1.EXT.LATE NIGHT.

CAR

Three air hostesses are chirping inside the car. One of them touching up her make-up.

A1

Did you know Reshmi aur Captain Vinod ka chal raha hai?

A2

Tujhe aaj pata chala. Ek saal ho gaya

A3

He looks like Shahrukh khan

A2

Stop it, tere ko har teesra aadmi Shahrukh khan dikhta hae.

A3

I still love DDLJ. Shahrukh’s leaving, Kajol’s running after him. I get goose bumps every time I see it.

HARI looks at the girls through his rear view mirror.

HARI

Sarkar ne train mein handbrake kis liye banaya. Nautanki sala...

The women become quiet. They look at each other, start talking in whispers.

A3

How dare he talk like that? Look at him.

A2

It’s okay yaa...forget it.

HARI notices the women talking about him in whispers.

The car comes to a halt. HARI starts the car again. It seems to have stalled. He turns back.

HARI

Madam ji, dhakka dena parega.

They three women look at each other.

We hear huffing and puffing as they push.

Night in the middle of the road, under a street light we see three beautiful kingfisher beauties pushing the
car from behind.

The car’s ignition comes on and leaves the highway. The women look at each other as their jaws drop.

CUT TO:

2.EXT.NIGHT.RAILWAY STATION
A pair of hands walk through a crowded platform in Howrah station. One
male hand leading a female hand. The female hand often keeps losing
contact as it inches forward and clasps the male.
We see a woman and a man as they are pushing through a crowd that has
just got off the train. A train of men holding each other by the
shoulders walk across.
The two hands lose each other. The woman’s face as it frantically
calls out but we can’t hear her due to the crowd and charge of the
space. The man’s face keeps eluding her, as it turns back and looks,
running ahead to mingle into the crowd.
CUT TO:
3.EXT.MORNING.RAILWAY STATION

HARI is walking around, looking at electronic boards. He hears an announcement saying that a particular
train is late.

He walks past that young woman stranded sitting alone on a platform where there are no trains, with the
phone to his ears. He watches her as he walks past.

HARI

Tu unne se phone kahe kari cche, Mae? Kitne baar bole Missed call de dell kar...tohra ke bole rehliyon na
hum ki aa ke uu larkike dekh lebou, phir dekhai cchiyo ki kareke hai.

The girl looks like a newly wed woman going by her attire. Her saree is drawn covering her face. She
looks askance at HARI as he walks.

He stands at a tea stall on the adjacent platform, sipping on his tea, he turns to look again and sees she's
not there.
At the parking lot of the Howrah station as he gets into his car, someone touches his shoulder. It’s that
girl. Something falls out of her potla. He bends down and picks up a small plastic packet hands it to her.
She wants to say something but can’t muster the courage.

Across the road two drivers smile at HARI and the girl.

Hari opens the front door, walks over to the driver’s end.

4.INT.MORNING.CAR

HARI is looking straight ahead without making eye-contact with the girl.

HARI (CONT'D)

Kidhar ki hai?

The girl is panting.

HARI (CONT’D)

Sun…Mere paas pura din nahi hae… kidhar ki ho?

GIRL (MUFFLED)

Bhansia...

He turns and looks at her. Starts the car. CUT TO:

5.EXT.MORNING.RAILWAY STATION

The two drivers watch as the cool cab moves out.

CUT TO:

6.EXT.MORNING.HOTEL

HARI and the girl go up the steps. She has a potla hanging by her side.

The man at the reception, wearing a spondylitis band watches them as they go inside a room upstairs.

CUT TO:

7.INT.MORNING.HOTEL ROOM

The driver and the girl sit awkwardly opposite each other. He sits on a chair while she is on a bed. Both
uncomfortable.

DRIVER

Kaun chhor ke gaya?(clears his throat) Kinne se aa gele tu?

The girl is looks up. His phone rings. “Party calling.” He looks at her mangal sutra.

DRIVER (CONT'D)

Kenne kaam karaii ccho uu...

She remains quiet, she looks down. He looks at her feet. Gets up.

DRIVER (CONT’D)

Khana wana tu toh nahi khailey hobe?

