1)
Concept / Idea (Logline)
Varanasi ke do alag-alag kinaron se
aane wale ek introvert shayar aur ek free‑spirited gayika, dosti se pyar,
dooriyon se sach, aur sapnon se farz tak ka safar tay karte hain—jahaan har sur
aur har sher unhe ek aise manch tak le aata hai jahan pyaar aur sapne, dono ki
keemat chukani padti hai.
One‑line hook: “Kavita aur sangeet ki beech ki khaamoshi mein pyaar likha
jaata hai.”
2)
Story Outline (Season / 10 Episodes)
- Pehla Dekha
— Ghat par pehli mulaqaat; poetry vs riyaaz ki takraar; mutual curiosity.
- Dil Aur Dosti
— Dosti ki buniyad; ‘poem‑for‑tune’ pact; rooftop bonding.
- Kya Yeh Pyar Hai?
— Nazdeekiyan; unspoken attraction; diary becomes mirror.
- Pehla Confession
— Poem se izhaar; misinterpretation; first crack.
- Dooriyan
— Kabir enters; artistic chemistry vs emotional jealousy.
- Toote Huye Alfaaz
— Rain confrontation; diary torn; both break.
- Sachi Baat
— Meera mends diary & trust; quiet reconciliation.
- Raaz Jo Todta Hai
— Aarav’s father & Kabir ka purana case; revenge angle revealed.
- Maafi Ya Duri
— Auditorium maafi; not yet forgiveness; emotional maturity.
- Do Kinare
— Fest stage confession; new start together.
3)
Characters (Bio Cards)
Aarav Malhotra (23) — Introvert poet; guarded; keen observer; conflict‑avoidant.
Wound: Father’s rigid moral code; fear of rejection. Want: Meera’s
saath. Need: Speak truth, not just write it.
Meera Sharma (21) — Classical music student; bold, impulsive, empathetic. Wound:
Self‑doubt beneath confidence. Want: Big stage, global scholarship. Need:
Balance ambition with emotional responsibility.
Rishi (23) — Aarav’s best friend; comic relief; loyal. Function:
Pushes Aarav to act; grounds scenes with humor.
Naina (21) — Meera’s pragmatic, sarcastic friend. Function:
Calls out Meera’s blind spots; showcases consequence.
Professor Awasthi (50s) — Mentor to both; loves Ganga‑ghat culture, Hindustani
music & Hindi sahitya. Function: Moral compass; thematic bridges.
Kabir (24) — Talented producer; initially “good collaborator,” later
ex‑intern tied to Aarav’s father’s past. Want: Validation, comeback. Need:
Let go of revenge; accept accountability.
4)
Plot Structure (3 Acts — Season Arc)
Act I (Eps 1–3): Meeting → Dosti → Dawning love. Inciting incident = poetry‑music
clash at ghat. Key turn = Episode 3’s unspoken confession in diary.
Act II (Eps 4–8): Misunderstanding → Third‑party pull (Kabir) → Break →
Repair attempt → Past revealed (father–Kabir file). Midpoint = Episode 6 rain‑fight
(false breakup). Dark night = Episode 8 revelation of revenge motive &
father’s involvement.
Act III (Eps 9–10): Maafi ki talash → Emotional maturity → Public confession
& choice. Climax = Fest stage duet; Resolution = “new page, one pen”.
5)
Script (Screenplay Format — Sample)
EP01 – “Pehla Dekha” | Scene 1 —
Ganga Ghat (Dawn)
EXT. GANGA GHAT – DAWN Mist over the river. A BAANSURI drifts. AARAV (23)
scribbles in a weathered diary.
AARAV (V.O.) Paani mein doobta sooraj dekha hai… par aaj kisi ki aankhon
mein doob gaya hoon.
Across the steps, MEERA (21)
sings a Bhairavi phrase—riyaaz, unfiltered. Ghats resonate.
Aarav looks up, arrested. Meera
catches him looking.
MEERA Sunna hai toh samne aakar suno. Chhup‑chhup ke kyun?
AARAV (flustered) Main… bas… aapki awaaz—
MEERA (tiny smile) Awaaz nahi, riyaaz. Aur main har kisi
ko nahi sunati.
She exits. Aarav exhales, flips open
his diary.
AARAV (V.O.) Naam nahi pata… lekin aaj meri kavita mil gayi.
CUT TO:
EP01 – Scene 2 — College Classroom
(Morning)
INT. CLASSROOM – DAY RISHI elbows Aarav as Meera enters, same girl. Aarav
freezes.
RISHI (whisper) Ghat wali sherni.
AARAV (hissing) Chup kar.
Meera clocks Aarav, rolls eyes,
sits.
CUT TO:
EP01 – Scene 4 — Tapri (Evening)
EXT. TEA STALL – EVENING Rishi stirs chai.
RISHI Propose karega ya diary likhega?
AARAV (half‑smile) Kuch log likhne ke liye milte hain… jeene ke
liye nahi.
Meera arrives for chai. A brief,
mutual smile.
Note: Full episode scripts can be expanded following this format;
dialogues already drafted in your base material slot in scene headings, action
lines, and character cues.
6)
Scene Breakdown (Beat Sheets)
EP01 – Ghat stare → Classroom recognition → Tapri tease → Night
diary vow.
EP02 – “Talk, not just write” library beat → Ghat jam (poem↔tune
pact) → Rooftop bond.
EP03 – Courtyard coffee confession‑adjacent → Night ghat
intimacy (almost touch) → Diary question: Kya yeh pyaar hai?
EP04 – Fest prep vow → Stage poem hand‑off → Misread → Rooftop
doubt.
EP05 – Kabir chemistry in canteen → Garden jab → Studio
proximity → Lonely diary VO.
EP06 – Terrace rain fight → Diary torn → Flashback open‑mic →
Parallel guilt.
EP07 – Meera repairs pages → Music room apology → Sunset hand‑hold
→ Hopeful VO.
EP08 – Admin file reveal → Kabir confession → Aarav withdraws →
Meera chooses support.
EP09 – Locked auditorium maafi → Not yet forgiveness → Kabir
closure → “Kal milo” text.
EP10 – Fest solo → On‑stage duet confession → Rooftop coda.
7)
Dialogues, Subtext & Themes
Core Themes:
- Kahna vs Likhnā:
Speech vs text; courage to voice love.
- Ambition vs Attachment: Scholarship abroad vs staying.
- Truth vs Perception:
Misread poem; Kabir’s revenge; father’s legacy.
Recurring Motifs: diary pages, ghat dawns, rooftop winds, rain as
rupture/renewal, “one pen.”
Sample Lines & Subtext:
- “Main har baar awaaz mein apni khaamosi dhoondhta
hoon.” → Aarav avoids direct talk;
uses Meera’s singing to feel.
- “Kavita pehle mujhe sunani hogi.” → Meera demands reciprocity.
- “Diary band. Ab roz bolna.” → Resolution: speech supersedes text.
8)
Treatment / Synopsis (Concise)
Aarav, a shy poet in Varanasi, is
captivated by Meera’s fearless riyaaz on the ghats. Their friction turns to
friendship and then to a quiet, word‑shy love. Aarav confesses via poem; Meera
misreads it. Kabir, a talented producer, partners Meera musically and stokes
Aarav’s jealousy. A stormy rooftop fight shreds Aarav’s diary and their fragile
bond. Meera literally mends the pages and returns, ready to listen as much as
sing.
Peace fractures again when a college
file reveals Kabir’s past link to Aarav’s father, whose complaint had once
derailed Kabir’s career. Kabir admits he returned for revenge but unexpectedly
cared for both. Meera apologizes publicly; Aarav isn’t ready to forgive yet—but
he recognizes her courage. In the finale, he chooses voice over text, singing
on the fest stage. Meera joins, reading a diary page of her own. They commit to
a new beginning: speaking daily truths, writing together—“one pen.”
9)
Storyboard / Shot Division (Key Sequences)
A) EP01 Ghat Meet (Dawn)
- WS misty
ghats; sun flare on ripples.
- MS
Aarav’s hand + ink‑scarred diary.
- CU
Meera’s alaap, breath plume in cold air.
- OTS
Meera catching Aarav watching; micro‑smile.
- Insert
diary line appears as handwriting overlay.
B) EP06 Rain Confrontation (Terrace)
- WS monsoon
sheet, cityscape; wind whips dupatta.
- 2‑shot
push‑in during blame exchange.
- CU
diary pages tearing; rain beads on ink.
- Top‑shot
pages scattering = relationship fracturing.
C) EP10 Fest Confession (Stage)
- WS
crowd + spotlight cone.
- CU pick
on guitar string → match cut to Meera’s finger on page.
- Side dolly
as they share mic.
- Backlit WS
hug silhouette, confetti fall.
10)
Dialogue Drafts & Revisions (Alts)
Line: “Kuch log likhne ke liye milte hain… jeene ke liye nahi.”
