Bengali Feature Film
বউ-দি (Bou-Di) : The Cracked Eggs
Written, directed and produced by SANJIB NATH
FINAL Chapter: Story of dirty mind vs emotion
Vikas starts his train journey to a village for his posting of job for a doctor.
Several scenes with Vikas to represent his life style and character (along with the first song).
Sleeping in a lavish bed
Late night party
Flirting with girl friends
Hanging with friends in nice restaurants
Busy with his mobile calls
Surfing internet in laptop
Surfing internet in his mobile
Walking with different girls in different places
Intimate relations with different girls
2. EXT. TRAIN TOILET – EARLY MORNING
Vikas takes out paper from a rolled toilet paper container. He tears a feet long paper, folds it half way and keeps it on something. He repeats it four times. Then he happily looks at the toilet. Relatively moving rail line and small stones are visible from the open end of the toilet. Vikas sees the covered toilet seat and comfortably sits on it. He feels the jerking and slowly moves on the toilet seat along with the running train. Train keeps running at full speed in the early morning.
3. EXT. VILLAGE RAILWAY STATION – MORNING
Vikas gets down from the train to a village station with his luggage and a big suitcase. He sees the station name written on a board in a local language unknown to him. He searches and finds the English version on the main board – DHARMA PALLI STATION. He gets down from the train.
He comes near the gate of the station to enter into the village. He has to show his ID proof and the invitation letter in village authority (panchayet) letterhead and answer couple of questions to get approval to enter into the village. He comes out from the main gate of the station with great difficulty holding his baggage.
While entering inside of the village boundary, he noticed one old man sitting at the end of the platform inside the village boundary. He looks like a bit mad. By seeing him, it’s easy to make out that he has no way to go anywhere, and he is having a pathetic life. He suddenly becomes sad and helpless. He starts panicking and feeling pain below his abdomen. He holds tightly a branch of a tree and moves his thighs in pain. He puts his head on the tree and tries to control his pain by spreading his thighs. After a while he moves out of that place and sits on the place where he was sitting early. Vikas realizes that he came near the tree to urinate. Vikas surprisingly notices that not even a single person is paying attention to that old man.
He comes near to the rickshaws which are standing out of the main gate, and starts asking for the ride. He is unable to talk to them because they don’t understand English.
Vikas finds a lonely driver on the other side of the gate. The driver tilted his rickshaw taking support from a broken wall and rotating the paddle by his left hand. His right hand is touching the centre of the rickshaw wheel. From far end it looks like a chakra rotating on his right hand (like sudarshan chakra in lord Krishna’s hand).
He reaches to the rickshaw driver and asks in broken English (assuming he won’t understand the language like other drivers) whether he is willing to take him to Shivaraj’s house.
Dharma-palli, Shibraj’dar bari!
Nischay niye jaabo!
The driver smiles and makes his vehicle ready to start. He takes Vikas’s luggage and properly keeps them in the vehicle. He requests Vikas to sit on the rickshaw in between the luggage.
Vikas somehow manages to sit on the rickshaw along with his luggage. The uncomforting situation is visible on his face. Driver understands it, smiles quietly and starts his rickshaw.
4. EXT. VILLAGE ROAD - MORNING
Vikas starts his journey in the rickshaw towards his paying guest house. Vikas is uncomfortably sitting on the trolley rickshaw with his laptop bag, water bottle along with his big suitcase and another couple of luggage.
The rickshaw is slowly moving on the typical village road leaving beautiful scenes on both sides of the road. However Vikas’s attention doesn’t grab the beauties of:
Cultivation of paan leaves
Kids playing on the yard in the sunny afternoon
Idol making with mud and bamboos
His corrupted mind can only be focussed on the scenes:
Women cleaning utensils with mud in small pond
Lady walking after bath
Young girls playing on ground
Vikas is trying to get through his friend, Swajal, in his mobile whenever his eyes are not getting feasted by village girls’ beauty. Vikas is getting impatient by the poor network connection of his mobile tower, but he is becoming more irritated by the jerking of the rickshaw due the poor and pathetic road condition. He is way more irritated because of Swajal for not receiving his calls. After a while Swajal receives the call.
Wat the hell?
Aare baba, snan korte gechhilam.
Snan korei sab rog dhuye phelli naaki?
Eke to ai network-er aboshtha,
Tar opor tor ek-ghantaa dhore rajokiyo snan!
Rajokiyo noy chadu,
Pukur-e gechhilam dubki lagate!
I cannot imagine, tui pukure,
Aaro pach-jon-er songe snan korchhis!
kalo kalo nongra lok,
women with monthly instalment,
Haas-murgi, goru-bachhur, kukur-chhagol,
You’ve gone crazy!
Na re, atotao baaje noy.
It’s pretty decent.
And fun too!
Gaaon ki gori, hya?
Oh, this fuckin network!
Gram-e amra oto mobile-er dhar dhari na.
Kachhe hole mukho-mukhi kotha,
Dur hole post-card.
Aar khub dorkar-e phone!
VIKAS (continue trying his mobile)
Hmmm, Ai ja network,
Mobile-er dhaar dhereo labh nei!
Technology manush-ke kato kachhe ene diyechhe,
Aar gram-gulo sei sujog bhog kortei parchhe na!
Jar songe kotha bolchhile…
VIKAS (after connecting in his mobile)
Thakis ki kore ekhane?
TV-phibi chole to?
Hath-gune ka’ekta barite!
Kintu, cable-er asa koris na,
Only national channel.
Don’t tell me.
Then I’m dead meat!
Hospital-er par, koris ki?
Radio, tape recorder.
It’s a different life.
Believe me, it’s actually cool.
Cool na chul?
Aar jhant jalas na.
Sara din koris ki?
Don’t say you see patients, day and night.
No, not at all.
Tui-o enjoy korte sikhe jaabi…
The village life.
Aar dharma-palli special, theatre!
Maane, shes-mes Jatra dekhte hobe,
Dhut-teri... abar gelo.
Apnar bondhu naki?
Ami sobbai-ke chini!
Swajal’da to pasher geram-er chhele.
Koilkata theke dactari paas diye elo!
Ai to gato saptahe,
Nabopalli-r bhaanu-thakurer choto chele,
Ek maas dhore jar namei na,
Apnar bondhu-i to dekhlo!
Keno, nabopalli-te doctor nei?
Ache na, sorkari jomer basa.
Ekbar dhukle pran niye berono muskil!
Ashe-pasher geramer sobai to ekhan-ei aase.
Ek gram periye onyo gram-e?
Sikhya, chikitsa - ai duyer jonye
Ashe-pashe-r geram ki go,
Dash kosh dur-er thekeo lok ekhanei aase.
Kaar karmo kake kothay niye jay
Ai dekhen apni…
Tui to dekhchhi spiritual?
Abhri paath leads tu mi!
He he, bujhlen kina…
VIKAS (after getting connected)
What a fantastic place!
Pujo-tujo koris naaki?
I’m pissed off…
Modham gramer dike ekta tower ache,
Oi diye aar koto hobe!
Dharmapalli-te ato mobile-er use nei.
Aar, ediker ja abostha,
Network theke medical facility-r dorkar beshi.
Toder oi chotto ekta haspatal,
Aar kato-gulo gram-er prayojon metabe bal?
Tui to dhokar aagei
amake bhoy dekhachhis!
