Screenplay

1. INT. - BUS -- MORNING

Aisha (23) is sitting in a nearly empty Volvo bus that is
passing near Maidan and Victoria Memorial. She is wearing a
pair of denim shorts and a sleeveless top. She has put on a
pair of headphones and is navigating the directions to a
place in her phone. As she realizes that the bus is nearing
her destination, she gets up from her seat and walks to the
gate of the bus. The driver pulls the brake and she is about
to fall. The conductor asks her to hold a rod and stand. The
bus stops and she gets down.

CUT TO

2. EXT. - TRAFFIC INTERSECTION -- MORNING

Aisha is waiting at a traffic intersection with a crowd. She

waits for the signal to turn green and then crosses the
road.
CUT TO

3. EXT. - OUTSIDE NEW MARKET -- MORNING

Aisha walks in the market amidst the crowd and looks at the
shops and people in amazement. She clicks a picture of an
old building using her phone.

Aisha is checking a few dresses at a shop. She takes out a

dress and is about to ask the shopkeeper for the price, when
she finds him staring at her legs. She gets conscious and
keeps the dress in its place as the shopkeeper tries to
pursuade her to buy the dress. She hurriedly leaves the
shop as the shopkeeper keeps calling after her.
CUT TO

4. EXT. - FOOTPATH (IN FRONT OF OBEROI GRAND) -- AFTERNOON

We see Aisha walk on the footpath along with the crowd until
she is no longer recognizable in the crowd.
CUT TO
 2.

5. EXT. - FOOTPATH (IN FRONT OF PARK HOTEL) -- AFTERNOON

Aisha emerges from the crowd that is walking on the
footpath. She is wearing a pair of palazzo pants with a top
and a shrug.
A boy (of about her age) walks up to her with an address and
asks her for the directions. She politely nods her head to
say no and walks ahead.

CUT TO

6. EXT. - BOOK STALL (PARK STREET) -- AFTERNOON

Aisha buys a book and pays the shopkeeper. As she is keeping

the book in her bag, a little girl bumps into Aisha and
walks ahead holding her father’s hand and a balloon in her
other hand. Aisha stares at the little girl and gets lost in
thought. Her concentration is broken when a young street
vendor (male) insists her to buy a pack of chewing gum.
Aisha refuses and walks ahead, while the vendor keeps
chasing her.
CUT TO

7. EXT. - ZEBRA CROSSING(PARK STREET) -- AFTERNOON

Aisha waits to cross the road as vehicles pass by and the
street vendor keeps pulling at the loose end of her shrug.
She crosses the road in a hurry.

CUT TO

8. INT. - CAFE (PARK STREET) -- AFTERNOON

We see Aisha sitting inside. She is getting a call from her

father. She stares at her phone for a couple of seconds
beore disconnecting the call. Her bill arrives. She opens
her wallet to realize that she is out of cash and pays using
her credit card.

CUT TO

9. INT. - TAXI -- NIGHT

We see Aisha sitting inside a moving taxi. Her head is
leaning againt the window and she looks sleepy. She is
looking at the buildingd outside. The driver adjusts the
mirror to see Aisha’s reflection properly. Aisha gets
conscious and pulls her shrug closer to her chest.

(CONTINUED)
CONTINUED: 3.

CUT TO

10. INT. - LIVING ROOM (AISHA’S APARTMENT) -- NIGHT

We see the living room of Aisha’s apartment. It is cluttered
with cartons here and there. A few empty pizza boxes, beer
bottle and food packets are lying in one corner, beside
which are kept three pairs of Aisha’s shoes and two pairs of
socks. Clothes are overflowing from a clothes basket kept in
another corner. The only furniture in the room are a couch
and a centre table.
Aisha is lying on the couch, with a laptop placed on her
lap. She is watching a video of the 25th weddng anniversary
of her parents.

CUT TO

11. INT. - WASHROOM (AISHA’S APARTMENT) -- NIGHT

Aisha splashes water on her face.

Aisha wipes her face with a towel. Her eyes are red,
indicatng that she was crying.
CUT TO

12. INT. - LIVING ROOM (AISHA’S APARTMENT) -- NIGHT

Aisha, sitting near a window, is cirling out job
advertisements from a newspaper.

CUT TO

13. EXT. - BUSY ROAD -- MORNING

Aisha indicates a running taxi to stop and boards the taxi.
She is wearing a set of formals and is carrying a file.
CUT TO

14. INT. - ELEVATOR1 -- MORNING

Aisha (wearing a different set of formals, but carrying the

same file) is standing alone in an elevator, as the door
closes.

CUT TO
 4.

15. INT. - ELEVATOR2 -- AFTERNOON

The elevator opens to reveal an entirely different elevator.
Aisha is wearing the same set of formals as scene 13 and
carrying the same file. She looks dejected as she walks out
of the elevator.

CUT TO

16. INT. - ATM -- AFTERNOON

Aisha (same formals and file as Scene 14) checks the

available balance in her account and is disappointed to find
out that she doesn’t have a lot of money in her account.
CUT TO

17. EXT. - GHAT -- MORNING

A launch moves forward on the river as two young boys take a
dive from the launch.

Aisha (same set of formals and file as scene 13) looks at

the boys and then looks at the launch as it moves away.
CUT TO

18. INT. - LIVING ROOM (AISHA’S APARTMENT) -- MORNING

Aisha fixes a board on the wall. she attaches various
pictures of her friends and family on the board. She comes
across a picture of her parents. She places it back in the
carton when the doorbell rings.
Aisha opens the door to find that a trunk containing her
stuff has been sent from her home.
She drags the trunk inside the living room and opens it.

Sge takes out an old wind chime, an old teddy bear, a set of
water colours, a drawing book, a palette and some drwaing
brushes. Finally, her face breaks into a smile as she takes
out an old SLR camera from the trunk. She looks through the
viewfinder and presses the shutter release button.

CUT TO
 5.

19. EXT. - STREET (GOLF GREEN) -- MORNING

Aisha is riding a bicycle. Her face looks bright and happy.
She is wearing a colourful knee-length dress. The SLR camera
is slung around her shoulder.

CUT TO

20. EXT. - CROWDED ROAD -- MORNING

Aisha walks amidst the crowd, clicking pictures of the

people. A man bumps into her and walks ahead. She looks
back, stares at the man for a couple of seconds and finally,
walks ahead with her camera.
CUT TO CREDITS