- Alt A:
“Kuch chehre sher ban jaate hain; zindagi page khali reh jaati hai.”
- Alt B:
“Main likhta raha; jeena baad mein rakha—galti wahi thi.”
Line: “Diary band. Ab roz bolna.”
- Alt A:
“Aaj se lafz zubaan pe, kaagaz pe nahi.”
- Alt B:
“Kal subah se, likhne se pehle kehna.”
Line: “Kya yeh pyaar hai?”
- Alt A:
“Yeh jo chup si garamahat hai… naam kya hai iska?”
- Alt B:
“Agar har sur tum par rukta hai, toh kya main tum hoon?”
11)
Scene Pacing & Runtime (Per Episode — 24–28 min target)
|
Ep |
Cold
Open |
A |
B |
C |
Tag |
Total |
|
1 |
1:00 |
7:00 |
7:00 |
6:00 |
1:30 |
22:30–24:00 |
|
2 |
0:30 |
8:00 |
7:00 |
6:30 |
1:00 |
23:00–24:00 |
|
3 |
0:45 |
7:30 |
7:30 |
6:30 |
1:00 |
23:15–24:45 |
|
4 |
0:30 |
8:30 (prep) |
7:00 |
6:00 |
1:00 |
23:00–24:30 |
|
5 |
0:30 |
7:30 |
8:00 |
6:30 |
1:00 |
23:30–25:00 |
|
6 |
0:30 |
6:30 |
9:00 (rain) |
6:30 |
1:00 |
23:30–24:30 |
|
7 |
0:20 |
7:30 |
7:30 |
6:30 |
1:00 |
23:00–24:00 |
|
8 |
0:30 |
7:00 |
8:00 (reveal) |
7:00 |
1:00 |
23:30–25:00 |
|
9 |
0:20 |
8:00 (auditorium) |
7:00 |
6:30 |
1:00 |
23:00–24:30 |
|
10 |
0:15 |
7:00 |
8:00 (stage) |
7:00 |
1:00 |
23:15–24:45 |
12)
Character Arcs (Start → Mid → End)
Aarav: Silent observer → Writes instead of speaking → Learns to
voice love → Public confession → Balanced artist & partner.
Meera: Bold but self‑centric in ambition → Learns to listen &
repair → Public accountability → Chooses “speak & sing” partnership.
Kabir: Validation via revenge → Confession & closure → Exits
with accountability.
Rishi/Naina: Wise‑crack support → Truth‑tellers in crisis → Guardians of
new communication rules.
13)
World‑Building & Research (Varanasi Texture)
- Spaces:
Assi & Dashashwamedh ghats at dawn, crowded galis, hostel rooftops,
acoustic cafés, college auditorium with jugadu light‑rigs, home studios.
- Soundscape:
Aarti bells + shehnai + street hawkers + boat motors + rain on tin
rooftops.
- Cultural Notes:
Riyaaz routines (Bhairavi morning ragas), Hindi sahitya clubs, open‑mic
circuits, scholarship processes, college admin bureaucracy.
- Visual Palette:
Morning ambers & river blues; monsoon greys; fest neons.
14)
Tone & Genre Consistency (Style Guide)
- Tone:
Emotional, layered, poetic; avoid melodrama; use silence as dialogue.
- Dialogue:
Roman Hindi; lyrical but grounded; micro‑beats, overlaps.
- Camera:
Handheld intimacy for arguments; composed wides for ghats; floating dolly
for music.
- Music:
Classical‑folk fusion leitmotifs; rain = dissonant strings; reunion = warm
guitar + shehnai.
- Symbols:
Diary pages (honesty), rain (rupture), rooftop wind (transition), stage
mic (voice).
Appendix: Expansion Map
- Full script pages to be generated episode‑wise using the sample screenplay template.
- Lyrics placeholders to be replaced with composed couplets aligned to raga‑time.”}
I’ve put everything into a clean, print-ready writers’ bible on the canvas — complete with logline, outline, bio cards, 3-act structure, screenplay-format sample, scene beats, themes/subtext, treatment, shot lists, alt dialogue drafts, pacing table, character arcs, world-building, tone guide, and a pre-writing checklist.
EP01 — “Pehla Dekha” (Full Screenplay Draft v1.0)
Genre: Romantic Drama
Setting: Varanasi — Ganga ghats (dawn), college classroom &
corridors (day), library (noon), chai tapri (evening), ghat (sunset), hostel
rooftop (night)
Running Time Target: ~24–26 min
Language Note: Dialogue in Roman Hindi; action lines in English for
production clarity.
COLD
OPEN (0:00–1:00)
EXT. GANGA GHAT – DAWN Mist floats above the river. Temple bells, a lone BAANSURI.
Morning bathers. A boatman hums a Bhairavi phrase.
On the steps, AARAV (23) —
hoodie, notebook — writes.
AARAV (V.O.)
“Paani mein doobta sooraj dekha hai…
Par aaj kisi ki aankhon mein doob gaya hoon.”
Across the ghat, MEERA (21)
stands, doing riyaaz — open‑throated, assured. Her voice fills the
stone.
Aarav looks up. Stilled.
Meera clocking his gaze.
MEERA
Sunna hai toh samne aakar suno. Chhup‑chhup ke kyun?
AARAV (caught)
Main… bas… tumhari awaaz—
MEERA (tiny smile)
Awaaz nahi, riyaaz. Aur main har kisi ko nahi sunati.
She leaves. Aarav swallows, flips to
a fresh page.
AARAV (V.O.)
Naam nahi pata… lekin aaj meri kavita mil gayi.
CUT TO MAIN TITLES.
ACT
ONE (1:00–8:00)
INT. COLLEGE CLASSROOM – MORNING Students slide in. RISHI (23) elbows Aarav as Meera
enters, now in college avatar.
RISHI (whisper)
Ghat wali sherni.
AARAV (under breath)
Chup kar.
Meera catches Aarav looking, rolls
her eyes, sits up front.
INT. CORRIDOR – LATER Aarav and Rishi walk with cups of watery canteen coffee.
RISHI
Strategy simple: hello bolo. Phir naam. Phir chai. Phir dil.
AARAV
Mere yahan pehle lafz aate hain… dil baad mein.
INT. LIBRARY – NOON Quiet stacks. Meera browses Hindustani music books. Aarav
at a nearby table, writing. He leaves to fetch a catalog — his DIARY
momentarily unattended.
Meera notices the open page. Reads —
a couplet about “raag Bhairavi in someone’s eyes.”
MEERA (murmur)
Kiske liye likha hai yeh?
Aarav returns, gently slides the
diary back.
AARAV
Bas ek soch thi.
MEERA
Soch sundar hoti hai… par bolne mein dum hota hai.
A shared look. She moves on.
EXT. COLLEGE QUAD – AFTERNOON Professor AWASTHI (50s) crosses, greets both.
AWASTHI
Shabd aur sur — dono ko saans chahiye. Dono ko jagah bhi.
He smiles, goes. The line lands on
both.
EXT. CHAI TAPRI – EVENING Rishi stirs tea. Aarav watches the lane.
RISHI
Propose karega ya diary likhega?
AARAV (half‑smile)
Kuch log likhne ke liye milte hain… jeene ke liye nahi.
Meera arrives for chai. Their eyes
meet; a polite nod.
MATCH CUT TO:
River ripples catching sunset.
ACT
TWO (8:00–17:30)
EXT. GANGA GHAT – SUNSET Meera sits with a GUITAR — folk‑classical fusion.
Aarav lingers, hesitant.
MEERA
Aao. Naya tune suno.
She plays a tender motif.
MEERA (soft, half‑singing)
Jo likha tune lamhon pe…
Main usme dhun chhod aayi hoon…
Aarav, moved.
AARAV
Kya main tumhari dhunon pe kavita likh sakta hoon?
MEERA
Sirf ek shart — kavita pehle mujhe sunani hogi.
They share a laugh. A pact is made.
MONTAGE — “DIL AUR DOSTI” BEATS — Library lawn: coffee cups; they trade book
recommendations.
— Corridor: near‑collisions; shy smiles.
— Ghat steps: Aarav writes, Meera hums along.
— Professor Awasthi watching from afar, content.
INT. MUSIC ROOM – LATE AFTERNOON Meera does riyaaz; Aarav sits in a corner, listening like a
ritual.
AARAV (V.O.)
“Uski aawaz sirf sur nahi… meri chhupi feelings ka chehra.”
She stops, sensing him.
MEERA
Tum har baar chup kyun rehte ho?
AARAV
Kyunki main har baar awaaz mein apni khaamosi dhoondhta hoon.
She lets that sit. A micro‑smile.
EXT. COLLEGE ROOFTOP – NIGHT City lights. Two steaming kulhads of chai.
MEERA
Tum ajeeb ho. Thode sachche bhi.
AARAV
Lagta hai pehle bhi mile hain… kisi purani kavita mein.
