. Indradeep Roy Chowdhury . Lateral close shot on Debjani(Jr) – camera fixed – DEBJANI(JR) (in a surprised tone) Apni ki kore ei rasta-tar kotha janlen ? Over the shoulder shot of Debjani(Jr) – camera fixed and focussed over Debjani – DEBJANI (emotionally) : Tomar naam ki ? DEBJANI(JR) Debjani... He sobs silently and looks way from the frame.. The City is nicely being seen in the backdrop of the frame... Debjani is sitting with her back over the frame.. .. Debjani(Jr) is facing her as well as the frame. Hearing this Debjani gasps in surprise.
..eto din pore. Riya and Venkatesh also come over the frame from the ... Dhiman ar amar samoko Indra chhara r keu mene naye ni. Lateral close shot from front – camera fixed – DEBJANI (with her eyes down) : (gravely) Amake tyajjo kora hyechilo. DEBJANI(JR) (confused) Ei barir !! ?? Kintu ami to kono din apnake. Over the shoulder shot of Debjani (Sr) – camera fixed and focussed over the Debjani(Jr) – Debjani (Debjani(Jr)) is utterly surprised to hear this. Indra amar nijer chhoto bhai. Sob sesh hoye jawar age....... Mane.Kiser jonno !? Debjani (Sr) looks up hearing this and interrupts her.48 DEBJANI(JR) Apni chenen amar baba’k ? Hearing this Debjani (Sr) looks up to her.. Tomader sobar sathe ekta din katate esechi.... Ami ei barir’i meye.. DEBJANI(JR) (from behind the frame) : (confusedly) : Tahole.. Lateral close shot form front – camera fixed – DEBJANI (with tearful eyes) Ami tomar pishi hoi sona.. DEBJANI (emotionally) Hotat nye. Ei poth dhorei ami beriye asi ses bar..dekhini age kokhono !! DEBJANI (continues on the same tone) Chhotrish (read 36) bochhor age ami ei bari chhere chole jai. Doomsday’s age..... Baba’k dekhte esechi sesh barer moto. Hotat... SCENE 47 : EXTERIOR : DHARAMTALLA TRAM DEPOT Lateral shot from front – camera as in hand held mode moves forward – The Tram Conductor who looks on to them advances forward.
Amra permission niyei dhuktam. Ke tomra. Camera niye !! Kiser chobi tulchho ?? RIYA (approaches the Tram Conductor) : (calmly) Dada bysto hoben na. TRAM CONDUCTOR (now surprised) Shooting ?? Kiser shooting ?? RIYA (very politely) Sir amra Chennai theke aschi. Amra students. Sei jonne... Camera follows Riya and moves ahead towards the Tram Conductor – Close shot on the Tram Conductor TRAM CONDUCTOR (points towards the frame) : (threateningly) Eaai chhele .. SHUBHADEEP(VO) . Amra shooting korchhilam ekhane.. for our documentary film..chhobi tola bondho koro !! Kar permission niye dhukechhho ekhane ?? Ekkhuni beriye jaao sab – nyto ami police daakchhi !! SHUBHADEEP(VO) Dada please apni bhul bhabchhen. kintu strike na thamle akhn kichu hobe na...... SHUBHADEEP(VO) (from behind the frame) : haan dada.. Amra keu chor noi dada. VENKATESH (as he comes forward) : (patiently) : Yes dada.. Office’tai bondho dekhlam. Amra sabai film students ar amra ekhane esechi Kolkata’r Tram niye ekta documentary chhobi banate.49 sides..... TRAM CONDUCTOR (shouts angrily) Aai. kintu ekhane kono guard ba security chilo na sir...... TRAM CONDUCTOR (cuts him short and interrupts) : (irritatedly) Keu thakbe kottheke ?? Baire oto boro boro kore TRAM DHARMOGHHHAT poster jhhulche dekhchho na ?? Shooting korte esecho bhalo kotha.
. SCENE 48 : INTERIOR : INSIDE ROBIN’S PG Lateral angular shot from left corner of the bed – Camera fixed and focussed on Robin and Amlan – (Interior decor of the room is same as was last seen in the previous scene) Robin and Amlan are facing the camera and Robin is strumming the guitar while Amlan is instructing him.... TRAM CONDUCTOR (inquisitively) Hmm.. . Ba ekhankar tram dekhen’o ni. Tai? Tate ? The other guys and girls close around the frame and encircles Subhadeep and the Tram Conductor.mane 1953’te sesh bar Madras’e tram chaliyechilen.. Ei bhabe sekhar kono mane hye. Haat ta thik hok tarpor niye bosa jabe !! Guitar sekha to r paliye jachhe na. Amlan notices this and expresses his concern.. Robin’s discomfort due to his wounded wrist is vivid from his facial expression. Sombhab nye seta !! TRAM CONDUCTOR (looks up to him) : (frowns) Mane ? Ki bolte chaichho ki ? SHUBHADEEP(VO) (now bit more composed) Dada..ami Kolkata’r gorbo ei Tram Service’r opor ekta Documentary shoot kore dadu’k dekhabo.. amar dadu sei samaye .50 (from behind the frame) : (impatiently) But sir amra wait korte parbo na. Robin’s bandaged left-wrist is giving him a real pain as he tries to hold the fret bar and manage the strings. SHUBHADEEP(VO) (in the same tone) Sir.. choren’o ni.. (After a small pause) Tai sir strike otha abdi apekkha kora sambhab na amader pokkhe.. Robin writhers in pain and hangs his head low... Over the shoulder shot of Robin – camera fixed over Amlan – AMLAN (pleadingly) Bhai chhere de na aj. Aj uni mrityu sojjaye... apni janen bodhy Kolkatar age Chennai mane tokhunkar Madras’e Electric Tram cholto ? India’y electric tram service protham okhanei suru hye. Uni tarpor r kono dino Kolkata’y aste paren ni. Doomsday’r age... Sir amar swapno ...
. Ekta single note holeo amake tulte hbe aj. is fixed and focussed on Robin – ROBIN (deeply) Anwesha’k ami kono dino kichu dite parini... Robin pauses and looks down again.51 Over the shoulder shot of Amlan – Camera fixed and focussed over Robin – ROBIN (looks up with tired and painful eyes) : (speaks with great effort) Samay ta chole jabe bhai. Sudhu amar jonno. (Pause for a moment as Robin looks away emotionally.... Ki dibi bhabchis ? ROBIN (again looks up) : (determinedly) The best thing that is available here in Kolkata – a diamond from its diadem of culture.... totally unique.) Janis Amlan. AMLAN (in a tone of surprise) Keno ? Lateral close shot from front – camera from Amlan’s viewpoint. Jeta poisa diye kena jaye na.(after a brief pause) Ami ok ekta gaan shonate chai re... AMLAN (from behind the scene) : (softly) To. Then he again looks up and continues.camera fixed – (Interior decor same as was last seen in the same location) Hadu closes the door as Nishi and Bipin cross the frame and .. Ajker ei din at chole jabe.. Something... Je bhabei hok . Doomsday’r age. o Kolkatay’e eshe amar kachhe emon kichu cheyechhe jeta sab theke precious.. something which can only be created and gifted through heart. SCENE 49 : INTERIOR : INSIDE BIPIN’S FLAT Lateral shot from front .. Sottikarer bhalobashar jinis bolte ja bojhaye – bhebei paini kokhono ki dewa jaye !! Aj o eto dur theke eseche..
HADU (in a tone of declaration) Bipin’da.camera fixed. Lateral very close shot from right side – camera as in hand held mode – Nishi’s face comes close to Hadu’s. He flinches and becomes nervous. She enters and closes the door. Hadu notices some signal from the bathroom . BIPIN (curtly) Hmm. Hadu is bit stiff but he gives into her provocation. Lateral angular shot form left corner of the room – camera pans from right to left – Bipin starts unhooking the buttons of his shirt and move leftwards towards a room . Her hands which were around Hadu’s neck now comes down as Hadu also holds around Nish’s torso. SCENE 50 : INTERIOR : INSIDE BATHROOM Overhead right angular tilt down shot from left corner of the bathroom . Lateral shot from right side of Hadu – Camera fixed and pans from left to right – Hadu approaches the bathroom door. The very close up capture of their kissing under the sprinkling water drops signifies as if of love making in the rain.Nishi embraces and pushes Hadu on the wall under the shower. Over head tilt down shot from back – camera fixed and .. Ami ekta cigarette phuke aschi. cautiously looks over in Bipin’s direction and is pulled inside. Nishi moves ahead towards the bathroom . Lateral right-angular shot from other side of the room – camera fixed – Hadu comes ahead and Bipin is seen taking off his shirt and reaching for a towel in the other room on the right of the frame.on the right corner of the frame. Lateral shot from front – camera fixed – He cautiously looks behind towards Bipin’s room.. neck and at the same moment tender sprinkles water from the shower rains upon them. She kisses his cheeks. Lateral shot from front – Camera moving and follows Bipin – Bipin now in a Bermuda and vest comes out of his room and approaches towards the basin on the way of the kitchen.52 move towards inside. Bipin who was busy changing in the other room doesn’t look back. chin.
