"Azaadi
Ghar Tak"
Genre: Road Drama
Plot: Ek trans woman apne gaon wapas jaane ka decision leti hai,
jahan uski pehchaan kabhi accept nahi hui. Train, bus, lift – har mode par naye
log, naye reactions. Har stop par uska ek layer utarta hai.
Festival Hook: LGBTQIA+ lead, journey as metaphor,
personal freedom.
🎬 Title: Azaadi
Ghar Tak
🎭 Genre: Road
Drama | Social Realism
🪔 Plot
Summary:
A trans woman, Siya, sets out on a road journey from Mumbai to her ancestral
village after years of estrangement. What begins as a simple physical trip
slowly becomes a powerful inward journey.
She takes whatever ride she can find — a train compartment full of curious
aunties, a truck driver with his own secrets, a college girl who sees her as a
hero, a bus where silence screams louder than words.
Each stop strips a layer of trauma, fear, and memory. Each stranger becomes a
mirror.
As the village gets closer, so does the question: Can a
home that never accepted you, still feel like home?
🎡 Themes:
- Identity and
acceptance
- India’s layered
social landscapes
- Queer loneliness
vs connection
- "Ghar"
not as a place, but a feeling
- Personal
liberation = azaadi
🎯 Festival
Hook:
- A rare Indian
road film led by a trans protagonist
- Told with
realism, poetry, and heart
- Perfect for
LGBTQIA+, South Asian diaspora, human rights, and women-led film festivals
🎞 Visual
Language:
- Wide, static
shots of Indian landscapes
- Dusty bus stops,
chai stalls, and roadside temples
- Subtle color
shift as the emotional weight reduces — from greyish tone to warm gold
- No background
score, only ambient sounds and a few indie acoustic tracks
🎤 Tagline
Options:
1.
“Har raasta us ghar ki taraf tha, jo kabhi apna
tha hi nahi.”
2.
“Azaadi... kisi station pe utarti nahi hai.”
3.
“Pehchaan ghar se nahi, safar se milti hai.”
4.
“Woh ghar wapas jaa rahi hai... jahan uska hona
kabhi manzoor nahi tha.”
Let me know if you'd like:
- Scene breakdowns
- Character
sketches
- Dialogue-heavy
teaser script
- Poster design
concept (landscape or vertical)
- Moodboard +
references for cinematography
🎬 AZAADI
GHAR TAK
Genre: Road Drama
Language: Hindi (Roman script)
Duration: Approx. 1 hr 50 min
Written & Directed by: [Your Name]
CHARACTER LIST
- SIYA (30) – A trans
woman, quiet but observant, strong-willed yet vulnerable.
- MUKESH BHAI
(50s) –
Truck driver with a weathered face and surprising gentleness.
- REENA (22) –
Outspoken college girl from Delhi, modern, loud, yet kind.
- AMMA (60s) – Siya’s
estranged mother, conservative but silently loving.
- CHOTU (10) – Local
kid in the village who accepts Siya without judgment.
- Various Side
Characters –
Aunty in train, Ticket checker, Bus conductor, villagers.
ACT 1: SAFAR KI SHURUAAT
SCENE 1 – MUMBAI ROOM – EARLY MORNING
Siya ek chhoti se rented room mein tasalli se apne baal bandh rahi
hoti hai. Mirror mein apne aap ko dekhti hai. Khaali aankhon mein ek thaan hai.
SIYA (voiceover)
"Zindagi mein kuch raaste bas isliye liye jaate hain... taaki unki manzil
se dar lagta hai."
Table par ek purana postcard pada hai – gaon ka naam likha hai:
“Sakhpura, Bihar”
SCENE 2 – MUMBAI STATION – DAY
Siya local se utarti hai. Uske paas ek chhota sa bag. Log uski
taraf ghoor ke dekhte hain. Train ke liye platform dhundti hai.
TC (ghusse mein)
"ID dikhao madam!"
Siya chup chaap Aadhaar nikaalti hai. TC thoda rukta hai, par kuch
kehta nahi.
ACT 2: RAASTA – LAYERS KA SAFAR
SCENE 3 – TRAIN COMPARTMENT – NIGHT
Middle berth par Siya bethi hai. Ek aunty uske paas aati hai.
AUNTY (shak ke saath)
"Tumhare jaise log TV pe hi ache lagte hain… real life mein toh ajeeb sa
lagta hai."
SIYA (muskurake)
"TV par bhi toh real log hote hain na, aunty."