A breeze. Near‑touch energy, neither
moves. Comfortable silence.
INT. AARAV’S ROOM – NIGHT He writes by the window.
AARAV (V.O.)
“Kuch mulaqatein ajeeb hoti hain… shabd ban jaati hain.
Kuch log — pehli baar milke bhi jaane‑pehchaane.”
He underlines a title: “PEHLA
DEKHA.”
ACT
THREE (17:30–24:00)
INT. CLASSROOM – NEXT MORNING Rishi clocks Aarav’s restless energy.
RISHI
Aaj bolega? Ya main poster chapwa doon — “poet needs courage.”
Aarav pockets a folded POEM.
INT. AUDITORIUM BACKSTAGE – EVENING Fest prep buzz. Meera warms up; Aarav watches from the
wings.
AARAV (V.O.)
Aaj… keh dunga.
ON STAGE — Meera performs a gentle classical‑folk piece. Crowd
hushes, then applause.
WINGS — Aarav steps up.
AARAV (offering the folded page)
Tumhare liye likha hai.
He retreats before she can respond.
EXT. CAMPUS PATH – LATER Meera opens the poem, reading lines about “aankhon ka
dariya” and “hawa guzar jana.”
Confusion flickers. Is this about
me? Someone else?
EXT. HOSTEL ROOFTOP – NIGHT Aarav sits alone. Rishi joins.
RISHI
Kya bola?
AARAV
Kuch nahi. Shayad samjhi nahi. Shayad… main keh nahi paaya.
Rishi squeezes his shoulder.
INT. MEERA’S ROOM – SAME NIGHT Meera rereads the poem. Flashes of ghat, library, rooftop.
MEERA (V.O.)
Kya yeh sach mein… mere liye tha? Ya woh kisi aur ka saaya tha?
She wipes a tear, shuts the page,
thinking.
EXT. GANGA GHAT – PRE‑DAWN Empty steps. Aarav arrives with the diary.
AARAV (V.O.)
“Jab alfaaz mil jaate hain… log door ho jaate hain.”
He looks out at the river — two
banks divided by water.
SMASH CUT TO BLACK.
END EPISODE.
Production
Notes
- Music:
Morning Bhairavi motif (ghat), folk‑classical guitar motif (bonding),
sparse piano (night VO).
- Motifs:
Diary pages (state track), water/kinare imagery, rooftop wind cues.
- Props Continuity:
Folded poem (Act Three), diary (Act bookends).
- Color:
Dawn ambers/river blues; campus neutrals; night golds.
Revision
Flags (for v1.1)
- Consider adding Professor Awasthi mini‑beat in Act
Three to seed Ep04 fest arc.
- Insert a 10–12 sec silent glance after library line
“bolne mein dum hota hai” for trailer cut.
EP02 — “Dil Aur Dosti” (Full Screenplay Draft v1.0)
Genre: Romantic Drama
Setting: Varanasi — College campus (morning/day), library (noon), ghat
(sunset), hostel rooftop (night), canteen & corridors (interstitials)
Running Time Target: ~24–26 min
Language Note: Dialogue in Roman Hindi; action lines in English for
production readability.
COLD
OPEN (0:00–0:40)
EXT. COLLEGE GATE – MORNING Students streaming in. MEERA (21) enters with a soft‑case
guitar slung. AARAV (23) hovers near the gate, diary in hand; RISHI
(23) at his side.
RISHI
Plan: hello — naam — chai. Simple.
AARAV (smiles)
Mere plans mein pehle lafz aate hain… baaki baad mein.
Meera passes.
MEERA (passing quip)
Diary se pehle "hi" bolna seekh lo, poet saab.
Aarav gulps; Rishi grins.
SMASH TO TITLE.
ACT
ONE (0:40–8:10)
INT. LIBRARY – LATE MORNING Quiet stacks. Sunbeams through jali windows. Meera skims a Hindustani
Alankars book. Nearby, Aarav writes, headphones off, listening to the room.
Aarav gets up to fetch a catalog.
His DIARY remains open — a couplet about “raag Bhairavi” and “subah
ke pani jaise aankhein.”
Meera notices, reads.
MEERA (under breath)
"Raag Bhairavi aankhon mein…" — kiske?
Aarav returns, gently palms the
diary.
AARAV
Bas ek soch thi.
MEERA
Soch acchi hai. Par bolne mein zyada dum hota hai.
A brief standoff. She smiles, moves.
EXT. QUAD / COLLEGE LAWNS – DAY Professor AWASTHI (50s) strolls with a stack of
notices.
AWASTHI
Is hafte Saaz‑o‑Sukhan showcase. Shabd aur sur — saath. Pair up karo,
original piece.
(to Aarav & Meera)
Tum dono… try karoge?
Meera glances at Aarav; he freezes,
then nods.
INT. CORRIDOR – CONTINUOUS Posters for the showcase. A small crowd gathers.
MEERA (to Aarav)
Rule: drama nahi. Sirf dosti aur kaam.
Aur… kavita pehle mujhe sunani padegi.
AARAV
Deal. Tumhari dhun pe meri line. Meri line pe tumhara sur.
They shake on it — awkward but
sincere.
EXT. CANTEEN VERANDAH – AFTERNOON Rishi with samosas; NAINA (21) joins Meera.
NAINA (to Meera)
Poet waale scene mein sambhal ke. Cute hai, par zara fragile lagta hai.
MEERA (light)
Main dimaag se gaati hoon. Dil se sunti hoon.
RISHI (to Aarav)
Agar phas gaya toh "hi" bol dena.
(beat)
Ab bol bhi de.
Aarav and Meera exchange a small
wave — first easy, mutual.
ACT
TWO (8:10–17:50)
EXT. GANGA GHAT – SUNSET Golden hour. Boats. Bells. Meera tunes her guitar; Aarav
sits, notebook ready.
MEERA
Meter kya hoga? Tum bolo.
AARAV
Do do lineon ka theka — halka sa da‑da‑din chalne do.
She strums a folk‑classical motif.
He matches with a couplet.
AARAV (reciting)
Jo likha tune lamhon pe,
Main usme saans dhundhta hoon—
Tere suron ki chhatri tale,
Main khud se milta hoon.
Meera smiles, answers with a hum,
then words.
MEERA (soft gaate hue)
Teri khamosi ka sur mila,
Mere alfazon ko ghar mila…
They hit a minor clash — timing off.
They laugh, try again. A bonding rhythm forms.
MONTAGE — “DIL AUR DOSTI” — Library lawn: coffee cups; book swaps (Faiz ↔
Bhatkhande).
— Corridor: near‑collision; a shared apology.
— Stationery shop: Aarav buys a new pen; Meera steals it playfully.
— Ghat steps: pigeons burst as their motif tightens.
— Awasthi watches from a distance, approving.
INT. MUSIC ROOM – LATE AFTERNOON Riyaz. Meera demonstrates a simple taan.
MEERA
Yeh phrase bolo— ta‑ni‑na, ta‑ni‑na.
(teases)
Poet ko sur mehnat karne padenge.
AARAV
Aur singer ko misra ki izzat karni padegi.
They share a grin — respect
is forming.
EXT. COLLEGE ROOFTOP – NIGHT City hum. Two kulhads. Breeze.
MEERA
Tum itna likhte kyun ho… bolte kyun nahi?
AARAV
Jab kabhi bola… galat waqt tha.
(beat)
Diary galtiyan sambhal leti hai.
MEERA
Kal se ek rule.
Tum ek sach bologe, main ek. Roz.
AARAV (nervous, honest)
Sach #1: Aaj tumhaari awaaz se darr kam laga.
MEERA (tiny)
Sach #1: Aaj tumhari aankhon se jhooth kam laga.
They sit in the quiet. Near‑touch,
not quite.
INT. HOSTEL STAIRWELL / LANDINGS –
INTERCUT Naina and Rishi on separate calls with
their friends, half‑teasing, half‑concerned.
NAINA
Artist wale pyaar mein pehle kaam, baad mein dil. Warna dono toot te hain.
RISHI
Banda likhega, likhega… par ek din bolega bhi. Bas waqt do.
EXT. GHAT – LATE NIGHT Aarav alone, scribbling a title: “Saans aur Saaz.”
He underlines it.
ACT
THREE (17:50–24:10)
INT. SMALL CAMPUS CAFE / OPEN MIC –
EVENING Warm fairy lights. Hand‑painted
sign: Saaz‑o‑Sukhan (Try‑outs). A modest crowd.
Backstage corner: Aarav visibly
anxious. Meera anchors him.
MEERA
Hum dono hain. Tum sirf padhoge nahi— saans loge. Main saaz dungi.
AARAV (a breath, nods)
Theek hai.
ON THE MICRO‑STAGE Meera plays the motif. Aarav steps to the mic. A beat of
silence.