53 positioned just on the edge of the falling water sprinkles from the shower mouth – Hadu looks up with eyes closed as Nishi bites and kisses his neck and ears. He holds around Nishi by her waist and rubs his hands over her back... bhetore kiser awaj ?? Lateral shot from front – camera fixed at low angle and slight tilted up on Hadu and Nishi – HADU (stammering tone) Kkkhi chhu na Bipin’da !! Nishi at once tries to hold her hand over Hadu’s mouth to stop him from uttering anything more stupid. Over the shoulder shot of Hadu and Nishi – camera moving along forward with them – BIPIN (from the other side of the door) : (in an interrogating tone) Nishi . . She kisses his bare chest and slowly bends down. Hadu looks terrified and looks over to the door and Nishi holds on to him with a worried face. Hadu lets out silent moans of pleasure as Nishi bends down out of the frame. A strange moaning sound comes from the bathroom. Hadu stands arch backed on the wall with closed eyes and fondingly brushes Nishi’s wet hair. Over the shoulder shot of Bipin – camera fixed and focussed on the mirror in front – Bipin looks up inquisitively in the direction of the bathroom. SCENE 51 : INTERIOR : INSIDE THE FLAT Lateral very close shot from left side of Bipin – Camera fixed and positioned beside the basin – Bipin leans down near the tap and washes his face. SCENE 52 : INTERIOR : INSIDE BATHROOM Lateral shot from left side of Hadu – camera fixed and positioned outside the radius of the falling water sprinkles – Hadu leans back on the wall behind him and Nishi bends over him and pulls up his tee upto chest level. Suddenly there is a knock on the bathroom door and they both break off from their actions. He stands straight (camera moves up along with him) and tries to make out what was going on inside the bathroom. In the process he pulls up Nishi’s top and brushes her back.camera fixed and positioned outside the radious of the falling water sprinkles – Nishi cuddles and kisses Hadu’s belly and starts unhooking Hadu’s jeans. Her bra strap is visible. Lateral shot from back .
The door opens slowly and Hadu and Nishi comes forward to face Bipin. BIPIN (in same tone) Dorja khol . Over the shoulder shot of Bipin – camera fixed and focussed on Hadu and Nishi – BIPIN (still angry) Ki !! kishu bolbe ? Naki makal phol’r moton takiyei thakbe !! Lateral close shot from front – camera as in hand held mode and focus on Hadu from Bipin’s view – Hadu after a pause and gaining some courage from Nishi’s soft push – HADU Amra asole amader virginity loose korte chai.... BIPIN (from behind the frame) : (scolding tone) Bhetore ki hochhilo !! Tomader kono sense bole jinis nei !! Bathroom’r modhhe !! Chhi. . Over the shoulder shot of Hadu and Nishi – camera fixed over Bipin – Nishi holds on to Hadu and pushes him to reply something. Ekkhuni.. Ei tomader Kolkata ghurte asha? Hadu tor baba ke bolini tui eshechis tar mane tui ei sob.. Doomsday’r aage. They are half wet and the shower is still on. Lateral shot from front – camera as in hand held mode and focus from Bipin’s view – Hadu’s jeans is unzipped and Nishi looks seductively wet with her nice figure and curvatures. SCENE 53 : INTERIOR : OUTSIDE BATHROOM IN THE FLAT Lateral shot from left side of Bipin – camera fixed – BIPIN (fuming with anger) Ki hochhe ki esob ekhane !! Over the shoulder shot of Bipin – camera fixed – He beats twice on the door with rage...54 BIPIN (angrily) Bhetore ke ? Hadu !! At these words Nishi slaps her forehead and Hadu seems dead with fear..
. Mainak is in a red short kurta and jeans. Shower ta bondho kor. Lateral very close shot from front – camera fixed and focused on the table clock cum date calendar – The time shows 7:15 am and the date beside the dial shows as 20 December 2012.. Surya is sitting in his bed.55 Then he looks down. then slowly nods his head in disgust. Over the shoulder shot of Surya – camera fixed and focused on the table onto which he gazes – The table is clumsily packed with books. His parents stand behind him as he bends down and locks the door. SCENE 55 : INTERIOR : CORRIDOR OF MAA LAKSHMI HOTEL Over head shot form front – camera fixed and tilt down towards a closed door – The door opens and Mainak with his parents – the Manipuri couple come out on the corridor. There is a table clock with date calendar at one corner of the table. His view is towards his study table at the right side of the bed. stationery items and a table lamp. Over the shoulder shot of Hadu – camera fixed over Bipin – Bipin looks over them with a confused gaze. Early morning rays of sunlight are coming through the half open window. The lady is dressed in a printed sari with a red shawl draped around her torso. He is wearing a vest and a Bermuda pant. SCENE 56 : INTERIOR : SURYA’S ROOM IN MAA LAKSHMI HOTEL Lateral front shot from side of window – camera fixed – Interior décor of the room is same as was last seen in the same place. Hadu. side faced to the camera. gaa haat paa muchhe chole aay. The Howrah Bridge glowing in the morning color of the sky is being seen on the right side. BIPIN (After a brief pause) : (announces) Ami sute jachhi. SCENE 54 : EXTERIOR : GHAT BESIDE HOWRAH BRIDGE Lateral left angular shot – camera fixed – A scene of early morning Kolkata is being seen in the frame. with his back to the window. His father in a crème color jacket with black trousers. A grey muffler is draped around his neck and head. Few men are taking baths and offering prayers in waist deep water. SCENE 57 : EXTERIOR : MOHUN BAGAN GROUND . Lateral shot from front – camera fixed and focussed on Bipin – Bipin turns around and leaves them as he moves towards his room on the left side of the frame. jol noshto hochche.
SCENE 60 : INTERIOR : BIPIN’S FLAT Lateral angular shot from left corner of Bipin’s room . Robin moves in and the door closes. She holds aloft a surprised look upon seeing Robin. Few people are seen entering the stadum. He rings the calling bell. Dhiman is wearing a grey suit and Debjani is on an off-white sari. Anwesha is in a short Kurti and Robin is in formals – Lemon yellow shirt and brown trousers.camera fixed – Bipin was all dressed up for office. She does a brief prayer before she leans forward and turns the FCP on. SCENE 58 (THROUGH VIDEO RECORDING FRAME) : AN EDITING ROOM INTERIOR : INSIDE Lateral left angular shot – camera as in hand held mode slowly pans from right to left – The teen ager group is being seen sitting together on fibre chairs. In front of them is a fibre table with an FCP setup. Over the shoulder shot of Robin – Camera fixed – The door opens and Anwesha comes out. SCENE 57 : EXTERIOR : OUTSIDE THE MAIN ENTRANCE OF THE NORTH KOLKATA PALATIAL HOUSE Lateral shot from back – camera fixed – Dhiman and Debjani are standing in front of the closed entrance gate. It is a narrow corridor and dimly lit place. All the boys and girls are dressed in jeans. Riya is sitting near the table. Robin has a guitar hanging from his back . The room number embarked upon the door reads 102. tees and kurtas... Monty is wearing a blue track pant and a white crew neck tee. ANWESHA (in a welcome tone) Esho. SCENE 59 : EXTERIOR : OUTSIDE THE DOOR OF A ROOM IN MAA LAKSHMI HOTEL Overhead tilt down shot from back – camera fixed – Robin is standing in front of the closed door of a hotel room.56 Later close shot from ground level – camera fixed – Monty with is back over the frame is warming up and doing freehand exercises outside the Stadium . The she smile sweetly and welcomes him in. cargo pants. Over head left angular shot – Camera tilted down and fixed – Dhiman and Debjani both look up towards the entrance door. He was combing his hair hurriedly in front of small wall mirror. Over the shoulder shot of Bipin – camera fixed and focused on his image over the mirror – Bipin looks left wards as someone .
