The Attacks of 26/11 A Ramgopal Varma film Rommel Rodrigues

Full Script, 17-01-13

Rakesh Maria in the committee room, beginning to speak RAKESH MARIA Main, Rakesh Maria, Mumbai shehar ka Joint Police Commissioner hone ke naate...Uss raat ke haalaat sambhaalne ke liye meri ki gayi kaaryavaahi se sambandhit mujhpe lage aaropon ke jawaab dene ke liye aaj main yahan iss committee ke saamne hoon...Yeh main jaanta hoonNiyantran se pare dikhne waali,chabbis gyarah ki shuruaat aur uss se paida hui paristhitiyon ke maddenazar - Bharat Ganrajya ka samvidhaan aur uss samvidhaan ka kanoon;usmein nihit Maharashtra rajya ka kanoon... aur Mumbai Police ka adhikaar patra aur uski vyavastha jiske daayre mein main aata hoon...Uss ohdey se, main yeh kehta hoon ki mere bayaan aur uss se judey har spashtikaran, arth, khulaase, nazariye aur pramaan se judey chabbis gyarah ki har ghatnaon ke baare mein..... kewal sach kahoonga. DISSOLVE TO ON HIGH SEA- ABOUT 3 PM, 24/11 The hot sun is glistening on the blue ocean waters. The closeup of a trawler’s bow chopping the rough sea - it rises and falls as it hits the waves, making a loud splashing sound. From a long shot the medium sized wooden fishing trawler MV Kuber with Registration Number PBR 2342 is seen tossing as it makes it way ahead. The sputtering sound of the diesel engine can be heard. CUT TO THE DECK ON THE ROCKING TRAWLER. In front of the wheel cabin towards the bow, the wooden deck has a drum winch two big cylinder cable crank, a black sintex water tank, two blue plastic drums and some aluminum cooking vessels - on the lid of the fish hold. The cabin had glass panes, a mast pole on the top with a saffron flag. The name Kuber is painted in Gujarati ’Ku’ letter in blue, ’Be’ in yellow and ’Ra’ in blue. (CONTINUED)



The Captain is a veteran sailor and fisherman Amar Singh Solanki - short and of solid stature, dusky skin, flat nose and slightly oblique eyes. Solanki is wearing, blue short pants a grey coat over a yellow T-shirt, smoking a beedi whilst sitting on a plastic drum. He is talking to three of his crewmen who are mending the nets on the deck - Mukesh Arjun Rathod from Una (youngest 21 years old), Balwant Prabhu (oldest aged 45), Nathu Nanu Rathod (age 23) from Vasi Borsi village of Navsari. CUT TO INSIDE THE CABIN The fourth crew member Ramesh Nagji (36 years old), fisherman from Simasi village of Junagadh is in the cabin room on the steering wheel. All are wearing some type of cardigan to protect against the chilling sea breeze. The cabin is fitted with a high frequency wireless radio and fish finder equipment. The radio goes on & off with vague gabbling sounds. The boat does not have a Global Positioning System (GPS). CUT TO ON DECK V/O Of Rakesh Maria RAKESH MARIA 26 thareek ko, Solanki naam ka ek machuaara, apne char sathiyo ke saath, lal pari naam ki nayab machli jo sirf gehere samundar main pai jati hai...uske talash main kafi door tak nial gaya tha... Solanki is talking to his crew, he addresses Balwant SOLANKI TO BALWANT BALU, Balu, agle saal beto ka saadi karwani ka soch raha hu - koi acha ghar nazar me hai tho bataoojo. MUKESH RATHOD TO SOLANKI KAKA, Kaka, Hitesh meri umar ke honga na?


CONTINUED: SOLANKI Are na re na, terese chote honge MUKESH RATHOD TO SOLANKI KAKA Acha... SOLAANKI Dilip tho bis saal ka hai, aur hitesh usse ek sal naanu. BALWANT Mujhe lagraha tha, tumne Dilip ke liye rista dhund liya tha? SOLANKI Are plan tho kiya tha, hua kuch nai. Uski maa boli, phela padhai karne do baad main dekhte hain, saala maaro tho bolthich band ho gayi.


Ramesh Nagji walks out of the cabin onto the deck, he is in a full-sleeves T-shirt and bermuda pants, and approaches Solanki. RAMESH NAGJI TO SOLANKI Amar mujhe lagta hai hum Kori Bunder par kar chuke hai, Pakistani pani main bhi ho sakte hain. SOLANKI Nai yaar, mujhe nai lagta saala yelaal pari ka bhi koi thikana nai. Thodi der dekhte hai nahi tho phir palate hain. BALWANT TO SOLANKI Mai tho bolta hoon, palat chalte hain... Mujhe nai Pakistani jail main nahi sadhna hai bhai SOLANKI Haan... Suddenly at a distance Solanki faintly spots the main mast of a larger ship. SOLANKI ye petroling boat tho nahi...nahi petrol nahi koi trawler lagti hai... Three of his men gaze at the direction in which Solanki is looking. (CONTINUED)



Ramesh Nangji and the others rush towards Solanki, he takes the binoculars and looks at the approaching vessel. Ramesh and others have panic looks. Solanki is focusing on the approaching vessel, his expressions change slowly. The engine starts sputtering loudly. Solanki spots some people, one holding an upright mast with a white flag hoisted on it - a sign of distress and call for help among seafarers...Ramesh nods his head. CUT TO SOLANKI Ee Ramesh... koi problem lagti hai baot ghuma le jaldi... KUBER IS CLOSE TO AL-HUSSAINI Kuber is slowly approaching the bigger vessel (It’s a medium sized vessel - it’s deck is about above Kuber’s deck) Solanki and the three others are standing on the front edge of the bow holding the docking line - the thick rope going up the mast for support - Ramesh is in the cabin at the wheels and looking out of the open glass window. Solanki looks through the binoculars and spots the name of the vessel written on the bow - Al-Hussaini. The two men with long beards and skull caps are now clearly visible on the deck of the big vessel, one of them is still waving the white flag. Kuber reaches very close to Al-Hussaini and jeers to its side and slowly halts as the rubber tyres tied on the edge crash against each other. Solanki looks up from his deck towards the vessel in front of him. He spots the two sailors still standing there. SOLANKI Salaam... SAILOR 1 walekum salam... SOLANKI kya hua ? SAILOR 1 humara engine belt tut gaya hai...thoda madat karo.


CONTINUED: SOLANKI Kaha se ho bhai? SAILOR 2 Karachi se, transport trawler hai humari, kharab mausam ki wajah se yaha pahunch gaye...madad karo. Sailor 2 walks up Kuber’s deck and stands in front of Solanki.


Sailor 1 is carrying a piece of what looked like a leather belt fastened on his back. Once they are down on Kuber, they look around the boat and then look at all the five Indian crew. SAILOR 1 (LOOKING AROUND) Kitne log ho tum? SOLANKI panch log hain hum. SAILOR 1 aur koi hai..? SOLANKI Nahi... Suddenly one of the two sailors rushes ahead near the cabin, when the other sailor suddenly whisks out an imported hand gun which he had concealed in his jacket. He fires a round in the air and then holds the gun on Solanki’s temple. All the crew are flabbergasted and shocked. On hearing the shot, the other sailor also removes his gun and comes rushing out and pushes around the other four to round them up on one side of the deck. SHAHID GHAFOOR Ruko... Solanki and his men are startled and shocked by the sudden assault. They raise their hands up in the air in fear. Solanki though very scared tries to muster courage and speaks to his captor. Without a seconds thought, the sailor hits him hard on his head, then he drags him to the edge of one side and kicks him hard. Solanki winces, he is forced to crouch in pain. Meanwhile the other sailors drag the remaining four Kuber crew behind Solanki and make them all hunker down on the wooden floor. They are all trembling with fear. Nathu is almost in tears. As he is crouched Solanki raises his hands in trepidation. (CONTINUED)



He kicks Solanki hard on his stomach and points the gun on him. Solanki flinches and cries out. The sailor kicks him again. With folded hands, Solanki tries to speak. SOLANKI sahab Hum tho sirf machwaare hai sahab... MUKESH RATHOD haan haan... SHAHID GHAFOOR Side main le jao... SAILOR 1 aeee chal chal ...chal side main chal... SOLANKI hum sirf machuare hain sahab....sahab...sahab....hum tho machuare hain sab...sahab...chaiye tho humara id check karlo.... As they are talking couple of more men come on Kuber, all of them are carrying automatic hand guns and radio sets. One among them is the captain of Al-Hussaini Shahid Ghafoor and his subordinate Abdul Rehman. Both of them inspect the vessel, the cabin room, the engine room and return to the place where the two captors are standing. Sailor 1 separates Solanki from his men and pushes him inside the cabin and makes him crouch down in the small space. The others beat up the remaining crew and keep them pinned down on the deck. SHAHID GHAFOOR Bulale. SAILOR 2 Ajaao We se Kasab emerge from the boat and walk towards Kuber, one by one his 9 other accomplices walk up from Al-Hussaini’s deck on to Kuber. Kasab walks upto near Kuber’s cabin, he puts his bag pack on the deck - turns and sees Solanki cowered on an edge. A thick stream of blood is flowing down his temple - injured due to the kicking. Their eyes meet - Kasab sees his contorted face and the pain in the eyes; he grimaces - Kasab (CONTINUED)



is encountering his first victim - just then he senses the approach of his colleague Imran - his facial expression changes and he looks at Solanki with disgust for a moment, he then looks up. Ismail is overlooking the transfer of other consignments. The boys then start to transport their luggage and parcels onto Kuber. His people help unload the things, they unwind the rope which is then pulled up. Finally all the things are in place and Shahid Ghafoor signals his men to transport Kuber’s crew to Al-Hussaini. CUT TO ON DECK Sailor 1 rounds up Kuber’s crew and starts pushing them towards Al-Hussaini. Raising their hands, Mukesh Rathod, Balwant Prabhu, Nathu Rathod, Ramesh Nanji are seen being pushed on to the Pakistani boat. CUT TO Balwant Prabhu, Nathu Rathod, Ramesh Nanji are seen stepping up the ladder, Mukesh is last in the line - he is pushed from behind to climb up Al-Hussaini. Ghafoor then signals his men to get back on Al-Hussaini. Every one embraces each other, as they start to go up the ladder. Shahid Ghafoor reaches for another phone (Its a Hughes brand satellite phone which looks like a normal cell phone. Abdul points out the cabin to the boys, then he escorts Ismail first to where Solanki is sitting crouched on his knees, he first kicks him and pulls him up, Solanki stands with folded hands, blood still dripping in droplets from his jaw. SAILOR 1 inn charo ko le jao... SAILOR 2 chalo...




ABDUL REHMAN Tumhe inhe mumbai tak pahuchana hain, uske baad sab ko chod denge SOLANKI Saab, mere logo ko chod do saab, unko humare sath rehne do. ABDUL REHMAN jo keh raha hoon wo sunno...inne mumbai tak pahchado usske baad sabko chhod denge... SOLANKI mere logo ko chhodo sahab ...sablok ko mere saath hi rehne do....eee ramesh, balu.... Abdul Rehman hits Solanki hard and he winces in pain. The radio gabbles vaguely. DISSOLVE TO THE CHIMNEY OF AL-HUSSAINI AMIDST THE ENGINE NOISE THE CHIMNEY GIVES OUT HUGE SMOKE..both the boats are opposite to each other at their rears. The crew of Al-Hussaini are seen on the deck looking out at Kuber. No one waves. When the engine makes another big sound, Ghafoor raises the thumbs up sign. Down below Ismail is seen reciprocating with thumbs up. THE TWO BOATS ARE SEEN GOING IN OPPOSITE DIRECTIONS AS THE SUN BLAZES HARD. CUT TO ON BOARD KUBER Three boys including Ismail are in the cabin, Solanki is looking at them. The rest seven including Kasab are outside on the deck. Ismail and his boys are busy unloading the things from the big parcel. While others unload the supplies, Ismail removes the sat phones and the GPS equipments, (GARMIN brand global positioning system) he removes the batteries which have been separately packed in plastic wrappers and switches them on. They blink on with the green back light. He also removes a diary in which there are some instructions jotted down on single line pages in (CONTINUED)



Urdu. He looks at the pages and reads the instructions that explain the setting of locations on the GPS. Does some configuration their location appears on the screen: 24.16.36 N and 67.02.04 E he smiles. Something blares on Kuber’s radio. Ismail is irritated, he looks up on the equipment, gets out and pulls out the two power supplying wires jutting from behind the radio. The radio goes dead. Then looks at his diary and does some more settings and checks the WAY POINTS. Suddenly the sat phone blinks there is a call. ISMAIL (ON PHONE) as Salam Walekum Bhaijaan. SHAHID GHAFOOR waalekum salam... ISMAIL baraf pighal rahi hai... SHAHID GHAFOOR saaman ka kya kiya. ISMAIL (ON PHONE) set kar liya hai, course pe hain, aur ab allotment kar deta hoon Solanki is tryig to pay attention. SHAHID GHAFOOR Coast se 60-80 nautical miles (NM) maintain karna... ISMAIL haanji... SHAHID GHAFOOR raste me dost log mil sakte hai, dhayan se. ISMAIL haan ji...Khuda hafiz bhai... SHAHID GHAFOOR Khuda Haafiz.... Outside, Kasab is near the bow, he is slightly morose looking out at the sea ahead, suddenly he spots a few seagulls appearing above the boat. He looks up and is surprised to see a flock of birds cheeping as they keep pace with the fast moving boat. The expression on his face changes and he smiles -