AARAV (steadying, recites)
Tum raag ho ya raat ki nadi —
Main dono mein apna ghar dhundhta hoon.
Tum sur ho ya sadiyon ki dua —
Main dono se jeena seekhta hoon.
Meera’s harmony slips in—wordless
support. The piece lands simple and honest. Small applause swells.
Aarav exhales, surprised. Meera
grins like a co‑conspirator.
EXT. CAFE ALLEY – LATER They exit into the night glow.
MEERA
Dosti ka pehla test clear.
(offers her hand)
Partner?
AARAV (shakes, sincere)
Partner.
He hands her a folded page.
AARAV
"Saans aur Saaz" — first draft, hamara.
MEERA (reading a line)
“Jab tumhari dhun rukti hai, meri saans chal padti hai.”
(looks up)
Kal subah ghat? Sunrise rehearsal.
AARAV
Haan.
EXT. GANGA GHAT – PRE‑DAWN (TAG) Empty steps. The river like ink. Aarav places the diary;
Meera arrives, breath fogging.
They sit side‑by‑side, looking at
the thin silver line of dawn.
AARAV (V.O.)
“Jab dosti mein dil milta hai… lafzon ki zarurat kam padti hai.”
He writes a small header on a blank
page: “KYA YEH PYAR HAI?”
He pauses, doesn’t write more — yet.
They share a quiet smile at the
rising light.
CUT TO BLACK.
END EPISODE.
Production
Notes
- Music:
Ghat motif (Bhairavi morning), “Saans‑o‑Saaz” motif (folk‑classical guitar
+ tanpura pad), sparse piano for VO.
- Motifs:
Diary (titles visible), hand‑to‑hand pact, rooftop wind, waterline as
emotional progress bar.
- Continuity Seeds:
Showcase poster; Professor Awasthi’s nudge; Meera’s rule of daily truths.
Revision
Flags (for v1.1)
- Consider a 10–12s corridor beat of silent look‑exchange
for trailer.
- Try alt ending where Meera writes her first line in
Aarav’s diary (parallel to Ep10 “one pen”).
- Add 1 Naina–Meera beat post‑open‑mic to foreground
Meera’s empathy growth.
EP03 — “Kya Yeh Pyar Hai?” (Full Screenplay Draft v1.0)
Genre: Romantic Drama
Setting: Varanasi — Music room (morning), library courtyard (noon),
college corridors/canteen (day), ghat (night), Aarav’s room (late night)
Running Time Target: ~24–26 min
Language Note: Dialogue in Roman Hindi; action lines in English for
production clarity.
COLD
OPEN (0:00–0:45)
INT. MUSIC ROOM – MORNING Taanpura’s low drone. MEERA (21) finishes a delicate
alaap. AARAV (23) listens in a corner, ritual‑still.
AARAV (V.O.)
“Uski awaaz sirf sur nahi… meri chhupi hui feelingon ka chehra ban gayi hai.”
Meera opens her eyes, finds him
there—again.
MEERA
Tum har baar chup‑chaap kyun sunte ho?
AARAV
Kyunki main har baar awaaz mein apni khaamosi dhoondhta hoon.
She holds his gaze—curious, not coy.
CUT TO TITLE.
ACT
ONE (0:45–8:10)
EXT. LIBRARY COURTYARD – LATE
MORNING Filtered sun through neem leaves.
Students on benches. Meera and Aarav sit with paper cups of coffee—first time
without awkwardness.
MEERA
Ek sawal poochun?
AARAV (half‑grin)
Poet se sawal? Himmat chahiye.
MEERA
Tumne kabhi kisi se… pyaar kiya hai?
Aarav pauses—truth skims the
surface, then sinks.
AARAV
Shayad. Par jab samjha, tab tak waqt nikal chuka tha.
She absorbs. A sparrow lands, hops.
Their cups touch by chance—tiny clink.
INT. CORRIDOR – DAY Showcase signup sheet on notice board: “Saaz‑o‑Sukhan —
Pair List (Draft).” Their names penciled together. RISHI (23) beams;
NAINA (21) scans.
RISHI (to Aarav)
Dekh— destiny bhi ship kar rahi.
NAINA (to Meera)
Dosti pe dhyan. Stage pe clear rehna.
Meera nods, half‑smile toward Aarav.
EXT. CANTEEN COUNTER – AFTERNOON Hustle. Steel tumblers. They split a plate of bun‑makhhan;
fingers almost brush.
MEERA (light)
Daily truth rule yaad hai?
AARAV
Haan. Aaj ka sach— tumhari hansi se reverb kam lagta hai.
MEERA
Aaj ka sach— tumhare lafzon se ghabrahat kam lagti hai.
They laugh. Awasthi crosses,
overhears.
AWASTHI
Khayal daudta hai, par bandish mein bandhkar hi sunai deta hai. (beat)
Kal practice pe ek mukhda bana lena.
They nod—homework assigned.
ACT
TWO (8:10–17:50)
EXT. GANGA GHAT – SUNSET Amber light, boats drifting. Meera tunes guitar; Aarav
lines his notebook.
MEERA
Mukhda? Tum line do, main sur deti hoon.
AARAV (offers)
“Jo likha tune lamhon pe—”
MEERA (picks a melody)
—“Main usme dhun chhod aayi hoon…”
The piece blooms—their motif
evolves. They miss a beat, share a laugh, tighten rhythm.
MONTAGE — INTIMACY IN SMALL THINGS — Library lawn: He reads Faiz, she hums the meter;
pencil behind her ear.
— Stationery lane: She buys staff paper; slips a sheet into his diary.
— Bike repair kiosk: They wait for a puncture; share a kulfi; she smears
some, he wipes—hesitates—she finishes the wipe herself.
— Ghat steps: He writes, she leans shoulder‑close but not touching.
INT. MUSIC ROOM – LATE AFTERNOON They work a call‑and‑response: Meera’s taan, Aarav’s
lines.
MEERA
Taan ki jagah chhoti rakhte hain— words ko saans milegi.
AARAV
Aur words ke beech thodi khaamosi— sur ko jagah milegi.
They look at each other: we
understand.
EXT. COLLEGE ROOFTOP – TWILIGHT A breeze lifts Meera’s hair. Varanasi’s lights flicker on.
MEERA (gentle)
Tumne… shayad kaha pyaar hua tha. Kisse?
AARAV (eyes on the city)
Kisse nahi. Ek awaaz se. Jo khud ko samajh leti thi— mujhe bolne se pehle.
She turns to him, soft disbelief
morphing into warmth.
A phone BUZZ. Meera checks—workshop
call for entries (seed for ambition track). She locks the screen, pockets
it—present with him.
MEERA
Kal open‑mic try karein? Chhota set— bas hum dono.
AARAV
Haan. Par… pehle tum suno jo main likh raha hoon.
EXT. GHAT – NIGHT Quiet river. Paper boats with tealights drift. They sit
close, knees almost touching.
MEERA (near‑whisper)
Agar tum kuch likh rahe ho… usme main hoon?
AARAV (a smile)
Main tumhe likh‑likh ke samajhne ki koshish kar raha hoon.
Her hand hovers near his—almost.
She pulls back, breathes.
Water laps. Bells carry.
ACT
THREE (17:50–24:20)
INT. SMALL CAFE / OPEN MIC CORNER –
EVENING String lights. Handwritten board: Saaz‑o‑Sukhan:
Trial Night. A few listeners.
At the side table, Aarav folds a
page—nervous energy. Meera steadies him with a look.
MEERA
Aaj likhna kam— kehna zyada. Theek?
He nods—maybe.
ON MICRO‑STAGE Meera strums their motif—keeps it spare. Aarav steps to
mic, breathes.
AARAV (recites)
“Uska chehra band aankhon mein bhi dikhta hai—
Aur jab khuli aankhon se dekhta hoon—
Khud se poochta hoon…
Kya yeh pyaar hai?”
A beat—he could say her name—doesn’t.
The room is silent, tuned in. Meera looks at him—say it. He chooses the
poem.
The small crowd applauds—warm,
genuine. Meera’s smile holds a trace of ache.
EXT. ALLEY OUTSIDE CAFE – LATER They walk out. Sodium lights, light mist.
MEERA (careful)
Good set. Honest bhi.
(then)
Kabhi… name bhi aayega kya poem mein?
AARAV (deflecting warmth)
Jab tum sunne se pehle samajh jaogi— shayad.
She shakes her head—stubborn poet—but
she’s smiling.
INT. AARAV’S ROOM – LATE NIGHT Window open to faint temple bells. Diary open. He writes a
title in bold: “KYA YEH PYAR HAI?”
AARAV (V.O.)
“Uska chehra band aankhon mein bhi dikhta hai…
Aur jab khuli aankhon se dekhta hoon—
Khud se sawaal karta hoon…
Kya yeh pyaar hai?”
He stops. The pen hovers. A boat
horn blows in the distance.