Na re, bhoy noy!
tui to Monday join korchhis,
Eke to eto reference, interview, permission,
Kato kichhu kore ai gram-e thakar ‘VISA’ pelam,
Hello… Hey, hey?
Apnar dhoirjyo baddo kam!
Emni-tei gram gulor abosthya khub kharap.
sab corruption-er phal!
Businessman to Government official,
Sorry, kichhu bolchhili tui...
Apni-o to Koraapted!
Jiboner kono na kono khetre,
Kono na kono moho-te,
Kono na kono chahida-te,
Gita-ay Krishna bhagoban bolechhen…
Karmo karo phal-er asa koro na; tai to?
It’s all non-sense!
Kono kaaj korte manush motivated hobe ki kore?
It’s just all big big spiritual talks,
Bastabe practical noy!
Dhormer kotha bastabe kothin noy,
Barong, khubi sahoj!
Karmer phal sabai-ke bhugte hoy.
Tai amader chinta-bhabna swartho-heen howya uchit.
Amra jai kori na keno,
Seta bhagobaner uddeshye samorpito howya uchit.
Byekti swarthe noy!
Tham to, tham!
Rickshaw driver stops the vehicle and gets down to the road from his rickshaw driver seat. He looks towards Vikas.
Na na, oi tham noy,
gyan thamate bolchhilam.
Kotha theke sikhli eto bhari bhari dialog?
Ekta kotha bal, Mahabharata-e,
Pandava-ra Kauravas-der songe judhyo karlo,
Nijer relative-der songe,
Samrajyer jonye, right?
Eta swartho-parota chhilo na?
Na na, ta noy,
Judho chhilo dharmer jonye.
Aar Mahabharata-er galpo akhyorik noy!
Mahabharat aasole antor-dwand-er kotha,
Judhyo manush-er moner bhalo aar monder,
Judhyo ekta sikhyar jonyo.
Kibhabe nijer bhetorer ku-take marte hobe,
Kibhabe swartho-take chharte hobe,
Kibhabe su-take jagate hobe.
Kibhabe Dharmer sthapona korte hobe…
Amder sakoler ekhane asar ekta uddeshyo ache.
Aar kichhu sikhya!
Eto-tai jakhon bolle,
Takhon etao balo he probhu,
Ami ki uddeshye ekhane esechhi?
Ki obhigyota aar ki sikhyar uddeshye!
Oi je barita dekhchhen,
Oi bari-ta, samner ai pukur, ai gram-ta…
Apni dhire dhire sab jante parben,
Apni keno ekhane!
Destiny-i apnake karon janabe,
Aar apni-o apnar destiny-ke janben!
Je path-i apni dhorun na keno,
Pouchhoben tar kachhei.
Kintu Satotar path - sahoj aar taratari.
Somay sab dekhay…
Ohh, finally reached!
Seriously, somay-i sab dekhay.
Kintu tor somay, baro beshi somay nilo re!
Apnake aar ektu dherjyo dhorte hobe,
Ai shoru rastay toli-rickshaw dhukbe na,
Pukur dharer rasta-ta diye ghure aste hobe!
Je dik diye paris ghora.
Taxi-r mato meter-to chorchhe na!
They are entering into a small village. Most of the huts are made of mud and the roof is of mud tiles or dry rice plants. Two village girls are playing ‘kit-kit’ with a small round shaped tiles portion inside the drawn lines on the ground. Vikas’s eyes get attracted towards the elderly girl’s naked legs under her half folded shaari.
Shibraj’s house is better than other surrounding houses. One big mud room with tiles roof and attached another cement room.
Rickshaw-driver stops his vehicle in front of Shibraj’s house. He honks his air horn couple of times. The house boundary is defined by a wall made of small plants and the back side of the house is full of mango, jackfruit, coconut trees. Vikas looks here and there, and then gets down from the rickshaw. He yawns, stretches his hands and legs. Then goes inside with his laptop bag. Rickshaw-driver smiles understanding Vikas’s expectation, and goes inside carrying his suitcase and other luggage.
Shibraj and Tulsi come out hearing the Rickshaw horn. Shibraj is wearing a loose shirt-pant and Tulsi in a decent cotton shaari. Vikas gives an intense look towards Tulsi.
amader daktar’babu’ke niye elam go.
Rastay asubidha hoy ni to?
Oi dik-er rastata besh kharap to!
VIKAS (shaking hand)
Na na, Shibraj’da.
Serakom kichhu noy.
Vikas and Shibraj continue chatting, Shibraj talks to Vikas with intimacy. Shibraj introduces the village part by part showing different directions to Vikas.
Rickshaw-driver, after consulting Tulsi, keeps all of Vikas’s suitcase and luggage in the cement room.
During all these activities, Tulsi looks at Vikas couple of times in a doubt and wonder mixed eye. Vikas’s corrupted and dirty eyes don’t miss chance to look at Tulsi’s village beauty for couple of times carefully. They smiles after an eye contact.
Vikas takes out a twenty rupee note from his wallet and give to the Rickshaw-driver after he comes out from the cement room. Rickshaw-driver happily takes the note and leaves.
Shibraj goes to Tulsi and asks her about Vikas’s tiffin.
VIKAS (to driver)
Dorkar hole toke kothay pabo?
Amake shudu smaran korben,
Hazir hoye jaabo.
VIKAS (knotting head)
Ekta kotha boli, daktar babu?
amna-samni kotha bolei shanti pai.
Tomar bondhur songe to tomar dekhai holo na!
Taholei bolo, phone kothay manush’ke kachhe ene dilo?
Choli go Shibu’da.
Rickshaw-driver leaves the place with a gentle smile. He turns his rickshaw and vanishes from Vikas’s eyes leaving Vikas little bit wondered and doubtful.
5.INT.VIKAS’S ROOM – AFTERNOON
Swajal is in Vikas’s room. Both are chatting along with a common friend Tarun connected in mobile phone speaker. Vikas’s mobile phone is being kept carefully on the window shelf with the support of book, pen and a wooden stand made only for this purpose. As per Vikas’s experimental calculation, this particular position catches good network for his mobile!
Tui Jodi dekhti Tarun,
Vikas kibhabe mobile-take rekhechhe.
Se ki angle!!
‘Thank you’ bal re ahesan-pharamosh!
Network-er ja chhiri,
Oi angle-er jonyei
Tarun-ke daat keliye bolte parchhis.
Tobe bole na, bhagoban ekdike maare
to onyo dik diye bhoriye dey…
Kaal theke bhuter mukhe
khub raam naam shunchhi.
Credit goes to the adhyattik sangomkari!
E Ki adjective guru?
ha ha ha!
Yeah guys, kalker rickshaw driver!
Kaal station theke bari aste aste,
Amar puro jaliye diyechhe!
Unhnnn… topic theke shore jaas na.
Prothome kholosa kar,
Bhagoban Ki diye bhariye dilo!
Akasher Moyna, naki khachar chandona?
Pakhti-takhi chaaro chaadu!
Tui chup kar Swajal…
Sexy bird, huh?
VIKAS (looking up, indicating God)
Sab-i tar maya bondhu.
I can clearly see my karma,
in village dharma!
Vikas and Tarun start laughing together. Swajal gets little irritated and tries to warn Vikas.
Shahure phultusi-der night club noy, je -
“elam, dekhlam, joy korlam”
– theory diye paar peye jaabe!
Ektu edik odik bujhlei,
Haatir shur khochaat!