CUT TO INSIDE THE CABIN Solanki watches all the activity with rapt attention, he is totally confused as much he is scared? CUT TO NEAR THE ENGINE ROOM Nine boys are checking out their respective bags - Like everybody Kasab removes his AK 47 assault rifle. Then he checks his Glock and does the same. Finally every one picks up the ammunition, food supplies and cloths. All the boys then help open a large wooden crate and slowly remove out a huge rubber roll. They take it out on the deck and break open the fasteners and unroll a huge rubber raft. All the boys get down to work. In a while they have assembled the yellow rubber raft inflating it and placing the wooden panels. They also pull out the Yamaha motor and attach it to the end of the rubber dinghy. Once they are done Ismail opens a bag of brand new clothes. Ismail passed on a plastic bag to Ajmal and then proceeds to pass on the other bags to each of the boys. Ajmal Kasab tears open his parcel of clothes and checks out the T-Shirt. The boys walk out of the cabin. Ajmal wears a deep blue, two-in-one rib crew neck tee shirt with a designer tag ’VERSAC’ printed in bold white right in the middle. The t-shirt has a brown colored attached long sleeves which Kasab pulls up to his elbow. The crisp off-white ivory colored cargo pants he wore had several large pockets on either sides. The footwear was a pair of laced brown sports shoes. One by one the 10 boys come onto the deck. Far in the sky the sun is slowly moving down, Ismail looks at the Sat phone. ISMAIL Engine band kardo... CUT TO

11. INSIDE THE CABIN Solanki is fatigued, he reaches for the lever and shuts off the engine. CUT TO ON DECK ISMAIL (CHECKING HIS GPS) Bhai Bhandarkar Machimar Colony se lagbhag gyara kilometer dur hai. ab rubber niche utaardo. Ismail’s cell phone vibrates again, he picks its up. It’s one of the handlers Yusuf Muzammil from Karachi. ISMAIL (ON PHONE) Baraf pighal gai hai, SHAHID GHAFOOR (ON PHONE) Insha allah.hume apne bakre kha liye...tum bhi apne khaalo. ISMAIL Tandel ko riha kardo... INSIDE THE CABIN Fahadullah enters the cabin and picks Solanki up. Solanki gathers the last bit of strength in him and rises slowly. Fahadullah and Babar then drag him down the engine room. Solanki realizes that something is going to happen, he starts pleading. The two boys do not speak as they virtually drag him down. CUT TO INSIDE THE ENGINE ROOM SOLANKI (CRYING) nai nai beta nai... dekho hum mumbai pahoch gaye na... tumhara kaam thik se ho gaya na... beta meharbani karo... Mujhe chhodo jane do mujhe,chhod do mujhe dekho... mere bhi do ladke hain beta tumhare umarke tumhre jaise dikhte hain beta..




Solanki does not complete his line. He has not seen Fahadullah who from his jacket pulls out a sharp knife, with his left hand. Fahadullah suddenly grabs Solanki’s hair from behind, and very swiftly he runs the sharp edge of the knife on Solanki’s bare neck. In one go he slices the neck from his ear to ear through Solanki’s Adam’s apple, even as he kept on holding his hair tight to keep the head still. A spray of pinkish red warm blood turning into a deeper shade splashes across Imran’s face. Imran wipes it off with his hand. Solanki does not scream, but lets out a sharp high whining sound followed by deep gurgling as his blood chokes his wind pipe hastening his death. Fahadullah hold Solanki’s head hard by his hair till his body turns cold and lifeless, even as Ajmal looks on, and leave him. Solanki falls face down on the wooden floor. There is hectic activity as the boys lower their bag packs one by one on to the raft. Hafiz secures them below and arranges them on the raft even as the waters start getting choppy. It rocks Kuber too. It starts to get dusky as sun is slowly turnning reddish orange as it begins its descend on the western horizon in the Arabian Sea. The clouds at the skyline looks stunning in the impressive blood red sunset across the coast of Mumbai city. The sea which had been reasonably calm so far, starts to turn choppy due to the rising high tide. dissolve to night One by one the boys who are wearing the life jackets start descending on the raft. Fahadullah is the third last to start getting down - Nasir Ahmed and finally the mission leader Ismail Khan. CUT TO ON BOARD THE RAFT As they entered the Gulf of Back Bay, Mumbai’s coastline starts to come alive, and they can see the street and building lights gleaming like bright stars. Referring the GPS, Ismail navigates the boat the towards the right and heads towards the break waters near Cuffe Parade. They can now clearly see the high rise buildings. Ismail sees them. DISSOLVE TO Faint puttering of the dinghy motors can be heard.


CONTINUED: ISMAIL Ab waqt aa gay ahai...saab thik hua tho inshaalla sade nau baje tak hum apne apne jagah par pohonch jayenge.... Allah hu Akbar....allah hu akbar...allah hu akbar... Every one repeatedly respond ’Allah hu Akbar’


Behind them we see the unmistakable image of Gateway of India. CUT TO SMALL ROOM INT/NIGHT

The camera slowly pans from a T.V set showing cricket match to reveal a man smoking a bidi along with several boys and men. We can hear the television commentary in the background. As they clap, the camera pans to the window to see the raft hitting the beach. CUT TO NEAR THE SHORE We show multiple shots of the terrorists, removing their life jackets and putting on their haversacks. Next we see them getting off the dingy. Shots of them walking away from the beach in suggestion of people. CUT TO BADHWAR PARK EXT/NIGHT

The eight terrorists walk up to the main road. They stop right before Badhwar Park on the opposite side. Two terrorists, Babar Imran and Nasir, cross over to the opposite side after bidding goodbyes to each other. The other men start looking for taxis. Ismail spots one. (CONTINUED)



ISMAIL VT chaloge? DRIVER haan haan Baitho, (laughs)....uuuhhh meter down... ISMAIL chal... Ismail gets into the front seat while Kasab sits in the back. Popular Hindi movie song "Kajra Re" is playing on the radio. As the taxi starts moving, the driver begins humming along the song playing on this deck. This irritates Ismail who then asks him to switch off the radio. ISMAIL Gaana band karo. The driver, slightly disappointed, gives him a sideways look. DRIVER arre acha gana hai sahab...hit hai... Ismail gives him a look. DRIVER ab kya hai na Passenger tho humara bhagwan hota bole wo karna padta hai... CUT TO INSIDE TAXI We see Kasab looking at his colleagues getting into taxis through the rear glass. DRIVER Kahan ja rahe hain sahab? ISMAIL Hyderabad.




DRIVER Hydrabad...Mumbai mein tho aadmi kaam se aata hai... ha na...? idhar traffic bahot hai...khacha kach...bahot tension...dekho kachha road..par mumbai meri jaan...sab bade bade sapne leke aate hain...kisi ke pure hote hain kiski nahi...aisa hi hai sahab...sahab waise mera naam mohammad hai... CUT TO Ismail and Kasab exchange looks. CUT TO Kasab reaches into his small bag, he attaches few wires on a timer and switches it on. The clock starts ticking, he wraps the plastic on it and pushes it under the driver’s seat. He taps Ismail on his shoulder, Ismail looks back. Kasab nods. Ismail nods back. Cut to MONTAGES Multiple shots of Ismail and Kasab looking at various buildings and streets of South Mumbai.

ROAD NEAR LEOPOLD V/O of Rakesh Maria unn aatankwadio ko ye bataya gaya tha... mumbai ka ek masur cafe hai...jahan desi rozana ek achi shaam bithathe hai...iisi ne usse apna nisaana banya...usswaqt rat the... ki leopold cafe aur vedesi milkar liye aantankwadio ke sade nav baje

Abu Umer & Shoeib walk up the road on the foothpath and they reach the road opposite the restaurant, cross the road and reach the entrance of the hotel CUT TO


INT. LEOPOLD FIRST FLOOR BAR All dialogues of this scene is muted. Camera tracks from the entrance towards the bar area. As we pass we see some customers at the tables on either side enjoying themselves. CUT TO Couple of boys reach out their beer glasses and cheer aloud on a table. CUT TO The camera moves ahead, on the right we see a British couple, a waiter comes ahead on their table with a tray. The camera tracks ahead and pans to the left on the bar. CUT TO We see about 6 men, watching a TV set on the bar wall and we can hear the television commentary of a running match. There are tables across the bar, customers who are being served are also keenly watching the match. The crowds cheer aloud. CUT TO A burly bespectacled man, Farzad with loose lock of hair wearing a casual shirt, jollying along and keenly watching the match. CUT TO A foreigner sitting next to Farzad asks him. FOREIGNER So since how long have you owned this place. FARZAD Oh for a long long time, more than 80 years. FOREIGNER 80 years..?




FARZAD I mean my family has owned this place for 80 years, we are the second generation owners. FOREIGNER Whew that’s a long time, and everyone I know who ever came to India talked about your place. FARZAD Oh ya, it’s on every tourist guide list including Lonely Planet. Love it or hate it, most tourists end up at at our place at one time or another. It’s iconic to Mumbai’s lifestyle, I am proud to say. Same shot: Suddenly there is a explosion - the man Farzad, the men at the bar, the waiters who are serving and the customers in the frame are appalled and shocked, some reach for their ears, some crouch in fear. In the background we hear faint screams of a woman. Farzad looks towards the windows. CUT TO Farzad’s P.O.V: Through the window pane a thick cloud of white/black smoke is rising from the restaurant below. CUT TO As others look gripped in fear, Farzad carefully rushes ahead, sees two peopole firing. CUT TO Some of the men who were watching the match run back towards the toilets and kitchen. Some customers are also rushing themselves towards the rear end of the bar area. CUT TO Farzad is horrified as he takes cover and waves at some customers to duck down CUT TO Farzad falls back to the wall and is seen stooping along a wall. Then he peeps down again. (CONTINUED)


18. CUT TO

Through the window we can see smoggy background and lighting up/flash of AK-47 rounds as moving around. CUT TO Suddenly there are gun shots at windows. CUT TO The boys who were having beer on the table are crouched on their knees, some are hiding inside, one or two try to peep below through the window. CUT TO Farzad rises and moves ahead. CUT TO Farzad moves ahead towards the rear entry door of the bar. CUT TO Farzad pulls the table which is next to the staircase, the things kept on the table including glasses and plates start to shatter and fall. CUT TO Suddenly the firing below stops. CUT TO Every one is still. CUT TO Farzad turns and rushes. CUT TO Farzad rushes past the bar table towards the kitchen door. CUT TO Farzad steps down the staircase and carefully enters the kitchen, he takes cover as he peeps. CUT TO There is a trail of blood on the floor, one can see that of all Fardaz’s staff are hiding all around in the kitchen. (CONTINUED)



CUT TO Behind the kitchen tables we see several men and women crouched. Some are injured on the face and shoulders. CUT TO A waiter who has been hit with a bullet on his shoulder is lying down, holding his wound and cringing in pain. Just next to him is another man trying to hold him down, he has blood all over him. Then the injured waiter looks at Farzad and tries to raise his hand. CUT TO Farzad raises his finger on his lips and then waves down asking the waiter to lay still. Then he peeps out towards the door and moves slowly. CUT TO We see a smoggy cloud through a round glass window. The door has several blood marks on it, blood soaked palms all over. CUT TO Emerging out, Farzad slowly moves ahead towards the door. CUT TO Farzad reaches the door and taking cover he peeps out, through the hole in the door. CUT TO THE RESTAURANT BELOW The whole place is still smoggy, we see destruction all around. Several people are fallen down with bullet injuries, there is blood splattered on floor and on walls. CUT TO Farzad holds his palms on the door to slowly push it when suddenly he is taken aback due to something striking hard on the door. It’s a stone. CUT TO Farzad’s POV: Two police constables in tension are pelting stones inside the restaurant.




CUT TO Some more stones come hitting at the kitchen door. They land near a dead body. CUT TO Farzad slowly opens the door and steps out. He pushes the door he feels a resistance. CUT TO The door is dragging a blood soaked body of a waiter. CUT TO Farzad is shocked, stricken with horror, he slowly pushes the door and slowly emerges out. CUT TO The destruction and mayhem is seen in the restaurant. CUT TO Farzad’s face expression change from shock to pain and finally he is almost bursting into tears. CUT TO OUTSIDE THE HOTEL Several people, including hawkers, taxi drivers, some policemen are all gathering outside the hotel. CUT TO Overhead shot: Farzad is seen looking around with horror, even as we see the dead bodies through his point of view. CUT TO Suddenly Farzad moves in to pick up a fallen table and help out a injured. CUT TO Farzad sees several people who were peeping from outside rush inside the hotel to help out the injured. CUT TO




Two people are picking up a bleeding totally injured body out of a broken table by hands and legs and taking them out of the restaurant. CUT TO Some one is help a foreigner lady fallen down supporting her on his shoulder and helping her out. CUT TO Hotel staff in uniform are helping pick up one of their own staff who is badly injured. CUT TO From the opposite side we see four police men come running out of the van and rush towards the hotel. They have only lathis in their hands. CUT TO We see Farzad’s closeup as he is sinking in the whole tragedy as he joins everyone to help the injured to be loaded into passing by vehicles to be taken to the hospital. CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Kaam ke kaaran der raat se pehle main ghar nahin jaata Lekin chabbis gyarah ki raat ko kuchch kaam nahin tha... main bore ho raha tha...nau baje hi ghar chala gaya...takriban saadhe nau baje...Main nahaa raha room mein phone bajne lagaa... CUT TO RAKESH MARIA’S HOUSE The man lets the water run down and is seemingly relaxed and is enjoying the shower. CUT TO The water falling down with loud splatter. (CONTINUED)



CUT TO Water spraying down from the shower. Same shot: Amidst the sound of the shower, one can hear faint sound of telephone ringing outside. It rings for some time and stops, apparently the phone has been attended by someone. We hear faint sound of some women talking. There is a knock on the bathroom door. CUT TO The voice of a lady can be heard from outside. The man focuses towards the sound. The man puts the shower knob off. MAN Kya... LADY Control room se phone tha. Jab maine bola aap naha rahe hai wo phone patak se cut diya. There is a brief pause, the man wipes his head and thinks. CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Mere Joint Commissioner...hone ke naate - Control Room operator ki zimmedaari hai shehar mein hone waale har haadse ke baare main mujhe jaankaari de.Leopold Cafe mein hui firing ki sirf ek information pe woh mujhe bathroom se nikalne ko bolna nahin chahta tha... Hui ghatna ko dobara nishchit karna chahta tha...Aur ussi jaldbazi mein usne phone patak (MORE) (CONTINUED)

CONTINUED: RAKESH MARIA (cont’d) diya - Jo meri biwi ko ajeeb sa laga aur usne aake mere bathroom ke darwaaze pe dastak di!..Jaise hi apne living room mein aaya- mere teeno phone mera mobile meri landline aur control room ki hotline ek hi saath bajne lagi....