She clasps his arm from the back.

GIRL

okar kauno zarurat...

He looks at his hand. She lets his hand go. He walks to the door, turns to her.

DRIVER

Dekh, hamar ghar Bagnagar mein hou…Tera gaon pass mein hai. Chutti lekar kal tohra ghar pohoncha
debou.

He shuts the door from outside.

HARI walks briskly along the road as the girl watches from the window.

CUT TO:

8.EXT.MORNING.RECEPTION.

Receptionist prays at his counter

HARI walks in with two bhars of kochuri in his hand.

He fishes out the phone from his pockets as it says, "Party calling."

He runs to the reception counter of the hotel.

DRIVER

Bhai saab, yeh khana upar kamre mein bhej dijiye. Aur...Kahiye main lautunga...

The receptionist sees the driver leave. The receptionist picks up the phone at his desk.

CUT TO:

9.INT.MORNING.CONFERENCE ROOM
A female hand presses the remote. The projector lamp comes on.

Rima, a woman in her late thirties is placing files on a conference table, at a distance a mobile kept on the
table buzzes and stops as she looks up at it.

CUT TO:

10.EXT.MORNING.RAILWAY STATION

Arun, a man in his forties in a blazer shuts his flip-out phone, gets into the car.

DRIVER

Sorry saab, train late thi toh mein kuch aur kaam se...

ARUN

Ek ghante ka paisa nahi milega. Chalega?

The Driver doesn't respond, just looks at the man through the rear view mirror.

The man is busy on his phone. He mutters something under his breath and looks out of the window.

ARUN (CONT’D)

Accha suna ke...Ganga ka kinara pura badal gaya? Dekh auunga. Waqt mila toh...FM hai?

CUT TO:

11.INT.CONFERENCE ROOM. MORNING

The woman's phone is constantly buzzing as she is sitting absent mindedly in a room full of people. She
breaks from her stupor as she notices that everyone is looking at her. She gets up and excuses herself.

12.INT.MORNING.OFFICE CORRIDOR

RIMA

Listen, I’ll call you back. I’m in a meeting...

She cuts the call. The phone rings again. Irritated, she picks it up.

ARUN(phone v.o)

Just one minute...come to the edge of the window...

She moves to the edge and looks down. CUT TO:

13.EXT.CAR PARK.MORNING.

ARUN

Just getting through to you seems such an achievement. Do you realize you’ve almost, like martyred
yourself? (smiles)

ARUN (CONTD.)

How much do you need? No seriously I mean how much is enough? For a simple normal happy
life? Is it too much to ask for?

CUT TO:

14.INT.OFFICE.MORNING

RIMA

Can we not talk about this now...

CUT TO:

15.EXT.CAR PARK.MORNING.

ARUN

If not now, when? Rima? You said you were going to take the weekend off...

CUT TO:

16.INT.OFFICE.MORNING

RIMA

Listen, something urgent came up. I can’t just leave people in the lurch like you.

CUT TO:

17.EXT.CAR PARK.MORNING.LATE

ARUN

People you’re bothered about? What about us?...We made a decision, I hope you remember. That’s why
I’m here.
She remains quiet.

ARUN (CONT’D)

Rima...You really want this? Aren’t you having second thoughts? (pause) Let me know if you want the
doctor’s appointment to be can...

She disconnects the call and walks away. ARUN looks up at her in the glass building. HARI looks at both
RIMA up at the building and at ARUN standing beside him till he realizes ARUN is looking straight at
him.

ARUN (CONT’D)

Tu kya dekh raha hae be?

HARI

Sir… mujhe bhi thora jana hai

CUT TO:

18.EXT.DAY.CAR

Fingers tappiing on the steering wheel. Hari looks at his adjacent seat and sees a plastic packet, the one
that had dropped out. He opens it and finds a Ration card. He looks back and hurriedly puts it inside the
dashboard.

