Aaiye shuru karte hain scene-wise breakdown ke saath full dialogue-heavy script — ek thriller + revenge + tragic heroine based movie ke liye.
📑 Writing Framework for Khaamoshi Ka Shor
1. Title
Khaamoshi Ka Shor
(Tagline: “Jab awaaz dabti hai, tab goonj ban jaati hai.”)
2. Concept / Idea (Logline)
A lower-caste schoolteacher in small-town Bihar seeks justice after her younger sister’s mysterious suicide, uncovering caste politics, systemic corruption, and personal betrayals, ultimately sacrificing herself to turn silence into a revolution.
3. Story Outline
· Setup: Meena’s death → Asha finds diary → suspects MLA’s son.
· Conflict: Media exposure → caste backlash → threats → protests → betrayal.
· Climax: Courtroom showdown → Asha sacrifices herself → truth immortalized.
· Resolution: Asha remembered as a martyr, her voice lives on.
4. Characters (Bio Cards)
· Asha Kumari (28): Schoolteacher, dignified, fearless after sister’s death.
· Meena (17): Asha’s sister, innocent victim, her diary/tape = key evidence.
· Rafiq (35): Journalist, ally → betrayer → redeemer.
· MLA Yadav (50s): Casteist, ruthless politician, patriarchal power.
· Ranjit (25): MLA’s arrogant son, main perpetrator.
· SHO Tripathi (50s): Corrupt cop, casteist, bends to MLA.
· Villagers: Mixed — some supportive, many bound by caste politics.
· Students: Symbol of hope, new generation carrying Asha’s legacy.
5. Plot Structure (3 Acts)
· Act 1 (Scenes 1–8): Setup — Meena’s suicide, Asha finds diary, FIR refused, goes to journalist.
· Act 2 (Scenes 9–21): Conflict — Media storm, MLA fights back, Asha threatened, protests, betrayal, lathi charge.
· Act 3 (Scenes 22–28): Climax — Courtroom, revenge confrontation, Asha’s sacrifice, Ranjit exposed, legacy immortalized.
6. Script (Screenplay Format)
Already drafted by you in 4 parts (scenes 1–28).
Format is standard: INT./EXT. – LOCATION – TIME – Description – Dialogue.
7. Scene Breakdown
· Act 1 (Scenes 1–8): Suicide → Diary → Police refusal → Media entry.
· Act 2 (Scenes 9–21): Public exposure → MLA vs Asha → Attacks → Protest → Betrayal.
· Act 3 (Scenes 22–28): Court → Asha’s fight → Final sacrifice → Legacy.
8. Dialogues, Subtext & Themes
· Dialogues: Raw, colloquial Bihari Hindi, short but loaded.
· Subtext: Caste vs gender oppression, silence vs truth.
· Themes: Resistance, justice, sisterhood, tragedy, power abuse.
9. Treatment / Synopsis
2-hour social thriller set in small-town Bihar. Story follows Asha, a lower-caste teacher, whose sister dies under mysterious circumstances. Her quest for truth pits her against political power and patriarchal systems. Betrayal, violence, and courage shape her journey, ending with her martyrdom. The film blends realism with high-stakes thriller pacing.
10. Storyboard / Shot Division
· Opening: Mist + train → tragic suicide (long shot + handheld).
· Diary scenes: Close-ups, slow dolly-in for emotional beats.
· Protests: Wide chaos shots + aerial overhead for impact.
· Courtroom: Static, tense, mid-closeups.
· Climax: Handheld shaky cam during fight → fades into still mural.
11. Dialogue Drafts & Revisions
· Draft 1: Emotional + realistic.
· Draft 2: Add dialect/slang (Bihari tone).
· Draft 3: Tighten courtroom + protest slogans.
· Final Draft: Punchy one-liners for trailer/dialogue promos.
12. Scene Pacing & Runtime
· Act 1: ~25 min (emotional buildup).
· Act 2: ~55 min (rising conflict, betrayal, protests).
· Act 3: ~40 min (courtroom + final sacrifice).
· Total: ~120 min.
13. Character Arcs
· Asha: Grief → Resistance → Martyr.
· Rafiq: Ally → Betrayer → Redeemer.
· Ranjit: Power → Panic → Downfall.