CUT TO RAKESH MARIA’S LIVING ROOM Several landline phones and cellphones are ringing at the same time. RAKESH MARIA Tab mujhe laga...Kuchch ho raha hai V/O OF RAKESH MARIA unki zurrat itni thi ki leopold pe humla karne wale wo do antankwadi gali se hote hue taj main apne dusare saathiyo se mile...thaki wo taj hotel ko bhi apna neshaana bana shakein... sab log jaante hain mumbai ka taj hotel mumbai hi nahi saare hindustan ke liye aakarsand ka kendra raha hai...mumbai aane wala har yaatri taj hotel aur gateway zarur dekhta hai...aatanwadi uss hotel ko nishaana bana kar ye shabit karna chahate the ki unse koi bhi kahi bhi bach nahi sakta hai chahe wo leopold ho ya taj... INT. ENTRANCE INTO THE TAJ All the Dialogues of this scenes is muted. 30 minutes earlier A plush car comes and halts outside the hotel, the bell boy opens the door and then goes to take out the luggage from the boot. The two guests a British couple walk on the steps into the hotel as the camera tracks them. The door is held wide open by a tall sardarji durban for the couple in their 30’s, looking very elegant in their attire, the man carrying a executive bag, the lady also has a large trolley bag. (CONTINUED)



As they step inside they are faced with two guest relation ladies in bright saris with aarti thali standing near a big bronze statue of Goddes Laxmi and a big Diya near the entrance of the lobby. While one lady is holding the thali another one is holding a bunch of garlands. They have british smiles on their face. As the man and a woman come near this welcome team, the lady with the thali comes forward. LADY Welcome to the Taj sir. Then she proceeds to put the vermillion tika on the man, and makes a quick aarti and garlands them. As they walk in the back ground we see the door open and a group of air-hostess accompanied by their male colleagues and pilots walk into from the entrance pulling along their luggage, they are a very bright and chatting lot. They stop near the welcome team. CUT TO The British couple walk towards the reception, cutting the carpeted parlor area in the lobby, the bell boy following with the luggage from another side of uncarpeted area. CUT TO THE RECEPTION AREA As the couple approach the desk, we see one of the receptionist approach them, the name badge, ’Jasmine’ on her sari. JASMINE Good evening sir, good evening maam, how may I help you. MAN (READING HER NAME PLATE) Hi Jasmine, we have a reservation My name is Paul Richards and this is my wife Rose. As he is talking Paul removes his business card and puts it across to Jasmine who looks at it as she says. JASMINE Sure sir, give me a moment.




MAN ok... Jasmine reaches for the computers and checks. JASMINE Sir...Yes, we already have your booking sir, and i will just get to you your cards. As Jasmine goes about her work she picks up two room swipe keys and hands it to them, JASMINE Here you are sir... PAUL Thank you... JASMINE Peter, show them to their suite please. As the bell boy takes their luggage and walks ahead. PAUL could you Please keep them in the room, we will come later. PETER ok sir... The couple walk away and as they pass the pianist playing on the keyboard in close up, the tempo of the music is heightened. CUT TO The couple come strolling near a wall with a huge painting/mural, as the bell boy goes ahead with the luggage. The two are seen appreciating the MF Hussain work on one side of the entire wall. CUT TO The couple pass the parlor area and move to another attached section which is a lounge, where coffee and tea is served to some people who are engrossed casual talks. There are some Indian in formal dressing like shirts and some foreigners in semi casual wear. CUT TO (CONTINUED)



A steward comes near them and with great respect he wishes them. STEWARD Good evening sir, good evening maam... PAUL hi... STEWARD would you like some tea or coffee. MAN No thank you.. STEWARD Please make your self comfortable sir...thank you sir thank you mam... MAN thank you... CUT TO The couple see a small toddler of about 3 run towards them, the mother following behind. The child comes near the couple and they are amused to see the child near them. MAN heyyyy hi....hi.... come are are you...whats your name... Very playfully the British man picks up the baby. As the British lady to joins her husband in jollying along the child, her mother comes up. She is a modern mother, Indian woman wearing lose white pants and a grey light blazer. She looks at the couple holding the child, INDIAN WOMAN Tiger...come here. MAN that his real name?




INDIAN WOMAN No his real name is ritwik MAN ohh thats a sweet name... INDAIN WOMAN that’s what his fathers calls him. MAN this is my wife rose.. INDIAN WOMAN ohh hi,... BRITISH LADY Hi... MAN and i am.... The British man still involved with the child, is about to hand him over the mother, we see the mother raise her hands to reach for him, when we see a bullet hits paul in the neck. The mother gives out a loud cry, and in a instant reaction grabs and clasps the child even Paul’s shocked wife reaches to hold him. CUT TO MAIN LOBBY AREA Next moment we hear a big grenade blast in the main lobby area. The plush lobby is seen completely ravaged by the impact of a grenade blast and we see sofas and other things thrown down and men and women crawling down on the carpet rushing to take cover. CUT TO THE RECEPTION AREA The reception staff who are attending to the air-hostess and their colleagues are shocked, the air-hostess and others turn around. CUT TO


LOUNGE The mother has clasped Ritwik tightly and turns when spray of bullets hit her back and she stumbles with the child, Paul is already down dead and his wife is crying as she tries to support him but she is also hit and falls down. In the background we see some more guests and the steward being hit and they fall. CUT TO LOBBY MANAGER TABLE. The lady who was talking on the phone gets hit, the manager and the two British guests who were sitting across also get down and crawl under the table. CUT TO THE RECEPTION AREA As the group of air-hostesses and their colleagues turn very sharply and the moment they see the firing they scream loudly. Some bullets come zipping at them as they are hit, the others throw their bags and baggage and crawl towards the sofa’s to take cover. CUT TO More men and women are trying to cramp inside the sofas. CUT TO Some men are cramped behind pillars to hide and there is a mad commotion. CUT TO Jasmine and her colleagues are just too shocked and they look at the direction of the firing. CUT TO There are two boys shooting around randomly with their rifles and the whole setting is being blown to pieces. CUT TO




One of the Durban comes rushing inside to check, he is hit as the surrounding glass door comes crashing down. CUT TO The child stamp/crawl on the British towards his mother crying out for her. CUT TO The bell boy and the lobby manager are rushing towards a passage they are hit with a bullet and they fall down. CUT TO The pianist is dead with his head on the piano, blood splattered on the piano. CUT TO One bell boy has fallen dead with many bullet wounds on the trolley amidst fallen luggage. There a brief pause for few seconds. The back of the gun toting boys can be seen as they scan the area and keep on firing. CUT TO From one block near the reception we see two more boys with guns come walking towards the reception area. CUT TO We see several terrified people cramped behind pillars, under sofa’s and chairs, under the reception table. CUT TO One of and he random hiding the gun men is seen going towards the reception table points his gun on the reception table and fires shots, Some terrified receptionists who have been get up to escape, some of them are hit and they fall. CUT TO Some including Jasmine run out of the reception area, bullets come flying around and hit some. CUT TO Jasmine has meanwhile ran out of the reception and is now cramped behind a pillar. When the gun firing pauses we hear the loud cry of the child. (CONTINUED)



CUT TO The child standing near his dead mother crying, there are other people injured and fallen dead all around. Slowly the child starts to crawl/walk ahead. CUT TO As the child walks, one of the gun men is walking towards it, but he seems to not see the child as the child walks past the gun barrel and tramples into the pool of blood. CUT TO The gun man gets behind a pillar he sees some people, they spot him and prepare to run away - women scream as they sprint with the men but there is a volley of bullets and they all fall down dead. Blood splattered on the plush floor. CUT TO The four gun men meet at one place. CUT TO We suddenly hear the cry of the child. It has stood up trying to walk forward. CUT TO Jasmine who is hiding behind a sofa peeps, she sees the child walking ahead, in the background she sees one of the gunman coming up JASMINE come here baby... Jasmine sprints towards the child to catch him, but there are burst of firing and she is hit multiple times and falls down near a huge wall painting/mural. CUT TO The child is still wailing and walking CUT TO Blood oozes out of Jasmin’s back and makes a trail down the marble floor. CUT TO




The feet of the gunmen can be seen walking out of the area into a corridor. CUT TO One of them throws a bomb and it blasts with a loud bang as they walk in. CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Uss bachche ke sar mein goli maari... Aaj ki duniya mein five star hotel...Insaani tarakki aur shaan-o-shaukat...Vaibhav ka ek namoona hota hai...Aur ussi five star hotel ke jagmagaate farsh par...Beshoomaar khoon...Aur murda jismon ka dher dekhkar, aisa lagta hai ki insaan aaj bhi darindagi ki hadd ko paar kar sakta hai... Mujhe ussi dauraan, Oberoi aur Nariman House pe ho rahe hamlon ke saath saath Vile Parle mein taxi ke blast ki khabar mili. CUT TO SEQUENCE OF RAPID CUTS: EXT/NIGHT

High angle shot of the main line terminus of cst, hundreds of people randomly moving around Medium shot of a train as it pulls in the terminus hooting aloud as it slows down Number of shots to capture the general ambience and atmosphere of the surroundings. V/O of Rakesh Maria. Taqriban sade nav baje jab taj par humla ho raha tha ussi waqt mumbai ki lifeline kahi jaani wali mumbai railway ke chatrapati shivaji terminus par... jahan pure desh ke tamam seharo se logo ka roozana aana jaana laga rehata hai aesi jagah humla karke mumbai hi nahi wo desh ke kone kone main apne aatank ka daar phailana chahte the....





Wide angle: Police Inspector Shashank Shinde who is in his uniform walks towards the station in the suggestion of lots of activity. Shinde sees some taxis lined up and people crowding towards the entrance, he walks inside the railway police station. CUT TO CST POLICE STATION

As Shinde walks in, we see one constable seated at the desk writing a report, another one going about with his work, on seeing Shinde they raise their hands in salute. CUT CST POLICE STATION INSIDE ROOM TO

Shinde walks behind in a small room and begins to change into civilian clothes Constable Ajit Nalawde enters the police station, as he walks, Shinde sees Nalawde. Dialouges are muted SHINDE Are Nalawde tu abhi tak yaheen hai? maine socha teri duty kahatam hogaya hai. NALAWDE Nai sir, minister ke escort duty pe jana hai mujhe. Medium shot: Suddenly the cell phone in Shinde’s shirt pocket rings and he picks up the phone, looks at the screen. SHINDE Hello bas nikal raha hu, aree ha ha yaad hai, haan haan sabji bhi le aoonga. He puts the phone off and puts it in his pocket. SHINDE Yeh biwi log na, police wale ko shadi hi nai karni chahiye.


CONTINUED: NALAWDE Bhabiji chinta kar rahi hai sir.


SHINDE Han roj ka hai, kya itna pareshan dikh raha tu. NALAWDE Kya bataoon sir, mere bachche ke admission ka problem ho raha hai. SHINDE Eh, fikr mat kar, mai education ministry mein ek officer ko janta hoon, kal usse bat karta hu, ho jayega. Closeup: Nalawade is happy and smiles widely.

NALAWDE Thank you sir, bohot madat ho jayega. SHINDE Are phikir mat kar. Ab ja thera kaam dekhle. Haan Bhonsle woh entry kiya. Wide angle: Bhonsle is sitting on a desk filling a muster, Shinde walks near him.

