Bengali short film
আরো গভীরে(DEEP INSIDE)
Dedicated to parents who lost their child.
Written & directed by Sanjib Nath
All scenes are performed inside theatre and along with supporting outdoor videos.
1. EXT. INSIDE BUS - AFTERNOON
All actors are inside theatre set, sitting on chairs arranged in the manner of bus chairs. Back side of the stage shows videos of moving roads and roadside objects. Videos are stopping for sometime to interpret the bus stops in its stoppages. Few more people get inside the bus (i.e. stage) to stand or sit and the image moves again.
Bus conductor comes to each person to collect the ticket fees. One 18 yrs young girl, Sudeshna, is eager to get the ticket. She gives him a ten rupees note and requests the conductor to help her to get down at the correct stoppage.
Oi moyur-ghat katodur?
Ek taka khuchro din.
Khuchro nei to.
Ami to dash dilam!
Ek-taka niye samoshya.
Ek-taka din, du-taka pherot dichhi.
Khuchro nei to amar kache !
Amar-i vul, gigyes kore tola uchit chilo!
khuchro niye jhamela na korle
Tomader peter bhat hajom hobe ki kore?
Bhat ki apnader-i hajom hoy,
Khuchro diye dile!
Dada, ar katodur?
koi dekhi ?
Dada aar koto dur?
Thakur-para bole kono stoppage nei!
Kon jaygay jaben?
Kon jayga janen na,
Ticket-ta korlen ki kore?
CONDUCTOR (moves towards gate)
O mukhe kulup lagiyechhe,
Aar uttor debe na!
Sit khali to !
Oh! dekhi ni !
Hay, tai to bolechhilo amake,
Oi… moyur-ghat-e namte!
YOUNG MAN (after solving great equation)
Hya meye, tai hobe.
Tachhara oi naam-e aar kichhu nei edike.
Asole aage okhane jangol chhilo,
aar Jal khete naki ghate asto!
SUDESHNA (pronam kore)
Achha Oi ghater kachhe ki ekta kali-mondir ache?
Hya, ghater thik…
Left-e ghat porbe, aar pashei Mondir.
SUDESHNA (to old man)
Aar kato dur?
Amake ektu bole deben?
Ami to aagei nambo,
Tar duto stop pore!
YOUNG BOY (happy)
Ami nambo, maane
Ami to tomar stoppage-er pore nambo!
Ami bole debo.
Kono chinta nei…
Amar songe nemo,
Ami to oi same stop-ei nambo!
Ai dike prothom?
Kar bari jachho?
Maane, Lipi kakima-r bari…
MAN-25yrs (with disinterest)
2. INT. INSIDE STAGE – MORNING
Sudeshna is walking, sitting, standing, doing her regular work in a robotic style. She does everything on stage using chair, table, tree and other props in a mechanical and emotionless way.
All the props on stage are made by human beings (actors).
Saptorshi enters into the stage with emotion and livelihood. As soon he enters into the stage, Sudeshna slowly gets her livelihood back with touch and supervision of Saptorshi. She starts smiling. She uses props with emotions. She laughs loudly. She dances around singing the famous Bengali song "Aamar Jibono Patro" of Rabindranath Tagore.
Saptorshi continues touches the props and the props become living human beings. They slowly transform into dancers and join dancing with Sudeshna.
They loudly take Saptorshi’s name and his name continues echoing all around. They smile, play, dance and laugh.
Saptorshi unnoticingly vanishes from the stage.
3. EXT. INSIDE BUS - AFTERNOON
Bus continues running.
Daak naam, Tai to Chhilo?
Lipi’di ki tomar aatyiyo?
Na, aatyiyo thik noy!
Lipi’r chhele Sapto?
Oi je chhele-ta,
Ar tin-te cheler songe khelte giye…
Tomar aatyiyo noy bolle,
Oti paka chhele nahole amon kaaj kore keu…
Ekhon ma-tar abosthya Jodi…
4. EXT. INSIDE STAGE - EVENING
Single or multiple actors are standing on stage creating holes using their body parts. Some of these actors are standing without movement, whereas others are moving with machine movements. Activities are walking, couple mirroring each other, cement mixing machine, hammering with push up, etc.
Lipi is trying to pass through these holes and hardles. She is desparately moving forward through these tunnels to search for Saptorshi. She initially hurries up to pass through, and then she gets tired and slowly moves with difficulties. She slowly starts calling Sapto by his name. As she gets tries, she puts more effort to move forward and she loudly cries out to call Sapto.
As Lipi continues her search and goes out of the stage continues calling Sapto’s name.
Actors on stage continue their activities. One by one they transform and come out from their positions and each of them speaks up one sentence. Then slowly they placed themselves one by one in a new location and form a globe shape using their bodies facing outside.
Each of them delivers dialogs in different characters, e.g. politician, ticket blacker, shopkeeper, friend, old man, teacher, etc. They deliver the negative dialog from their original position, and the positive one after coming to the position where they are making the globe.
Nije bachle tobe kina baper naam.