Hadu was in a polo neck tee and Nishi in a top and leg in. He hangs his head low for a moment and then looks up to Hadu and Nishi. SCENE 61 : EXTERIOR : OUTSIDE DALA ARCADE OF DAKHINESWAR TEMPLE COURTYARD Lateral right angular shot from left side of the exit gate of the Dala Arcade – camera fixed – Mainak and his parents are buying flowers and sweets for puja from a shop near the exit gate. BIPIN (in a matter of fact tone) : Umm. Bipin was wearing formals of check shirt tucked into black trousers. The Dakkhineswar main temple is being seen on the left side of the frame. Berobe ebar ? Over the shoulder shot of Bipin – Camera fixed – Bipin moves from the mirror and faces them.. SCENE 62 : EXTERIOR : INFRONT OF MAA LAKSHMI HOTEL Lateral shot from front – camera fixed and focused on the entrance gate of the hotel – Surya comes out of the entrance. As he lands outside and looks to his left he seems to be utterly shocked. Kaajer jinis . Lateral very close shot from front – camera moving along with Bipin and focused on his right trouser pocket and swaying right hand – While passing them Bipin’s right hand reaches his hip pocket and takes out a pack of condom which he hands over to Hadu... amra ready. Hadu grabs the packet with both hands. BIPIN (as he hands over the condom packet ) : Eta rakh.. toder aj r berote hbe na… Theke jete paris. They look on inquisitively.57 approaches him. HADU (timidly) : Bipin’da. Camera pans left wards and focuses on Hadu and Nishi – Hadu and Nishi are also ready for their outing and they come forwards towards Bipin. Lateral very close shot on Bipin’s face – camera fixed – With a light smile he intends to leave. Lateral close right angular shot from front – camera fixed – Hadu looks up with a gleeful face and Nishi hugs him fondingly from his left side and smiles over to Bipin. .
The FCP setup is seen to be over the table beside Riya on the right. Subhadeep’s left hand reaches out to the laptop laid over the table and he browses over to a folder and shows her the various footage. Shilpa is in a gorgeous sari and mild jewellery. SCENE 63: EXTERIOR : STANDS OF MOHUN BAGAN GROUND Lateral shot from left side of Monty – camera fixed – Monty is sitting and bending forward with his elbows on his knees and vision straight towaeds the ground. Lateral close shot from front – camera fixed – Monty and the cricketer looks on each others eye. Lateral low level tilt up shot from front – camera fixed – The group while entering inside the house through the passage way halts for a moment. ei . Monty looks rightwards as the Cricketer comes from behind his right side and sits beside him and pats on his back assureingly.. Her close vision is more of a gaze of awe onto what she observes around her SCENE 66 : INTERIOR : INSIDE THE EDITING ROOM In found footage mode: Lateral right angular shot – camera as in hand held mode – Riya is sitting on a chair facing Subhadeep who is behind the frame. Surya is in a white casual shirt and faded jeans. Debjani (sr) is high on emotions as she looks around her over the building. SCENE 64 : EXTERIOR : OUTSIDE THE NORTH KOLKATA PALATIAL HOUSE Over the shoulder shot of Dhiman and Debjani – camera fixed and focus on theclosed door in front of them – The door opens and Debjani (jr) comes out with a welcoming smile. Patil in a black suit and Mrs Patil in an equally gorgeous sari and exotic jewellery accessories. The Cricketer smiles lightly and Monty also smiles back but holds a determined look in his eyes.58 Camera swiftly pans leftwards following his view – Shilpa and her parents are seen to come out from a sedan parked nearby and approach the hotel. Dhiman and Debjani move towards for entry. DEBJANI(JR) (smiles) Ashun… SCENE 65 : INTERIOR : INSIDE THE COURTYARD OF THE PALATIAL HOUSE Overhead tilt down shot from back – camera moving forward along with Debjani and others – The group slowly move ahead and Debjani (sr) looks around her surroundings. Mr. photographs and text documents relevant to their documentary. SHUBHADEEP (in a worried voice) Dekh.
.Camera fixed – Anwesha helps Robin to keep the guitar on the bed..camera fixed – After a momentary pause Anwesha comes close towards Robin’s face. He seems to get aroused as he arches back to the wall... She pushes up Hadu’s tee. photo ar text files ache. SCENE 69 : EXTERIOR : IN THE DAKKHINESWAR TEMPLE COURTYARD . apni please ektu guide korben amader. Nishi starts unhooking his jeans. Nishi is holding around Hadu by his neck as Hadu drags her closer to him by her waist. Nishi draws her hand lower from Hadu’s neck towards his chest and mildly pushes him towards the wall. lovingly holds around his face and mildly kisses his bruises over the foreheads. Joto taratari hye ekta kichu roughly bana… Then we can go for further editing and final cut version. Lateral close shot from front . Robin flinches as he hurts his bandaged wrist. Riya looks over seriously to the laptop screen She reaches out her right over to the mouse pad and turns on a recorded video. happiness and mischief.. cheekbones and chin. SCENE 67 : INTERIOR : INSIDE ANWESHA’S ROOM IN MAA LAKSHMI HOTEL Lateral shot from back – camera moving forward along with Robin and Anwesha – They sit on the bed . She pulls her chair in front of the table and starts working over with the editing. Official turns his face towards the frame and nods with a smile. SCENE 68 : INTERIOR : INSIDE BIPIN’S FLAT Lateral shot from right side of Hadu – Camera fixed – Nishi and Hadu are standing in front of a wall and looking in each other’s eye with a bizarre expression of love. Lateral shot from front . Camera pans left wards towards the tram official standing behind Riya’s chair and looking on to the editing process – SHUBHADEEP(VO) Sir.59 folder’e relevant sob audio. video. Camera lowers along with Nishi as – she slowly bends down and starts kissing his body from chest to abdomen. Hadu fondingly brushes her head over his lower part of the body. They arrange themselves and sit closely facing each other. Slowly as the tension mounts they kiss each other on the lips.
. He proudly takes up the ball which the Cricketer hands over to him. SCENE 71 : EXTERIOR : MOHUN BAGAN GROUND Lateral shot from back – camera fixed and focused on the ongoing match – Monty and the Cricketer are sitting side by side in the gallery and seems to be deeply engrossed in the match. Lateral shot from front – camera fixed – The cricketer brings down his hands and turns to Monty with a smile. Indoor potted plants are placed in the mid land of the staircase and a huge oil painting of some ancestor of the house hangs on the wall on the left side. A servant enters the frame from right side and serves them a tray full of 6 tea cups and two plates stuffed with sweets and snacks items. SCENE 70 : INTERIOR : INSIDE THE DRAWING ROOM OF SURYA’S PLACE IN MAA LAKSHMI HOTEL Lateral angular shot from left – camera fixed – Surya and his parents are sitting on the dining chairs drawn closer to the sofa set and facing Shilpa and her parents on the sofa. Monty looks on to the Cricketer’s face with an awestruck look and admiration.. He then pats on Monty’s back and Monty’s face glows with pride and joy. Lateral shot from back – camera following the group – . The temple building is being seen on the left side of them. A centre table is laid in between them. SENIOR CRICKETER (with an assuring smile) Jao.Take on the field. Monty and the Cricketer sits up straight backed and looks up to the ball as it comes down from the sky towards them. Dhiman and Debjani look over around the ambiance as they climb up the stairs. Lateral very close shot from left side – camera fixed – A pair of hands comes aloft in the air and grabs the ball tenderly as it lands down from the sky.. Make it your day. The batsman hooks a bouncer delivered to him and it flies off for the boundary and heads towards them. They slowly stand up together with an intention of catching the ball it lands near by. SCENE 72 : INTERIOR : STAIRCASE OF THE NORTH KOLKATA PALATIAL HOUSE Lateral right angular tilt up shot from beside the staircase railings – camera pans along upwards from left to right – Debjani (jr) takes up Debjani and Dhiman upstairs.60 Right angular tilt up shot from low level – camera fixed – Mainak and his parents are standing in the queue for entering the main temple.
in kurta pajama was reading a newspaper . DEBJANI(JR) (side faces the group and turns towards Debjani(sr) and Dhiman ) : ( in the same introductory tone with hand movements ) Amar jethu jethima ar jarhtuto bhai bon.. The elderly man lowers the newspaper. The lady who was serving breakfast also turns around to them and smiles. Debjani (jr) pushes it open. Overhead right angular tilt down shot – camera fixed – DEBJANI(JR) (welcomes the group inside) : (courteously) Ashun. . DEBJANI(JR) Haa… Edike esho ekbar. The girl was in a kurti leg in while the boy was wearing a vest and half pant. ini amar schooler madam ar onar husband. They also look up towards Debjani (jr) and the two unknown person she was leading towards them. A couple of young boy and girl of abut 23 -24 years age were sitting on the other end of the table and were having milk glasses and plates of bread jam in front of them... approaches every one at the table and calls out to her father. folds it down and greets them with a smile. DEBJANI(JR) (turns towards the elderly man ) : (in an introductory tone) Jethu. He looks up as the group enter the area. Dekho ke eseche… Lateral shot from right side of Debjani – camera fixed and frames all the characters present in and around the dining table – The other end of the room shows a huge old fashioned sofa set in front of which another medieval age tea table is placed. An elderly lady in red border white sari was serving breakfast to him. INDRADEEP (from inside) : Ke Titli eli ?? Lateral shot from back – camera following the group – They enter a spacious living cum dining room . The dining space is visible and breakfast items are laid over it.61 They finish the steps and come over to stop in front of a closed door.. DHIMAN (curtly) Namoshkar.. The wall behind the sofa set holds on a sets of showcases tidily packed with showpiece items. Debjani (jr) advances further inside . An elderly man sitting over the dining space on a chair.Pishi. A grandfather clock is placed angular in the right corner of the room.