EXT. CST, NIGHT Medium shot: The two out of the taxi, carefully tugging their bag packs pause for a while looking around. There is a lot of taxis lined outside, people are moving around, porters are picking luggage and moving along with the passengers. There is lot of chatter of people and vehicle sounds. Ismail points towards the main door with his finger and they slowly move into the hall while looking around. As they walk they almost brush a couple trying to balance their duffle bags on one shoulder and children on another. A frail man and his wife a frail thin woman in a sari with their two children (three years old and one year old ) Camera pans from the couple in a long shot to the two guys in a medium frame as they slowly walk in. (CONTINUED)



Extreme Close-Up: Ismail’s foot steps - camera pans to the black bag which Ismail is carrying camera pans to steps of people moving in and out, covering couple of faces. SHASHANK SHINDE nahi sir..parso bhej deta hoon...haan...haan sir...correct...yes sir... ok sir good night... CUT CST. MAIN HALL, INT. NIGHT The huge Hall is fully crowded with hundreds of passengers squatting in every inch of the open space. Some are reading newspaper, some are having their food with tiffins opened on sheets of newspaper. Small children are playfully pushing each other. Groups of families, young, old and children are sitting, sleeping, talking on the cell phones on the spot where they had parked themselves along with their luggage. Trains are being announced, railway cops and railway staff, beggars and a dog is seen moving around. Hand carts are being pulled up by porters, others are carrying luggage on their heads. There are few small general stalls near the exit, While on their right next to the toilets on the right, separated by a passage was the double storeyed fully glass pane, food plaza They see the ticket counters Extreme Closeup: Ismail scans the area and fixes his gaze on Kasab. Kasab looks at him then he scans the area. Ismail looks at the watch and then he nods at Kasab, the two try to communicate something in nods and they are in agreement. The two walk towards the toilets on the extreme right.Dodging several people they enter. CUT TO CST INSIDE THE WASH ROOM Ismail zips and opens his bag. As Kasab comes near him and covers him, he his AK-47, checks the magazine and puts his shoulder. Kasab does the same. pulls out on his TO




Close up: One old man sees the boys but ignores them and moves up the urinal for his turn. Ismail then removes a grenade. ISMAIL Ab gaur se aur ek baar sun, pehele yeh anar phekege, isse jo baithe aur soye hue log hain sab khade hojayenge, tab humari goli aur jyada logoko lagegi. Aur yaad rakh, aurto bacho kisi pe rehem karnae ki zarurat nahi hai... Kasab nods his head. CUT TO Devika with her family is playing with her brother CUT TO

CST, INSIDE THE MAIN LINE Medium shot: Ismail walks out of the toilet first, a few steps behind Kasab is following. They reach the hall and Ismail goes a little ahead and turns, Kasab stops a few steps behind and turns towards the people. Ismail holds the grenade in his left hand, he pulls out the pin and throws a grenade at the center of the main hall. There’s a huge explosion and smoke all around....Devika’s reaction and people who were sitting stand up and start running in all directions. CUT TO Shindes reaction as he signs a muster CUT TO Nalwade’s reaction somewhere else CUT TO Close up: Kasab pulls up a lever on the gun - it makes a metallic sound as it activates burst firing mode. Close up: Kasab’s face is seen cringed, he closes his eyelids hard and suddenly opens them. (CONTINUED)



Close up: Kasab’s ring finger pulls the trigger and a volley of bullets come cracking out on the people with huge firing sounds. Medium Shot: Ismail is also holding his gun ready to fire as bullets come flying out. Wide shot: Short bursts of light flash throughout the expanse like stars. Even as Devika watches in shock, People are running around in all directions and are randomly hit by the bullets flying all around. One sweeper in blue sari who has just come around the corner, is seen in shock as she is hit with multiple bullet injury and is thrown back. People start running as they are hit violently, however as they move they come in the line of fire and blood zips around from their bodies. Medium close shot: An agitated Muslim woman in burkha reaches out her hands to her son, however before she can reach he is hit with several bullets. Medium close shot: A Muslim family is hit by several bullets on her shoulder, she falls. CUT TO CST.INT. NIGHT Lound sound of a blast is heard. Shinde with a gun is rushing forward amidst panicked people rushing CUT Nalwade doing the same elsewhere CUT MIDDLE OF MAIN HALL, INT. NIGHT Wide shot: People are running panicked - screams and wails of people all around. Blood and bodies are splatted everywhere. Kasab turns his gun towards the food plaza and the bullets come zipping on the Teflon glass. Close up: The bullets punches several holes on the Teflon glass. TO TO


CST. MAIN HALL, INT. NIGHT Close up: Kasab points his gun at devika and fires Medium shot: The bullet hits her on her thigh and she gives out a loud cry. kasab then shoots her brother CUT OUTSIDE POLICE STATION, EXT. NIGHT Wide shot: Shinde comes out from the local side and sees people running and screaming. He realizes, some are fatally wounded. The terrified man speaks hurriedly and runs towards the entrance gate of the station. Shinde goes running towards the main line, and staying close to a wall the looks inside the station. Shinde is able to spot Kasab firing at people. Ismail meanwhile has moved ahead and is not seen to Shinde. Suddenly kasab turns and fires and Shinde hides ..he calls on his cell SHINDE Sir CST station se bol raha hoon...yehan koi admi 47 sefiring kar raha hai... CUT TO TO

Medium close up: Nalawde at another place tries to stop some people even as they try to bustle him out.he takes a carbine from the hands of a railway constable who just comes there CUT MAIN HALL. INT. NIGHT Even as Devika is watching Firing sounds are resounding loudly as injured people still attempt to run. Close up: A female foreign national gets shot on her back and she falls down.Wide shot: Her husband carrying one of their children, bends down to help her. Other are frantically running around. Heavy firing sound in the back ground. He struggles to get hold of the other child as well. CUT TO TO





Lot of terrified people are trying to hide themselves from being hit. Bullets seems to graze by in the back ground. CUT BEHIND A SMALL SHOP TO

A shocked lady clutches her children, hands on their mouth is crouching, another old man tries to take cover behind her. CUT INSIDE FOOD PLAZA TO

People are all crouching under the tables, even as the sound of firing resonates all around. CUT OUTSIDE CST MAINLINE STATION TO

Wide angle: From a distance, we see Shinde hiding behind the wall leading to the main hall and watching inside, he has his service revolver ready in his hand CUT MAIN HALL TO

Medium shot: Kasab is firing from his gun in the main hall. Close up: Kasab is grinning as he fires. Wide angle: several people are fallen dead on the floor, some men are still running out. Kasab finishes his magazine, he reaches his cargo pocket and removes another magazine and loads it, throwing the used one on the floor. We see Ismail moving in the back ground with his gun looking around. CUT TO


SC 15.




STATION and fires a shot CUT towards TO

Close up: Shinde takes Kasab from his revolver

Kasab is jolted by the bullet shot, he sharply turns towards the source of the firing and shoots CUT Shinde takes cover and moves back towards the exit wall. He spots two constables, Nardile and Gavit running towards him they have a carbine each with them. He gestures them to come and they rush towards him CUT Wide shot: Nalawde manages to sneak in behind a pillar and peeps inside, from a corner he spots Ismail moving around with his gun. As he aims with the carbine Ismail moves out of sight CUT SC 17A. MAIN LINE EXIT TOWARDS LOCAL LINE his TO TO TO

Medium shot: Kasab holding his gun is seen walking towards the exit, at a distance we see Ismail with gun walking behind. CUT SC 17B. Shinde INSIDE looks LOCAL around LINE quickly, he figures out TO



He points towards two positions for the constables. Then he looks towards where kasab was INSIDE MAIN HALL

Wide angle: Kasab has moved considerably ahead in the hall, looks around. Ismail is near the entry from the taxi stand side. The station is deserted except that there are several injured and dead people among them devika lying in pain and all around pool of blood. (CONTINUED)



Medium shot: With his gun, Ismail gestures Kasab that it is time to move forward Close up: Kasab nods and begins to move CUT SC16 B. OUT SIDE MAIN HALL TO

Nalawde who was taking cover behind a pillar emerges and runs in the direction of the main hall exit. He slips off on the blood which is on the floor and dashes across a dead body its a Muslim women in burkha. Close up: the expressions on Nalawde’s face after the fall is distressing. CUT SC 18. BEHIND ATM OUTSIDE LOCAL LINE EXIT TO

Close up:

Shinde is hiding behind a stall CUT TO

Shinde notices Kasab walking towards him, his facial expression changes, he comes out of his hiding to fire at Kasab. Close up: Kasab ducks to one side. Close up: Shinde suddenly spots Ismail on the left with his assault gun ready to fire. Close up: Shinde is taken aback by the sudden emergence of another man with the gun and before he can turn to fire Ismail starts firing. Shinde is hit and he falls dead. .Devika watches. CUT MAIN HALL TO

Medium shot: Nalawde His shirt drenched in blood as he had slipped among the victims is in hiding and he notices Kasab and Ismail walking CUT TO Medium shot: Nalawde takes aim and shoots then he realises his gun had locked. CUT TO Kasab hears the sound turns and fires rounds towards where nalawade is. CUT TO




Close up: Nalawde ducks in the nick of time and hides behind the wall he hears more firing and pauses for a while and then slowly peeps again to look at the two shooters. CUT Wide shot: Kasab and Ismail are moving ahead CUT TO TO

Wide shot: Nalawde pauses for a while, his carbine still with him, then he just runs from behind the wall and then he notices a carbine in a dead gavits hands and also sees nardile who is injured badly ..he picks up gavits carbine and rushes out on to the platform and as he is desperately trying to look for where kasab and Ismail are he notices a dead Shinde and as he starts crying he calls up the control room to report even as Devika watches him with terror in her eyes. INTERMISSION RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Apne suney par yakeen nahin ho raha tha...CST pe jo hua...Kya hain yeh log...Kiss tarah ki nafrat hai...can you understand....i can’t....Kiss nashein mein hain? Ya koi paagal hain jiske haanth mein bandook thamaa di gayi hai...Kaun sa mazabh iss baat ki ijaazat deta hai ki bekasoor aur maasoom bachchon ko itni bedardi aur haivaaniyat se chchalni kar diya jaaye. mujhe ussi davran oberoi aur nariman house par ho arhe humlao ke saath saath vile parle ke taxi ke blast ki khabar mili... cut to INT. INSIDE TAXI Mohammed is driving the car even as he laughs at his own joke which he cracks to a customer who is sitting behind in the passenger seat, the very next moment the taxi explodes with a huge bang. CUT TO


RAKESH MARIA IN CONTROL ROOM RAKESH MARIA Main unn kayii haadson ke bayaan hi nahi... har ek haadse ke alag alag bayaan sun raha tha...aur uske upar - kayii aur jagahon par ho rahe hamlon ki afwaahein bhi. Control Room mein har minute mein hazaron call aa rahe the...Mili hui jaankaari ko parakhne ka, jaanchne ka aur nishchit karna ka mere paas bilkul waqt nahi tha...Dimaag sunn padne lagaa...Junior Afsar - Mere order ka intezaar kar rahe the aur meri samajh mein nahi aa raha tha ki main unse kya kahoon... Tab maine Home Secretary ko phone kiya. CUT TO INT. RAKESH MARIA CABIN RAKESH MARIA Sir...i dont know what to do...we need outside help.. HOME SECRETARY (ON PHONE) Rakesh...Are you sure? its the prestige of mumbai police... RAKESH MARIA sir fuck the prestige... i am not saying whether we can do or we can not do... am saying i dont know what to do.... CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA sattaais...sattaaais saal ki duty mein...main...ya Mumbai ka koi bhi police wala,jurm ke baad hi mauka-e-waardaat pe pahoncha hai .. pehli baar mere experience mein...aisa ho raha tha ki jurm jaari hai aur har pal bada hota jaa (MORE) (CONTINUED)



RAKESH MARIA (cont’d) raha hai...uss tarah ki situation ko rokne ya khatm karne ki koi training nahi thi, naa hathyaar, naa bandobast aur hamaara muqabla unnke saath police ko dekhkar bhaag nahi rahe the...isliye ki woh sirf maarne aur marne aaye the. Home Secretary ne Dilli se NSG Commandos ko laane ki kawaai shuru kar di aur mujhe jaankaari mili terrorists CST se nikle...woh Cama Hospital ke peeche ki gali mein jaate dikhaayi diye... cut to INT. CAMA HOSPITAL LANE In the men’s suggestion we see: Kasab and Ismail walk up the lane, gun toting in their hands as they moved ahead. There are some cars parked alongside the road. Street lights with dim light. CUT TO Ismail looks around trying to figure out the area. CUT TO Kasab is looking around in confusion, he looks at Ismail and raises his head in gesture. CUT TO The two move ahead, Ismail still looking around. CUT TO They spot a hut with door shut, light on inside. CUT TO Kasab moves ahead and pushes the door open. The camera pans inside, there is a man in his thirties wearing casual home clothes sitting on a bed, and a child of about 5 or 6 is next to him eating a bread. Seeing the door open the man reacts, he rises and walks towards the door.