Tai bole bondhutyer kono daam nei?
Daam nato haathi, sab hero-giri.
Taki bhitur mato chokher samne bondhu-der morte dekhto?
Satar na jene jale jhaap deoya,
aar saaper mukhe chumu khaoya!
Sobai Jodi praner bhoye chesta chhere dey,
Tahole desher ki hobe?
Aar bhoy na pele to,
Gota deshtai joler tolay toliye jaabe!
Cheler birer goti hoyechhe,
Niyotir kachhe harleo jiboner kachhe hareni.
Hmmm… actor hoto, doctor hoto,
Ta na bir hote gechhe!
Sobar kato garbo emon cheler jonye.
Du’din mombati jaliye sok-sobha kore sobai bhule jaabe,
Aar ma-ta sara jibon chokher jole bhasbe.
Maayer eta to santona thakbe je
Emon chele-ke pete dhorechhe.
Mayer kothata ekbaro bhablo na!
Samne pele ek thappor mere bondhu bachano ber kore ditam.
5.EXT.INSIDE BUS – AFTERNOON
Bus continues running. Another 18yrs young boy was sitting on the chair for a long time. He was sad, quiet. Continuously he was looking at Sudeshna and other people. Suddenly he bursts in emotion and speaks up.
Apnara ki janen Sapto’ke?
Bondhu to bondhu,
Shotru holeo O bachate jeto.
Daktar hoto, actor hoto,
Kato kichhu bolchhen sobai.
Nijer karo-r songe hoto,
Kotha bandho hoye jeto…
Matha kaj kora bandho kore dito!
Tumi ki Sapto’ke chinte?
Chokhe angul diye chiniye diye gelo,
Je o ke chhilo!
Parini, ami sahosh dekhate parini.
Oi somay kiser ekta bhoy-e kukre gechhilam!
Nahole, chokher samne,
Dilu, Kush, Ani aar Sapto…
Ami dekhlaam, shudhu dekhlaam…
Ekhon sara jibon,
Ai bojh niye bachte hobe,
Ektu keno sahosh kore…
Bus continues running at full speed. Only the moving road is visible from the back side of the bus.
6. EXT. INSIDE STAGE – EARLY MORNING
Three same aged (18 yrs) boys are on stage. They are spreading their hands and legs, and moving their bodies passionately in a painful way in complete slow motion. Their actions indicate their desparate effort to live. However they are slowly sinking deep inside the river water.
Saptorshi is standing on a bench/chair on stage and looking at them. He constantly puts his effort to save them. He stretches his hands to hold them with no luck.
After all efforts go in vain, Saptorshi jumps inside the water (i.e. on stage) to save his friends. He tries to move toward his friends with rhythmic movements in complete slow motion.
Three friends too try to reach at him in slow motion. They hold each other and try to save themselves. Saptorshi stretches his hands upside looking at the sky and his friends hold his leg, waist and shoulder to get out of the water.
All of their breaths take the last chance; their eyes become wider and mouths bloat up. Slowly their bodies fall down on knees and then lie on the stage with no more movements.
7. EXT. INSIDE BUS - AFTERNOON
Sudeshna gets down from the bus door and enters into the stage. Moving image of the bus goes out from the back curtain of the stage and the back side becomes dark.
Lipi sits down on a chair at the centre of the stage facing towards audience (looking at camera). She is totally absentminded and still. Her eyes are even not blinking.
Sudeshna slowly crosses the stage elliptically, through the imaginary door and passage, and stands in front of Lipi obstructing Lipi. Lipi doesn’t look at her, and continues sitting in a stand still position.
Sudeshna slowly bents down on her knees and sits on stage uncovering Lipi’s face. Lipi still sits on her chair looking at the camera. Sudeshna speaks up.
Lipi, for the first time, looks at her eyes. Lipi, with disrespect and doubt, slaps her tightly on her face.
Keu Biswas korbe na e kotha!
Kintu e sotyi.
Sapto amake antyo-swatya korechhe,
Korechhe or bhabna diye,
Or sahosh, or adorsho diye.
Amar mato aaro oneker shorire boichhe
Baro hobar chesta,
Manush-er mato Manush hobar iccha,
Sapto’r gorbe amar sobai gorbito,
Aar or totwe amra gorbhito!
Amra janto karbo or swatyaa-ke
Sakar debo or swapno-ke.
Amra bachiye rakhbo amader swapner modhye,
Sudeshna cries out holding Lipi’s knees and slowly she rests her head on Lipi’s lap and continues crying. Lipi doesn’t look at her, but slowly starts crying. Then suddenly she bursts out in cry holding and grabing Sudeshna with her hands, body and face. They continue crying, Sudeshna looks at Lipi once and says Sapto’s last word to her.
Mrityu jibon-ke shes kore na,
Mrityu jibon-ke sampurno kore!
Lipi holds Sudeshna’s face with both her palms, and then she pulls her and holds her head on her chest and cries out. Both continues crying holding each other. Rabindranath Tagore's famous Bengali song "Tumi Sondhyar Meghomala" starts playing...