Vikas to theory customize korchhe!
“elam, dekhlam, uhmm… korlam,
Aar tarpor kete porlam”
E theory pakka cholbe…
Kintu mone rekho, shur kata Mukku!
Swajal maanei negative energy!
Chele-ta kothay ektu ashar alo dekhchhe…
Aar er modhyei ashubho warning!
Tor dharmo-palli-te bhabao crime naaki?
Ki bal to Tarun, it’s actually a crime!
amader adhyattik sangomkari,
“bhabna naaki ankurito bij-er mato,
Bhobishyote baro brikkhyo-er porinato hote paare.
Karma-te shudu ki korechho ta noy,
Ki bhebechho tao included.”
Why God, why?
Bhabnay keno tax bosale probhu!
Rickshaw-baba se bishay-eo alok-paat korechhen.
Amra jaao kori na keno,
Bhagoban-ke utswargo kore kora uchit.
“amader samosto karmo bhagobaner uddeshye haoya uchit,
Bekti swarthye noy.”
Oh… tahole no problem.
Pakhi moyna-i hauk ki chandona,
Prothome God-ke utswargo karo,
Tarpor enjoy karo.
But most importantly,
Enjoyment bekti swarthe noy,
bhagobaner uddeshye hote hobe.
Tora dutoi, ekkebare jaali.
Bhagoban-o toder bachate parbe na!
Tui Janis na, Vikas.
Respect for women.
Tui kichhui Janis na!
Amar kotha kaane dhukchhe na, fine.
Kintu, kaukei jigyes kore nis,
Hey pitamaho bhisyo, tumi saro-sojya-tei thik achho!
bhagobaner mohima tumi Ki bajho!
God amake Mukku-r kotha sayong janaben…
Ekdom sathik somaye…
And you know,
God aamake already help korechhen…
shhh… amra asol topic chhere
onek dure chole esechhi.
Pakhi-r prosonge phire eso hey shikari baaj.
She is total cool –
No risk, only gain!
Risk nei Keno?
Jhere kaasho to chadu…
SWAJAL / TARUN (together, in different tone)
Boudi maane sister-in-law.
Elder brother’s wife.
Na re Tarun, maane-ta ekhon bodle gechhe.
“Bou” means wife and
“Di” means sister.
So, it’s wife cum sister.
Je kina didi-r mato amar jatno nebe,
Aar amake bou-er mato taar jatno nite debe!
What a meaningful meaning!
You abnormal dogs!
Tar opre abar dada badhyo matal.
Boudi to jothariti signal dichhe…
Jani na tui kothay ki dekhechhis,
Gram-er modhye phaltu-giri koris na,
Abar negative energy!
Amar hoye Swajal’ke keliye chup kora…
Aar tarpor khule bal to dekhi…
At that moment, Tulsi slowly comes towards Vikas’s room from the yard. She stops in front of the door. Vikas, after seeing her coming, calmly turns towards her. Swajal too slowly turns towards Tulsi.
I present you…
My ultimate target.
Bou cum didi,
Amar kameshwari ‘bou-di’.
Ai chup kar, janoyar.
Ghonta bujhte parbe.
Enjoy her beauty!
Speak in English and don’t laugh.
Ohhh… what about me?
You are gonna miss it Tarun,
But I’ll give live commentary,
You, … visualize!
TARUN (artificial sadness)
Okaay… Go ahead.
Look at her beautiful eyes like Aara,
Sexy pinky lips,
Then big big…
Ear rings, you dirty mind!
Look at her naughty black hair.
You cannot resist yourself to visualize her whole body,
after seeing her belly,
cleverly hidden in the folds of her saree.
Dekhle tor gayer lom khara hoye jeto re Tarun!
Stop it, sadists!
And say something to her.
Swajal smiles and turns towards Vikas; Vikas smiles at her. Tulsi cannot see the complete room and doesn’t guess who else are there inside. She looks at Vikas with affection.
tomader cha-biskut-er songe aar kichhu debo?
Boudi, ami kintu cha khai na.
Thik ache, ami 2 cup cha aar ek gelas dudh anchhi.
tumi dudhe chini khaao?
Boudi, du cup cha kaar jonye?
Apni khaben, amader songe?
Tomra to tin jon?
hya boudi, amio achhi.
TULSI (towards Tarun)
Tumi khabe na?
Ami to parle coffee khetam boudi,
Boudi o iarki marchhe,
Tarun to phone-e kotha bolchhe,
Speaker phone theke awaz aschhe!
TULSI (peeping inside the room)
Ki je koro tomra,
Phone-er modhye theke kotha?
Ekebare asol mone hochhe!
Tulsi, being shy, smiles and leaves the room. All three starts laughing madly as soon Tulsi vanishes from their eye sight.
achha, ai Aara-ta ke?
Kothay thakis tui?
Ki lagchhilo mairi Akshay-er opposite-e!
Aara, Akshay-er songe!
Bollywood-e sotyi age is no bar…
VIKAS (at Swajal)
osab chaaro Manik,
shudhu balo, Dudu kaabe?
Kochi chona-ta amar,
dudu khaoya ekhono chharo ni?
Aar bolis na,
Cha khai na bollei bhaabe,
Daktar-babu dudh khaabe.
Prathom k’din baron korar chesta korechhilaam,
Aaj kaal haal chhere diyechhi.
Dudh chaar, amanush-er dal!!
Toder lojya kore na?
Erokom ekta soja-sapta mohilar-er sambondhe
Ki sab aje-baaje kotha bole jachhis sei theke!
Uli baba “daktar-babu”!
Toke jene bujhe bhagoban ekhane enechhe.
emon chunku boudi’r
Jibon ki bekar chole jaabe?
Tui bhagoban-er ishara na bujhle
Tor paap laagbe!
Rickshaw-baba-o tai bolchhilo.
“apnar ekhane asar ekta jothartho karon ache”.
Vikas aar jaai koruk na keno,
Eto baro paap korte parbe na!
Boudi’r jibon jouban kano-tai
byartho hote debo na.
God will help you,
6.INT.IN FRONT OF VIKAS’S ROOM – EVENING
Two neighbourhood kids are playing in the yard of Shibraj’s house. One kid is climbing up on the tree near the main gate, hanging and moving on the branches, and jumping from the tree to save himself. The other kid is trying to touch him from the ground to make him out from the game.
Vikas, in formal dress with leather bag in hand, is coming back from office. He is in deep thinking and looking little tired. He meets Shibraj before entering into his room. Shibraj, wearing a folded white sharee (dhoti) and a shirt, walking in the yard. One cannot make out seeing him that he’s already in a moderate drunken state. But that becomes evident when he speaks.
Tulsi, in a colourful cotton sharee, is brooming the yard with a broom made of sticks of coconut leaves. One end of her saree is tightly stuck inside her saree near waist. She smiles at Vikas before leaving the place completing the brooming.
Ai je Vikas, Office theke?
Tomar songe to kothai hoy na thik kore!
Kemon cholchhe tomar hospital?
Ki bolun to,
Ami ekhaner integrity and honesty level dekhe
Are you indicating corruption?
Nah, amra dharma-palli-r basinda-ra
ekdom corrupted noi.
Ai gram-er sab kichhu sachho, sarol.