Debjani (sr) and Dhiman abruptly smiles and does a namashkar towards Indradeep and his wife who greet back with smile. Anwesha who is sitting with her back over the frame helps him in doing . Over the shoulder shot of Debjani (sr).camera fixed and focused on Indradeep – Indradeep looks deeply in Debjani (sr)’r eyes . SCENE 73 : INTERIOR : INSIDE EDITING ROOM In found footage mode Over the shoulder shot of Riya – camera fixed on the FCP set-up infront of her – Riya hurriedly runs his fingers over the keyboard of the laptop as she types a document and then copy pastes it over the time line of the movie maker software in another window. Lateral close shot on Indradeep’s face – camera fixed – Indradeep smiles mildly and his eyes get teary as if he has recognized his long lost sister.. Lateral close shot from front – Camera fixed and focused on Debjani (sr)’r face – She also looks deeply into Indradeep. SHUBHADEEP(VO) (in a worried voice ) Complete hbe to re ajker moddhe !! Riya keeps silent and seems to be deeply engrossed in her work. SCENE 74 : INTERIOR : INSIDE ANWESHA’S ROOM IN MAA LAKSHMI HOTEL Lateral angular shot from left end of the bed – Camera fixed – Robin unzips his guitar bag and takes out the guitar.62 Lateral left angular shot from front – camera as in hand held mode – Debjani (jr) turns round to Debjani (sr) and Dhiman and smiles assuringly. She curtly nods her head in response. her brother..Indradeep and his wife enters the frame from the left side. Indradeep’s wife looks over to her husband’s deep gaze over this just introduced lady – Debjani (sr). She tends to get emotional. They smile back.. Lateral angular shot from Indradeep’s left side – camera fixed – DEBJANI(JR) (indicating towards Debjani (sr) ): (in the same tone) Ini amar school’r teacher Debjani madam ar onar husband. Within a moment Debjani (jr)’s father . DEBJANI(JR) (in the same moment indicating towards her parents) : (in an introductory tone with hand movements) Amar baba ma.
Nishi bends down on his chest. The OC waves him and calls him non-verbally. Her bare back reveals that she is not wearing a bra. Overhead shot Hadu – camera slight tilted up towards Nishi – Frame captures Nishi’s bosoms lying naked over Hadu’s bare chest as she lies down on him. Camera slowly pans rightwards – Robin takes uo his guitar and comes down to sit on the floor. He holds round her neck and smooches with closed eyes. Mainak looks over to them with a surprised look and smiles for courtesy. Mainak and his parents are seen on the queue near the entrance gate. NISHI (naughtily) Surprise surprise !! SCENE 76 : EXTERIOR : DAKKHINESWAR TEMPLE COURTYARD Over the shoulder shot of the OC – Camera moves along forward with him – The OC and the SI walks up to the moving queue towards the entrance gate of the main temple. Mainak whispers something to his parents and comes out of the queue. SCENE 75 : INTERIOR : INSIDE BIPIN’S FLAT Lateral shot from left side – Camera pans along from right to left along with Hadu and Nishi – Hadu and Nishi in a lip locked posture moves towards the bed over the left side of the frame. She gets bit emotional and her eyes become watery. They tussle for some time and Hadu rolls over and Nishi comes up on him Overhead shot Hadu – camera tilted up towards Nishi – Nishi sits up on Hadu’s belly as he holds on to her waist and drags her down towards him. Anwesha with a smile also turns round to face him. She gives a mischievous smile as Hadu starts pulling off her top. Over the shoulder shot of Mainak – Camera moves along forward with him – MAINAK (comes over to the policemen) : . Over the shoulder shot of Nishi – Camera fixed – Hadu looks with goggling eyes on to her breast. neck. Hadu takes up Nishi on his hands and lays her down on the bed. Lateral close shot from right side – camera is fixed and positioned over the bed – Hadu bends down on Nishi and kisses her wildly on her ears. Robin strums the cords and starts playing a single note repeatedly. He takes off his tee and throws it away and pounces on her. Anwesha lovingly looks down to Robin and sways to the tune.63 so. eyes and cheeks.
. OC (smiles) tomra pujo diye esho .. Patil – camera fixed on towards Surya’s parents – SHILPA'S DAD (In Surya’s dad’s direction) : (seriously) Dekh tor jodi kotha suru kortei hoto nije aste partis to ekbar... ek bakshe kichu phool misti ache. SCENE 77 : INTERIOR : LIVING ROOM OF SURYA’S PLACE AT MAA LAKSHMI HOTEL Lateral shot from left side – camera fixed – The two families are seen to be sipping on the tea served to them and arguing with each other about what their children did the other day. Ektu Maa’r paye pujo diye diyo na amader hye… Over the shoulder shot of the OC – camera fixed and focused over Mainak – MAINAK (takes the basket) : (smiles in approval) Thik ache sir. Lojja kore na. OC Hmm. OC (handing up the basket to Mainak) : (requests politely) Bhai. Amra ekhanei achi..... Over the shoulder shot of Mr.diye debo. MAINAK (As he intends to turn back) : (bit hesitantly) Thik ache sir…Aschi sir tahole.. Chhele’k pathiyechis !! SURYA'S DAD (angrily) Tai bujhi !! Banglay ekta kotha ache janis to ?? Chhuch bole chalni’k tor koto phuto !! Nijer maye’k samle rakh age..64 Dakchhilen sir ? The OC takes out a basket from inside a packet which he was carrying. Sheo ekhane esechilo tor hye okaloti korte… Over the shoulder shot of Surya’s parents – camera fixed on towards Patil family – . esho… Mainak then turns around and walks back towards the queue to his parents.
SURYA'S MOTHER (from beside Surya. Monty starts his run-up. Chobbish bochho Kolkataye achhi . Camera maintains the same frame and rolls on slow motion as Monty delivers the ball fiercely and the batsman raises his bat and tries to defend it – . positioned over the centre table and focused on Surya and family – SUSURYA'S MOTHERRYA'S DAD (excitedly) : Chhar to !! Neta to tui hyechis… Broking firm khule money marketing chhara r ki koris !! Surya and Shilpa who were initially tensed over the topic of the argument looked cautiously into each other’s eyes but in the end cooled down with a shy smile and looked down as their parents themselves laughed at the allegation they were putting over one another.. SCENE 78 : EXTERIOR : MOHUN BAGAN GROUND Over the shoulder shot of Monty – Camera fixed on the pitch and the batsman – Monty swings the ball in his hands and looks onto the pitch steadily.65 SHILPA'S DAD (with goggling eyes) : (in a confused tone) Mane ?? Eto kotthin Bangla bujhi na bhai. The fielders are zooming in towards the pitch slowly. as she puts down her empty cup on the tea table) : (approvingly) Ekdam thik bolecho bhai… Koto din pore ele tomra ei barite. Lateral shot from front of Monty – camera moving backwards in the same pace as Monty’s – Monty runs up for his delivery and approaches the non striker end. The batsman gets ready and takes stance. e sab slogan marka kotha barta oi neta – didi’der golaye sunechi Metro chhannel’e... Tui e sab kottheke shikhli !! Hotel’r byabsha chhere politics join korli naki ? Lateral front shot – camera fixed... Lateral right angular shot from Surya – camera fixed and focused on the Patil family seated on the sofa – SHILPA'S MOM (interrupts) : (with a smile) Kintu oder obhabe ese amader approach korar jonnei kintu aj amra abar etodin pore eksange boshe cha khachhi.
On the right side closed doors are seen. Close left angular tilt up shot from low level – The cricketer stands up and claps with a proud face from near the boundary line. . >> Shot 2 : Batsman manages to defend an in-swing Yorker. A maid in sari is seen sitting near the veranda and cutting vegetables for cooking. bright sunlight is coming from that side. The umpire stands tall at the left side of the frame with a finger up in the air. SCENE 79 : INTERIOR : INSIDE DEBJANI’S HOUSE Lateral low angle shot from back – camera moving along forward along with Debjani (jr) and Debjani (sr) – A broad passage way is being seen on the frame.66 Lateral shot from front – camera focused on the batsman trying to play Monty’s ball – Camera on 1x fast forward rolls and captures six different shots of the batsman trying to play Monty’s delivery – >> Shot 1 : Batsman ducks a short pitched bouncer. Few wet clothes are hanging from the rows of strings running through the railings along the side of the veranda. Lateral shot from non striker’s end of the pitch – Monty is seen still on motion in the jubilating mood as every player on the ground close in towards him and claps for his success. >> Shot 4 : A good length delivery and the ball misses the bat and hits the batsman’s pad. On the left side is a veranda. >> Shot 6 : A surprise slower delivery – batsman comes up the crease with an intention of hitting it for a six – and misses it . Wicketkeeper shouts out for an LBW appeal. Lateral close shot from front – camera in normal mode moves back along with Monty – Monty raises an arm up in the air and jubilates in the success for bowling an wicket – maiden over. The ball hits the middle stump which does a couple of somersault before coming to rest on the ground. >> Shot 5 : Batsman swiftly arches back and moves his body away as another bouncer zooms past his chin with lightening speed. >> Shot 3 : Batsman jumps up and manages to block a bouncer coming up to his chin level.