· MLA: Invincible → Exposed → Political ruin.
14. World-Building & Research
· Bihar caste-politics references.
· Authentic small-town school + press office design.
· Courtroom procedure (Indian criminal court).
· Realistic protest/lathi-charge staging.
15. Tone & Genre Consistency
· Thriller: Fast edits during attacks, suspenseful soundscape.
· Tragedy: Heavy silence, raw performances, realism.
· Revenge: High emotional catharsis in final acts.
· Small-town India: Dusty streets, political posters, raw setting.
16. Mini Checklist Before Writing
✔️
Title locked
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Logline & outline ready
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Character bios clear
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3-act structure mapped
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Research on Bihar caste/politics done
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Scene pacing aligned with runtime
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Themes & subtext consistent
✔️
Dialogues drafted + revisions planned
✔️
Storyboard divisions visualized
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Character arcs complete
👉 Ye framework abhi aapke screenplay ko festival-level, professional draft banane ke liye ready hai.
🎥 Khaamoshi Ka Shor – Director’s Lookbook (Shot-by-Shot Breakdown)
ACT 1 – Setup (Scenes 1–7)
SCENE 1 – Railway Track | Night
· Camera/Lens: Wide-angle (24mm), low tripod at track level → creates isolation + vulnerability.
· Lighting: Cold blue moonlight + diffused fog lights; train headlights flare last moment.
· Sound: Muffled wind, distant dog barks, crescendo of train horn swelling → sudden silence at cut-to-black.
SCENE 2 – Asha’s House | Night
· Camera: Medium close-up (50mm), handheld for intimacy when teacup drops.
· Lighting: Tungsten lamp inside, shadows dominate corners → claustrophobic grief.
· Sound: Glass shattering lingers unnaturally long, silence echoes in background.
SCENE 3 – Morgue | Day
· Camera: Static tripod, symmetrical framing → cold institutional tone.
· Lighting: Harsh white fluorescent tubes → flickering once in background.
· Sound: No score. Only hum of cooler + echo of footsteps. Diary’s thud when it falls is amplified.
SCENE 4 – Village School | Morning
· Camera: Slow dolly-in on Asha entering, whispers audible → audience feels her outsider status.
· Lighting: Natural daylight filtered through dusty windows.
· Sound: Whispered gossip recorded close-mic, slightly exaggerated for paranoia.
SCENE 5 – Asha’s Room | Night
· Camera: Over-the-shoulder on diary, rack focus to Asha’s teary face.
· Lighting: Single oil lamp glow; everything else in darkness.
· Sound: Soft sitar/piano instrumental fades in; diary VO overlaps as whispering echoes.
SCENE 6 – Police Station | Day
· Camera: Wide static shot → Asha small in frame, SHO looming (power imbalance).
· Lighting: Harsh sunlight through iron grills creates prison-like shadows on her face.
· Sound: SHO’s laughter reverbs unnaturally, like mockery filling entire room.
SCENE 7 – Journalist Office | Evening
· Camera: Low-angle on Rafiq’s printing press, sparks of machinery visible.
· Lighting: Dim yellow bulbs, shafts of natural dusk light through half-open window.
· Sound: Rhythmic “chhk-chhk” of press machine builds like a heartbeat → fades under Asha’s dialogue.
ACT 2 – Conflict (Scenes 8–21)
SCENE 8 – Printing Press Headline Reveal
· Camera: Close-up on moving paper rolls, pull-focus to bold headline.
· Lighting: Industrial overhead light, dust in air.
· Sound: Machine sound crescendos into silence as Asha’s calm voice enters.
SCENE 11 – School Gate Attack
· Camera: Handheld chaos, close shaky cam when ink splashes.
· Lighting: Harsh sunlight, lens flares heighten rawness.
· Sound: Crowd jeers overlap; Asha’s single line cuts through in silence.
SCENE 13 – Panchayat Rally
· Camera: Wide crane shot of crowd → cuts to close mid-shots of MLA & Asha.
· Lighting: Harsh stage floodlight on MLA; Asha framed in natural sun → symbolic truth vs performance.
· Sound: Mic feedback, crowd chants; when Asha shouts, background dulls to amplify her voice.