Chand-er gaaye daag achhe,
Kintu amader gram-er sikhya bebosthya
Amader daag mukto korechhe rekhechhe,
Eta thik je,
Amader gram-er school
engineer daktar toiri korte pare na.
kintu social values, morality, humanity-er
sikha diye, amader prokito orthye manush hoyar
bhit toiri kore dey!
Aar amader mon-ke kakhono
kalushito hote dey na.
Tulsi brings a mug full of water and cow dung in her hand. She keeps the cow dung on the ground and sprinkles some water on it. Then she spreads the cow dung using her right hand plum after mixing with water. She makes a beautiful round shape on the ground.
Vikas’s eye suddenly falls on Tulsi’s blouse halfway visible in between her waist and hand. He moves his eyes from there.
Hya, tobe ki, amra majhe majhe,
Poristhitir shikar hoye jaai.
Tulsi finishes making the round using the cow dung and water, then moves out of the place.
One mother hen finds out grains/foods for her kids near the boundary wall and training her kids how to find food. A pet dog, lazily lying on the ground, is staring at the hen kids shamelessly.
Amra poristhitir shikar hote chaai!
Asole amra poristhitir dosh diye
Nijeder daag-gulo dhakar chesta kori.
(after throwing his hands on air to clean)
(looking at the kids playing on the tree)
Prasad, Topa, sondhye hoye gechhe,
Ebar bari jaao.
Prasad and Topa slowly get down from the tree, stop their play and go back towards their home exiting from the main gate.
Ki baloto, desher sikhya-bebosthay
Humanities, morality, honesty
Esab-er paath missing!
sekhano uchit chaatro-der,
Amader gram-er sikhya seikhanei alada,
Choritro gathon ekta baro bepar amader kachhe.
That’s so true!
Amader desher k’ta matha-y
Sei gyan-ta ache?
K’ta leader-er sei dura-drishti-ta ache!
Amader Mittir-babu’r mato lok chaai…
Amar ki mone hoy,
Vote-e daranor jonye
Minimum Graduate hoywa
badhyotamulak kore deoya uchit!
Kintu, tate ki hobe?
Education maane to oi academic certificate,
O jogar korte katokhyon?
honesty, morality – esab kotha theke asbe?
Samner manush-take somman kora ke sekhabe?
Eikhanei amader gram-er sikhya bebosthya
It makes us different.
Mitra-babu, taar dal,
Aar amader oi somayer gram-er matha-ra
Onek sadhona aar tyag-er modhye diye
Amader upohar diye gechhen -
jeta kina puropuri khaati…
sadharon manush-er jemon
leader aar system-er opor bhokti thaka dorkar,
thik temni amader neta-dero
jano-sadharon-ke respect kora uchit.
Two kids are walking on the road carrying another kid on their hands (like a ‘palki’).
Se-tai amader gram-e
amra dhore rekhechhi.
Dharma-palli kano din
ku’karmo-ke prosray dey na.
sympathy aar humanity–er naameo noy!
Sedin-o gram-basi Mukku’ke chhareni,
Tulsi, wearing a silk/sifon saree (without blouse), comes towards the main gate to show the light of the lamp (prodip) in her hand.
She goes back towards her house after showing the lamp light to the gate and Vikas’s room. She looks at them while going back.
Ki bak-bak korchho?
Ai matro office theke elo,
Oke haat-mukh-ta dhute daao!
Bikash, tumi jaao to,
Nahole ekhaane dariye dariyei…
Or naam Bikash noy!
Bikash, tumi jaao to,
Nahole tomar dada…
Hya, tumi jao hey,
Ektu jiriye naao…
Vikas smiles and goes to his room. Tulsi goes towards her house and Shibraj goes towards the gate.
Couple of girls, wives and kids are filling water in their pots and buckets from the tube well near the crossing. Shibraj slowly walks towards the crossing.
7. INT. TULSI’S ROOM – MORNING
Aunty, in the next house, sitting on a wooden stool (pidi) on their yard, is cleaning the rice using a flat plat made of bamboo (kulo).
Vikas walks in front of that house and enters from the main gate of his paying guest house. Vikas comes back from his home town. He gets milk powder packet for Tulsi.
He keeps the bag in his room and goes towards Tulsi’r room with the powder milk packet. He stops in front of the almost closed door and knocks the door. Tulsi, wearing her sharee little high and stucking one end of her sharee near her waist, is cleaning the walls and roof with a long handle broom standing on a tall wooden stool.
Vikas find her cleaning the walls with her broom with both hands, as soon he opens the door. Vikas’s thirsty eyes don’t stop staring at Tulsi’s naked legs till her knees, her waist, and her blouse. Tulsi quickly tries to cover her waist with one end of her sharee which was stucking near her waist. In hurry, she cannot control her balance and falls down from the stool. Vikas’s reflex helps him to immediately move towards Tulsi and catches her on his arms. Vikas holds her tightly by his arms. There is no gap between them. Only the broom is placed in between their faces and the milk packet is stuck in the broom sticks.
Ebar to chaaro!
Jodi naa chaari?
Tomar Dada aschhe.
Eto taratari aasbe na,
Tahole, jene-bujhe plan kore asa hoyechhe?
Bari theke kakhon ele?
Ota ki, tomar haate?
Vikas picks up the powder milk packet from the broom sticks, throws the broom out with style, gives the packet in Tulsi’s hand, and then runs his index finger and thumb on her lips and cheeks.
Tomar jonye Kolkata theke niye elaam!
Powder milk… Guro dudh.
Ki dudh? Guro??
Aager din dekhlaam,
dudh kete gechhilo bole
tumi chaa banate parle na!
Khub je darod!
Tulsi suddenly bites on Vikas’s chest and moves out from his arms with a naughty smile.
Tulsi somehow manages to get down from the stool and goes very near to Vikas out of her misbalance.
TULSI (shy smile)
Bab-baa… ekhuni portaam!
Bari theke kakhon ele?
Ota ki, tomar haat-e?
VIKAS (hesitantly unprepared)
Tomar mane tomader jonye, Kolkata theke, niye elam!
Ki dudh? Guro??
Aager din dekhlaam,
dudh kete gechhilo bole
apni chaa banate parlen na!
ek chaamoch niye,
maane, garom jale gul-lei,
ekebaare asol dudh…
Tulsi smiles to convey thanks and takes the packet to look at it closely.
Daariye roile keno?
ai dudh diye banabo?
Naa thaak, ami jaai,
Ready hoye office beroi.
Tumi eso, ami bhat bere dichhi.
Aar shono, amake apni bolo na!
Vikas looks back towards Tulsi after listening her last word and goes toward his room with a smile expressing agreement. Tulsi continues looking at Vikas with a mild smile on her face.
8. EXT. VILLAGE MELA – AFTERNOON
Tulsi comes to the mela in the neighbouring village with Vikas. They happily walk around together in the mela and enjoy the food, gambling, rides, etc.
Vikas wins a teddy bear in a gambling play and gifts it to Tulsi. Tulsi accepts the teddy bear with great joy.
Vikas, in spite of being busy with Tulsi, doesn’t forget to look around to watch other girls in the mela.
Vikas intentionally and forcefully makes Tulsi agree to take ride in the huge circular ride (nagordola). As soon the ride takes it full speed and comes down from its highest point, Tulsi gets so afraid and uncomfortable, that she tightly holds Vikas’s arm. Vikas continues enjoying the pleasure of the touch of her body in the ride.