There is a bed side table on which several medicines are kept. The wall facing the door endorses hanging images of Lord Ramkrishna . Several stationary items and an ancient table lamp is also seen. Debjani (jr) called in Debjani (sr) silently by eye movement as the old man took great effort to sit up a little. Two syrup bottles and 4 – 5 tablet stripes. Debjani (jr) who was standing beside the bed now leaned down to the man’s ears. A mosquito net is cuddled over at the top and draped along the upper posts. along with an inhaler. On the bed rests a very old man in white pajama and half sleeved white kurta. She reaches the door through which Debjani (jr) just entered. The curtains are pushed back at the sides to allow enough light and air in the room. On the right side of the wall there is a study table over which piles of old books are stacked. Beside the calendar there are two open windows through which morning light comes in and bathes fresh the otherwise tainted room. OLD MAN (with great effort he looks deeply into Debjani (sr) ) : (with thoughtful hoarse swaying tone and effective pause in between lines) Maa tumi Titli’s eshkool’er didimoni ? Ami to abar chokheo bhalo dekhi na… Kintu…tomake dekhe mone hoche jeno … tomake ami aneek din age… dekhechi . A chair is also kept beside the bed. The old man finally sat up a little and laid rest over a pillow which Debjani (jr) pushed in behind his back. The time shows 10:05 am. Over the shoulder shot of the old man –camera fixed towards Debjani (sr) – Debjani (sr) slowly came inside the room with eyes fixed over the old man. The left side of the wall holds aloft a single page wall calendar with pictures of Gods and Goddesses. Debjani (jr) leads Debjani (sr) towards the last room on the right side. His frail face looks utterly pale and dry. Swami Vivekananda and Goddess Kali. Over the shoulder shot of Debjani (sr) – camera fixed and focused on the room inside – The room decor depicts the age of the person staying there. Lateral very close shot on the old man’s face – camera fixed – The old man looks up to her with wrinkled eyes. She spoke silently to the old man who looked on towards the door in reply. a pair of old fashioned spectacles and a HES table clock. Debjani (sr) slowly walks ahead looking around every inch of space she passes. There is a medium size jhaar lamp hanging from the centre part of the ceiling. An old fashioned four poster double size bed is placed in the middle. They pass the maid as she looks on towards Debjani (sr).67 The flooring is of black and white tiles. The closer she came the more emotional she became.. Debjani (sr) approached him with watery eyes and sat down on the chair placed beside the bed. The old man sports an unshaven face and looks very tired.
Ami tomar kotha rakhte parini… (cries) Ami tomake dekhte na ese parlam na baba.. RIYA (turns round her everyone and the excited) Guys !! film is complete chair to face frame) : (utterly We did it !! Our !! Everyone’s jubilation and high fives overlaps her voice. Lateral shot from Debjani (sr)’r back – camera fixed and focused on the trioOLD MAN (with great love) Aha re maa… kadis keno boka meye… Babar buke ese keu kade re sona… Debjani (jr) closes in towards the huddled father and daughter and hugs both of them with eternal happiness in her face. With trembling hands Riya reaches for the tray and takes out the DVD. DEBJANI (with trembling voice) Baba… tumi amaye chinte bhul koro ni…. Ananya and the Official also huddle over from her back and await with anticipation for the process to end... SCENE 80 : INTERIOR : INSIDE THE EDITING ROOM In found footage mode Lateral shot from left side of the FCP setup editing table – camera as in hand held mode – Riya is tensedly looking on over the laptop screen. She controls her tears and leans on towards the old man.. A DVD burning process is going on. Geetanjali.68 kothao…hmm… Over the shoulder shot of the old man – camera fixed and focused on Debjani (sr) – Debjani (sr) almost cries after hearing this. Ami Debjani… (She holds her mouth and sobs silently) Amake khoma kore dao baba. He holds on to her and embraces her to his chest and fondingly brushes her back. Debjani (sr) continues to sob. Riya quickly clicks on the “ok” button and the DVD tray ejects from the CPU. Venkatesh... (sobs harder) OLD MAN (with awestruck shock and unbound happiness) : Sonai… tui esechis !! The old man sits up straight and reaches out to her with great pain. CHORUS . The green status bar completes buffering and with a “ting” sound the process ends.
Tora na thakle this could not have happened.. My dream could not have been realized.. A white bed sheet is drawn over upto her lower back. Her bare bossoms get covered by her arms on Hadu’s side and she supports herself on her elbows.. Subhadeep (as it appears) lays it over the ground . aacho yumi hridoy jude]x2 Anwesha sways to the tune with closed eyes and a scarlet romantic expression gulps on her face. ROBIN (sings) “Amar bhitor o bahire ontore ontore. Ohh God !! You are great man… Subhodeep’s voice is also overlapped by everyone’s cheering and jovial cries… SCENE 81 : INTERIOR : INSIDE ANWESHA’S ROOM AT MAA LAKSHMI HOTEL Lateral right angular shot from right end side of the bed –camera fixed – Robin is sitting on the ground continues strumming the guitar chords and starts singing as Anwesha looks on to him with an eternal gaze of intoxication and love .69 (on top of their voice) Yeah !! Horray !! Bingo !! Camera frame gets jerky as Subhadeep (from behind the camera) also join the jubilation – Frame captures Riya and all other hugging and giving high fives to one another. bites his ears and they smooch. Lateral shot from right side – camera mild jerky along with the business – Their bare feet brush against each other and the bed sheet moves out of their body and lies on the side due to this mild tussle. And all of you made my day. She kisses Hadu’s throat.. Suddenly camera frames comes down and focus on the ground.. SCENE 82 : INTERIOR : INSIDE BIPIN’S FLAT MONTAGE SCENE : Lateral shot from left side – camera mild jerky along with the business – Nishi lies over Hadu. (voice grows more shaky and indicates silent sobbing and sniff) This is the best day of my life. . SHUBHADEEP(VO) (voice shaking with excitement and delight) Ami just bhabte parchi na Riya. The tram Official is also seen to be engrossed in their joyous moment of triumph over this herculean task. Frame now captures all of their feet and their thumping on the ground with joy.. You did it dear.
lower neck. Lateral very close shot from front – camera fixed – The cap of a pressure cooker is being seen. Nishi lets out mild moans and Hadu’s back with her nails. Nishi lies arch backed with closed eyes as Hadu slowly declines downwards towards her lower body. Very close shot on Hadu’s back – camera jerky – Nishi clutches Hadu’s back with her long nails. Her nails are polished in rose red color. Very close shot over Nishi’s face – camera fixed – She squeaks in pleasure and pain with closed eyes and same arch backed pose as her hand moves downwards under the frame . (Sound track appears on the back ground : “Moromer muul poth dhore Amar bhitor o bahire ontore ontore Aacho tumi hridoy jure”) SCENE 83 : INTERIOR : INSIDE DAKKHINESWAR MAIN TEMPLE High angle tilt down shot from back – camera fixed and positioned at the entrance of Maa Bhabatarini deity room – A crowd of people ensemble in front of the main deity room of .70 Overhead close shot from above the bed – camera fixed and focussed on the couple – Hadu comes up on Nishi and he kisses her shoulder . An open window is being seen on the other side of the subject. Over head tilt middle portion Nishi and they clunches on to down shot – camera fixed and positioned at the of the bed – Bare bodied Hadu is on the top of make love. Very close shot from front of Robin’s guitar – camera fixed – Robin’s hands strum on the chords with rhythm of the ongoing song (Sound track appears on the back ground : “Dheke rakhe jemon kushum Paprir abdaale phosoler ghum Temni tomar nibir chola”) Tilt up vertical shot from ground level – Camera fixed and rolls on (-)1x speed – A flock of birds fly off the frame following the rhythm. The cooked starts letting off the vapor slowly and eventually lets out a loud whistle and a burst of white steam from the top. The distortion of the mood by the pressure cooker whistle is complemented by guitar strumming. Very close shot from left side – camera fixed – The white bed sheet lies by the side as Hadu showers tender kisses all over her belly and continues to go down her body.