EXT. GHAT – SAME NIGHT Meera sits alone on the steps, listening to the water. She
whispers—no one hears—
MEERA (to herself)
Haan… shayad.
She looks up at the opposite
bank—two shores divided by a dark river.
CUT TO BLACK.
END EPISODE.
Production
Notes
- Music:
Aalaap drone (music room), “Saans‑o‑Saaz” motif (ghat/open‑mic), sparse
piano + bansuri overlays for VO/night water.
- Motifs:
Diary title pages; waterline as emotional bar; almost‑touch hand beat;
daily‑truth rule callbacks.
- Props:
Signup sheet shows pair lock; Meera’s phone notification (workshop call)
seeds ambition arc.
Continuity
& Seeds (→ EP04, EP05)
- EP04: Open‑mic establishes Aarav’s habit to confess via
poem; Meera’s “name kab?” sets misinterpretation stakes for the festival
poem.
- EP05: Phone notification plants Meera’s rising
opportunities; introduces external pull.
Revision
Flags (for v1.1)
- Consider a short Naina × Meera bench talk post‑open‑mic
to underline “say it, not just write it.”
- Add a 6–8 sec silent linger on Meera’s almost‑touch at
ghat for trailer beat.
- Option B ending: Aarav writes her initial on the diary
margin (insert shot) then scratches it—saving reveal for Ep04.
EP04 — “Pehla Confession” (Full Screenplay Draft v1.0)
Genre: Romantic Drama
Setting: College auditorium (day/night), prep room, rooftop (night),
Meera’s hostel room (flashback montage), Aarav’s diary (intercuts)
Running Time Target: ~24–26 min
Language Note: Dialogue in Roman Hindi; action lines in English.
COLD
OPEN (0:00–1:00)
INT. COLLEGE AUDITORIUM – MORNING Banners and stage lights. Rehearsals for cultural fest. MEERA
(21) preps with her music team. AARAV (23) hovers backstage, poem
folded in his pocket. RISHI (23) teases.
RISHI
Yaar Aarav, ab toh bol de. Tera chehra hi confession kar raha hai.
AARAV (half‑nervous)
Aaj raat… uske sur ke baad, meri kavita.
He palms the folded page tighter.
CUT TO TITLE.
ACT
ONE (1:00–8:00)
INT. PREP ROOM – EVENING Mirror bulbs. Costumes, instruments. Meera readies with NAINA
(21).
NAINA
Nervous?
MEERA
Nahi. Bas aisa lag raha hai jaise aaj kuch alag hoga.
INT. AUDITORIUM – NIGHT (SHOWTIME) Crowd buzz. Dim lights. Meera on stage, sings a classical‑fusion
number. Aarav watches from balcony, eyes shining.
AARAV (V.O.)
“Yeh awaaz… meri har khamoshi ka sur ban gayi hai.”
Applause crescendos. Aarav steels
himself, steps down.
WINGS – POST PERFORMANCE Aarav hands Meera the folded poem.
AARAV
Tumhare liye likha hai.
He retreats. She unfolds, reads.
ACT
TWO (8:00–17:40)
INSERT — POEM ON PAPER Handwriting: “Uski aankhon mein dard ka dariya tha… main
doob gaya tha. Uska haath pakadna chaha… par ungliyon se sirf hawa guzri.”
MEERA’S FACE — confusion. Is this about me? Someone else?
INT. CORRIDOR – LATER Rishi intercepts Aarav.
RISHI
Kya kaha usne?
AARAV (low)
Kuch nahi. Shayad samjhi hi nahi.
INT. MEERA’S HOSTEL ROOM – NIGHT She rereads. Montage overlays—ghat moments, library coffee,
rooftop truths.
MEERA (V.O.)
Kya woh sach mein mujhse pyar karta hai… ya kisi purani yaadon ka saya hai?
Tears brim. She hides the page in
her diary.
EXT. ROOFTOP – SAME NIGHT Aarav sits under stars, pen scratching new lines.
AARAV (V.O.)
“Jab alfaaz mil jaate hain… dooriyan shuru ho jaati hain.”
Wind rattles tin sheets; echo of
fest applause in background.
MONTAGE – FLASHBACK / MEMORY
LAYERING — Ghat sunrise: first stare.
— Library: “Soch sundar hai…”
— Rooftop pact: “Daily truth rule.”
— Open mic: “Kya yeh pyaar hai?”
Each overlaps with present
confusion.
ACT
THREE (17:40–24:20)
INT. HOSTEL ROOFTOP – LATE NIGHT Aarav writes by lantern. Rishi arrives.
RISHI
Shayad ab bolne ka waqt tha… sirf likhne ka nahi.
Aarav silent. Looks at poem copy—crumbles
it.
INT. MEERA’S ROOM – PARALLEL Meera replays his words silently; tears. She whispers—
MEERA
Agar yeh mere liye tha… toh main kyun nahi samajh paayi?
She presses poem to her chest.
INTERCUT — DIARY VS PAPER — Aarav ink bleeding on page.
— Meera folding poem like a keepsake.
— Both framed separately by windows, same moonlight.
EXT. GHAT – PRE‑DAWN (TAG) Water dark, bells faint. Aarav alone.
AARAV (V.O.)
“Kya kehna hi kaafi hota hai… ya samajhna bhi zaruri hai?”
He drops ink into river; ripples carry.
FADE OUT.
END EPISODE.
Production
Notes
- Music:
Fest performance (fusion raga), VO undercurrent piano, rooftop ambient
wind.
- Motifs:
Folded poem (prop continuity); water as metaphor; intercut windows =
parallel solitude.
- Camera:
Push‑ins on reading faces; rooftop top‑shot; river ripple close for tag.
Continuity
Seeds (→ EP05)
- Meera’s confusion → Kabir entry comfort.
- Aarav’s silence → grounds his jealousy arc.
- Rishi’s “bolne ka waqt” → foreshadow rain
confrontation.
Revision
Flags (v1.1)
- Option B: Stage beat where Aarav almost reads aloud but
chickens out—heighten tension.
- Option: Insert Naina POV on Meera post‑performance (to
externalize her doubt).
EP05 — “Dooriyan” (Full Screenplay Draft v1.0)
Genre: Romantic Drama
Setting: College canteen (morning), library garden (afternoon), Kabir’s
home studio (evening), corridors/rooftop intercuts, Aarav’s room & Meera’s
room (night)
Running Time Target: ~24–26 min
Language Note: Dialogue in Roman Hindi; action lines in English for
production clarity.
COLD
OPEN (0:00–0:50)
INT./EXT. COLLEGE CANTEEN – MORNING Buzzing crowd. MEERA (21) sits with a confident new
face, KABIR (24) — headphones around neck; a portable MIDI controller on
the table.
They review a phone voice‑note and
chuckle. Across the room, AARAV (23) and RISHI (23) clock them.
RISHI
Naya banda… energy high lag rahi.
AARAV (masking)
Music team ka hoga. Bas.
Kabir says something; Meera laughs —
unguarded, happy. The laugh lands like a pin in Aarav.
SMASH TO TITLE.
ACT
ONE (0:50–8:10)
EXT. LIBRARY GARDEN – AFTERNOON Filtered light. Meera shuts her notebook as Aarav
approaches.
AARAV
Aaj‑kal busy ho tum… rehearsal Kabir ke saath hi hoti hai na?
MEERA (bright, unaware)
Haan. Uska music sense next level hai. Tum dono miloge toh tumhari lines ko
naya sur mil jaayega.
Aarav swallows a retort; forces a
smile.
AARAV
Achha hai… tumhare har note ko samajhne wala mil gaya.
MEERA (puzzled)
Tum aisa kyun bol rahe ho?
He shrugs it off.
INT. MUSIC DEPT. CORRIDOR – LATER PROFESSOR AWASTHI (50s) posts a circular: “Saaz‑o‑Sukhan
— Collaboration Mentors.” Kabir’s name appears as Guest Arranger for
select acts.
AWASTHI (to both)
Collaboration se ghabrana nahi. Sur aur shabd — dono ko jagah deni padti hai.
Meera nods; Aarav stiffens.
EXT. COLLEGE QUAD – EVENING Rishi walks with Aarav.
RISHI
Jealousy ko poem mat bana. Bol de jo feel karta hai.
AARAV
Bolunga toh rishton ka meter bigad jayega. Likhta hoon toh kam se kam saans
barabar rehti hai.
Rishi sighs — same old poet
problem.
ACT
TWO (8:10–17:50)
INT. KABIR’S HOME STUDIO – EVENING A tight room: acoustic panels, fairy lights, DAW on screen.
Meera at mic; Kabir at keyboard.
KABIR (adjusting)
Monitor me thoda air add karte hain. Tumhari khaamosi ki bhi ek frequency hoti
hai, Meera.
She laughs; sings a line. He steps
in to correct posture — close proximity but professional. She gently
repositions herself — firm boundary, no friction.