9. INT. VIKAS’S ROOM – EVENING
Vikas walks with Swajal till the main gate and talks for a while. One kid is playing on the road with a bicycle tire and a wooden stick; he is running the tire by hitting it with the stick. One street hawker is walking on the road with his rickshaw van loaded with plastic jewelleries, toys, utensils, etc. Vikas and Swajal talks for a while near the gate till gets dark in the evening.
…or asol naam ki chhilo ke jane?
Sobai Mukku bolei refer kore!
Taa hobe, 70-80 bachhor.
Dharma-palli-r lokera emon khepe giyechhilo,
Je Mukku’ke sobai mile dhore or…
HAWKER (in local language)
Sakha, churi, tip, khelna…
Shunechhi je mahokuma pulish-o
kichhu korte pareni.
Gramer lokera oke
dharma-palli-r bairei berote deyni!
Gram-er gondir modhye jail-er mato thakto.
Gram-er manusher ghrina-r drishti
Aar atmoglani sojhyo korte na pere,
baar du’ek suicide korte gechhilo!
Kintu, Gram-er lokera shahore chikitsa koriye
Bachiye pherot enechhilo…
Narok jantrona bhuge bhuge
Kichhu bachhor aage morechhe!
Mukku kono naam na,
Mukku sobar samne ekta example!
Ami bhabtam tui iarki marchhis.
jani na tor mone ki ache,
Tension niyo na bondhu.
Kaalke melay dekhti ekbar,
Kemon kore amar haat dhore chhilo!
Chokh bandho kore bojha jay…
Tachhara, tor oi Shibu’dai to
Pathiyechhilo amar songe!
SWAJAL (whispers in anger)
Pagol hoye gechhis!
Amar kotha gulo tor kachhe bekar lagchhe?
Ekta kotha mone rakhis…
Hya hya, ami mone rakhbo,
Toder oi respect aar values-er kotha!
Aar tuio dekh,
Toder oi soti Tulsi
Amar songe kemon dirty game khele…
You proud brat!
Nijer oi manosik bikriti theke beriye aay,
ami bhule jaabo je, tui amar bondhu…
VIKAS (satire smile)
shanti Swajal, shanti.
Take care man!
Swajal, with anger, goes out of sight driving his motorcycle. Vikas comes back to his room.
Vikas, in the bright evening light, looks at Tulsi’s house before entering into his room. He becomes upset after not seeing her around and stops in front of his half way closed door. As soon he enters into his room, someone pulls him inside and pushes the door to close it.
The door couldn’t get closed fully and a thin line between door slabs make the inside little bit visible. Vikas, closely stands with Tulsi supporting the door, is visible from the thin door gap.
TULSI (artificial anger)
Tumi ki bolchhile,
Swajal’ke? Ki niye?
Koi, Kichhu na to!
Ki mone karo?
Ami to emni…
Sedin-o to bandhu’der khub bolchhile,
“Vikas aar jaai koruk na keno,
Eto baro paap korte parbo na”!
Dibbi je Vikas balchho?
Sobar samne Bikash keno balo?
Amar aar ki?
Ki bhaabo? Kichhu bujhi na?
Bojho to, na bojhar bhaan keno karo?
Vikas pulls Tulsi very close to him holding her hands. Tulsi gets closer to him and the door think gap increases little bit more. Vikas squeezes her in his arms very tightly. Tulsi’r lips are almost touching his lips. Vikas kisses on Tulsi’s lips. Tulsi artificially tries to get rid of Vikas.
Ki karchho, chaaro!
Vikas holds her tightly and kisses her passionately on her lips, cheeks, neck. Tulsi slowly gets involved, closes her eyes, holds his arms tightly, then tightly holds his back and shoulder with her fingers and nails. Tulsi’s breathings get deeper! Vikas drags her on his bed and places himself on Tulsi. Vikas and Tulsi’s legs start getting involved in erotic game and make movement. He rolls on hos bed to take Tulsi on him. Suddenly Vikas falls down from his bed on the floor.
10. INT. VIKAS’S ROOM – EVENING
Vikas comes out from his dream of afternoon sleep after falling down from bed. Excited Vikas falls down on the floor. He moves his hand in the evening darkness to find out the bed switch comes out from the main switch board with an extension wire hanging on the wall. He switches on the light.
Vikas, with sleepy eyes, in unprepared condition, seating on the floor, looks at the closed door. Then he, with uncomfort, looks at his wet bermuda pant and expresses his irritation.
He hears Tulsi’s voice asking for help. He gets up and opens the door immediately. Then he stops, looks at his pant with irritation, wears a loose jeans pant on top of his bermuda, and goes out from his room in hurry.
11.INT.SHIBRAJ’S HOUSE-YARD/ROOM - EVENING
Shibraj, in a complete drunken state and uncontrolled way, walks towards the yard and falls down near Vikas’s room. Tulsi comes out from the kitchen hearing the sound. She tries to pull Shibraj to make him stand. After failing to do so, she calls Vikas.
Bikash, O Bikash,
Ekhane eso na!
Vikas wears jeans pant on top of his wet bermuda and comes out of his room. He runs towards Shibraj after seeing him fallen down on the yard. Vikas and Tulsi hold Shibraj to get him up and bring him into their bed room. Then they make him lie down on the bed. Shibraj in drunken state and Tulsi, out of care and anger, continues speaking while they bring Shibraj into their bed room.
Keno aisab chai-bhasyo gelo?
Amar ki dukhya hoy na?
Amio ki khete shuru karbo?
Ami ki ichhe kore khaai?
(showing his left chest)
Ai to tui ese gechhis!
Amar aar kono chinta nei.
Shibu’da haat-ta din,
Ai je, uthun uthun…
Ohh.. otho ektu dhore,
Ahh… chal bhai…
Tumi kotha bolo na…
Kotha? kothaai to bola hoy na!
Or songe, thik kore?
Kotha bolbo ghare giye…
Duto kothai Jodi na…
Vikas and Tulsi literally pull him on his bed and make him lie down. Shibraj’s voice slows down, becomes less understandable. He slowly gets asleep. Vikas continues standing there in an uncomfortable situation. Tulsi looks at Shibraj in a very caring and hopeless way for a while. Then, she talks to Vikas.
O erakom chhilo na.
Amader gram-e keu erakom noy.
Hote pare na!
Gato barer aager Pujoy…
Train-e kore bari phirchhilo,
amar deor, or bhai,
Station-e dhokar mukhe
Matha ekta pathorer opor pore,
Tears come out from Tulsi’s eyes. She cannot control herself and cries out. She weeps for a while holding part of her saree on mouth. Then she, after wiping her tears with her saree, controls herself and continues describing to Vikas in a less attentive mental state.
Ekahner haaspatal-e to kichhu holo na,
Gari jogar kore,
Kolkata niye jete jete…
or ai sab shuru!
Emnite amader gram-e kono baro utsab-tutsab chhara
Keu esab choy na!
Dukhyo ki amar hoy na?
Jal-janto chhele-ta porte gelo,
Aar phirlo na!
Buk phete jaay…
Samporke deor holeo,
Nijer bhai-er theke beshi chhilo.
Oi ghar-ta Debu’r chhilo.
amra bhara ditam naki tai?