the entrance of which is blocked by a barricade . More people are seen to entering the temple grounds. 3 Purohits dressed in white Panjabi and dhotis are seen to be engaged in dealing with the crowds for their puja offerings. Mainak and his parents are also seen to be among gathering of people over the frame and with a bit of effort they push through the crowd and move towards in front of the door. Lateral close shot from front – camera fixed and focused on Mainak and his paents – The purohit’s right hand approach them and touched Mainak and his parent’s foreheads with the middle finger and draws a red tilak. Quick fade out Quick fade in SCENE 34 : EXTERIOR : DAKKHINESWAR TEMPLE COURTYARD Lateral shot from back . The OC and the SI are being seen to be waiting near the gate. Lateral shot from front – camera fixed and focused on the entrance door – Mainak and his parents pray with closed eyes and the purohit leaves the frame and comes forwards to offer their puja. ei egulo ektu pujo diye din… The purohit takes up the items on a dala from Mainak… The items include flowers garlands and sweet packets which they bought from the Dala Arcade before entering the temple. Several beggers are also seen to be loitering around. A big brass bell hangs from the mid frame of the entrance door.71 the Dakkhineswar temple. They look up to . Inside the deity is being seen all covered up with red garlands. flowers and many brass puja items are laid scattered in the grounds.camera follows Mainak and his parents – Mainak and his parents walk towards the exit gate. Over the shoulder shot of Mainak – camera fixed – MAINAK (hands over the puja items to him over the barrier) : (urgently) Thakurmoshai . People as they leave after completing their puja offerings are pulling on the rope attached to the dong and ring the bell. Camera is focused on the room.. Lateral shot from right side frame of the door – camera fixed – Mainak opens his eyes as the purohit comes back with the flowers and sweet packet and blesses them with the sacred flowers over their heads. Big brass plates are laid down and fruits and bhog items are seen to be placed in front of the deity as offerings. A purohit approach them within a while.
. Over the shoulder shot of the OC – Camera fixed – Mainak and his parents come over to them with a smile and looking a bit exhausted due to the hassle of offering puja in the overcrowded main temple. OC (casually) Hye gelo pujo dewa ?? MAINAK (smiles) : Oi r ki… Ja bhison bheer !! SI (politely) Jaak . .. MAINAK (takes out the sweet packet ) : (smiles back in courtesy) Nischoi. Patil nods in approval. Nischoi.OC extends his palm and Mainak’s hand approach him and places a sweet and a red flower on the open palm which fists in and draws back from the frame. SI’s palm also enters the frame and Mainak’s hand gives a sweet and red flower to him also. Lateral very close from left side – camera fixed . Patil – SHILPA'S DAD (in a tone of appreciation) Ar ei je eto din baade amra abar ek sange holam seta kintu mostly amader chele meyer bhalobashar taanei aj sombhab hyechhe !! Over the shoulder shot of Surya’s father – camera fixed – Shilpa looks down shyly as Mrs. OC (speaks from outside the frame) : Ekhan theke firben kise ? Chalun amara apna der hotele namiye debo..72 them as the approach them. Over the shoulder shot of Mainak – camera fixed – SI (smiles and extends his right hand) : Din prasad khawan. atlast apnader manat puron holo… Subhechha roilo amader… Mainak and his parents smile back. SCENE 85 : INTERIOR : LIVING ROOM OF SURYA’S PLACE AT MAA LAKSHMI HOTEL Lateral shot from front – camera fixed and focused on Mr..
. His eyes wet with tear and a strange joy runs across his face.73 SHILPA'S DAD (puts his arm around Shilpa) : (and continues in the same tone) And we should salute their efforts of uniting us once again. SURYA'S DAD (puts his roght arm around Surya) : (approvingly) Salute to aboshyoi… Ar ei ek howa kintu sudhu purono bondhutter khatirei nye… notun ekta family suru koraro anande… Lateral right angular shot from Surya’s front side – camera fixed and focused over Surya’s family – Surya looks down and smiles as his father continue... Declaration ta akhn habe… Camera pans and Surya looks up with surprised eyes at him SHILPA'S DAD (Excitedly) And the breaking news is Surya ar Shilpa’k amra sobai buk bhore ashirbad kore notun jibon suru korar permission dichhi… Lateral shot from front – camera fixed and focused on the Patil family – SHILPA'S DAD (raises his cup) : (in a very jovial mood) So let’s all raise a toast in honor of engagement of Surya and Shilpa this evening.. Mrs . Tumi gelas namao . SURYA'S DAD (in the same posture and happy tone) Haa. Sese ki chayer cup diye Cheers korte hbe ?? Lateral very close shot on Surya’s face – camera fixed and focused – He looks up transfixed towards Shilpa. SHILPA'S DAD (from out of the frame) : (Jokingly) Enechi bhaya. Cheers !! Shilpa looks in Surya’s direction with tears of joy glimmering in her eyes.. SURYA'S DAD (from behind the frame) : (jokingly) Ei Kailash bhaya. ami fowara chhotai… Backgroun ... Patil looks very happy and holds on to her husband with joy. Amader decision agei hye gechilo. tomar jhola theke kichu wine champagne ber koro boss..
. The senior cricketer along with the other officials is seen to be standing near the boundary line and clapping on his honor. Lateral right angular shot from right of Monty – camera fixed – Senior cricketer faces Monty and holds his arms. SENIOR CRICKETER (with pride) : Yaar . (senior . Lateral left angular shot from front of Monty – camera fixed – The other cricketers also pat on Monty’s back and he is welcomed in the stands with lot of honor and respect... Usme selection ka alag sa tarika hai… (Senior cricketer puts his arm over Monty’s shoulder in encouragement) Tu abhi State Ranji team me khelna suru kar de.” SCENE 86 : EXTERIOR : MOHUN BAGAN STADIUM Lateral low angle tilt up shot from right – camera moving and following Monty – Monty walks forward towards the stands with sturdy steps. The camera moves on a circular track and some close up of smiling shyly and trying to control tears. Uske liye mera zaban aur lera lagan hi kaafi hai…... There’s no question over that… Lekin National team me khelne ke liye tujhe aur bhi mehnat karna pare ga. “Pushe rakhe jemon jhinuk Kholosher aborone muktor such Temni tomar gobhir chhowa Bhetorer neel bondore Amar bhitor o bahire ontore ontore Aacho tumi hridoy jude.74 vocals gathers up volume and the lighting of the room changes with spot lights on Surya and shipla. Mujhe ek mauka dene ke liye… Over the shoulder shot of Monty – camera fixed and focused on the senior cricketer – SENIOR CRICKETER (confidently) And thank you Monty. Over the shoulder shot of Monty – camera moving forwards – Monty reaches the stands where he is embraced by the senior cricketer and other over whelmed officials. tu ne to ek over me poora dhamaka macha diya !! Excellent performance… MONTY (soberly) : Thank you sir.. Tu ne woh ek mauka me khud ko prove kiya… You’re a great bowler Monty.
Usme time lagega. Over the shoulder shot of the senior cricketer – camera fixed – The senior cricketer holds on to him by the shoulder. Indradeep and his wife and .75 cricketer smiles encouragingly) Lateral close shot on Monty’s face – camera fixed – Monty looks up after hearing these words and there seems unbound joy in his eyes. Lateral shot from front – camera fixed – DEBJANI (smiles mildly) Khub bhalo laglo go ekhane ese… Saradin tomader sange theke… Ananda kore… Kotha diye samay kete gelo bujhtei parlam na… Debjani(sr) looks down with watery eyes. She halts and touches the door . Lateral very close shot from side – The senior cricketer’s hand holds aloft the blue jersey and Monty’s hand grabs it with pride. and then turns around. Dhiman is by her side. MONTY (rubs his eyes with his sleeves) : (with trembling voice) Tthank you sir… Aapne mera swapna pura kiya… He looks down and intends to leave. He stops and turns around when the senior cricketer hands him over a Blue jersey of the Indian Cricket Team. Tab tak mera pehen le. SCENE 87 : INTERIOR : PALATIAL HOUSE Over the shoulder shot of Debjani (sr) – camera moves along – Debjani (sr) slowly moves towards the exit door . The elder man. Then he looks up to the sky and closes his eyes. Lateral close shot from front – camera fixed and focused on the senior cricketer – SENIOR CRICKETER (with a smile) Asli sapna to abhi baki hai. Lateral close shot from front – camera fixed on Monty – Monty looks up with wet eyes an unique expression of smile and cry. Over the shoulder shot of Debjani(sr) – camera fixed – Members of the Roy Chowdhury family come over to her to bid farewell. his wife.