A take finishes. Kabir plays back —
it’s undeniably good.
MEERA (pleased)
Yeh texture sahi jaa raha hai.
KABIR (grins)
Tumhari awaaz mein kahaani hai. Main bas frame deta hoon.
EXT. CAMPUS PATH – DUSK (INTERCUT) Aarav walks alone, hearing Meera’s voice‑note
through shared project folder — the same take. It’s beautiful. He stops, stares
at the river horizon.
AARAV (V.O.)
“Main tumhare har sur ka matlab samajhta tha… par shayad samajhne se zyada,
chhodna padta hai.”
MONTAGE — PARALLEL TRACKS — Studio: Kabir layers a soft beat; Meera nods to
tempo.
— Ghat: Aarav writes by the water; a page tears in the breeze.
— Corridor: Rishi watches Aarav miss a chance to step into music room.
— Stationery lane: Meera prints lead sheets titled “Saans‑o‑Saaz
(v2).”
— Aarav’s notebook: a new header: “Dooriyan.”
EXT. MUSIC BLOCK STAIRS – NIGHT Meera exits studio, bumping into Aarav.
MEERA (easy)
Tum aa rahe the?
AARAV
Bas… chal raha tha.
(beat)
Kaafi der ho gayi.
MEERA
Haan, take acha aaya. Kal tum suno— aur lines add karo.
(searches his face)
Theek ho?
AARAV (deflect)
Haan. Tum theek lag rahi ho.
She holds the look a second longer,
then nods.
INT. SMALL PRACTICE ROOM – LATE
NIGHT Aarav alone. He tries to read his
poem over a metronome. The words stumble.
AARAV (to himself)
“Jab tum muskuraati ho… main hawa ban jaata hoon.”
(frustrated)
Bachkana.
He crosses out lines. Starts again.
ACT
THREE (17:50–24:20)
INT. AARAV’S ROOM – NIGHT Window open to the far‑off river. Pages everywhere. He
writes, tears, rewrites.
AARAV (V.O.)
“Main tumhe sabse zyada tab samajhta hoon jab tum mere paas nahi hoti.
Shayad isi liye mere lafz tumhare aas‑paas ghoomte rehte hain… tum tak pahunchte
nahi.”
A knock. Rishi peeks in; sees the
mess.
RISHI
Sun— kal uske saath suno, par aaj uske saath bolo. Ek line. Bas ek.
Aarav nods, unsure.
INT. MEERA’S ROOM – PARALLEL NIGHT Meera opens a photocopied set of Aarav’s pages (he
had shared selected pages earlier for “Saans‑o‑Saaz”). She flips to the poem
from Ep04 — the one she misread — then to new entries titled “Dooriyan.”
MEERA (V.O.)
“Main uski aankhon ka dard tab tak nahi samajh paayi… jab tak unme se aansu
behte dekhe nahi.”
Her eyes sting. She presses the
copies to her chest.
EXT. HOSTEL ROOFTOP – LATE NIGHT Meera stands under a wind that smells of rain. Streetlights
halo. She phones Aarav—stops before dialing. Types a text—doesn’t send.
INT. AARAV’S ROOM – SAME Aarav stares at his phone—no message. He closes his eyes,
breathes into the ache.
AARAV (V.O.)
“Kuch faasle sirf dooriyan nahi banate—
Dil se dil ke beech ek samundar kheench lete hain.”
EXT. CITY SKYLINE – TAG Low thunder grumbles over Varanasi. First droplets hit the
ghat stones.
CUT TO BLACK.
END EPISODE.
Production
Notes
- Music:
Studio cue (soft electro‑acoustic bed), “Saans‑o‑Saaz v2” motif, sparse
piano under diary VO, pre‑storm ambience for tag.
- Motifs:
Pages tearing; unsent text; waterline/samundar metaphor; Awasthi’s “jagah
deni padti hai.”
- Performance:
Keep Kabir–Meera proximity professional to avoid villain caricature;
Meera’s boundaries clear.
Continuity
Seeds (→ EP06)
- Storm tag leads into terrace rain confrontation.
- Aarav’s crossed‑out “bachkana” line sets his self‑doubt
spike.
- Meera reading copies primes her for the diary‑tearing
fight and later mending arc in Ep07.
Revision
Flags (v1.1)
- Option to add a Naina × Meera mini‑scene post‑studio
about boundaries and ambition.
- Insert a fleeting Kabir solitary beat (empty
studio after Meera leaves) to hint at deeper motive without reveal (ties
to Ep08).
EP06 — “Toote Huye Alfaaz” (Full Screenplay Draft
v1.0)
Genre: Romantic Drama
Setting: College terrace (rain), Kabir–Meera rehearsal echoes, flashback
café, Aarav’s room (night), Meera’s room (inner monologue)
Running Time Target: ~24–26 min
COLD
OPEN (0:00–1:00)
EXT. COLLEGE TERRACE – LATE AFTERNOON Sky heavy with monsoon clouds. From below, faint sound of Kabir
+ Meera rehearsing. On terrace, AARAV (23) stands still as rain
begins.
AARAV (V.O.)
“Tumhare har lafz ka matlab samajhne ki koshish ki…
Lekin tumhare khamosi ne mujhe galat samajh diya.”
Rain intensifies. Aarav closes his
eyes, drenched.
CUT TO TITLE.
ACT
ONE (1:00–8:00)
EXT. TERRACE – MOMENTS LATER MEERA (21) rushes in, diary in hand — Aarav’s old
pages she’s pieced together. She sees him soaked.
MEERA
Yeh sab kya hai, Aarav? Mujhe ignore kyun kar rahe ho?
AARAV
Kyunki tumhe kabhi meri zarurat hi nahi lagi. Kabir hi tumhara sab kuch hai,
hai na?
MEERA (hurt)
Tumne kab mujhe clearly bataya ki main tumhare liye kya hoon?
AARAV (angry)
Har din likh ke deta tha. Tumhe dekh kar chup rehta tha. Kya woh pyar nahi tha?
MEERA (tears)
Mujhe har baar likhe lafzon ki samajh nahi hoti, Aarav. Kabhi keh bhi diya
hota!
Rain thrashes. Silence, then
Meera—furious—rips diary pages, scatters them.
MEERA
Agar yeh sab likhna hi tha… toh kabhi mujhe kyun nahi samjhaya?
AARAV (breaking)
Main dar gaya tha… tumhe khona nahi chahta tha.
They freeze—rain as backdrop.
ACT
TWO (8:00–17:30)
FLASHBACK – OPEN MIC CAFÉ (1 YEAR
AGO) Aarav on stage, reading a
poem titled “Tere Naam.” Among audience—an unknown Meera, listening
without knowing him.
AARAV (V.O. from flashback)
“Tumhari aankhon mein aisi baatein hain… jo kabhi boli nahi gayi.
Aur maine un baaton se hi pyaar kar liya.”
Crowd applauds. Flash fades.
BACK TO TERRACE Meera on knees, holding wet page scraps. Aarav turns away,
broken.
INT. AARAV’S ROOM – NIGHT Drenched, he drops diary remnants on desk. Picks one soggy
fragment: “Mujhe sirf ek baar dekh ke keh dena, main sab chhod dunga.”
He sits, guilt + longing on face.
AARAV (V.O.)
“Main tumhari khamosi se darte darte… khud ki awaaz kho baitha.”
INTERCUT — MEERA’S ROOM She flips one intact page: Aarav’s earlier poem about “Uski
aankhon mein raag Bhairavi.” Tears.
MEERA (V.O.)
“Main galat thi. Kabir sirf ek sur tha… Aarav toh meri dhun tha.”
ACT
THREE (17:30–24:30)
EXT. TERRACE – LATER NIGHT (RAIN
EASED) Aarav wanders back to terrace.
Pages plastered to ground. He kneels, gathers fragments in silence.
MONTAGE — WORDS LOST / WORDS BROKEN — Pages dissolving in puddles.
— Ink bleeding like veins.
— Aarav’s hand trembling on each scrap.
— Meera staring at her ceiling, hearing echoes of his rain‑soaked words.
INT. AARAV’S ROOM – NIGHT He pastes one piece in notebook, blank spaces around it.
Writes across margin: “Toote Huye Alfaaz.”
EXT. MEERA’S ROOM – PARALLEL She whispers to herself, hugging her violin case.
MEERA (to self)
“Aarav… main tumhare dard tab samjhi… jab tumhe rota dekha.”
She closes eyes—resolve building.
EXT. CITY SKYLINE – PRE‑DAWN (TAG) Storm has passed. Clouds break; faint orange glows on horizon.
Pages pinned on terrace railing, drying.
AARAV (V.O.)
“Jab alfazon ke tukde dil mein chubhne lagen…
Samajh jao pyaar tha— lekin waqt galat tha.”
CUT TO BLACK.
END EPISODE.