Kintu tomake dekhe…
O’ke chinta korte dekhlei,
Debu moja kore balto,
“Aar chinta korben na Shibraj’da,
Ami ese gechhi”
Prathom jedin anumoti-patro banate
Tumi bari esechhile,
Tumio kathaay kathaay oi kothai bollechhile…
tomar kothata kaane jetei,
saamne jeno Debu dariye…
tai tomar dharma-palli-te thakte kono
samosya hoy ni!
Tanahole, bairer keu eto sahoje…
tumi kichhu mone koro na,
amra hoyto tomake
Na na, emni-tei ami…
Ki sab bhebe…
Aar amake, ai sab bole
Choto koro na boudi…
Vikas moves a bit towards the window and accidentally touches the glass kept on the window shelf. Glass falls down on the floor and breaks (signifies breaking his ego).
Tulsi nodes her head and moves her eyes to indicate not to worry about the broken glass. Shibraj moves a bit and turns towards them. He turns his head slightly and asks Vikas…
Aarey Vikas, tumi?
Tomar boudi, eto emotional!
VIKAS (in agony)
Aar chinta korben na Shibraj’da,
Ami… ese gechhi!
Vikash, in tremendous mental agony, slowly moves backward to reach near the door. He looks at Tulsi once. Then turns and goes out. Tulsi, with tears in her eyes, smiles looking at Vikas.
12.EXT.BANK OF THE POND – EVENING
(Note: parallel edit with previous scene)
Vikas walks towards the pond. He, in the mild orange sunset light of evening, sees a young lady taking bath in the pond. Her towel (gamcha) is kept neatly on the ground near the water.
He goes near to the bank (ghat) of the pond and slowly enters into the water. He stands inside the pond water for a long time. His neck is under the water. He looks at the sky and closes his eyes. Slowly he sinks his head inside the water.
He takes out his head after a while from the far end of the pond and slowly swims back towards the bank of the pond.
He notices the young lady is not there in the bank, but surprisingly the rickshaw driver is cleaning himself into the pond water. Vikas sees the same towel (gamcha) in the same place. He looks at the rickshaw driver while nearing towards the bank and starts talking to him.
Tui kakhon eli?
Kheyal kori ni to!
Ami to kakhon thekei achhi!
Seriously, kakhon eli?
Ekhane to ekjon mohila chhilen!
Ke jaane, lokhyo korini oi bhabe!
Rickshaw drives smiles looking at him. His smile indicates happiness for being able to avoid looking at the lady. Vikas too understands the meaning of his smile. He comes near bank and stands on the pond ground where water level touches his chest.
Sikhya ki sab somay
Nijer abhigyata thekei hoy?
Dekhe sikhte parle
Theke sekhar dorkar ki?
Ai Mukku’ke dekhe gota desher sekha uchit!
Hya, Swajal-er kachh theke
Mukku’r bepar-ta janlam.
Ai gram-e emon ghatona?
Oi ghatona ghot-te hoto.
Amader jante hoto,
Lagam chhara raag
Aar niyontron hara mon
manush-ke dhonsher pothei niye jaay!
Amader bujhte hoto,
Manobikata aar mulyabodh-er sikhya
Ekta unnoto somajer kaathamo!
Sei sikhya nijeder modhye simito na rekhe,
Baireo prochar kora dorkar.
Sei songe amader sikhte hoto,
Kibhabe nijeder surokhito raakhte hobe.
Oi ghatona amader jonye ekta sikhya,
Mukku’s bhuler jonye,
baa onya-der learning-er jonye,
taake keno suffer korte holo?
Suffer ki shudhu tar?
Aar Mittir babu’r?
Ekjon baba’r chokher samne meyer dharshon!
Karmer hisab bojha duruho!
Mallika-debi-r jetuku bhoganti,
se hoyto tar kono jonmer kormo-phal…
Ekta rape victim,
Jetuku bhoganti bolchho!
Mittir babu, amader Bharatendu Mitra,
Tenar kothay –
Kono meye-ke Jodi rastay kukur-e kamray,
Tahole ki tar deho apobitro hoy,
Naki morjyada nosto hoy?
Tahole, ekhono somaj keno
aar morjyada niye prashno tulchhe?
Morjyada tader jaoya uchit,
Jara ghore-baire meyeder asomman korchhe,
Manobikatar dharshon kore cholechhe.
Sei prochar-i shuru korechhilen
Sei sikhyar joyar ekhon baiye cholechhen
Mallika aar Sujay - onaader chhele,
Amader Kajal-Dada babu.
Bujhei uthte parchhi na,
Eke ki kothin poristhiti balbo,
Naki sahoj somadhaan balbo!
Sab-i tar khela!
Tomar eto adhyatikota!
Amader sabar modhyei sei gyan achhe.
Amra chailei sat aar soja
Gyan-e cholte pari.
Tomar prashno ki amar
Jibikar dike ingit korchhe?
Tumi eto ki kore jaano?
Nijer bhitore takiye dekho,
Sab khela oi aham aar om-er maaje!
He looks at the cows having grass near the pond, gets out of the water and wipes his body with the towel (gamcha) kept on the ground. He looks towards the cows and starts walking towards them.
Vikas gets out too from the water looks at him. He pampers the cows and starts walking. Cows follow him. He tells Vikas without looking at him while leaving the place.
Ami ke seta tomar kajer proshno noy.
Tomar khoj eta,
Je tumi ke!
Vikas, son of Mr. Akash Kumar…
Son of a … gay!
Ekjon samokami purusher
samajikatar bhoyer phal?
Protiti muhurto amake kure kure khay!
Aar mathar modhye byango aar upohas-era
Khocha dite thaake,
Aaro meyer songe sharirik samparko,
Ekta bhoy sarakhyon tara kore beray,
Amio Jodi gay hoye jaai…
Arekta berthyo Akash!
Tumi to Akash-er khoj karchho?
Tomar khoj tomake niye,
Tomar baba-r otit niye noy!
Baba-r otit aar berthota ghete
Bhagobaner uddeshyer amorjyada koro na!
Baba-r bhalobasay lukiye ache sab uttor…
Tini amader sakoler modhye
Puropuri bhaabe royechhen!
Nijer bhitore sei take khojo…
Bhalobasa diye jachai karo!
Khela Om aar Ahom-er!
Om-er khela ekatmo-tay.
Aar ahom holo MAYA.
Ja dekhchho, anubhab karchho,
E sab-i tar astitwer proman…
He leaves the place, but his words continue echoing in Vikas’s mind. He continues looking at the rickshaw driver and his cows. Vikas, in a deep thought, starts remembering his childhood and past memories to find the answer "who am I?".
[ FLASHBACK ]
1) INT. BED ROOM - AFTERNOON
Beside dressing table, Vinita is sitting on a bean bag with her diary and a pen. She is sliding the pen in between her fingers. Pen ball goes near to the dairy page, touches the page and comes up without writing anything. Only one ink dot is visible on the page. Vinita looks angry and disturbed. She thinks for sometime, then hesitantly writes incomplete sentence
LIFE IS ALL ABOUT SOMEONE’S PAST…
and continues looking into it emotionlessly.
2)INT.BED ROOM - AFTERNOON
Vinita is sitting in her bed room on the same bean bag. She has the diary and pen in her hand. Vikas slowly enters into her room with an unhappy look and sits on the other bean bag near Vinita.
Baby, come here.
Ma-er kachhe eso!
Vinita spreads her hands and takes Vikas on her laps.
Kothay chhili etokhon?
Aar amar baby-ta ki korchhilo
VIKAS (after a silence)
Mom, ekta kotha balbo?