SCENE 4 – HIGHWAY TEA STALL – DAY
Siya train se utar ke bus le leti hai. Bus puncture hone ke baad
lift maangti hai. Mukesh Bhai truck lekar rukta hai.
MUKESH BHAI
"Kaha tak jaana hai behen?"
SIYA
"Sakhpura… Bihar."
MUKESH BHAI (halki hansi ke saath)
"Raasta lamba hai. Mann ka wajan kam hai toh safar asaan ho jaata
hai."
Truck chalu hota hai. Gaadi mein radio bajta hai: ‘Raah pe chalte
chalte...’
SCENE 5 – TRUCK MEIN SAFAR – NIGHT
Mukesh Bhai bidi peeta hai. Siya khidki se taare dekh rahi hoti
hai.
MUKESH BHAI
"Log toh kya kya nahi bolte… ek waqt tha main bhi nahi samajhta tha tumhare
jaise logon ko."
SIYA
"Aur ab?"
MUKESH BHAI (soch mein)
"Ab lagta hai… sabse zyada himmat toh tum mein hi hai."
SCENE 6 – SMALL TOWN BUS STATION – DAY
Siya Reena se milti hai – college ladki jo bus ka wait kar rahi
hai.
REENA
“Tum Instagram pe ho kya? Tumhari vibe badi killer hai!”
SIYA (hans ke)
“Vibe ko log accept karte hain, mujhe nahi.”
REENA (shoulder se bag uthate hue)
“Toh fir unki problem hai, tumhari nahi.”
ACT 3: MANZIL – GHAR TAK KA DAR
SCENE 7 – VILLAGE OUTSKIRTS – DUSK
Siya finally Sakhpura pahuchti hai. Pedon ke beech se rasta.
Bachpan ke flashbacks dikhte hain – ek choti Siya jise log tang karte hain.
SCENE 8 – VILLAGE HOUSE – NIGHT
Siya ghar ke saamne khadi hai. Amma gate ke andar. Khamoshi.
Aankhon mein aasoon.
SIYA
"Amma… main wahi hoon jise tumne bhej diya tha."
AMMA (kamzor awaaz mein)
"Tune pehchaan chuni… maine logon ki baat."
Dono ki aankhen bhar aati hain. Amma darwaza kholti hai.
SCENE 9 – VILLAGE MORNING – NEXT DAY
Chotu Siya ke baal mein phool laga raha hai.
CHOTU
"Aap toh fairy jaisi lagti ho!"
SIYA (hansi ke saath)
“Fairy? Pehli baar kisi ne yeh bola.”
SCENE 10 – FINAL SCENE – VILLAGE CHOWK – EVENING
Siya naye kapdon mein, confident walk karti hai. Log ab bhi dekhte
hain, par wo rukh ke nahi dekh rahi. Ek azaad smile.
SIYA (voiceover)
"Azaadi platform pe nahi, raaste mein milti hai… aur kabhi kabhi… ghar
jaake bhi."
Camera upar uthta hai – peechhe sunset, saamne Siya – chalte hue…
azaad.
FADE OUT
Let’s now go dialogue
by dialogue — full script format in Hindi
Roman with scene headings, actions, and character lines.
Below is the first set (Scenes 1–5). Let me know when to continue with the
next batch (Scenes 6–10), or if you want adjustments.
🎬 AZAADI
GHAR TAK
Duration: 2 Hours
Script Format: Hindi Roman (Dialogues with directions)
SCENE 1 – INT. SIYA KA KAMRA – SUBAH
(Chhota kamra. Ek bulb ki halki roshni. SIYA mirror ke samne
baithi hai. Apne baalon ko pyaar se bandh rahi hai. Table par ek postcard pada
hai – “Sakhpura, Bihar”)
SIYA (V.O.)
Zindagi mein kuch raaste hum chunte nahi… bas kabhi kabhi... raaste humein
chunte hain.
(SIYA aankhon mein ek thaan lekar postcard uthati hai. Ek halki
muskaan aati hai.)
SCENE 2 – EXT. MUMBAI RAILWAY STATION – DIN
(SIYA bheed mein station ke platform par ja rahi hai. Sab uski
taraf dekh rahe hain. Ek Ticket Checker usse rokta hai.)
TC
Aye madam! ID dikhao.
(SIYA shaant rehti hai, bag se Aadhaar card nikaalti hai.)
TC (ruki nazar se)
Hmm... Sakhpura? Bahut lamba safar hai.