Production
Notes
- Music:
Rain percussion layer; dissonant strings under fight; flashback café with
warm acoustic guitar.
- Motifs:
Torn pages (visual leitmotif), rain as rupture/renewal, silence as wound.
- Camera:
Handheld for confrontation; top‑shot of pages scattering; match cut water
ink.
Continuity
Seeds (→ EP07)
- Meera collecting scraps = repairing diary in next
episode.
- Aarav’s fear admission = set up for eventual open
confession.
- Title header “Toote Huye Alfaaz” = literal season
midpoint fracture.
Revision
Flags (v1.1)
- Option to add Naina × Meera beat post‑fight:
“tum samajhne se zyada sunne ki koshish karo.”
- Consider slower build to tearing—2 extra lines of Aarav
pleading—for added gut‑punch.
- Insert flash of Kabir’s empty studio (silent guilt) to
connect threads before Ep08 reveal.
🎬 Episode 7 – “Sachi Baat”
Genre: Romantic Drama
Setting: College garden, music room, rooftop sunset, Aarav–Meera ke
rooms
Scene
1 – College Garden (Morning)
(Meera bench par diary ke phate huye
pages chipka rahi hoti hai. Aarav ki diary ko woh carefully repair kar rahi
hai.)
Kabir (softly):
“Practice late ho rahi hai.”
Meera (without looking up):
“Aaj mujhe sur nahi, insaan sunna hai… Aarav.”
(Kabir samajh jaata hai, halka smile
karta hai aur chala jaata hai.)
Scene
2 – Music Room (Afternoon)
(Aarav guitar bajate huye akele
baithe hain. Meera entry leti hai, diary folder haath mein.)
Meera:
“Maine galti ki, Aarav. Tumhare lafzon ko samjhe bina tumhe khamosh kar diya.”
Aarav:
“Main bhi galat tha. Sirf likhta raha… keh nahi paaya.”
(Meera diary kholti hai. Pages tape
se jude hue, kuch naye pages uski apni handwriting ke.)
Meera:
“Kuch jagah khaali thi… wahan maine apne shabd chipka diye. Shayad ache na ho,
par tumhare liye hain.”
(Aarav emotional, diary ko haath
lagata hai. Dono ek dusre ki taraf dekhe bina halka sa smile karte hain.)
Scene
3 – Rooftop (Sunset)
(Hawa chal rahi hai, sheher dhoop se
orange ho raha hai. Dono side by side baithe hain.)
Meera:
“Rule yaad hai? Roz ka ek sach.”
Aarav:
“Aaj ka sach… jab tumne mere page par apne shabd chipkaye, mujhe laga hum ek hi
kitaab ke do writers ban gaye.”
Meera (smiling):
“Aaj ka sach… main tumhari aadat ho chuki hoon. Achhi waali.”
(Is baar Meera Aarav ka haath pakad
leti hai. Pakad strong aur calm hai.)
Scene
4 – Aarav’s Room (Night)
(Aarav diary kholta hai, nayi
headline likhta hai: “Sachi Baat”. Page aadha khaali chhod deta hai.)
Aarav (V.O.):
“Ab sirf likhna nahi… kehna bhi seekhna hai.”
Scene
5 – Tag / Setup for Ep08
(Phone ring hota hai. Admin office
ka call aata hai.)
Staff (V.O.):
“Kal purane admission aur donation files dekhni hain… ek file me aapke father
ka naam aaya hai.”
(Aarav freeze. Diary ki taraf dekhta
hai — ab shabd aur sach, dono ka samna karna padega.)
FADE OUT.
👉 Ye simple likha hua draft
hai. Canvas wale version mein maine full screenplay format diya tha (sluglines,
production notes, revision flags).
🎬 Episode 8 – “Raaz Jo Todta Hai”
Genre: Romantic Drama / Emotional Twist
Setting: College campus, admin office, Kabir’s room, Aarav & Meera
ke rooms
Scene
1 – College Campus (Morning)
(Aarav aur Meera neem ke ped ke
niche baith kar ek nayi composition likh rahe hote hain. Hansi-mazaak, halka
phulka mood.)
Meera (teasing): “Tumhari lines ab thodi filmy lag rahi hain.”
Aarav (smile): “Aur tumhari awaaz ab meri har line ko original bana deti
hai.”
(Dono hansi share karte hain. Rishi daudte hue aata hai.)
Rishi (huffing): “Aarav! Admin office bula rahe hain, urgent hai.”
Aarav (confused): “Admin office? Ab kya hua?”
(Aarav uth jaata hai. Meera uski tension notice karti hai.)
Scene
2 – Admin Office (Afternoon)
(Principal aur staff ek purana file
nikaalte hain. Aarav table ke saamne khada hai. File se ek photo girta hai —
Aarav ke father aur trustees ke saath young Kabir intern ke roop me.)
Staff: “Aarav, yeh record hai 5 saal purana. Tumhare father ne us
waqt donation misuse ka issue uthaya tha. Case ki wajah se Kabir ko suspend
karna pada tha.”
Aarav (shocked): “Mere father… aur Kabir? Mujhe kuch pata kyun nahi tha?”
Principal (serious tone): “Us waqt chhota scandal hua tha. Kabir bina farewell chala
gaya. Shayad isiliye aaj bhi woh college ko lekar thoda bitter hai.”
(Aarav file ko zor se band karta
hai. Uska chehra gussa aur guilt se bhara hai.)
Scene
3 – Corridor (After)
(Aarav office se nikalta hai, file
haath me. Meera uska chehra padhti hai.)
Meera (concerned): “Aarav, sab theek hai? Kya hua office me?”
Aarav (nazar chhupate hue): “Bas… purane record ki baat thi.”
Meera (pakad kar): “Tum mujhse kyun chhupa rahe ho?”
Aarav (ruk kar, dheere): “Abhi… main khud samajh nahi pa raha.”
(Aarav chal jaata hai. Meera uneasy lagti hai.)
Scene
4 – Kabir’s Room (Evening)
(Room andhera. Papers aur purane
records floor pe. Kabir kuch files jalane lagta hai. Door bang se khulta hai —
Meera andar aati hai.)
Meera (angrily): “Kabir! Yeh sab kya hai? Tum jaante the Aarav ke father aur
tumhare beech kya hua tha, aur tumne mujhe kabhi bataya nahi?”
Kabir (staring, phir tod kar): “Haan, jaanta tha. Aur main wapas isi liye aaya tha — badla
lene ke liye. Main chahata tha Aarav ko todna. Uska pyaar chheen lena.”
Meera (shocked, almost crying): “Toh tumhara mere saath jo bhi tha — dosti, music, saare
sur — sab ek jhooth tha?”
Kabir (tears in eyes): “Shuruat me haan… par baad me nahi. Tum dono ke saath reh
kar main sach me badal gaya. Meera, main tum dono se jud gaya tha. Main plan
lekar aaya tha… par khud hi toot gaya.”
Meera (hurt, turning away): “Tumne sirf Aarav ko nahi, mujhe bhi dhokha diya.”
(Woh dheere-dheere nikal jaati hai. Kabir corner me gir jaata hai, guilt aur
aansuon ke saath.)
Scene
5 – Aarav’s Room (Night)
(Aarav apne father ka file khol ke
baitha hai. Har page ulat kar dekhta hai. Uska chehra thoda rootha, thoda
confused hai.)
Aarav (V.O.): “Maine pyaar ki kahani sochi thi… lekin yeh toh mere baap
ke raaz se shuru hui thi. Main kis se ladun? Apne pyaar se… ya apne past se?”
(Phone buzz karta hai — Meera ka
naam screen par. Aarav call dekhta hai, par pick nahi karta. Phone table par
face down rakh deta hai.)
Scene
6 – Meera’s Room (Same Night)
(Meera Aarav ki diary ka ek page
padhti hai: “Main sab chhod dunga agar tum keh do.” Uski aankhon me aansu aate
hain.)
Meera (V.O.): “Rishton ka sach saamne aata hai toh pyaar se zyada himmat
chahiye hoti hai — saath dene ki.”
(Woh diary ko apne se lagati hai.
Aankh band karti hai. Resolve dikh raha hai uske chehre par.)
Scene
7 – Ghat (Late Night, Tag)
(Aarav file lekar ganga kinare aata
hai. Paani me apna reflection dekhta hai. Reflection hilta hai, bikhar jaata
hai.)
Aarav (V.O.): “Kya sach itna bhari hota hai… ki pyaar uske neeche dab
jaata hai?”
(Camera Aarav ke upar close hota
hai, uski aankhon me aansu. Reflection aur paani ke beech dissolve hota hai.)
FADE OUT.
🎬 Episode 9 – “Maafi Ya Duri”
Genre: Romantic Drama / Emotional Confrontation
Setting: Locked college auditorium (evening), rooftop (night), Kabir’s
closure scene, Aarav’s diary
Scene
1 – College Auditorium (Evening)
(Baarish tez ho rahi hai. Auditorium
locked hai. Meera guard se chabi le kar andar aati hai. Spotlight stage pe pad
raha hai. Uske haath me mic hai.)