Ekta keno, eksho-ta kotha balbe
Amar Vikash sona.
Sokale, Papa bazar theke esei
tomay dimer kotha-ta bolechhilo.
Tumi shuntei pao ni?
Bolechhilo? Ami kheyal korini.
Ektu jore bolle hoyto petam!
Mom, Papa bolechhilo…
Kintu shonoi ni takhon.
Tumi rege gele kichhui shono na!
Amar kothao to shunle na takhon.
Vikas starts crying.
3) INT. DRAWING ROOM - MORNING
Akash comes back to home after shopping. He has couple of bags full of vegetables, groceries, milks, curds, eggs, puja flower, etc hanging in his fingers. He enters into the drawing room by opening the door pushing by his left leg. He keeps the bags inside the kitchen and tells to his wife Vinita
Vini, ekta-duto dim bodh hoy
Dim-er packet-ta aage ber kore niyo,
Nahole sab dirty hoye jaabe!
The drawing room TV was on and some music channel was running songs in high volume. Vinita was busy preparing apple shake in her mixi. She doesn't concentrate on his talk and continues making the shake. Akash comes out of the kitchen and sits on the sofa in front of the TV. He changes the channel and starts watching a movie. His son Vikas comes out from kitchen and sits with Akash in front of him on sofa and starts watching TV. Akash gently starts running his fingers in Vikas's hair.
Papa, oi Anik ache na,
O cartoon dekhar kotha bolchhilo!
Ok. Kintu ekhon na…
ekhon Viku baba-r songe paper porbe!
Vikas gets up and brings the newspaper. While coming back towards Akash, he starts reading the front page tile of the article about the gay IPC 377.
“SC Makes Homosexuality A Crime Again”
He comes to Akash and sits near him along with the newspaper.
SC ki papa?
Eta boro-der topic papa.
chalo khelar khabor pori…
Amader to ekhon sex education class
shuru hoye gechhe school-e!
Oh, tai naki?
Tahole tumi-i balo…
Sexuality maane to jani,
Kintu homo-ta ki?
Tahole crime keno?
Dujan same gender-er
manuss-er modhye bhalobasa.
bhalobasa crime hoy naaki tai?
Ai-je ami Anik-ke bhalobasi,
Tomra to chhoto.
Ei aayin to baro-der jonye!
Achha dharo, ami aar Anik
baro hoye gechhi,
aar dujon dujonke bhalobasi.
4)EXT.COLLEGE CAMPUS - DAY
Two young college students (gay couple) are walking in college campus. They are walking holding each other’s hand. They are happily talking and heading towards their class.
5)INT.DRAWING ROOM - MORNING
Tomra dujon bhalo bondhu,
Homosexuality ektu onya rakomer samparko.
Onya rakom mane?
Ai ami aar tomar Mom,
Amra songe achhi, songsar korchhi.
Serakom, jodi duto chhele,
ki duto meye…
Jodi dujone eksonge thake?
6)INT.SMALL ROOM - MORNING
Same two young college students (gay couple). Living in a small room. One is preparing breakfast and the other one is neatly folding their dresses and under garments.
Both finishes their work and have breakfast together in the small table near the window. They show care and compassionate love for each other through their actions while having breakfast.
7) INT. DRAWING ROOM - MORNING
Kintu, setai ba dosher ki?
Dosher kichhui noy!
Bhalo bese eksonge thaka,
Kakhono dosher hote pare na.
Supreme Court keno crime bolchhe?
Eksonge thaka-ke ki bhalobasa-ke
Crime bolchhe na, papa.
Dujon same gender-er manusher-er
Kintu amader teacher je bollo
opposite gender-er modhye hoy.
Setai nature of attraction!
Kintu kichhu manush
same gender-e attracted hoy.
Kintu seta to against nature,
Tai noy ki?
Na, ta thik noy.
Amader Rig-ved-e bolechhe
“Vikriti Evam Prakriti”
ja un-natural bole mone hoy,
Tao aasole natural.
Sab-i bhagobaner srishti.
Tahole ki bhagobaner thekeo
Supreme Court baro, papa?
Baro choto-r bepar noy, sona.
Kintu kakhono, somajer bhalor jonye
Bekti-sartho sacrifice korte hoy!
Achha papa, jodi dharo,
duto meye ki duto chele,
Nijerder mato kore,
Bou-bou ki bar-bar hoye,
Kintu kauke disturbe na kore…
Tahole, somajer ki khoti?
8) INT. SMALL ROOM – EARLY MORNING
Same two young college students (gay couple). Living in a small room. Sleep under same quilt.
Get up from the bed together. Both of them having same gay tatu (pink triangle inside a heart shape) permanently printed on their back side shoulder.
They smile at each other and start daily activities. One opens the window and the other one goes towards the door.
9) INT. DRAWING ROOM - MORNING
AKASH (falsely justifies)
Kauke disturbe korar kotha noy.
Social structure-er kotha.
Achha tumi to class-e reproduction porechho,
Bou-bou ki bar-bar to same gender-er!
Tahole, Baccha hobe ki kore?
Ta hobe na!
Kintu thamma je bolechhilo,
Krittivas Ramayana-e naki lekha ache
Maharaja Dilipa mara jabar par,
Tar Dui rani-r sahobas-e baccha hoyechhilo,
Lord Shiva-r ashirbad-e!
Jini ma ganga-ke prithibite enechhilen.
Tachhara, amader deshe eto population,
Aar bachha na holei to bhalo!
Baccha na hoyata
Population control-er rasta noy sona!
duto chele eksonge thakle
khub marpit hoto.
Ami aar Ankit to ekhoni kato maramari kori,
Baro hole to aaro hoto…
10) EXT. COLLEGE CANTEEN – EVENING
Same two young college students (gay couple). Sitting with another two girls and two guys. They were having fun pulling each other’s legs. One guy (dark complexion) of the gay couple pays more attention to a girl and the other (fair and tall one) gets jealous of that. He starts showing closeness to the guy sitting next to him to take revenge of his partner.
11)INT.SMALL ROOM – LATE EVENING
Same two young college students (gay couple), come back home from college canteen after chatting with other friends. While changing their dresses and wearing comfortable home dresses, they (fair and dark complexion, Arnab and Akash) start arguing for paying extra attention to the other guy and girl respectively. Arnab, being little shy, changing in the room and Akash is changing in the drawing room.
Shortly the argument hits up and they start fighting with each other with full strength. Fighting stops only after one gets injured with a bleeding nose.
Er modhye ragar ki ache shuni?
Ki bhul-ta bolechhi?
Trina dress-ta kemon porechhilo!
Ajker so called modern meye-ra
tight dress pore
Kon sampotti dekhate chaay!
Chele-rao jodi ekhon tight tight pant pore
nijeder sampotti dekhate shuru kore,
Tahole bhalo na bhadro - konta lagbe?
Kotha niye kichhu bolechhi tai?
Shudhu bolle to problem chhilo na!
Maane bujhte parchhis na?
Eto jakhon sokh,
saradin or mathay chaata dhore
ghure beralei paris!
Tui over react korchhis!
Over react korchhi ami?
Keno, or gaaye pata paruk,
Aar poka poruk,
Tor tate ki?
Amar abar ki?
Ami to just poka-take toka mere…
Poka-take toka mere!
Keno, or boy-friend chhilo na
toka marar jonye?