SCENE 14 – House Vandalism
· Camera: Tracking shot from outside window into chaos inside.
· Lighting: Flickering kerosene lamp amidst destruction.
· Sound: Shattered glass + crackling diary fire + Asha’s whisper amplified as if inside audience’s head.
SCENE 16 – Attack in Street
· Camera: POV cam from Asha’s perspective, blurred + shaky after hit.
· Lighting: Sodium vapor streetlights flicker, deep shadows for ambush feel.
· Sound: Sudden drop to low heartbeat + muffled sounds until goons’ whispers cut through.
SCENE 19 – Tape Recorder Discovery
· Camera: Macro close-up of Meena’s trembling recorded voice meter.
· Lighting: Golden sunset spilling across recorder, symbolic of truth surfacing.
· Sound: Room is silent except tape hiss + Meena’s breaking voice → creates chilling intimacy.
SCENE 21 – Protest & Lathi Charge
· Camera: Drone overhead wide shot of crowd → sudden whip pans in chaos.
· Lighting: Harsh daylight, dust clouds fill air.
· Sound: Protest slogans syncopated with drum beats → broken abruptly by batons hitting.
ACT 3 – Climax (Scenes 22–28)
SCENE 23 – Courtroom
· Camera: Static symmetrical frames → sterile formality, breaks only when tape plays (slow dolly-in).
· Lighting: White overhead lights, neutral flatness.
· Sound: Pin-drop silence → tape recording echoes as if entire court breathes with it.
SCENE 25 – Writing Letter
· Camera: Overhead shot of Asha writing; candle flame dominates frame.
· Lighting: Candlelight only, face half-lit → symbolizing half-alive before final act.
· Sound: Scratch of pen amplified, VO overlays.
SCENE 26 – Farmhouse Confrontation
· Camera: Handheld close combat framing → visceral realism.
· Lighting: Harsh single bulb swinging overhead; deep shadows shift as bulb moves.
· Sound: Silence before impact, sudden metallic clang → her fall heard louder than natural.
SCENE 28 – Final Montage (School Ground)
· Camera: Crane pull-up from kids with candles → mural → sky.
· Lighting: Warm dawn light, hope emerging.
· Sound: Chorus of kids reading Asha’s words + faint ambient crowd hum. Ends in silence.
🎬 Style Summary
· Lens Choice: Wide for environment oppression, 50–85mm for emotional close-ups, handheld for chaos.
· Lighting: Naturalistic + harsh practicals; contrast between truth (natural light) vs power (artificial glare).
· Sound: Strategic silences, diary/tape hisses, exaggerated mundane sounds (glass breaking, pen scratch, ink splash).
· Moodboard Influence: Article 15 (realism) + Court (stillness) + Visaaranai (rawness).
👉 Ye breakdown ek Director’s Lookbook PDF banane
layak hai (scene frames + visual references + moodboard collages ke saath).
🎬
1. Screenplay vs Runtime
- Rule of Thumb (Hollywood/Indian standard): 1 page screenplay ≈ 1 minute runtime.
- Aapke screenplay kaafi compact likha gaya hai (ek-ek
scene short hai, dialogues tight hai). Screenplay pages abhi ~80–90 pages
ke aas-paas honge, matlab raw runtime ~90 mins.
- Lekin Indian thrillers/dramas mein:
- Pauses, silences, looks, atmosphere → har short scene lamba ho jata hai.
- Eg: Asha diary padhti hai (script mein 1 min), lekin
film mein 3–4 min ho sakta hai (reaction, flash cut, background score,
insert shots).
- Courtroom, protests, chase/attack → cinematic
build-ups naturally 6–8 min ke sequences ban jaate hain.
⏱️
2. Scene Expansion Potential
- Scene 1 (Railway suicide): 1 page → Screen time ~3–4 mins (fog, buildup, train
approach).
- Scene 5 (Diary reading): Script 1 min → Film ~4–5 mins (VO, montage of Meena’s
trauma flashes).
- Scene 13 (Panchayat Rally): Script 2 pages → Film ~7–8 mins (crowd shots,
speeches, interruptions).
- Courtroom scenes:
Script 3–4 pages → Film ~12–15 mins (arguments, reactions, media shots).