ARUN is taking a swig from his hip-flask. HARI steps out of the car and looks at ARUN. He walks away
to a phone booth as ARUN watches from inside. ARUN fishes out his own phone and puts it to his ears.
He gets exasperated. CUT TO:

19.INT.DAY. PHONE BOOTH

HARI

Hello...Hello Gujrati lodge? Ji …mein subah ek larki ko leke aya tha upar…

HARI turns and looks at the car. Arun steps out of the back seat and sits in the driver’s seat.

HARI (CONT’D)

Haan ji, room number toh…ji mein thori der baad karta hu…

CUT TO:

20.EXT.DAY.CAR
Hari runs to the car and watches as Arun fiddles with the gear. Arun looks out at Hari watching him.

ARUN

Bohot din ho gaya gari chalaye hue...baeth mere saath.

CUT TO:

21.EXT.EMPTY FIELD.DAY

An open field from where we can see the IT company buildings in the background as a car chugs to a start
and moves in half circles dangerously, it halts abruptly.

HARI

Saabji ab bass...

ARUN

Yaar tu darr ta bohot hae.

Hari opens the door and waits for the man to step out. ARUN looks at HARI sternly.

22.EXT.CAR PARK.AFTERNOON

HARI is dozing in the front seat. ARUN’s phone rings.

ARUN

Yes. Thats right. We’re on our way, we’ll be there.

HARI wakes up with the slamming of the door.

CUT TO:

23.INT.CONFERENCE ROOM.DAY

ARUN barges into the conference room.

ARUN

When do you think you can get out of this ...Shit hole?

RIMA is in the middle of a presentation to a board of members. A few security personnel run in looking
embarrassed. Another man at the table.

MAN

Excuse me, may I know who...?

ARUN
 I'm not talking to you, I'm talking to my wife.

Everybody turns to look at her. She looks at him with a blank expression. Arun looks at her, then realizes
he’s in the midst of people. A little irritated.

ARUN (CONT’D)

Sorry...you know how it feels? how it feels to get back home...once in a while, not find your wife with
you? ...you want to step out and talk?

RIMA

Arun you’re drunk. And I’m at work.

ARUN

Yes. I am. At the end of the day you work for someone else. Remember that.

Arun turns to walk away.

MAN

Rima never told us she was married. (to a colleague) Did you know?

Arun stops on his tracks, looks at the man, then at his wife, on whom the projector rays are falling. He
gives a wry smile and walks out.

CUT TO:

24.INT.HOTEL ROOM.DAY

The girl’s hand chaffing off the paint from a damp wall. Sound of a brawl outside. Just then the door
breaks open. The receptionist man, tumbles in. He instructs someone to clear out the brawl at the corridor.

He smiles at her, and looks at the floor where the paint flakes lie. She looks embarassed. He smiles and
steps inside.

He pulls a chair and sits. She looks up at him. The receptionist takes a deep breath.

RECEPTIONIST

Voh nahi aane wala. Gaya...pancchi. Phurut.

The receptionist’s phone rings. Ringtone, “jai ganesh, jai ganesh. He picks up the phone.

RECEPTIONIST Sala Vodaphone!

A child comes in with Kachori in two separate plates, and places them on the table, leaves.

RECEPTIONIST (CONT’D)
 Idhar idhar. Subah se kuch khaya?

The Receptionist looks at her from head to toe. She sits there looking down. Her right hand on the bed
side, two fingers twitching.

RECEPTIONIST (CONT’D)

Ghabrane ki koi baat nahi. Aisa hota hae.

A middle aged woman stands outside the door with a few sarees hanging from her arms, listening.

RECEPTIONIST (CONT’D)

Bada shaher hai, kharcha pani toh nikal jayega.

She touches her mangal sutra hanging from her neck, looks down. He gets up to leave. He turns back.

RECEPTIONIST (CONT’D)

Sun...

He shows her an earring. She looks up.

RECEPTIONIST (CONT’D)

Kaisa hai? Yeh le...

He throws it to her, it falls on her lap.

RECEPTIONIST (CONT’D)

Aisa aur bhi milega.

He comes out, looks at the middle aged woman. The woman walks in. The girl looks up. The woman
places an assortment of sarees on the bed, and leaves.

The girl, gets up goes to the window, looks out.

CUT TO:

25.EXT.CAR.AFTERNOON.