SIYA
Haan... manzil jitni door ho... utni zaroori hoti hai.
SCENE 3 – INT. TRAIN COMPARTMENT – RAAT
(SIYA middle berth par baithi hai. Ek AUNTY uske paas aati hai.
Curious aur awkward.)
AUNTY
Tumhare jaise log... TV pe theek lagte hain. Real life mein thoda... ajeeb
lagta hai.
SIYA (halki muskaan)
Aunty... TV pe bhi real log hi hote hain.
AUNTY (taana maarte hue)
Par tum kaun ho exactly? Ladki? Ladka?
SIYA (theek se aankhon mein dekh kar)
Main... woh hoon jo main hoon.
(AUNTY chup ho jaati hai. SIYA khidki se andhera dekhti hai.)
SCENE 4 – EXT. RAILWAY CHOWK – AAGLE DIN SUBAH
(Train se utarne ke baad Siya ek bus pakadti hai. Bus beech raste
puncture ho jaati hai. SIYA sadak ke kinare lift maang rahi hoti hai. Ek truck
rukta hai.)
MUKESH BHAI (truck driver)
Kaha jaana hai behen?
SIYA
Sakhpura... Bihar.
MUKESH BHAI (hansi ke saath)
Arre wah! Lambi journey hai. Aao baitho.
(SIYA truck mein baithti hai. Truck chalu hota hai. Radio bajta
hai – 90s ka old sad song.)
SCENE 5 – INT. TRUCK – RAAT
(SIYA khidki se taare dekh rahi hai. MUKESH BHAI bidi sulga raha
hai.)
MUKESH BHAI
Pehle main bhi nahi samajhta tha tumhare jaise logon ko...
SIYA (muskurate hue)
Aur ab?
MUKESH BHAI (soch mein)
Ab lagta hai... sabse zyada himmat toh tum jaise logon mein hi hoti hai.
SIYA (narmi se)
Himmat... tabhi aati hai jab dar har waqt saath chalta ho.
(Truck andhere mein chalta jaa raha hai. Dono chup ho jaate hain.
Sirf engine ki awaaz.)
Here are Scenes 6 to 10 of Azaadi Ghar
Tak — in dialogue-by-dialogue Hindi Roman script format,
continuing from where we left off:
🎬 AZAADI
GHAR TAK
SCENES 6–10
SCENE 6 – EXT. SMALL TOWN BUS STATION – DIN
(SIYA ek chhote se bus station par utarti hai. Station dhool bhara
hai, benchon par log so rahe hain. Ek modern si college girl — REENA — phone
par reel bana rahi hai.)
REENA (phone mein)
"Guys! Look at this vibe! Ughh, I swear main abhi Mumbai ja rahi hoti toh
kuch aur hota..."
(SIYA ek bench par baithi hoti hai. REENA uske paas aakar baith
jaati hai.)
REENA
Hi... tumhare baalon ka colour bohot cool hai. Insta handle dogi?
SIYA (halki hansi ke saath)
Handle se kya hoga? Log mujhe tag karenge ya label?
REENA
Tumhara sarcasm fire hai. But honestly, tum... tum ho toh different. Like
unapologetically you. I love that.
SIYA
Main toh sirf hoon. Mujhe chhupna nahi aaya kabhi.
REENA (seriously)
Mat chhupna. Log chhupte hain jab galti hoti hai. Tum toh gift ho, girl.
SCENE 7 – EXT. VILLAGE BORDER ROAD – SHAAM
(Bus station ke baad Siya ek aur jeep mein chhoti ride le leti
hai. Ab woh apne gaon ke border ke paas utar jaati hai. Raste se guzarti hai.
Flashbacks aate hain — bachpan mein log use "chhakka" keh kar
chidhate hain. Siya ruk jaati hai, gehri saans leti hai.)
SIYA (V.O.)
Yeh raasta... pehle kabhi itna bhari nahi laga.
(Vo chhupkar ek nadi ke paas baith jaati hai, mitti uthakar haath
mein rub karti hai.)
SCENE 8 – EXT. SIYA KA GAON – RAAT
(Gaon mein chandni raat hai. Siya ghar ke bahar khadi hai. Darwaza
band. Andar se ek budi awaz sunai deti hai — Amma ki.)
SIYA (dheere se)
Amma…
(Darwaza nahi khulta. SIYA chhup ho jaati hai.)
AMMA (andar se)
Kaun hai?