Kasab looks at him and pauses, he is holding his gun behind his back, Ismail is a few steps behind him, still inspecting the surroundings. KASAB Pani milega..ek aur milega... CUT TO The man is confused he reaches out for a glass full of water kept on the table and hands it out to Kasab. CUT TO Kasab takes the glass of water, drinks it in a gulp then he hands the glass back to the man. CUT TO The man is still looking at Kasab with confusion. CUT TO Kasab makes a face, lifts his gun, aims and fires a round. CUT TO The man gives out a muffled cry as he is hit and falls down. CUT TO The shocked child apathetically looks at his father fallen down. CUT TO INSIDE A HOSPITAL WARD The doctor with an apron and a stethoscope in one of his pocket, moves along the windows, as he is talking on his cell phone. DOCTOR Haan Haan maine bhi suna ki CST me atanwadi humle hue hai. Details nahi pata...lekin Log tho yehan tak keh rahe hai ki Taj mein bhi firing hui hai. The doctor suddenly notices two people down on the road through the grilled windows. CUT TO


LANE BEHIND THE HOSPITAL We see Ismail and Kasab walking in to the frame, looking around. As they look around, Ismail spots the big board of the hospital, Kasab also notices the board. Ismail gestures to Kasab to go in. KASAB Bhai hum huspatal me kyu ja rahe hai? ISMAIL hum aur humare logo ne jaha jaha goibari ki hai, waha se jakhmi logo ko huspatal me leke jayenge, aur agar hum yahan bhi tabahi machate hai tho sirf railway station, hotel hi nahi, haspatal me ane ko bhi log darenge. Kasab nods in a understanding. CUT TO HOSPITAL WARD - NEAR THE WINDOW Dialouges muted The doctor peeping down from the window, spots the two terrorists coming in, he rushes. DOCTOR rushes in even as he is talking on the phone Nahin nahin peeche gate ke log hai aur haath me bandook hai and as he hangs up he says DOCTOR (TO A GROUP OF NURSES AND OTHER DOCTORS) Do log andar aa rahe hai bandok ke saath, jaldi se patients ko chupa do aur sab ward ke darwaze band kar do. There is a mad rush in the ward, people scramble to hide behind the wards, the doctor meanwhile rushes out, someone shuts the collapsible doors, locks are put. In the corridor he sees some hospital security staff, he calls out to them. DOCTOR Baban niche jao, jaldi se main darwaja band kar do, Narkar tum (MORE) (CONTINUED)



DOCTOR (cont’d) jake baki wards ke darwaje band kardo The staff moves out and the doctor rushes up the stairs to another ward. DOCTOR Atankwadi hospital mai ghus rahe hai, jaldi sab ward ke darwade band kar do, saab ko chupne bolo, jaldi. There is a mad rush in the ward, as people scramble to hide. Someone tries to pull the jammed collapsible doors, some bed sheets are bought to secure the door. CUT TO HOSPITAL COMPOUND They enter the compound. As they come in they see one security guard down the entrance, Kasab spots the man, he immediately points his gun towards him and shoots him, the firing sounds resonates all around the hospital. CUT TO INSIDE A WARD Reaction of the Doctor: The doctor pauses for a few second and then looks very shocked. Reaction of people: Hospital staff, patients and relatives who are hiding at various places, under the table, behind the toilets etc get very scared and panicky. We see child in the mothers arms crying out, the mother puts her hand on his mouth and almost stifles him, while doing so she also cries in distress. The doctor shouts.. DOCTOR geeta Lights off Kar saari lights off kar de jaldi CUT TO


INSIDE THE HOSPITAL LOBBY As the guard falls down dead, in a bid to check the commotion another security guard comes rushing from another side, Kasab shoots him also, and he falls down on the stairs. Even as people are hiding at the reception The two then slowly move up the stairs ISMAIL khama kha kyun chala raha hai... bullet waste mat kar... CUT TO LANE BEHIND THE HOSPITAL Half a dozen cops from CST enter Cama Lane following the two terrorists, taking cover behind some vehicles and peeping out periodically. Soon some more of their colleagues join them, they are all peeping around. One police Qualis pulls up slowly, some officers get out. OFFICER sir humlog pahoch gaye... CUT TO HOSPITAL LOBBY As kasab and Ismail check around the lights go off and they see the 1st floor which is dimly lit. They look around searching Ismail pats Kasab with his fingers and points to the stairs to the 2nd floor - gesturing that they should go up. They walk up. On the 2nd floor they see that ward’s metal gates and doors have been secured with locks and bed sheets - they peep in - its dark, but they can see empty beds - they fire inside lighting up the expanse for a few seconds. The patients hover around looking dead scared. Kasab starts banging on the metal gates, in a bid to open them. Ismail pulls him up, they go to higher floor, again same scene. Kasab kicks the grill doors as they move out. CUT TO


INSIDE A WARD TThe patients, nurses, ward boys and other staff are hiding are very scared, they are all trying to scramble into a small area and waiting in anticipation and shock. CUT TO STAIRCASE ON A HIGHER FLOOR As Kasab and Ismail move up the stair case, they keep on looking around. The doctor who is hiding, sees a very old feeble man, struggling to walk to safety, but is not able to move too much. DOCTOR ja jaldi chup ja ...bhaag...tumhi ithe kay karta aa aahe...chala...aat chala...chala chala chala...lavkar lavkar lavkar... The doctor moves out to help him, holding his hand he attempts to bring him in the ward when he sees the two terrorist brandishing AK-47s come up the floor. He freezes with fear, still holding the old man. Kasab stares at the doctor and as he is still staring he pulls the trigger on the old man, bullet hits the old man who dies on the spot. The doctor raises his hands and gives out a helpless cry. KASAB chup saale ...Sale, baki log kahan hai... DOCTOR (IN ANGER) mujhe nahi pata amin tho abhi aaya aur... ISMAIL bol.. KASAB saale bol madharchod... ISMAIL tu tho doctor hi na tujhe tho pata hona chahiye... (CONTINUED)



Ismail turns with his gun and hits on the doctor’s head. KASAB bol saale nahi tho bhun ke rakh dunga.... DOCTOR (STAMMERS) muhe nahi Pata... CUT TO ON THE MAIN ENTRANCE We see that about half a dozen armed cops led by Additional CP Sadanand Date enter the hospital from the main gates. Very cautiously they come near the main gates and enter the hospital. Date cautiously enters first and gestures his men to follow, him, slowly they all enter the lobby. Date notices the him and sees the around trying to when they hear a man fallen dead on the floor. He moves near man bleeding, he and his men then look understand the movements of the terrorists gun shot.

Date is alerted he realizes that it is from a floor above, with a pistol in one hand he gestures his men with the other hand to move towards the steps to the higher floors, slowly and cautiously they move up. CUT TO SECOND FLOOR We see that Kasab is pushing the doctor who has both his hands up in the air with guns pointing at him. Meanwhile Ismail is checking around, searching for people. The doctor senses that he has to save the people inside the wards, he puts up a brave face. Ismail meanwhile notices built up of several dozen armed policemen and police vehicles at the back entrance, trying to come inside. Ismail points his gun down on the road and fires a series of burst shot. CUT TO


LANE BEHIND THE HOSPITAL The policemen who are assembled at the lane are caught off guard and they all run to take cover. One of the officers, points his gun towards the hospital floor and fires in retaliation as he orders his men to fire too. Several constables are looking very scared, others try to load their guns and they slowly point it towards the hospital floors and fire a few shots. Some more shots are fired towards them and the environment turns very tensed and the policemen do not know what to do. KASAB KYA HUA... ISMAIL Phichele gate par police lagi hai...yehan se saamne ka gate kahan hai... CUT TO LOWER FLOOR Date is climbing up the floors slowly with his armed men following him closely; very cautiously he reaches the floors up and finally reaches the second floor, where he stumbles upon the body of the old man who had been killed by Kasab. The policemen are also flustered, but Date makes order, asks them to keep quite as he thinks of his next move. ISMAIL humramkhor bata saamne ka rasta kahan hai... DOCTOR batata hoo...batata hon... DATE hatyaaar phek do...aur apne ap ko aurendar kardo...dekho tum chao taraf se ghir chuke ho...main khehata hoon hatyaar phek do aur apne aap ko aurendar kardo... CUT TO


LANE BEHIND THE HOSPITAL There is a build up of several dozen police men and several police vehicles. A senior police officer, tall and well built, with green military helmet and wearing bullet proof jacket, hurriedly walks in the lane. He is holding an automatic Glock pistol ready in his right hand. He was followed by two other policemen of his personal escort team, his operator and orderly. Joint CP (ATS), Hemant Karkare is leading the small team, his orderly Akhtar Shaikh, operator Nitin Matane, his body guards and a couple of more police men who had either a pistol or a .303 rifles follow him. OFFICER sir... KARKARE Kya position hai yahan... POLICE OFFICER upar firing ho rahi hai yahan position ka kuch pata nahi... KARKARE kitne admi hain kuch pata chala... KAMTE sir we need to move inside...move move move... KARKARE ok ok hold ashok pata nah kitne log andar phanse hain... we cant take risk...we need to check their next move... As Karkare is still looking up another vehicle with a yellow beacon pulls up behind him, a white indigo. Before the vehicle could stop the rear door opens up and a bald police man come sprinting out. Additional CP, Ashok Kamte comes rushing towards Karkare. Karkare points to the higher floors of the hospital. CUT TO


SECOND FLOOR Still holding the doctor hostage, Kasab also peeps down from the window again, he sees a vehicle approach in the lane, he raises the barrel of his gun down from the parapet and fires a few shots randomly down on the lane. CUT TO LANE BEHIND THE HOSPITAL Policemen, Karkare, Kamte and others take cover, Kamte picks up a AK 47 and fires a few round towards the second floor. CUT TO SECOND FLOOR Ismail comes near the doctor pushes him to walk in front towards the door. The doctor raises his hands and inches ahead towards the door. ISMAIL (TO THE DOCTOR) Yaha se samne ka entrance kaha hai. DOCTOR (POINTS OUT) Waha. As they move ahead, they hear someone announcing. CUT TO SECOND FLOOR As the three approach the door, Ismail pays attention to the announcement that is coming from the floors below. Kasab is jittery, Ismail puts his finger on his lips and asks him to stay put, he moves near the parapet and sees more activity down, he reaches out his gun and fires a series of burst shots outside. CUT TO


LANE BEHIND THE HOSPITAL The cops below are taking cover and attempting to fire towards the second floor, however they do not know what exactly is happening. At that point we see another Qualis pull up in the background. Police Inspector Vijay Salaskar (followed by his two men including constable Arun Jadhav) comes moving ahead towards the two seniors, Karkare and Kamte. As they see the firing from the top they understand the gravity of the situation. They also take cover. CUT TO SECOND FLOOR Ismail comes near Kasab and the doctor. Ismail slowly pushes Doctor and whispers. ISMAIL tumhara doctorhumare kabje main hai...jada hoshiyari ki tho uda dunga saale ko...hum neeche a rahe hain... DATE dekho abhi bhi waqt hai..hatyaar daldo apne yahanse bach ke nikal namumkin hai... KASAB jada hoshyaari mat dhikahao warna tera doctor mara jaega.... DATE ye akhari mauka hai hatyar phek do police ne tumhe charo tarafse gher rakha hai...pheksdo hatyaar...phekdo... Doctor is trembling, as he moves out. CUT TO


FLOOR BELOW THE SECOND FLOOR Date senses some movement on the second floor, he waves his men to get back. He looks around in the hall he finds some metal scrap, he picks up some scrap and throws it towards the second floor landing. CUT TO SECOND FLOOR The doctor is standing on the threshold of the second floor landing, suddenly Ismail sees some thing moving (the scrap which Date has thrown) he is agitated and rushes back and opens burst firing on the object. Kasab takes cover, Ismail empties the entire magazine towards the direction of the cops. The doctor is stunned and shivering... CUT TO FLOOR BELOW THE SECOND FLOOR The cops are jolted by the shooting, they run to take cover. CUT TO SECOND FLOOR Even as Date is preparing his strategy, he sees that that the Doctor with his hands up is pushed on the landing with great force. Right behind him Ismail is holding his gun across his shoulder and starts firing indiscriminately. Date is alerted with the sudden movement, he rushes ahead with his 9 mm pistol and aimed to shoot but realizes that the Doctor in his while apron is a staff and resists from shooting. Several of his men who had prepared to shoot are hit as they scramble to hide. Date sees that the terrorists have a hostage and any shooting can be dangerous. Even as he is hiding he takes the mike again and from his hiding he makes the announcement. Ismail who is following the doctor behind shouts out. (CONTINUED)



He points out his gun and fires indiscriminately all around. There is heavy shelling all around. Date peeps out for a second, he is unfazed, even as his men are hit. Meanwhile the Doctor is pushed down by the two terrorists on the ladder and they slowly descend down, Kasab’s gun firmed on his shoulder. Date takes cover, peeps out. As he gets a chance, Date tries to fire at the two but he is not able to take aim as the Doctor is covering the two men. He is clearly frustrated. Ismail who is holding his gun very tightly on the doctor’s shoulder gestures to Kasab who is behind him.