HARI looks alarmingly at the Glass building. A man hanging from a floor high up cleaning the window
panels. The man looks infinitesimally small compared to the building. HARI keeps looking.

A man wearing a jazzy shirt and goggles stands with a woman wearing a burkha. The man points to the
building talking very animatedly.

The man approaches the cab, knocks at Hari’s window. Hari pulls down the glass. The man hands him a
point and shoot camera.
 MAN2

Bhai jaan, thora...ek photo kheench denge?

Hari frames through the viewfinder.

MAN2 (CONT’D)

Peeche yeh building aa raha hae na?

Hari hands the man his camera and looks at them as they stroll away.

HARI sits inside the car, opens the dashboard and takes out the plastic packet. He looks at the Ration
card. A few passport size photographs of the girl tumble out.

26.INT.HOTEL.AFTERNOON

The RECEPTIONIST puts the receiver down at his desk. He walks up the steps enters the room and finds
it empty.

He looks around. The window is open. He runs to the window. Looks out.

He sees one plate of kochuri still lying on the table, he starts to eat from it.

CUT TO:

27.EXT.CAR.LATE AFTERNOON.

Hari is driving with Arun behind.

ARUN

Yaha se right.

The road reveals the banks of the Ganges. The car stops. Arun steps out. Hands the driver his money.

ARUN (CONT’D)

Chala jah wapas. Madam hai na? Pohocha de na ghar.

The car pulls away.

CUT TO:

28.EXT.DUSK.JETTY

A ferry approaches the jetty. People are getting off and on. A hawker selling Ghoti Gorom strolls around.

He rolling tobacco in his hands looking at something intently. The girl standing on the bridge pulls out
her sandals from her Potla and drops it to the ground.
Arun looks at her from a distance, and stubs his cigarette.

CUT TO:

29.INT.FERRY COUNTER.DUSK

The girl opens a small cloth in which are some coins. She is trying to put together some coins. It doesn’t
seem enough. She leaves the queue.

Arun looks at the girl standing at a corner of the ghat.

He walks over to the ferry counter. Hands a ten ruppee note. He walks over to the ferry counter. Hands a
fifty rupee note.

FERRY Khuchro nei.

ARUN Kota niley hobe?

The ferry man hands him 4 tickets. Arun walks to the girl standing alone. He hands her a ticket. She looks
up at him. ARUN walks away towards the jetty. She looks at the ticket.

CUT TO:

30.EXT.FERRY BOAT.DUSK

ARUN is standing looking out. The girl is sitting somewhere looking out.

CUT TO:

31.EXT.DUSK.JETTY

Arun steps on to the jetty from the boat. He turns back, as a middle aged lady asks for help. He extends a
helping hand. The girl also approaches the edge of the boat. He helps her up as well. They both look at
each other blankly.

CUT TO:

32.INT.EVENING.OFFICE LOO

RIMA looks into the mirror, the tap water is flowing. She splashes water on her face.

CUT TO:

33.EXT.NIGHT.CAR PARK

RIMA is walking aggressively with the phone to her ears through the car parking area. The driver opens
the door. She is taken aback.

HARI

Saab ne gari ka payment kar diya, aapko jidhar jana hai, mein chorr ke nikalta hu.
 CUT TO:

34.INT.CAR.NIGHT

As passing lights flash by on RIMA’s face, we see her crying.

HARI looks into the rear view.Doesn’t know what to say.

HARI

Madam...(pause) aapko…kya? Ghar leke jau?

RIMA

Nahi.

She has a faraway look in her face.

RIMA Just keep drivinig. Don’t ask questions.

CUT TO:

35.INT.NIGHT.CAR

As we see the road moving from the glass window up front, we can hear the woman's voice talking to
someone on her phone.

RIMA (V.O)

I don't know, I don't know where he is. Not answering. I'm just tired...Listen the child is mine, ok...
Another thing I’m not coming to office next two days. I don’t want any calls okay.

CUT TO:

36.EXT.NIGHT.CAR

Night time in the city, the car is standing at a traffic signal. The driver looks through the rear view mirror.

HARI

Madam... kahi na kahi toh jaana hoga na aapko?