Meera (into mic, trembling):
“Aarav… tumse kuch kehna hai. Sabke saamne nahi… sirf tumse. Mujhe tumse maafi
mangni hai.”
(Peeche se darwaza khulta hai. Aarav
bheega hua andar aata hai. Spotlight uske chehre ko half cover karta hai.)
Aarav (slowly):
“Main sun raha hoon.”
(Meera ki aankhon me aansu aa jaate
hain.)
Meera:
“Mujhe pata hai tumhe sirf Kabir se nahi, mujhse bhi dard mila. Maine tumhari
kavitaon ko ignore kiya, tumhare chehre ke emotions ko samjhe bina chali gayi.”
Aarav (hurt):
“Main tumhe khud se bhi zyada samajhta tha. Isiliye jab tum kisi aur ki dhun
ban gayi… main andar se toot gaya.”
Meera (pleading):
“Kya tum mujhe ek aur mauka doge? Is baar na kavita hogi, na diary… sirf sach.”
(Aarav uska haath pakadta hai, fir
dheere se chhod deta hai.)
Aarav:
“Tumne maafi maangi… par main abhi maaf karne ke liye tayyar nahi hoon.”
Meera (tears rolling):
“Main tumse abhi gale lagne ki umeed nahi rakhti. Bas yeh jaanna chahti hoon…
jab tak tum ready ho, main yahin hoon. Kahin nahi jaa rahi.”
Scene
2 – Kabir’s Closure (Night, College Gate)
(Kabir ek suitcase lekar college
chhod raha hai. Aarav usse milta hai.)
Kabir (heavy voice):
“Tere papa ne mujhe sahi saza di thi. Main tujhe galat saza dena chahta tha.
Par… tum dono acche ho. Main hi kamzor tha.”
Aarav (silent pause, phir haath aage
badhata hai):
“Gussa genuine tha, Kabir. Lekin… pyaar fake nahi ho sakta. Meera pehle din se
mujhse judi thi.”
(Kabir haath milata hai. Uske chehre
par regret aur relief dono.)
Kabir:
“Apna khayal rakhna, Aarav. Aur uska bhi.”
(Kabir nikal jaata hai. Aarav door tak dekhta hai.)
Scene
3 – Rooftop (Night)
(Baarish ruk chuki hai. Meera chhat
par khadi hai, face upar. Aarav aata hai, ek step door ruk jaata hai.)
Aarav (softly, V.O.):
“Main abhi maaf karne ko tayyar nahi… par door rehne ko bhi nahi.”
Meera (softly, V.O.):
“Main abhi gale lagne ki umeed nahi… par intezaar karne ki himmat hai.”
(Dono chup chap khade hain. Same
frame me, par beech me ek chhoti doori. Silence heals.)
Scene
4 – Aarav’s Room (Late Night)
(Aarav diary kholta hai, naya page
likhta hai.)
Aarav (writing, whispering):
“Teri maafi ne mujhe dard ki zubaan cheen li…
Aur tere intezaar ne mujhe phir se zinda kiya.”
(Woh phone uthata hai. Ek chhoti si
message type karta hai: “Kal milo? Bina guilt ke.” Send kar deta hai.)
Scene
5 – Meera’s Room (Same Night)
(Meera ka phone vibrate hota hai.
Woh message padhti hai. Aankhon me halka sa smile aur sukoon.)
Meera (softly):
“Kal…”
(Diary ko close karti hai. Phone uske paas rakhti hai. Aankhen band kar ke
muskurati hai.)
Scene
6 – Ghat (Pre-Dawn, Tag)
(River shaant hai. Diyas paani pe
tair rahe hain. Aarav aur Meera opposite directions se aate hain. Beech me
rukte hain. Aankhon se baat hoti hai. Dooriyan ab bhi hain, par roshni unhe
kareeb la rahi hai.)
Aarav (V.O.):
“Kabhi kabhi dooriyan zaruri hoti hain… taaki wapas aake gale mil sakein, bina
dard ke.”
FADE OUT.
✅ Yeh version me har scene me full
dialogues daale gaye hain. Auditorium confrontation, Kabir ki exit aur
Rooftop silence sab detailed baatcheet ke saath likha gaya hai.
🎬 Episode 10 – “Tere Naam Se Shuru,
Tere Naam Pe Khatam”
Genre: Romantic Drama – Finale
Setting: College fest night, auditorium stage, rooftop, ghat pre-dawn
Scene
1 – Backstage (Evening)
(Fest ke din ka buzz. Meera diary
haath me lekar idhar-udhar walk karti hai. Nervous hai. Kabir aata hai.)
Kabir (smiling softly):
“Is baar tumhare stage pe sirf sur nahi, sach bhi hoga.”
Meera (halki hansi):
“Sach ke saath darr bhi hai.”
Kabir:
“Darr zaruri hota hai… tabhi jab pyaar bolta hai, dil asli dhadakta hai.”
(Meera halka sa nod karti hai. Kabir
door se goodbye sign karke chala jaata hai. Meera diary kas ke pakadti hai aur
stage ki taraf chalti hai.)
Scene
2 – Auditorium Stage (Night)
(Lights dim. Aarav stage pe guitar
lekar aata hai. Crowd silent ho jaata hai. Spotlight sirf us par hai.)
Aarav (into mic, slow):
“Main kabhi singer nahi tha… na performer.
Main bas likhne wala tha.
Jiske lafz ek ladki ki khamoshi ke liye cheekh rahe the.”
(He strums guitar. Soft tune chalu
hoti hai. Lyrics shuru karta hai.)
Aarav (singing):
“Tere naam pe har lafz likha…”
(Audience chup. Meera backstage se
dekh rahi hai. Uski aankhon me aansu.)
(Half song ke baad Meera stage pe aa
jaati hai. Crowd claps loud.)
Meera (mic share karke):
“Jis pyaar mein lafz likhe jaate hain… usmein jazbaat chhup jaate hain.
Aaj main kehna chahti hoon. Tumhare naam se.”
(Woh diary kholti hai aur padhti
hai.)
Meera (reading):
“Jab tum pehli baar mile the…
tum mere geet nahi, meri awaaz ban gaye the.
Jab tum door gaye… sirf faasla nahi badha,
ek hissa main bhi tum mein chhod aayi thi.
Aur ab jab tum wapas aaye ho…
main sirf tumse nahi, apne aap se mil rahi hoon.”
(Audience me Rishi aankh pochhta
hai, Naina smile karti hai. Awasthi sir quietly claps.)
Scene
3 – Final Confession (Stage)
(Aarav diary band karta hai aur
Meera ka haath pakadta hai.)
Aarav:
“Ab diary band. Na likhna, na chup rehna.
Roz subah bas kehna — ‘main hoon. Sirf tumhare liye hoon.’”
Meera (tears, smile):
“Main hoon, Aarav. Har roz, har raag, har jazba mein.”
(Dono stage par hug karte hain.
Lights dim se bright hoti hain. Audience cheer karta hai. Background music soar
hoti hai.)
Scene
4 – Rooftop (Post-Fest Night)
(Fireworks sky me door chal rahe
hain. Sheher roshni se bhara hai. Aarav aur Meera chhat par baithe hain, kulhad
chai ke saath.)
Meera (playful):
“Yeh kahani ka end tha?”
Aarav (smiling):
“Nahi. Ye toh sirf ek naya page hai… jahan dono ek hi pen se likhna shuru karte
hain.”
(Dono kulhad clink karte hain.
Comfortable silence. Door fireworks reflection unke chehre pe chamakta hai.)
Scene
5 – Ghat (Pre-Dawn Epilogue)
(Shaant ganga. Paani pe chhote diyas
tair rahe hain. Aarav aur Meera ek saath steps se neeche aate hain, haath pakad
kar.)
Meera (whispering):
“Aaj se humari kahani tumhare naam se shuru, tumhare naam pe khatam.”
Aarav (gently):
“Do kinare alag rahe sahi… lekin ab dono ek hi dhara me mil gaye.”
(Dono diya jala kar paani me chhod
dete hain. Diyas beech me mil jaate hain. Camera wide shot me dono kinare aur
ek saath khade Aarav-Meera ko dikhata hai.)
Narrator (V.O.):
“Pyaar kabhi ek waqt ka silsila nahi hota.
Woh ek safar hai — jisme kabhi kadam ruk jaate hain, kabhi haath chhoot jaate
hain.
Lekin agar pyaar saccha ho… toh do kinare mil hi jaate hain.”
FADE OUT.
Super: THE END – PYAR KE DO KINARE
✅ Yeh finale version dialogue-heavy
hai — har scene me baatcheet aur confession words detail me daale gaye hain.
Isse emotional payoff aur bhi strong banega.
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