Ajmal, lobs a grenade, it lands near the policemen who were gathering themselves and exploded with another huge bang barely a feet away from Date. The shrapnel splinters tear into several people including Date. They all are injured, Date still tries to gather himself but in the heavy smoke he is not able to see anything. As the two see that the police team is injured, Ismail shoots at the doctor several times who falls down dead. The two jump down the floor towards the stairs and rush down the stairs. The two approach the main entrance, and coolly walk out of the hospital. CUT TO HIGHER FLOOR As the smoke clear a bit, Date slowly gets up, he calls out to his men who are injured. They do not respond. Then he looks around and sees the doctor lying on the floor face down, he goes to him and turns him, his blood drenched face is seen in the close up. CUT TO

56. RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Andar se aati firing ki aawaazon se aur iss shak aatankwaadi front entrance se bhaag naa jaayen...taaki back entrance pehle se hi secure kar chuke the...mere teen bohot kaabil officers jo mere dost bhi the...aspataal ke front entrance ki taraf nikle... CUT TO INT. CAMA LANE - BEHIND CAMA HOSPITAL Inside the Qualis we see the wireless. Hearing the gun shots Kamte approaches Karkare. Karkare nods in agreement, Karkare and Kamte approach a Qualis - Kamte waves to Salaskar, he too moves towards the vehicle. Salaskar instructs a few constables to board the Qualis. Sub inspector, Bhosale is on the drivers seat. Jadhav moves near the Qualis. SALASKAR (TO JADHAV) Jadhav peeche bait mian gaadi chalata hoon... JADHAV sir...patil darva khol... KAMTE chal salaskar laukar chal... CUT TO Salaskar approaches the driver’s seat and Bhosale gets down. Kamte gets in the front seat next to Salaskar, Karkare gets in the middle seat, Their orderlies constables Yogesh Patil and Jaywant Patil get into the jump seats in the back. Arun Jadhav and driver Bhosale join them at the back and even before they can shut the door, the vehicle moves ahead. CUT TO


INSIDE QUALIS, RANG BHAVAN LANE WIRELESS IN THE CAR control room to able mobile sir do log abhi abhi cam hospital se nilkalte hue dikhai diye... CUT TO As the Qualis slowly moves ahead, Kamte seems to have seen a red car at a distance. KAMTE Sir, agar wo nikal hi chuke hain tho kisi bhi taraf se nikal sakte hain... Hearing what Kamte said, Salaskar slows down the Qualis. CUT TO INSIDE QUALIS, RANG BHAVAN LANE Salaskar is still on the wheels with his gun, he has slowed down the vehicle. All the officers are holding their guns, Kamte has a AK-47, Karkare has a Glock, Salaskar has a service pistol in his hand even as he drives. Kamte is wearing a helmet, no bullet proof vest, Karkare is wearing a helmet and bullet proof vest, Salaskar is normally dressed. CUT TO The expanse is lit with the head lights. CUT TO The car approaches near the Corporation Bank ATM. CUT TO Suddenly, Kasab and Ismail pop out of the hiding and fire at the Qualis. CUT TO The car comes to a screeching halt, as the windscreen shatters.




CUT TO Cops are caught off guard, Salskar tries to raise his gun, he is hit many times, he slumps on the steering. CUT TO Karkare reaches out his gun and fires, he is hit many times, his head slumps on the seat. CUT TO Kamte is hit on shoulder, yet he tries to turn while on his seat, he points his gun towards the window and fires. However he is hit by a volley of bullets and he falls on the seat. CUT TO The constables behind are caught off guard and are hit by several bullets, they all slump on each other. CUT TO Even as the other contables slump on him to pick up the sten and aims through the fires a gun. There is a retaliation with shots, Jadhav is hit on his shoulder, he seat. Arun Jadhav tries broken window and several bullet slumps down on the CUT TO The constable Yogesh Patil next to him is slumped on his laps, Bhosale who was sitting in the front has slumped on him jamming his right hand. Incapacitated, Jadhav smiply lies down pretending to be dead, he realises that Patil is still alive and gasping for breadth. CUT TO Extreme While trying to hide his expression from the two on the drivers seat, Jadhav mildly nods Patil with his right to stay still and not move. CUT TO Extreme Patil understands Jadhav’s signal and tries to pretend. CUT TO High angle shot: There is a lul, smoke all around, bright light of the Qualis still beaming in the dark expanse. (CONTINUED)


59. CUT TO

Slowly Ismail and Kasab approach the Qualis, their guns pointed towards the car. CUT TO Kasab goes near driver’s seat while Ismail goes near the open door. He sees Kamte - Kasab sees Salaskar and Karkare. Kasab peeps behind. Suddenly they hear a vehicle approaching. The two squat down and hide. Qualis with the red beacon comes speeding from the front and zips away. As it goes out of site, Ismail rises. CUT TO Kasab opens the drivers door, he pulls Salaskar down, Ismail goes to the middle door and pulls Karkare down, both the cops slump down on the road. The wireless in the vehicle is continuously blaring some messages. CUT TO Jadhav who is pretending to be dead, slowly opens his eyes and peeps at the two, he is horrified, but keeps his cool. CUT TO Kasab comes around pulls Kamte down on the ground. CUT TO Ismail pushes all the doors and takes the drives seat, he puts his bag on the side seat and toys with the keys and finds it, he gives the ignition. The car wrooms to life. CUT TO Meanwhile Kasab is at the back, he tries to open the door, but it is jammed. CUT TO While they are keeping their eyes shut, both Patil and Arun Jadhav reacts with their facial expression. CUT TO Kasab tries a couple of times, but the does not open, rather it shakes the vehicle. He comes around the other side and gets inside the vehicle. (CONTINUED)



CUT TO Ismail does not respond, he tries to check the gears and understand the movements of the vehicle. CUT TO Ismail starts the car and moves it ahead. The car stops with a jerk. He starts the car again and revs up the engine, it makes a noise, he tries again and this time the vehicle moves properly, and it slowly moves ahead. Suddenly they are jolted by the ringing of a cell phone with a lound ring tone. It’s Patil’s cell phone in his shirt pocket which is ringing. Without provocation Kasab turns behind and fires a random shot towards the four cops. Several bullets hit Patil on his chest and he dies. As Patil slumps deeper into Jadhav, he continues to pretend dead. CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Radio operator ki pocket mein jo phone bajaa...Woh uske pitaaji ka phone call tha...Ahmad nagar mein jab unhone T.V. pe yeh news dekhi...Toh bete ki salaamati ki khabar leni chaahee aur phone lagaya...Woh kaise jaan paate uski salaamati ka phone call uske bete ki maut ka kaaran ban jaayegi...Aur phir shootout mein tayaron pe goliyaan lagne se car ruk gayi... CUT TO BEHIND VIDHAN BHAVAN The Qualis comes on the road wobbling heavily. Jadhav is slumped behind, he slowly opens his eyes and sees the two terrorists. OS: Ismail is trying to control the vehicle


CUT TO INSIDE THE QUALIS Close ups inside the Qualis: KASAB Kya hua. Ismail is irritated. ISMAIL Lagta hai tyre pura phat gaya. CUT TO BEHIND VIDHAN BHAVAN Ismail and Kasab get out of the vehicle, Kasab is now holding Ismail’s haversack and his gun. CUT TO Ismail is holding his AK-47 and his pistol. They get out, cross the road divider, when they see a car approaching from the Colaba side. CUT TO Ismail looks at the direction of the car. ISMAIL Roko isko. CUT TO Close up inside the car: Sharan Arasa is driving the silver Skoda Laura (MH-02 JP1276), Samit Azgaonkar is sitting next to him while Samit’s wife Megha is in the back seat. Suddenly Sharan sees the two boys with the gun on the middle of the road and he applies break. CUT TO


INSIDE SKODA LAURA Kasab comes from the passenger side and tries to open the door, it’s locked. Ismail gets near the driver’s side. Sharan pulls down the window glass. JADHAV able mobile to control room KASAB chal bahar nikal chal.. ISMAIL Bahar nikal, jaldi kar! He gesticulates wildly for them to come out and all of a sudden, raised his gun and fires into the air. CUT TO Arasa and the Azgaonkars are terrified. The couple step out, holding on to each other in trepidation. CUT TO INSIDE THE QUALIS Jadhav’s POV: Jadhav’s right hand is badly hurt and his eyes are closing in pain. He slowly moves his head and looks towards the two across the road interacting with the three occupants of the car. CUT TO BEHIND VIDHAN BHAVAN Ismail reaches for the driver’s door and grabs Sharan by his collar to drag him out. Prompted by instinct, Sharan grabs the ignition keys and drops them under the car as he was being pulled out by Ismail. ISMAIL Chalo bahar niklo. Ismail pointing his gun at Sharan. He checks inside the car and noticed that the key was missing.




ISMAIL Chabi kidhar hai? (CONTINUED) CONTINUED: 3. Kasab who is holding the other two passengers, walks around and spots the shining key chain under the car and yells at Sharan to pick it. KASAB Chabi nikal. CUT TO INSIDE THE QUALIS Jadhav’s POV: Very slowly he raises his head a bit and sees all that is happening across the road. The wireless set is intermittently blaring out control room messages. CUT TO INT. ON THE ROAD Sharan ducks down to pick the keys and hands them over to Ismail who snatches them and gets into the car, while Kasab orders the three to get back and pointed his gun on at them. Wide shot: Megha cries out aloud, as Samit holds on to her tightly. CUT TO Ismail inserted the keys, started the engine and yells outto Kasab. (He looks perturbed.) ISMAIL Chal jaldi, baith jaa andar. Kasab comes around on the other side he glances at the three one last time and gets in the car. Ismail meanwhile starts the car and the car zooms ahead. CUT TO


INSIDE THE QUALIS POV: Jadhav sees Ismail and Kasab hijack the Skoda and speed away. CUT TO Jadhav slowly tries to raise his right hand, but he feels tremendous pain, he then slowly raises his left hand, and gently pushes Patil’s body slumped on him. There is blood all over. Jadhav rises from behind the seat and with difficulty, picks up the wireless microphone with his left hand. Jadhav talks in the microphone. JADHAV abhi abhi unlogo ne silver color ki skoda ko roka hai aur usko lekar wo chowpatty ki taraf ja rahe hain... CUT TO ON THE ROAD As Asara, Samit and Megha see the car taking a turn a police van comes from the opposite direction. The three of them turn to it when the van comes to a halt A policeman on a loud speaker shouts. POLICEMAN Niche ghutne pe aao aur haath upar, varna maar denge. Terrified the three kneel on their knees and raise their hands. Megha starts crying out. CUT TO One of the cop notice the stationary Qualis on the other side of the road, he leaves the three and move towards it. As he approaches the Qualis he sees Jadhav inside the Qualis trying to talk into the microphone, he aims his rifle towards Jadhav and from afar he calls out. CUT TO ON THE ROAD The rest of the policemen closing on Sharan, Samit and Megha, one of them shout at them.


CONTINUED: POLICEMAN Kaun ho tum. The three are just too shocked to talk. POLICEMAN Age aao aistese. The three crawl on their knees with their hands still up and move ahead, Megha is still wailing and sobbing.


CUT TO One of the cop notice the Qualis, he leaves the three and move towards it. As he comes near the Qualis he sees Jadhav inside the Qualis trying to talk into the microphone, suspiciously he aims his rifle towards Jadhav and from afar he calls out. POLICEMAN (FROM A DISTANCE TO JADHAV) Kaun hai tum. CUT TO Through the broken window pane, Jadhav tries to speak out from the Qualis. JADHAV Mai constable Jadhav hu. CUT TO The policeman is not convinced, he is still aiming his gun towards the Qualis. From behind we see another cop coming towards the Qualis with his rifle aimed at the vehicle. CUT TO ON THE ROAD We see the three Sharan, Samit and Megha still kneeling with their hands raised. CUT TO NEAR THE QUALIS The policemen comes near the Qualis, peeping in very suspiciously. CUT TO




JADHAV Mai constable Jadhav hu, Salaskar sir ke team ka. CUT TO One of the policeman seems to recognise Jadhav and he walks near the van. CUT TO The cops come near the vehicle, one goes to open the rear door to help Jadhav. JADHAV (SPEAKS TO THE COP POINTING AT THE THREE ON THE OPPOSITE SIDE) Who log skodawale hai, terrorist unki gadi lekar Chowpatty ki taraf nikle hai. The police man looks across the road and waving his hand he calls out aloud. POLICEMAN Chod do unko. CUT TO Visibly shaken Sharan, Samit and Megha stand up, Megha gives out a very loud cry and clutches both, Sharan and Azgaonkar who also have tears in their eyes. CUT TO RAKESH MARIA IN THE COMMITTEE ROOM OFFICER Jadhav se information milte hi Control Room ne ek mobile van bheji. Jadhav ki jaankaari pe fauran humney main Chowpatty pe double nakabandi lagayi... CUT TO


INT. SUKH SAGAR CHOWK, GIRGAUM CHOWPATTY Assistant Inspector Hemant Bawdhankar and Sub Inspector Bhaskar Kadam in civil clothes, armed with automatic pistols, several other officers and constables some in uniforms others in civil are clearing the people from the road, some are blowing whistles as they push the onlookers away. The cops are wearing bulletproof vests and helmets. A few of them have carbines, however most of them have wooden lathis. CUT TO Some cops are supervising laying of metal barricades across the Road right under the foot over bridge. CUT TO Assistant Inspector Sanjay Govilkar and Assistant Sub Inspector Sarjerao Pawar are lending hands to police men in laying the roadblocks. CUT TO Policemen manning the road block begin to scrutinize a few passing cars and the occupants with hawkish eyes for any gun men. CUT TO Tukaram Omble reaches the site on a bike in full speed pulls up and parks the bike and rushes towards the nakabandi with his lathi. CUT TO WIRELESS IN THE CAR silver skoda hai... gaadi no 1276 usse kisi bhi haal main rokna hai... OMBLE haan ok sir karta hoon...yeee gaadi khech chal ga thikade.. ye public ko hata udhar se chal...yee chala chala niga...yee...chala ghari ja chala... POLICE OFFICER haan sir naka bandi kar di hai CUT TO (CONTINUED)



The seniors position their men in strategic placement, some near a pillar, some behind footpath flowerbed. Some across the road, some behind the metal barricades. CUT TO Kadam and Bawdhankar take cover behind the pillar on the main road divider. CUT TO Omble and Govilkar take position behind a pillar on the opposite side towards the Chowpatty sea face. CUT TO BIRLA KREEDA KENDRA, 12.55 Silver Skoka turns at the curve. The road is empty. CUT TO INSIDE THE CAR Ismail slows down to negotiate the bend, his attention is drawn ahead. POV from car: From the windscreen, Ismail sees a line-up of policemen, standing in full guard beside a huge barricade. CUT TO SUKH SAGAR CHOWK, GIRGAUM CHOWPATTY, 12.58 AM A senior policeman positioned behind a pillar on the divider with his pistol sees the car and shouts. OMBLE Sir Skoda lag rahi hai....yeee barrigates laga...yee jaldi kar... All the cops who are looking towards the road get alert, and take cover, those with guns point them toward the car. CUT TO Bawdhankar, Kadam, Govilkar and Omble positioned near the road divider look with rapt attention at the approaching car, with their guns and lathis ready.