SIYA (ruk ruk ke)
Wahi… jise tune kabhi ghar mein jagah nahi di…
(Ek lambi khamoshi.)
AMMA (dard bhari awaaz mein)
Tu wapas kyun aayi?
SIYA
Kyunki... ghar toh wahi kehte hain jahan se sab kuch shuru hota hai.
(Darwaza dheere se khulta hai. Amma darwaze ke peeche khadi hai,
aankhon mein pareshani aur mohabbat dono.)
SCENE 9 – INT. SIYA KA PURANA KAMRA – SUBAH
(Kamra pura dhool se bhara hai. SIYA ek purani photo uthati hai —
choti Siya aur Amma ki.)
SIYA (Amma se)
Yaad hai... jab maine pehli baar lipstick lagayi thi?
AMMA (aankh bachate hue)
Padosan ne bola tha — “Tumhara beta bigad gaya hai.”
SIYA
Main kabhi beta tha hi nahi, Amma.
AMMA (narmi se)
Mujhe samajhne mein waqt laga... par ab samajh gayi hoon. Tu pehle bhi meri
thi... ab bhi hai.
SCENE 10 – EXT. VILLAGE CHOWK – SHAAM
(SIYA naye kapdon mein, halke se makeup mein gaon ke chowk se
nikalti hai. Log use dekhte hain. Koi kuch bolta nahi. Chotu, ek 10 saal ka
ladka, uske paas aata hai.)
CHOTU
Aap fairy jaisi lagti ho!
SIYA (hansi se)
Tu pehla hai jo aisa keh raha hai.
CHOTU
Toh kya sab bewakoof hain?
(SIYA hasti hai. Uski aankhon mein pani hai. Lekin chehra roshan.)
SIYA (V.O.)
Azaadi... shayad logo ke liye ek shabd hai. Mere liye... ek rasta tha. Aur aaj,
main us raaste par hoon... poori tarah apne saath.
END OF SCENES 6–10
Here are Scenes 11–15 of Azaadi Ghar Tak,
continuing the script in Hindi Roman with
dialogue-by-dialogue formatting. This stretch explores Siya's quiet
transformation, her growing ease in her own skin, and the subtle shifts in how
the world begins to respond to her.
🎬 AZAADI
GHAR TAK
SCENES 11–15
SCENE 11 – INT. SIYA KA GHAR – SUBAH
(SIYA ek thali mein Amma ke liye nashta laga rahi hoti hai. Amma
usse door se dekhti hai, bina kuch kahe.)
SIYA (halki awaaz mein)
Mujhe yaad hai, Amma... tu moong dal ke pakode banati thi, barish ke dinon
mein.
AMMA (thoda naram)
Tujhe yaad hai?
SIYA
Mujhe sab yaad hai. Woh yaadein hi toh hain jinke sahare main zinda thi.
(Amma ke chehre pe guilt aur mohabbat dono ubhar kar aate hain.
Woh nashta lene aati hai.)
AMMA (narmi se)
Kal barish hai… pakode banaungi.
SCENE 12 – EXT. GAON KA TEMPLE ROAD – DIN
(SIYA sadak ke kinare chal rahi hoti hai. Do buzurg usse dekh kar
chillaate hain.)
BUZURG 1 (taana maar ke)
Yeh wahi hai na… chhakka! Abhi bhi wapas aa gayi?
BUZURG 2
Gaon ki izzat toh gayi kaam se!
(SIYA unki taraf dekhti hai, par is baar uska chehra shaant hai.
Bina kuch bole nikal jaati hai.)
SIYA (V.O.)
Izzat... sirf logon ke liye hoti hai kya? Main toh sirf jeena chahti hoon… bina
maafi maange.
SCENE 13 – INT. SCHOOL GATE – DIN
(SIYA school ke bahar chhoti bacchiyon ko dekh rahi hai. Ek
teacher usse dekh kar aati hai.)
TEACHER
Aap Siya ho na? Woh Mumbai waali?
SIYA (dheere se)
Haan.
TEACHER
Mujhe lagta hai, hamare bachhon ko aap se milna chahiye. Aap ki kahani zaruri
hai sunna.
SIYA (hairani se)
Meri kahani?
TEACHER
Haan… sikhane ke liye sirf kitaaben nahi chahiye hoti.
SCENE 14 – EXT. GAON KA NADI – SHAAM
(SIYA nadi ke kinare baithi hai. Reena ka message aata hai phone
par: “Tumhe milke lagta hai mujhe khud se milne ka rasta mil gaya.” Siya
muskurati hai.)