. Ebar jemon elam chhottrish bochhor periye… (she looks down. Lateral close shot from Debjani (sr)’s front – camera positioned over the left side of her face – camera moving along backwards and focused on the Roy Choudhury family standing at the gate – The Roy Choudhury family stands at the gate shocked and aghast as Debjani (sr) moves away . Akasher thikanaye chiti likho.. There’s a silence and a moments pause.. Debjani (sr) turns back and leaves. RIYA ... THE ELDERLY MAN (in a tone of surprise) Mane… Chhattrish bochhor ?? Lateral close shot from front – camera fixed on Debjani (sr) – DEBJANI (looks up) : (emotionally) Chinte parle na bor’da… Ami Debjani… Tomader sei abhimani chhoto bon..76 Debjani(jr) al gather around Debjani (sr). A tear droplet rolls down her cheeks) lateral long shot.. Khub bhalo katlo aj saradin. Lateral close shot of the elderly man. Amar bhitor o bahire ontore ontore Aacho tumi hridoy jude. Lateral close shot from front – camera fixed on Debjani (sr) – DEBJANI (looks up with teary eyes) : (smiles bleakly) Ashbo abar hyto kono bochhor kuri pore. The elder man’s wife holds her hand and smiles adieu..” SCENE 88 : INTERIOR : EDITING ROOM Through found footage mode Lateral mid level shot from right angle – camera as in hand held mode – Camera captures jubilation movements of the group of guys and girls. Dio tomar mala khani Baool er ei monn ta re. THE ELDERLY MAN (courteously) Asben abar pore ekdin. Riya turns towards the camera (and also Subhadeep) with a smiling face. Background vocals gather up volume : “Bhalo aachi bhalo theko. There’s a moments silence after this. The FCP setup lies on the table.
Ami asi akhn… Camera moves ahead with the tram official the frame – at the left side of SHUBHADEEP(VO) (gratefully) : Dada anek dhanyobaad apnake... Camera pans rightwards towards the others – SHUBHADEEP(VO) (continues) : (with a sense of authority) Ok. Supriya and Geetanjali are all in a jovial mood and come over the frame . SCENE 89 : INTERIOR TAXI : OUTSIDE THE CARGO DEPOSIT CENTRE The door opens and Subhadeep (from behind the frame) comes out of the taxi and moves ahead hurriedly towards the entrance gate ahead and then stops. Venkatesh ... you people retire to the hotel. TRAM CONDUCTOR (happily) Tomara tahole egou bhai. Then suddenly Riya's voice is heard.. Riya entrers the taxi and Subhadeep along with the camera . A few dissolve shots of the taxi metre which is changing figures to show the span of time. RIYA Hoyegache. I am waiting here. Chol. We have to cargo this DVD to Chennai..77 (in an excited tone) Subho. SHUBHADEEP(VO) Bingo !! Tui amar sange airport chal. We’ll catch you up there.. Aparna. So. They nod in approval. We shall cargo it form there. SUPRIYA Thik hai boss… You guys carry on with the last lap… VENKATESH Aur hum waha log party ka intezaam karte hai… Camera pans right wards and focus on the exit door – The tram official smiles goodbye to them... SHUBHADEEP(VO) tui giye cargo ta kore aye.. now we are left with just one more thing to do. Amader guide korar jonno..
A drop of tear rolls down her cheek. It is the first time that Subhadeep’s face is being seen. As the “connecting” sign appeared she put the handset on her ear. An aircraft is seen to take off as the taxi speed past the road parallel to the runway. Robin fondingly kisses her forehead and rubs her tear with his bandaged right hand. Amlan’r jonnie aj ami guitar ta bajate parlam. SCENE 90 : INTERIOR : INSIDE TAXI Lateral angular shot from left side – camera jerky – The driver turns on the meter and taxi moves ahead with speed. Camera pans leftwards towards Riya – He puts around an arm over her shoulder and drags her closer to him in the right... . They are seen to be glued on the lips and kissing with full passion. Lateral close shot from right side – camera fixed – Anwesha looks ahead as the phone rings on Amlan’s end until her eye movements notifies Amlan’s answer.. Camera moves ahead and pans further left – The frame captures Riya and Subhadeep in a lip locked pose. The camera zooms closer and captures a very close shot of their kiss – camera freezes for 3 secs. They pass the main entrance of the Netaji Subhas Chandra Bose International Airport. Air busses are seen to be plying over along the runway . Robin looks down to her fondingly while maintaining their romantic cuddled posture. Lateral very close shot from front – camera fixed and focused on Anwesha and Robin’s face – Anwesha mildly rubs her face over Robin’s throat. Over the shoulder shot of Anwesha – camera fixed and slight tilted down – Robin hands her his mobile as Anwesha scrolls down and dialls Amlan’s number..78 followed her as the taxi driver nodded in approval and turned on the engine. SCENE 91 : INTERIOR : ANWESHA’S ROOM IN MAA LAKSHMI HOTEL Lateral mid level shot from front – camera fixedRobin is sitting on the ground and he holds Anwesha at his arms. The guitar is placed beside.. O pase na thakle hoto na sonai… Over the shoulder close shot of Robin – camera fixed and focused on Anwesha’s face – ANWESHA (looks up with watery eyes ) : (gently) Phone’ta dao ekbar. ROBIN (gently runs his fingers thru her side face and hair) : (smiles and speaks adorably) Jano.
try to scarlet is her from .... Hadu is too confused to do anything else apart looking transfixed at Bipin. Camera unfreeze – HADU (adjusts his covering) : (utterly stammers in nervousness) Ttttuuu mmmhhhiii ….. Suddenly there’s a sound of door being opened and they jerk off from their cozy movements. Close shot from above . Close shot form right angle – They kiss and smooch and mildly bite each other’s lips and giggle in pleasure.Tumi Robin’k je bhabe firiye enechho… R keu parto na… SCENE 92 : INTERIOR : BIPIN’S FLAT Lateral low level close shot from front – camera fixed – Hadu and Nishi are covered by the blanket and they are cuddled cozily. Nishi is and looks down while biting on to the bed sheet which cover.79 ANWESHA (with a bright voice) Amlan’da. kkiikkk kkoree !! Ami tttoo ddorjah… lock korechilam … Sssuure !! Camera pans swiftly over Bipin – BIPIN (dejectedly) Ore gambaat !! Chhitkani lagate ki chulkani hyechilo !! Amar kache chabi ache Janis na duplicate !! Aata kelaner haat baksho sala !! Camera pans swiftly over Hadu and Nishi – Both of the cover themselves from head to foot in shame. They are seen to be kissing passionately. BIPIN (from behind the frame) : Jai hok. Over the shoulder shot of Nishi and Hadu.. Lateral close shot from front – camera freeze for 2 secs – Hadu and Nishi in a hasty pose of covering their bare bodies and are seen to be in greater shock with a mixed expression of fear and embarrassment. Thanks a lot..They finger lock each other’s hand and brush their bodies under blanket in mild fashion. Lateral close shot from front – camera freeze for 2 secs – Bipin stands there in shock with his jaws wide open and rounded eyes.
Chalo bhetore giye kotha boli.. Lateral shot from front – camera fixed and focused on Bipin – BIPIN (assuring) Chinta koris na… Ami alada arrangement korechi toder jonno.80 shon.Ekta chap hyeche… Amar kichhu relative asche aj ekhane. Over the shoulder shot of bipin ..... They look on to Bipin with a black hopeless gazed with a mixed feeling of fear and insecurity. Okhane toder jonne ekta room book kore diyechi. ..Hadu and Nishi look up at Bipin after hearing this.... There’s a cup of black tea in front of him. toder baki honeymoon ta okhanei koris… Kharap jayga na… SCENE 93 : EXTERIOR : OUTSIDE THE ENTRANCE OF MAA LAKSKMI HOTEL Low level shot form back – camera fixed and tilted up – focused on Hadu and Nishi – The building is lit up with rice bulb strings and mild Sehnai music is coming from inside. Dharmatalla’r odike ekta hotel’e amar motamuti janasuna ache.. Sei jonnei taratari fire elam… Toder’k ekhane dekhle baaje case hye jabe. Over the shoulder shot of Hadu – camera fixed and focused forward towards the reception – HADU (whispers to Nishi) : (in a shaky voice) Ei hotel’tar kothai bolechilo to Bipin’da ? E to kemon biye bari biye bari lagche !! NISHI (looks up to Hadu) : Hmm… Maa Lakshmi Hotel’i lekha ache to. Nisi is carrying just a vanity bag while Hadu manages with his backpack and another airbag . They sense more trouble and seem to be lost for thoughts. HADU (from over the other side of the newspaper barrier) : (squeeks) Umm.. SCENE 94 : INTERIOR : RECEPTION OF MAA LAKSHMI HOTEL Over the shoulder shot of the hotel manager – camera fixed and focused on the Malayali newspaper hold aloft over the frame – The manager peeks on the news bulleting with wrinkled eyes behind his thick framed spectacles. (gives a mischivious wink)(in a joking tone) To. They look up at the hotel board and adjust their luggage. He holds on to Nishi’s hand... And a pack of Bidi lies adjacently.