CUT TO The car comes slowly towards the barricaded area, abruptly brakes and comes to a halt right in the middle of the road. The headlights are on, beaming on the road. CUT TO INSIDE THE CAR Kasab is holding the haversack on his laps his gun clutched in one hand. CUT TO Kadam and Bawdhankar are peeping at the car, with their guns aimed at it. CUT TO Govilkar is also pointing his gun towards the car. CUT TO Kadam cautiously moves ahead towards the car, aiming his gun and shouting loudly at the car. OMBLE niche utharo... POLICE OFFICER common move it fast POLICE OFFICER 2 jaldi akro.. POLICE OFFICER main akhari bar bol raha hooon common move.... POLICE OFFICER 2 Batti band kar... OMBLE niche utar CUT TO


THE CAR There is no response from the car. Rather, the car’s wipers start wiping the windscreen with jets of water. Kadam pauses again and shouts towards the car. KADAM Surrender karo, bahar aa jao. CUT TO INSIDE THE CAR Ismail suddenly shifts gears and steps on the gas. The car sprints ahead with a jerk but Ismail’s judgment is flawed; the vehicle is too long to take a full turn on the narrow lane. It’s bumper crash into the road divider near the pillar with a loud sound. CUT TO OUTSIDE THE CAR All the cops close in from all sides. They rush towards the car from all directions. CUT TO INSIDE THE CAR Ismail is shocked by the failed effort and jolted by the bump - he tries to fiddle with the gear to reverse when he sees several cops with their guns come at him. CUT TO He reaches into his pocket with his left hand, whisks out a revolver, holds it across the steering, lowers the power window with his right hand and fires couple of shots. CUT TO


OUTSIDE THE CAR The officer who is moving towards him ducks in the nick of the time and retaliates with three rounds each from his automatic, hitting Ismail at close range on his head. CUT TO INSIDE THE CAR Ismail is hit and he collapses face down on the steering. Kasab pretends to be dead on the seat still holding his AK47. CUT TO OUTSIDE THE CAR Both Omble and Govilkar sprint very fast towards Kasab’s side - still not sure if he is dead or alive they pause at a distance, Omble opens the cars door. CUT TO Omble spots the weapon Kasab is clinging to his gun, suddenly as he is lying down Kasab turns, pulls the gun straight up and attempts to pull the trigger. CUT TO Omble sees Kasab moving - he senses that Kasab will shoot he throws his lathi to one side, jumps on him holding the gun’s barrel and the nozzle near his abdomen. CUT TO Kasab is jolted by Omble’s quick action, he quickly reaches for the trigger and fires a round of burst shot, big noise can be heard. Omble is hit. CUT TO Omble is still holding the rifle, Kasab struggles to free the rifle, he again fires a round of burst shots, and several bullets fly around. Many bullets hit Omble again on his abdomen CUT TO




Omble is bleeding but is still holding the muzzle of the rifle very hard, some cops help him while others pull Kasab out and start hitting him with lathis from all over. Kasab is forced to release the gun, Omble collapses on the road. CUT TO All the policemen are mercilessly beating Kasab still lying on the ground, with their lathis some are even kicking him, Kasab groans out of pain as the blows come on him. Some more cops come over and join in kicking him. CUT TO Some policemen help Omble who is hurt very badly and bleeding all over his abdomen. CUT TO Govilkar is bleeding at the abdomen, he feels his abdomen and sense the blood. He feels the pain. CUT TO Enraged Bowdhankar comes running from the other side with his pistol holding at Kasab and is about to fire at Kasab. CUT TO The injured Govilkar had a sudden flash of realization and shrieks loudly, CUT TO Bowdhankar refrains from firing at Kasab, but joins in kicking Kasab, and then helps Govilkar to one side. CUT TO Kasab is bleeding from face, he looks unconscious. There are some spots of blood on the ground. The haversack that he was holding is also lying on the ground. His gun and shoes are lying on the road. CUT TO Omble and Govilar are helped towards a police van. CUT TO


MARIA’S CABIN IN CONTROL ROOM Camera tracks a senior officer, Tondwalkar in mid angle as he rushes towards Maria’s cabin and hands him a phone. POLICE OFFICER ON PHONE Sir, ek mar gaya dusara jinda pakad gaya hai... ab usse hospital le ja rahe hain.... RAKESH MARIA Armed escort ke sath bhejna mind well armed escort... Ho sakta hai baki ke saatho follow karte honge usse Aur thum Nariman House chale jao wahan ki halat gambhur hai....get me delhi Maria’s keeps the phone down. He turns to senior officer. CUT TO MARIA’S CABIN Tondwalkar hands over a land line to Maria. Maria grabs the phone MARIA (ON THE PHONE TO DELHI) Sir, we got one...yeah CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Dilli se order aaya ki ussey har keemat pe surakshit rakha jaaye...Woh order sahi tha...Kyunki wahi ek source tha jiske zariye hum information nikaal sakte the...Tab maine apne officer ko phone kiya... CUT TO

74. ON ROAD TO NAIR HOSPITAL Three police vans are speeding on the road. The siren can be heard aloud. The beacon light lights of the vans are flashing. CUT TO INSIDE ONE OF THE BIG VANS Kasab is lying unconscious on the floor of the van, over a dozen policemen are standing around him, as they hold on to some handle on the top. One of the officers has hit foot tightly placed on Kasab’s abdomen. Two other constables are poking their lathis on his body. All of them look at him with anger and disgust. CUT TO INT. NAIR HOSPITAL, OUTSIDE CASUALTY WARD One police officer in civil, surrounded by a crowd or policemen some in uniforms and guns, others in civil walks away from the crowd, talks on the phone CUT TO RAKESH MARIA (ON THE PHONE) Kasi halat hai uski. CUT TO OFFICER (ON PHONE) treatment chal raha hai Thik hi lag raha hai mujhko... CUT TO RAKESH MARIA (ON THE PHONE) crime branch le aao. CUT TO OFFICER (ON PHONE) Sir, doctor clearance nahi de raha hai. RAKESH MARIA (ON PHONE) bas le aao, beech me aya toh shoot the doctor ko. CUT TO


RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Ussi waqt aatankwaadi hamaare logon ko maar rahe the aur hamaare doctors unki marham patti karna chahte the....main jaanta hoon woh unka professional ethics hai ki ek doctor ko apne mareez ka background nahin dekhna chahiye...lekin mere paas usssamay aise mahan adarsho ke liye waqt nahi tha ke liye waqt nahi tha kyun ki mujhe kasab se information ki sakth zarurat thi jiske jarie taj nariman house aur oberoi main fase logo bachaya ja sake...Aur aakhirkaar usse mere paas laaya gaya. CUT TO CRIME BRANCH HEAD QUARTERS Arrival of Kasab from Hospital to Crime Branch: Half a dozen vehicles, Ambassadors, Scorpio and Qualis etc, with sirens rapidly enter the premises. Couple of more police vehicles like the Commando combat mobile vans, Qualis and the big blue vans like the Swaraj Mazda all speed inside the compound, we see some cops hanging out of the van frantically, waving out for others to make way. As couple of vans move ahead, one big Eicher police van, escorted by two smaller vans, comes and halts right at the entrance of the building porch. Soon there is a built up of over 100 police men all around, cordoning the big van. The doors of the van open very slowly, about a dozen armed police men peep out, they look around cautiously and one by one they step down, paying attention to every small detail around the compound, their guns in ready, to shoot position. These cops start clearing the area; they push out everyone including other police men who have gathered around to one corner.




In swift move a second lot of about a dozen policemen including senior inspectors get down the vehicle and following them we see a kind of mob of policemen alighting from the van, as they step down we see a diminutive Kasab appear on the door, he is being held by two senior CID police men in civil by his shoulder. Though he is wearing the same cloths that he has landed, it is now smeared with several patches of blood, medicine stains etc, the fatigue and injuries on his face is apparent. Kasab is handcuffed, we see both his hands bandaged up to the wrist, there is bandage on his neck, he stands there looking at the structure and the number of policemen and seems to be much unperturbed. The policemen holding him nudge him to get down with a push, as he approaches the steps of the vehicle, Kasab struggles to take a step; we see that he has been chained at the ankles without any footwear. The police men help him step down, Kasab looks down and then again he looks around and for some reason is humored, he tries to smirk at the crowd of cops, but he realizes that every single cop has a raging look at him, as if they would tear him apart if he is left free. The cops on the other hand are literally tensed and some are every angry to look at the terrorist. As he takes a few steps down we see several other cops following Kasab. Kasab steps down on the ground, couple of more CID police men, join his escorts and whisk him towards the entrance, Kasab has an unsteady gait of walking as he struggles to walk with the chains. Almost running, dozens of policemen lead the way up, the small flight of stairs into the complex approaching the grand staircase. Several of them are talking on hand held wireless sets, some informing control room, some informing their seniors of Kasab’s movement. There is a virtual commotion, as senior police officer try to make order of his men who are getting near Kasab, even as the CID men are literally pulling him up the stairs, they try to run up, over a hundred police men follow Kasab being led on the stairs. As he is being led up, Kasab looks around; occasionally he looks at the steps below as he tries to walk with the chains, then he looks up, for a moment he cringes being held by two cops all the time who are guiding him up to the floor.




After turning up on the stairs they approach a big corridor/passageway and Kasab is led through towards Maria’s room. Nearly a hundred cops with guns and other arms follow him into the cabin. CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Kasab ko jab miane pehli baar dekha...main hadbada gaya tha ...chaunk gaya tha ...kayii saalon ke apne tajurbe se yeh jaante hue bhi ki zaroori nahi ki koi khatarnaak aadmi khatarnaak dikhe...main phir bhi chaunk gaya,Kasab itna nata sa mujhe yakin nahi hua ki iss bees saal ke launde ne mere shehar mein itni tabaahi machaayi thi...uss smay meri sabse badi mushkil yeh thi...usse mujhse aur mere officers se bachana...hum sabhi usse marna chate the...apne aap pe maine kaaboo rakha aur jald se jald usse se information nikaalne ki koshish karne lagaa. CUT TO CRIME BRANCH, MARIA’S ROOM Maria is leaning against the wall as he sees his special unit men walk in first, as he sees dozens of armed policemen follow in and stand all around the room, after a pause, Kasab is pushed in the room, still held tight by the two officers. Maria looks at the scene in his room, several dozen cops surrounding a diminutive Kasab from all sides, all looking straight at him, but Kasab staring all around and he locks eyes with kasab. Maria just stares at the boy who is hand cuffed, his facial expression change, he stands up with his hands on his waist, there is pin drop silence as Maria pauses and looks at Kasab. With beck of his finger, he orders half of the men to walk out and shut the door. (CONTINUED)



As the men walk out, the rest still standing with arms, one of Maria’s trusted CID officer comes near him and whispers something in Maria’s ears, Maria is not too interested in what the cop has to say, he still stares at Kasab and abruptly walks out of the chair, passing his table, hands still on his waist, he walks near the Kasab. He stands facing Kasab, there is utter silence, huge pause, Kasab looks up to Maria and makes a distorted face. Maria moves behind, all his men are still fixed gazed at him, he looks at a corner of the room and with his fingers he orders Kasab to be pushed towards that corner and made to sit down. Kasab sits down with his face hanging down at his knees. Maria keeps on staring at Kasab when one of him men pull a chair and brings it behind Maria, without even looking at the chair, Maria holds it and sits down, as he is squatting down, Kasab is still looking down. There is pin drop silence. Suddenly the room reverberates with Maria’s soft voice. RAKESH MARIA Naam bol...naam kya hai.. KASAB Ajmal. RAKESH MARIA baap nahi hai... KASAB mohammad ajamal aamir kasab... Kasab suddenly draws back as if he is now feeling the pain of his injuries and his mood totally changes. RAKESH MARIA kahanse aaya... KASAB karachi se... RAKESH MARIA kaise aaya... KASAB dariya main ek hidustani ko padak kiya aur wo hum yeha mumbai tak leke aaya...




RAKESH MARIA boat ka naam kya hai.. KASAB kuber... baaki RAKESH MARIA ke log kahana hai boat ke...