- Final protest/lathi charge: Script ~3 pages → Film ~10 mins (chaotic pacing,
multiple camera angles).
🎥
3. Approx Runtime Breakdown (after expansion)
- Act 1 (Setup, 7–8 scenes): ~25–30 mins
- Act 2 (Conflict, 13–14 scenes): ~55–60 mins
- Act 3 (Climax, 7 scenes): ~35–40 mins👉 Total: 115–125 mins (≈ 2 hours)
🎶
4. Tools to Stretch Runtime Naturally
- Montages:
Meena’s diary entries visualized with short flashback inserts.
- Atmospheric Silences:
Asha’s long walks through empty alleys, soundscape heavy.
- Crowd/Protest Shots:
Slow pans, chants building over minutes.
- Courtroom Drama:
More cross-examination + reactions.
- Emotional Beats:
Holding on faces, letting silence do the talking.
Khaamoshi Ka Shor – Full Screenplay
(dialogue Draft V1)
KHAAMOSHI
KA SHOR
ACT 1 — SETUP (Scenes 1–8)
SCENE 1 – RAILWAY TRACK | NIGHT | EXT.
Dense fog. A single lantern glows in the far distance. Meena (17) walks barefoot along the stones beside the tracks, clutching a folded letter. A distant train horn echoes.
Her phone screen lights up: "Didi calling." She silences it. Tears spill.
Train headlights slice through fog. Meena steps forward.
CUT TO BLACK.
SFX: A long, wailing horn that suddenly cuts.
SCENE 2 – ASHA’S HOUSE | NIGHT | INT.
A modest room. ASHA (28), lower-caste schoolteacher, pours chai. A frantic knock.
Asha opens. CONSTABLE stands with another cop, eyes lowered.
The teacup slips, shatters on the floor. Asha sways but stays upright.
CONSTABLE puts out a hand, unsure. Silence swells.
SCENE 3 – MORGUE | DAY | INT.
Steel tables. Fluorescent flicker. Asha stands stiff as a sheet is lifted. Meena’s face.
Asha signs, gaze fixed on Meena’s forehead. A small diary slips from beneath the sheet and thuds on metal.
Asha picks up the diary. The corner is blood-stained.
SCENE 4 – VILLAGE SCHOOL | NEXT MORNING | INT.
Dusty staff room. Whispers as Asha enters.
Asha hangs her dupatta, expression blank, eyes burning.
SCENE 5 – ASHA’S ROOM | NIGHT | INT.
A single oil lamp. Asha reads the diary. Meena’s handwriting.
Asha covers her mouth, holds back a sob.
She straightens up, rage focusing her.
SCENE 6 – POLICE STATION | DAY | INT.
Peeling paint. SHO TRIPATHI (50s) behind a desk.
Asha doesn’t move.
A tense beat. A nearby constable looks away.
SCENE 7 – LOCAL JOURNALIST OFFICE | EVENING | INT.
A cramped printing press office. RAFIQ (mid-30s) types fast.
Asha places the diary.
Rafiq nods, respectful. The press whirs to life.
ACT 2 — CONFLICT & INVESTIGATION (Scenes 8–21)
SCENE 8 – PRINTING PRESS | NIGHT | INT.
Close on rollers. Headline prints: “MLA ke bete par rape-murder ka aarop: diary ne raaz khola.”
SCENE 9 – TOWN STREETS | MORNING | EXT.
Hawker shouts. People crowd around papers.
An henchman dials.
SCENE 10 – MLA’S BUNGALOW | DAY | INT.
MLA YADAV (50s) rages, throws the newspaper. RANJIT (25) fidgets.
SCENE 11 – SCHOOL GATE | DAY | EXT.
Asha enters. A mob surges. Someone throws black ink—splashes her saree.
Asha wipes ink from her face—steady.
Mob falters. Asha walks through them.
SCENE 12 – RAFIQ’S OFFICE | NIGHT | INT.
Phone lines buzz.
SCENE 13 – VILLAGE PANCHAYAT (FAKE SABHA) | EVENING | EXT.
A stage, paid crowd. Loudspeakers scream.
Cheers. Asha strides in, dust swirling.
Murmurs ripple through the crowd.
SCENE 14 – ASHA’S HOUSE | NIGHT | INT.