.r.. Over the shoulder shot of Nishi – Camera fixed and focused on the Manager – Manager being taken aback by this sudden infiltration in his evening pastime goggles at Nishi. Lateral shot from front – camera fixed and focused on the Manager – MANAGER (looks up to them with detective eyes) : (grumpily) Hmm….. Bolchilam ki… Amader name booking kora ache… Dekhun… Hridoy Charan Roy. NISHI (as she comes over on the frame) : (politely) Excuse me !! Room habe ekta ? Double bed.. Over the shoulder shot of the hotel manager – Nishi nudges Hadu with her elbow to initiate talking.81 Dada… Sunben ektu ?? Manager seems to be engrossed in every news detail of the paper remains unnerved by the timid call. Kar relation sir ? Lateral shot from front – camera fixed and focused on the Manager – MANAGER (with eyes fixed) : (bit irritatedly) Relation mane tomader relation !! Bor .. apnader tariff kirom ache ektu bolben please ?? MANAGER (looks up again) : (inquisitively) Hmm…. Suddenly Nishi’s hand clutches on to the upper end of the newspaper and mildly pulls it down.. HADU (from behind the frame) Hhaa… Achhe. Ki relation ? Over the shoulder shot of the Manager – Camera tilted up towards Hadu and Nishi – HADU (swallows a breath) : (nervously) Relation. ID proof ache ? He opens the register and starts checking the bookings.Nishi Poddar. HADU (coming forward) : (with gathered up confidence) Umm… Mane. Voter card dile habe ?? Achha..... Mane .
. Aj r kono booking nye. The interio décor of the present set is more or less same as was seen in the earlier scenes apart from the glossy and festive touch that is adhered to it this time. Mainak and his parents. Lateral angular shot from left – camera fixed and pans along form left to right – SURYA (turns towards the Manager ) : (in the same tone) Tumi enader luggage gulo ektu 205’e rekhe diye esho na. There are many chairs laid around the room and each one is occupied with a guest.. The stewards of the hotel are on their best costumes of white kurta and black pajamas. There’s Dhiman and Debjani. Kono byabsha nye. Surya and Shilpa’s family. Monty.. SURYA (approaches them with folded hands) : (with the welcome tone) Ashun dada. Subhadeep. Then he turns towards Hadu and Nishi and welcomes them ahead towards the common room . Riya and their group of friends. Lateral shot from side – camera moving along forwards – SURYA (takes up a champagne glass from a passing waiter) : (in a sense of cheerful announcement) Hello every body !! Ajker ei rate amader sange aro ek jora young couple join korlo .82 Bou – Bhai Bon – Jogai Madhai – Deor Beaai … Kon porichaye thakbe ?? SURYA (from side) : (in a cheerful tone) Madan kaka !! Notun guest eseche ? Lateral shot form right side – camera fixed and positioned over the right end of the table – Surya approaches them with a welcoming smile. Amar engagement aj... SCENE 95 : INTERIOR : COMMON ROOM Over the shoulder shot of Hadu and Nishi – Camera moving and follows Surya who welcomes them in – The common room. The guests are all knows faces from the different stories.. Ashun common room’e cholun… party hochhe ... They are all chatting with one another and enjoying a light moment. Anwesha and Robin. previously which was Surya’s living room now is brightly lightened up with fancy decorative rice bulbs and colorful streamers. Surya welcomes Hadu and Nishi in the party and takes the centre stage with them. The dining table is drawn at the centre of the room and a party size chocolate cake is placed over it. The wall clock in the front side reads 9:15 pm and dinner is being served to the guests on thermocol plates..
So.All of the guests are drinking... Lateral close shot from front – camera fixed – Hadu and Nishi blush and smile. Jab koi kaam nehi rehta hai… to hum to bindaas hoke tram me jaake baithte hai.Khela r serom dekha hye na… SHUBHADEEP(VO) (to Surya) : (smiling) Tahole to tomar kache Indian Team mane Rest of Bengal bola bhalo !! Lateral close shot from front – camera fixed – MONTY (to Dhiman) : (seriously) Ye jo tram chalta hai na sheher ke ali gali se… Bohut pareshani ka cheez hota hai… Arre aj ka zamane me kaha buttel train laganeki bare me soche ga… Ye Sarkar hamara abhi bho wo British period ka transport lekar jhel raha hai… HADU (to Monty) : (stubbornly) Nehi mera to tram achha lagta hai. dining and all in a blissful mood and share laughs gags and giggles with one another. se World Champion hote pare !! Kintu post Sourav Ganguly era… Umm…. aur din bhar pura sahar ghumke sham ko ghar lautte hai… Lateral close shot from front – camera fixed – DEBJANI (to Supriya) : (with a sense of pride) Na go. Nishi olds on to Hadu’s arm and Hadu grabs Nishi by her waist. Everybody lets out a roar of cheer and all raise their goblets. Lateral close shot from front – camera fixed . Riya Subhadeep and Surya Shilpa. Kolkata dekhte chaile .. with all due respect to Anwesha and Robin and also Riya and Shubho let us all raise a toast in favour of Hadu and Nishi.. Camera pans around and captures frames that brings to life the lively adda amongst all the characters of the various stories .. SURYA (to Robin) : (jokingly) Indian cricket team ?? Ha.A close group revels in a private chat amongst Anwesha Robin.83 party’te..
. Se tumi Dakhineswari bolo ki Kalighat.. frolic and celebration. Anwesha is seen ... Lateral shot from back – camera following Robin 1 by 1 Close of every guest as they realise the time.. Sab jaygatei ajkal poisa diye bhokter bhokti mapa hye… VENKATESH (to Hadu) : (Casually) Yaar tu engineering khatam karle.. Divorces can be minimized to a great extent by virtue of this. Ek Sector 5 me kitne ko naukri dega bol… Lateral close shot from front – camera fixed – GEETANJALI ( to Anwesha) : (with a wink) Premarital sex is………. Fir to ek sath beithenge na daaru peene !! HADU (bit surprised) : Wo kaise ? VENKATESH Naukri ke liye to tujhe South ana hi pade ga bhai. Lateral close shot from front – camera fixed – Robin and Surya were gossiping in one corner of the room. Over the shoulder shot of Robin – camera tilted up – The wall clock strikes 12.umm……good !! Actually its necessary also to know your sexual compatibilities. A mild tune of the piano breaks the silence. Bacha ra kar surname carry korbe !! Absurd !! Lateral close shot from front – camera fixed – DHIMAN (to Aparna) : (confidently) Na nah… Joto boro mondir habe toto besi taka urbe.84 to make North Calcutta ghurtei hbe… Oi South Calcutta mane to sudhu South City Mall ar Dhakuriya lake… North Calcutta’i kintu Kolkata’r heritage… Lateral close shot from front – camera fixed – MAINAK (to Riya) : (surprisedly) Love marriage versus No marriage ?? Mane Live in bolchho ki ?? Se to Markini chhini mini. Robin looks up at the clock.. He looks up ahead to the others who were still in the jovial mood of fun.. The dial shows its 12 am.
Camera fixed on to the door inside a room in the hotel . There has been a huge loss of property and there can be a loss of life as well. SCENE 96: OUTSIDE MAA LAXMI HOTEL Lateral long shot from front. SCENE 98: BLACK SCREEN There is a sound of disturbance and sound of things breaking and people shouting. There is a handycam lying in the debris.As the song continues Surya bids goodbye to Shilpa and His family and enters inside.. SCENE 100: KOLKATA 2012: CREDITS .Surya enters the room and the screen shortens and rests at one corner of the frame. Suddenly there is a voice of a television broadcast which says that a massive earthquake has hit Kolkata. Slowly one by one the lights of all the rooms goes off.85 playing the piano at the far right end corner of the room. Similarly protagonists of all the stories enter their respective rooms and the frame(s) shorten and rest in a column & row position in the main frame. The camera revolves over head and comes down near Dharamtalla. Over the shoulder shot of the man . Lateral shot from side – camera fixed – Anwesha plays the tune of “Aaguner Poroshmoni” and Dhiman joins in his vocals from behind and Amlan jamms in with his guitar . The anchor then tries to connect to its reporter for a live coverage but looses signal.he switches on the camera which shows a recording where Dhiman is singing the song Aguner Parasmoni during the engagement party of Surya & Shilpa. A pair of legs enter the frame and the person collects the handycam. The camera cranes down and rests on the ground to show a debris and a broken board of the MAA LAXMI HOTEL. SCENE 99: EXTERIOR: KOLKATA SKYLINE Graphics: A skyline shot of Kolkata showing mass destruction and fire at places. SCENE 97: INTERIOR ROOMS Lateral mid shot from front. The Song continues and the frame fades.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.