KASAB maar diya... Everyone reacts. RAKESH MARIA baaki saathi mere saath hain...unse check karunga... RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA (miane usse kaha ki usske sathi mere kabje main hai...maine jhooth bola....Poori raat ki poonchtaachch ke baad badi aasani se usne bahot kuch bak diya...aur phhir subah takriban saath baje mera ek officer andar aaya...) INT.-CRIME BRANCH LOCK UP ROOM OFFICER Sir, delhi se NSG commando team aa gayi hai... CUT TO OUTSIDE MARIA’S CABIN IN A CORRIDOR From high angle we see Maria walks out of his Cabin to see NSG Chief JK Dutt, as he steps out into the corridor; we see team of over three dozen NSG men, a number of them are armed, ready in battle combat mode. Several armed officer of Mumbai police are also present in the background. Following the camera, we see Maria guiding Dutt towards one pillar on one side of the corridor, exposing the area on the (CONTINUED)



ground floor behind. There is frantic activity below; vehicles are moving in and out of the complex, several dozen policemen are going about their work below. Vehicles which brought the NSG. Maria talks to Dutt RAKESH MARIA Dus hain...they have ssault rifles,grenades and RDX hain. CUT TO RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA NSG ko main brief tho kar raha tha...lekin mere dimaag mein yeh shak tha ki Kasab mujhe jhooth toh nahi bol raha?...Kya Kasab khud poora sach jaanta tha? Mumkin tha ki uske logon ne Taj aur Oberoi mein RDX bhar diya ho aur NSG aur baaki forces ke andar aane ka intezaar kar rahe ho taaki ek saath sabka khaatma kar den...lekin aise haalat main khatara moldlene ke siva dusara koi chara nai tha... Taj Hotel aur Nariman House mein tab bhi log khatre mein the...NSG apne mission pe nikal gayi aur kasab se meri interrogation jaari thi... CUT TO LOCK UP Handcuffed Kasab looks at Maria with attitude even as he is eating bhajia pav. KASAB Tumhari aukaat nahi hai ki aaka ki baaton ko samajh sako.... Unki baaton mein jadu hai- jadu.... Rooh khush ho jati hai, (CONTINUED)



Tum to unkey chehrey ki taraf dekh bhinahi saktey...itni chamak hai unke chehre pe... Jaise noor barasta hai, Noor... Aankhein nahi tikti hain, Dil karta hai dekhtey raho..dekhtey raho..... Unki baatein koi bhi sunega na.....tum bhi, tum bhi...., jaan dene ko taiyar ho javoge, bina koi sawal kiye! Kisi ki koi bisaat koi aukaat, nahi hai unke aage! Wo paak kitaab ki ek-ek baatein batatey hain. jo tum jaison ki samajh me nahi aane liye ki tum kafir ho,kafir.... Maria keeps listing. Deen ke liye shamsheer uthana padta hai Deen khatre mien hai! Jahannum ki aag se bachna hai, toh Jehaad karna hai kyon ki Jahannum ki aag jalati hai, toh jalati hi rahti hai! He eats pav, drinks little water, says carelessly and with lot of arrogance speaks. Gunahon ki toba qubool hogi ki nahi mai nahi janata tha Lekin aaka ne kaha, jo mazhab aur Deen ki hifazat mein apni jaan gavata hai! uska darja buland hota hai. He taks another bite of the pav, a stone comes in his jaws he makes a face spits it on the table and says. ...Patthar.. He gazes at Maria. Tum ye jaanlo ki jo Allah ke liye jaan deta hai.... He reaches for the glass and drinks some water. Allah uske gunahon ko...chahe jitney bhi ghatiya hoon, muaaf kar deta hai! ‘Sawal-jawab’ nahi hota hai ussey! Ye tum kya jaano...Allah, Rasool, Jehad...pata hai.....Jehad hi ek aisa raasta hai jismein (MORE) (CONTINUED)



KASAB (cont’d) hamare rooh ki pakeezagi aur nooraniyat barqarar rahegi! Aaka ne kaha shahadat ke baad farishte seedhe jannat le jayeingeJannat!!Qayamat mein hame shaan se uthaya jayega!Aur jannat mein “khoobsurat” hoore hongi! Doodh aur shahad ki nadiyan hongi !Jahan jahan hamey unse nahlaya jayega! Ye sab sirf unke haq mein aata hai,jo Deen ke liye jaan gawanta hai. Deen ke liye! tum ko mazhab ka ilm kahan...? Khuda ki qasam ...... Jab aaka ne hamey is kaam ke liye chuna ussi din hamari zindagi kaamyaab ho gayi! Is neki ke baad seedhe jannat jayeinge....... khushi se jhoom rahethe ham!! He finishes he water and puts the mug with a big bang. Aaka ne Vida karne se pahle kaha....... jaavo bachchon--jao.... Tab tak maarte rahna jab tak jism mein jaan hai.Tabahi macha do, khatm kar do, mazhab ke dushmano ko!! Shahadat ke bad Tumharay jism se pakeezagi ki khushboo aayegi.. He pauses and then says. aaka ne Phir hume seeney se lagaya-dua di...[blessed us]...... Allah hafiz---parwar digaar humhe humare maqsad mein kaamyaab kare---Bach gaye toh gaazi---aur qurbaan huye toh shaheed---Allah humare gharon ki hifazat karega! He smiles as if he remembers something, then says, Tumhary logo ko Zinda halaal kerne me jo maza mila....qasam se.....madarchod ...dekh kar rooh khush ho gayi.... Abhi kya kar loge---tum, tumhari hukumat...hummmmmm kya? [Ek pav jo plate me bach gaya tha us ko plate ke sath Maria ki taraf feinkta hai...plate table per sarakti huye Maria ke paas aakar ruk jati hai... pav plate se slip kar ke neechey gir jata hai [Kasab smiles at him, says..] (MORE) (CONTINUED)


83. KASAB (cont’d) kyu...bolo.. CUT TO

RAKESH MARIA IN THE COMMITTEE ROOM RAKESH MARIA Main jaan gaya wo ek kutta hai sirf ek kutta hai...agar kutte ka maalik apne kutte se kaatne ko kahe...toh kutte pe gussa karna bewakoofi hai...Asli darinde tho woh hain jhinone dariya paar se aise ghinonoi harkat ko anjaam diye...lekin iska yeh matlab nahi ki main Kasab kasurwar nahi maanta...agar mere haath kanoon se bandhe nai hote toh innhi aatho se main usse cheer detaa...nsg operation khtam hua saari cheesein control main aa gayi ek diin Kasab ne mujhse ek request ki.... CUT TO CRIME BRANCH LOCK UP Maria is still looking at Kasab, he is surrounded by two three armed guards, Marde and Shinde are standing behind Maria in civil. KASAB ab kya karloge mujhe...latga doge ya sada doge...lekin jab tak mian ziindaa tak main apne saathiyo ke saaath rehna chahta hoon...tera kya jaega...rehne dena mujhe mere saathiyo ke saath... RAKESH MARIA tere saathiyon ke saath rehna chahta hai...chal.... Maria and his team igonre him Kasab again calls Maria. Maria looks at Kasab and gives him a very blank look again. This time Maria does not look at him, he simply moves out of the room. (CONTINUED)



CUT TO CRIME BRANCH Handcuffed Kasab is being escorted by over a dozen armed policemen, they walk him through some dimly lit alley and through a small door, they reach a room where Maria is talking to few lawyers and officers. Kasab is shamelessly smiling away even as the people in the room look at him with disgust. The guards escorting him push him down to sit. Kasab sits, while Maria finishes his business with the lawyers and other officers, then he turns towards Kasab and stands in front of him. Kasab looks up to see a huge personality in front of him, he folds his palm. The men salute him and they walks away with Kasab through another door. Maria turns to walk away through the main door. CUT TO EXIT OF CRIME BRANCH Exit of the crime branch building, frantic activity is on, cops are running around arranging for vehicles, some are on walky-talkies, some senior inspectors are shouting out orders. We see a lineup of about a dozen vehicles pulling up on the entrance, with a big van being pulled near the entrance. A team of several dozen armed cops come out of the building, they are in ready to fire position, and they take positions around the entrance of the van looking all around. After a brief pause, more cops come out of the small gate, some get inside the van, someone talks loudly on the walkie-talkie and suddenly we see, Kasab is being rushed out and into the van in very quick and swift moment, he tries to look around, but his head is held tightly and he is pushed inside the van. Maria too gets in the same van. Nearly two dozen cops follow them inside the vans doors are shut. The van moves out of the building along with the convoy of about dozen vehicles on to the roads. CUT TO


ROAD SCENE WHILE TRAVELING TO MORGUE Inside the van, Kasab is being seated on a long bench alongside a window; he tries to peep out to have a glimpse of the city through a heavily grilled window. Bright sun light falls on his face and he looks out and smiles. Maria sits on a bench opposite to him. The guards and other cops surrounding him look at him with disgust, even as he continues to enjoy the outing and eagerly looks out. Maria reaches out his hand, one cop hands a full face monkey cap to him, Maria gets up goes near kasab and blind folds him. CUT TO MORGUE Kasab is bought inside the Morgue with a blind fold on his eyes, by a few policemen, they feel the stench in the room and are uncomfortable. Once inside the morgue room, while Maria walks ahead and looks at the stretchers kept on the floor, the escort of policemen stands against the wall still holding Kasab very tight, who is visibly perturbed by a strange stink, he has still not paid attention to the people on the stretcher as yet. Maria pulls out the blind fold. RAKESH MARIA innhi ke saaath rehna chata hai na tu....jannat chhod....jahanam ka darwaja bhi khatkhataya hga na innki rooho ne..tho wahan baithe saithaan ne innke gaand par laat mar kar bhaga diya hoga... Suddenly the expression on Kasab’s face change, he tries to concentrate of each of the bodies kept on the stretcher and slowly walking past all the 9 bodies. The expression on his face change into a disgusting gesture and after he has finished the 9th body, he turns, hunkers, falls on his knees and puts his head down very low, then he raises his head straight up and gives out a loud cry which shakes up the entire morgue.




KASAB Yaaa Allaaaahhhh. There is a big pause. Maria sees the bodies and then he looks at Kasab. RAKESH MARIA yehi kahin bhatakti hongi roohen main tho nahi dekh hoon shyad tu dekh sakega hain ...e kaun hia ...kya isska... KASAB abdul.. RAKESH MARIA abdul...Hmm...pooch in sab ko kya hota hai Jehaad.....shayad ab samjh gaye honge... 41 baar zikra aaya hai Jehaad ka paak kitab main. phir bhi tum log nahi samajhe. Tum kya samajhte ho... sirf tumne aur tumhare aaka ne quran padhi hai? humsab log jaahil hai...humari koi aaukad nahi beshaad nai..kya aukad hai tere aaka ki... daras mein Tery Aaka ye nahi bataya hoga ki tu “Asharphul makhlook” hai yaani insaan khuda ki behtareen taklik insaaan!!) insaan ko banane ke baad sajde karne ka hhukum diya tha khuda ne farishto ko. janta hai Tumhare aaka ne ye nahi bataya ki jahannum ki aag se bachne ke liye khuda ne toba bhi banayi hai Sachche dil se apne gunaho ki toba karta toh bhi jannat teri thi! Teri Aaka ne Quran key iss nasihat ko tujhe nahi bata.wohh kaise baatata ye jo jehaad ka gazar dikha kar tumhse aisi ghenaunni harkat kaise karvata Usney kaha islaam khatre mein hai! Deen par aafat aa gayi hai, .....aur tune Bhoon kar rakh dala (MORE) (CONTINUED) unki paa raa tere apne naaam hai



RAKESH MARIA (cont’d) masoomo ko...madarchod .......Un masoom bachon aur auratoon se kaun sa khatra tha tere mazhab ko...islam ki neev hi insaniyat pe hai isska tujhe iilm bhi nahi kyon ki tu jhahil hai...aise jhehaad ke baad tu samjta hai tumhari roohe pakeeza aur noorani rahegi? exhaust exhaust chalu kar... Dekh inke chehron ko... ghin aati hai, ghin!! Soongh inke jism se aa rahi “Shahadat” ki “khushbu” ..... soongh---madharchod naak band karta hai soong soong soonga haaan sunng suunnnggg... fariste aaenge shehad se tumhe nilaenge tumhare aakon ne inn laaso ko pehchanse tak unkar kar gaz zameen tak nahi mili inn laaso ko...saari duniya thook rahi hai... Isey qurbaani, shahadat....shahdat dekini hai ja bahar jake dekh Jinhone na toh kisi se kisi ka mazab poocha na dharm puchha, apne farz pe kurbaan ho gaye ... bhagwan aur alla ki banai insaniyat aur salamati ke liye shadat dedi apni sab log mtam mana rahe hain unke liye sab ki aankho main aasu hai... Unhe toh is duniya mein hi jannat mil gayee!isse shahadat kehte hain tu khusi se jhhoom utha tha na...jab tere aaka ne tujhe iss kaam ke liye tujhe chuna...ek baat bata jis jisko bhi tune mara...kabhi apne zameer se poocha unka guna kya hai...zameer zammer zameer janta hai zameer bach gaye tho gaazi nahi tho shaheed...saael geedadh kafan ke saath saath tere gaand par shahdat ka gazar bhi band diya tere aaka ne...tujhe ye nhi bataya.. ki qayamat ke roz aisi ghinoni harkat karne walon ki saza sabse pahle hogi! (MORE) (CONTINUED)



RAKESH MARIA (cont’d) Ye main nahi “Hazrat Mohammad Mustafa Salsallaho alehivasallam” ne pharmaya hai! Unke wade, unki nasihatein jaanta bhi hai tu? jehaad ko tum jaise gumrah ne tamasha bana rakha hai, tamasha--karna hai jeehad toh sabse pahle apni nafs ke sath, apne dil aur dimagh mein panapti buraiyoon ke sath.... Aur wo hai jehad hai!..........jehadul -akber....... (Maria whispers) ek baar Qurane theek se padhta ya sirf padhta...... toh bhi samaj jata....musalm imman kya hota hai...awal thho muslman ho hi nahi...islam bahot badi cheese hai tumhare jaise log nahi samjh paenge.. tere umar ka beta hai mera.... Kasab breaks down

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