SIYA (V.O.)
Kisi ko badalne ke liye nahi... bas apne hone ko poora jeene ke liye jeeti hoon
main.
(Vo nadi mein pair dalti hai. Pani halke halke behta hai. Vo ek
chhoti si kagaz ki kashti bana kar chhod deti hai.)
SCENE 15 – INT. SIYA KA PURANA KAMRA – RAAT
(SIYA mirror ke samne baithi hai. Ek purana lipstick shade uthati
hai. Aankhon mein ek ajeeb si shanti hai.)
SIYA (khud se)
Tu wahi hai… par ab dar ke saath nahi... pyaar ke saath.
(Vo lipstick lagati hai, aankhon mein aansu, par ek muskaan bhi.
Koi dar nahi, sirf apna hona.)
END OF SCENES 11–15
Here are Scenes 16 to 20 of your film Azaadi
Ghar Tak — continuing in Hindi Roman script format
with dialogues and scene descriptions. This stretch begins the emotional
climax, exploring how Siya starts reclaiming space — both within herself and in
her village.
🎬 AZAADI
GHAR TAK
SCENES 16–20
SCENE 16 – EXT. GAON CHOWK – SUBAH
(Chowk pe Siya Reena ke call pe baat kar rahi hoti hai. Do jawaan
ladke uske aas-paas ghoomte hain, hasi-mazaak karte hue.)
LADKA 1
Aye madam, tumhare jaise toh circus mein dikhte hain.
LADKA 2
Selfie lele bhai, trending item hai!
(SIYA unhe thandi nazar se dekhti hai, phone pe baat karte hue
wapas jaane lagti hai. Tabhi woh ladke uska dupatta kheenchne ki koshish karte
hain. SIYA rukti hai.)
SIYA (gusse mein, unki aankhon mein aankh daal ke)
Aurat samajh ke chhed rahe ho ya aadmi samajh ke?
Main batati hoon – main insaan hoon.
Tumhare jaise logon se behtar hoon.
(Log ruk kar dekhne lagte hain. Ladke ghabra ke nikal jaate hain.)
SCENE 17 – INT. PANCHAYAT BHAWAN – DIN
(Village school teacher Siya ko gaon ke panchayat bhawan le jaati
hai jahan women’s health camp ho raha hai.)
TEACHER (sab ke saamne)
Yeh Siya hai. Inka safar un logo ke liye misaal hai jo dar ke saath jeete hain.
SIYA (thoda hesitant, lekin firm)
Mujhe pata hai aap log mujhe pehle sirf tamasha samajhte the.
Par main yeh kehne aayi hoon... ki jo alag hote hain, unhe hataana nahi...
sunna chahiye.
EK AURAT (piche se)
Aur tumse humein kya seekhne ko milega?
SIYA
Apne hone ko maangne ke bajaye jeetne ka tareeka.
(Ek-pal ki khamoshi ke baad halka taaliyon ka jhurna. Teacher
muskurati hai.)
SCENE 18 – EXT. GAON MEIN HOLI TAYYARI – SHAAM
(Gaon mein Holi ki tayaari ho rahi hai. Siya rang lekar bachchon
mein rang baant rahi hai. Pehli baar log use ignore nahi, include kar rahe
hain. Chotu uske gaal pe rang laga deta hai.)
CHOTU
Happy Holi, Siya Didi!
(SIYA ki aankhon mein aansu aa jaate hain. Amma door se sab dekh
rahi hoti hai, aankhon mein gurur.)
SIYA (V.O.)
Yeh rang, pehli baar mere liye hai… sirf mere hone ke liye.
SCENE 19 – INT. SIYA KA KAMRA – RAAT (HOLI KE DIN)
(SIYA thaki hui lekin khush hai. Amma uske liye dudh lekar aati
hai.)
AMMA (pyaar se)
Thak gayi hogi... le doodh pee le.
SIYA
Pehle kabhi itna pyaar nahi diya Amma…
AMMA (narmi se)
Main dar gayi thi... duniya se.
Par tu... duniya se lad gayi.
SIYA (dheere se)
Tu saath hoti toh ladayi thodi asaan hoti.
(AMMA uska haath pakadti hai. Dono aankhon se behte aansuon ke
beech ek shaant pyaar ka pal.)
SCENE 20 – EXT. SIYA GAON SE NIKAL RAHI HOTI HAI – AAGLE DIN
(SIYA ek chhoti potli ke saath gaon ke bus stand pe hai. Amma uske
saath aayi hai. Bas aati hai. Amma kuch kehna chahti hai par ruk jaati hai.)