Ato baro gachher daal-ta jakhon,
Tor gaaye abar kakhon parlo?
Dekhechhis, amar dike kheyal rakhar
somay kothay chhilo tor?
Phaltu kotha bolis na!
Porechhilo tor gaaye, shuni?
Porleo to dekhte peti na!
Jodi’r kotha tule tui
jhogra korchhis amar songe!
Aar tui je Tulip-er Dada-ke jhari marchhili,
Besh korechhi maane?
Maane, besh korechhi…
“Besh korechhi” chhara ki tor kachhe
onyo kono uttor thaake na?
Na, thake na!
Thake na to ashis keno kotha bolte,
Jemni baap, temni beta!
Aar ekbar bole dekh…
Thik-i to bolechhi…
Tahole, ai ne…
Arnab kicks a punch on Akash’s nose. Akash holds his nose and turns on the other side and sees bleeding on his palm. He doesn’t day a word to Arnab and goes to the bathroom to clean the nose and blood.
Arnab realizes his mistake and goes to say sorry and help him out. He throws Arnab outside and closes the door from inside and opens the water tap.
Arnab continues knocking the door and requests him to open and show him his nose.
I’m sorry kaashu,
Ami bujhte parini…
Please dorja-ta khol,
Amake dekhte de, katota legechhe.
Aar emni hobe na…
12) INT. DRAWING ROOM - MORNING
Tumi aar Mom to marpit karoi na!
Achha Papa, eta balo,
Ai je duto chhele
Supreme Court-er jonye
biye korte parchhe na,
era ki korbe?
Ki aar korbe!
Bhabo, ekta chhele aar ekta meye
biye korte chaay,
Taholeo to onek somay
tara biye korte pare na.
Tara ki kore?
Hmmm, tao thik.
Kintu oder kasto hobe na,
Se to hobei.
Kintu onek somay bojha muskil hoy
Je konta beshi koster,
Eksonge na thaka-ta,
Naki onyo karo songe thaka-ta.
Nah, kichhu na!
Achha Papa, eta to government rule,
Tahole ki ekhaneo SC/ST-ra chaar paabe?
SC/ST discount, huh…
Their conversation and pampering goes on while Vinita runs her mixer to make apple shake.
Vinita enters into the drawing room with two glasses of apple shake and gives to both of them.
Pran-jurano topic peyechhe,
Cheler songe chorcha korte?
Vini, ki tumi!
Ami to just…
Sab kichhu enechho?
Hya… Ekta room freshener-o enechhi.
VINITA (with satire)
Aachha, aboshyo tumi Jodi na
pink color-er local made kono bottle niye aaso,
like last time!
Vinita leaves the drawing room and enters into kitchen to keep groceries and vegetables in place.
Dekhi ki enechho.
Akash and Vikas start drinking the shake and continues chatting in front of the TV. Vinita takes out the vegetables and groceries one by one and starts keeping into refrigerator and modular cupboards.
Eta ki korechho tumi?
AKASH (from drawing room)
Keno, ki hoyechhe?
Ki abar hobe, dokandar dekhei bujhechhe!
Pocha alu gochhiyechhe!
Ja khushi bolo na!
Bhalo alu chhilo na,
tai alpo enechhi.
baki dokani-ra tomake alu dey na, naki?
Akash doesn't say anything else; he keeps quite and finishes his drink. Vikas takes a sip from her glass and continues watching TV. Vinita starts segregating groceries from the bag. Everything, vegs and grocery packets, look wet and smelling badly. She takes out the paper bag looks completely wet from outside and finds four cracked eggs inside. She quickly takes out the eggs. Her both hands messed up with the egg while and a yolk falls onto the puja flower. By seeing her face anyone can make out how many eggs got cracked.
VINITA (with anger)
Akash, ekhane eso ektu?
Abar ki holo?
Vinita doesn't wait for Akash to come to the kitchen. She comes in front of Akash with the paper bag and stands in between TV and Akash.
Ki holo? Eta ki?
Akash looks at the paper bag and sees the cracked eggs. He keeps quite and looks at Vinita.
Ajke dim-gulo ektu carefully ante parte na?
K’ta dim-i to!
Ebhabe react karchho keno?
Bhagoban tomar ektuo lojjya keno dey ni!
Phata-dim-er kotha bolchhi?
Phul, phal – sab to ashte hoye gelo,
Tomake ki mix kore bheje debo?
Kintu, ghare dhokar somay-ei to tomake bollam je prothome phul-gulo…
Aar kato phaltu bokbe!
Purohit elo bole, ekhon kotha theke abar sab…
During the whole time Vikas was sitting on the sofa, silently. He was little afraid and uncomfortable. His eyes were filled with tears when he comes to Vinita.
Mom, Papa to tomake ballo je…
Tomake kato bar bolechhi je baro-der kathaay interfere korbe na!
Vikas started crying and left the drawing room. He takes stairs towards his room. Vinita continues scolding her husband and dials a number from her mobile and talks to the purohit.
Hello, Thakur moshai…
13) INT. BED ROOM - AFTERNOON
Mom, please tumi shono.
Tomar mone achhe, jedin Papa chicken kebab enechhilo
aar tumi garom korte giye sab puriye phelechhile.
Sedin kintu Papa tomake kichhui bole ni.
Hya, nishchoy mone achhe.
Kintu Mom, tumi eta kheyal karo ni je Papa amake
school theke niye soja bari esechhilo. Tai Papa lunch korar time payni.
Papa lunch koreni, tumi balo ni keno amake? This is bad, tomar Papa-o to bale na!
Jaani Mom. Papa-i bolte baron korechhilo, karon Papa tomake hurt korte chay ni.
Both of them keep quite for a while. Vikas looks at Vinita.
Tomar Papa emni-te bhalo,
Ami-o kharap noi baby!
You know Mom, I love you...
VINITA (wet eyes)
Kintu ki balo-to,
Tears roll down from his eyes, Vinita looks right into Vikas’s eyes to hear his next word.
Ekdin amio… kharap hoye jaabo!!
Vikas bursts in cry. She gets up from her mom's lap and leaves the room immediately. Speechless and shocked Vinita, sitting on the bean bag, watches Vikas leaving. One tear drop comes out from her eye and starts rolling on her cheek. She opens her diary, cross the word ‘ALL’ and continues writing...
LIFE IS ALL NOT ABOUT SOMEONE’S REMINDING PAST.
IT’S ALL ABOUT LIVING THE PRESENT!
14) INT. BED ROOM – NIGHT
Akash enters into the bed room. Vinita was waiting for him. Akash takes his shirt off and goes towards the bed to lie down and rest. Vinita holds his hand and pulls him near to her.
Akash’s naked back side shoulder clearly reveals the pink triangle (inside heart shape) tatu.
Vinita looks at his eyes.
Kintu, tumio jano ami keno tomar songe
Erakom bebohar kori.
Amio, onyo aar pach-joner mato,
Ekta sabhabik sonsar cheyechhilam,
Ekta bou hote cheyechhlam!
Cheyechhilam, ekjon normal husband,
je kina taar bou-er proti attracted hobe,
Ekta straight man!
[ END OF FLASHBACK ]
13. EXT. BANK OF THE POND – EVENING
After a while Vikas, with self realization, gets up from the pond. He slowly walks towards the bank of the pond. He picks up the wallet and affectionately looks at the wallet picture of his with parents. Slowly Vikas starts walking.