She opens her eyes. Her eyes have dried although the kajal is smeared.

RIMA

Idhar. ha...Bass rok do.

In front of the maidan, the car stops.

CUT TO:
37.EXT.NIGHT.MAIDAN

He looks back and sees the lady sitting there with her eyes closed, tired. A gold chain hangs from her
neck. He steps out and looks at her from outside. She steps out.

She strolls into the maidan. She sits alone and smokes on a cigarette as the driver stands on the main road
looking at her.

Far off there is an abandoned wooden ferris wheel. She gets up. Walks, then starts running. HARI runs to
her with her bag. On approaching he finds her seated.

RIMA (CONT'D)

Ek Dhakka de sakte ho?

Hari’s flabbergasted.

RIMA (CONT'D)

Push. Phir jaha jana chale jao...

CUT TO:

38.EXT.NIGHT.GHAT

ARUN and the girl are sitting on two separate anchor pillars, looking out into the river. ARUN looks at
her.

ARUN

Kitna chahiye tujhe gao lautne ke liye?

CUT TO:

39.INT.ATM.NIGHT

He swipes his card once. Types in a figure.

ARUN

Hazar? Paanso? Kitna chahiye?

He hands her some notes. She looks at him, astounded. She leaves the cubicle.

Arun watches her leave from the glass cubicle. He leans on the glass door, watching her cross the road.

He turns to the ATM and swipes his card again. Notes get stacked.

ARUN (CONT’D)

Kitna chahiye khush rehne ke liye? How much do you need?

He swipes his car once more. The dispensing machine makes a crazy noise as it keeps dispensing more
notes.

ARUN (CONT’D)

How much do you need?

CUT TO:

40.EXT.ATM.NIGHT

Arun stands inside. Notes are flying in the air.

CUT TO:

41.EXT.MAIDAN.NIGHT

Rima is on her seat as the city revolves all around her. She looks in wonder as the sky descends as the
ground arrives.

Hari looks up as he pushes.

CUT TO:

42.EXT.MAIDAN.NIGHT

The car moves at break neck speed, as the ferris wheel keeps moving in the background.

CUT TO:

43.INT.HOTEL. LATE NIGHT

Hari runs upstairs as the man at the reception looks at him going up. He comes down in a hurry to the
reception.

HARI

Woh larki kidhar gayi?

RECEPTIONIST

Woh...sab, kab ki nikal chuki.

HARI

Nikal gayi matlab? Kidhar?

Hawa mein urr gayi?

Hari catches the man’s collar. A group of people gather to break the tussle.

The Receptionist opens his spondylitis band, puts it on the table.

 RECEPTIONIST (CONT’D)

Yeh Gussa kahi aur dikhana. Humme kya pataa kaun ataa hae kaun jataa hae?...

He gets embarrassed, and leaves. He turns back.

HARI

Main kuch khana laya tha, usne khaya?

The RECEPTIONIST looks at him dumbfounded.

CUT TO:

44.EXT.MAIDAN.LATE NIGHT

ARUN is walking alone, trying very hard to fit in all the bundles of notes inside the pockets of his shirt,
trousers, blazer. He walks past the Ferris wheel where Rima sleeps alone atop with her mouth open.

CUT TO:

45.EXT.LATE NIGHT.STREET

Hari sits inside his car, as the two indicator lights keep blinking on either side. It is raining.

CUT TO:

46.EXT.NIGHT.SHOP

The young girl is standing outside a dress retail shop, as the lights of the board go on and off on her face.
She looks at a mannequin inside a glass door.

CUT TO:

47.INT.LATE NIGHT.CAR

POV shot of the car windsheild as we see alleys, nooks and crannies of the street. Some drunkards
crossing the road. Empty dilapidated buildings. Someone being thrown out of a house.

48.EXT.EARLY MORNING.RAILWAY STATION

The call cab gets parked outside Hari runs along the station. Looking at the electronic boards.

The girl is sitting on the platform. A train whistle is heard, as she looks up.

Someone taps HARI on his shoulders, it is that same girl. Two hands holding each other firmly move
through crowd, early morning Howrah station.