AMMA
Tu fir kab aayegi?
SIYA
Jab mujhe lagega… main sirf tumhari nahi, iss gaon ki bhi hoon.
(SIYA bas mein chadh jaati hai. Amma aankhon se sirf dekhti hai.
Bus dheere dheere door jaati hai. Siya ki muskurahat bus ki khidki se dikh rahi
hoti hai.)
SIYA (V.O.)
Azaadi... sirf chhodne ka nahi, lautne ka bhi naam hai.
END OF SCENES 16–20
Here are Scenes 21–25 of Azaadi Ghar Tak,
continuing in Hindi Roman script format, bringing us toward
the final emotional climax and closure of Siya’s journey.
🎬 AZAADI
GHAR TAK
SCENES 21–25
SCENE 21 – INT. MUMBAI LOCAL TRAIN – SUBAH
(SIYA ek local train mein hai. Wahi bheed, wahi awaazein — lekin
is baar Siya shaant hai. Pehli baar, train mein log usse ghoor nahi rahe — ya
shayad ab usse fark nahi padta.)
SIYA (V.O.)
Wapas aayi hoon... par badli nahi, poori ho gayi hoon.
(Ek aurat uske paas baithti hai, friendly muskaan ke saath.)
AURAT
Aapka perfume bohot acha hai… kaunsa hai?
SIYA (muskurakar)
Khud par bharosa.
SCENE 22 – INT. NGO OFFICE – DIN
(SIYA ek NGO mein baithi hai. Uske saamne do young trans girls
hain. Nervous. Siya unhe gently samjha rahi hai.)
SIYA
Tumhein kisi ko prove karne ki zarurat nahi hai.
Tum waise hi kaafi ho, jaise ho.
LADKI (roti hui)
Par log toh sirf naam rakhte hain… aur humesha neecha dikhate hain.
SIYA
Tabhi toh... tumhara hona aur zaroori ho jaata hai.
Naam unka problem hai, pehchaan tumhari jeet hai.
(Ladki haan mein sir hilaati hai. Siya uska haath pakadti hai.
Unka dard ek ho jaata hai.)
SCENE 23 – EXT. MUMBAI BEACH – SHAAM
(SIYA akeli samundar ke samne baithi hai. Reena uske paas aati hai
— haathon mein ek phone.)
REENA
Teri photo viral ho gayi. Caption: “Gaon ki beti wapas aayi, bina maafi
maange.”
SIYA (hansi ke saath)
Pehli baar kisi ne mujhe beti kaha hai.
REENA
Tu sirf beti nahi hai… tu revolution hai, Siya.
(Dono beach pe chalne lagte hain. Sunset ho raha hai. Samundar ki
lehron mein shaanti hai.)
SCENE 24 – INT. SIYA KA MUMBAI ROOM – RAAT
(Wahi kamra, wahi mirror — lekin ab roshni nayi hai. Mirror ke
kone mein ek purani family photo lagi hai, Amma ke saath wali. Siya ek diary
likh rahi hai.)
SIYA (likhte hue)
“Dear Siya,
Tu jaisi hai, waisi banne mein tujhe pura ek safar lag gaya.
Par tu pohonchi. Toot kar nahi... jud kar.
Ghar tak.
– Azaad tum.”
SCENE 25 – EXT. MUMBAI STREET – AGLE DIN
*(SIYA chal rahi hai — confident, khuli zulf, aankhon mein roshni.
Peepal ke ped ke neeche ek chhota sa pathshala board hai. Siya chalk uthati
hai, aur likhti hai:)
"Pehchaan Seekhna Hai? Swagat Hai."
(Ek montage shuru hota hai — naye naye log aate hain, baithte
hain, sunte hain. Siya ab teacher hai — life ki teacher.)
SIYA (V.O.)
Azaadi ek jagah nahi hoti.
Na hi sirf ek naam.
Azaadi... woh hoti hai... jab tu khud ke liye jeene lagta hai.
(Camera upar uthta hai. Siya beech mein khadi, chhoti pathshala ke
board ke saamne. Background mein slow emotional track.)
FADE OUT
TITLE CARD: AZAADI GHAR TAK
“Kuch safar sirf manzil ke liye nahi... apne hone ke liye hote hain.”
✅ END
OF SCENES 21–25
🎬 SCRIPT COMPLETE
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