The door hangs broken. Furniture smashed. Meena’s diary half-burnt on the floor.
Asha sits amid the debris, breath steadying. She opens a wooden trunk, pulls out a rusted tape recorder.
SCENE 15 – COURT NOTICE BOARD | DAY | EXT.
Asha, clutching a file, pastes a Criminal Petition—Ranjit’s name bold.
SCENE 16 – LONELY STREET | NIGHT | EXT.
Footsteps behind Asha. Two masked men pounce—throw her into a ditch, tear her bag.
They flee. Asha winces, pulls herself up.
SCENE 17 – RAFIQ’S OFFICE | NIGHT | INT.
Asha limps in. Rafiq rushes to support her.
SCENE 18 – POLICE STATION | DAY | INT.
Rafiq is dragged in. SHO Tripathi slaps him.
Asha watches from outside the bars—silent, eyes like flint.
SCENE 19 – MEENA’S ROOM | EVENING | INT.
Asha searches—mattress, books, frames. Behind a photo: the tiny tape recorder. She presses play.
Asha trembles, tears hot.
SCENE 20 – COURT GATE / LANE | NIGHT | EXT.
Asha pays a lawyer; Rafiq gets bail. Outside, rain drizzles.
They hug. Later, in shadows, Rafiq meets MLA Yadav.
SCENE 21 – VILLAGE SQUARE (PROTEST) | DAY | EXT.
Asha on a jeep. Young girls with placards.
Police vans arrive. LATHI CHARGE. Screams, dust.
Rafiq watches from afar, fists clenched, shame on his face.
ACT 3 — REVENGE & TRAGIC CLIMAX (Scenes 22–28)
SCENE 22 – ASHA’S ROOM | NIGHT | INT.
Asha stitches a torn kurta. Meena’s photo lit by a diya.
She hides the tape inside blouse lining. Ties a black thread on wrist.
SCENE 23 – DISTRICT COURTROOM | MORNING | INT.
Packed hall. Judge presides. Lawyers face off.
Asha presses play. The room holds its breath.
Gasps. Ranjit sweats. MLA explodes.
Asha exhales; a small, fierce victory.
SCENE 24 – COURT STEPS | DAY | EXT.
Mics thrust forward. Cameras flash.
She moves through the press, unblinking.
SCENE 25 – ASHA’S HOUSE | NIGHT | INT.
Asha writes a letter. Candle trembles.
She places the letter near Meena’s photo. Steps into the night.
SCENE 26 – MLA’S FARMHOUSE | NIGHT | EXT.
Silent courtyard. Asha steps out of shadows, a gun in hand. Ranjit enters, startled—then smirks.
She cocks the gun—stops. Lowers it.
She turns to go. Ranjit grabs an iron rod—
SFX: A brutal CLANG. Asha falls, blood streaks.
Distant sirens begin to wail.
SCENE 27 – HOSPITAL / PRESS ROOM | MORNING | INT.
Rafiq rushes in, eyes wet as Asha lies pale, breathing shallow. Police drag a handcuffed Ranjit through a corridor.
Rafiq faces a camera bank, hits play on the audio for the media.
Rafiq breaks—then steadies.
SCENE 28 – SCHOOL GROUND / FINAL MONTAGE | DAY | EXT.
Students hold candles. A mural on the wall: Meena & Asha.
CUT TO BLACK.
TITLE CARD: THE END
NOTES FOR DIALOGUE PERFORMANCE (Director’s Use)
· Dialect: Light Bihari cadence, authentic but intelligible for pan-India audience.
· Asha’s lines: Measured, low-volume conviction—crescendo only at mass/protest beats.
· MLA/Ranjit: Controlled menace → unravelling rage in court scenes.
· Rafiq: Quick, dry humour early → shame-laced softness later → resolute finality in Scene 27.
SOUND & SCORE CUES (Selective)
· Scene 1 horn → abrupt cut to underline trauma.
· Scene 5 diary VO → low sitar drone under breath.
· Scene 21 protest → dhol pattern intercut with baton strikes (rhythmic dissonance).
· Scene 23 court tape → no music. Let room-tone + breath do the work.
· Final montage → female chorus hum on a pentatonic motif.
APPENDIX: CHARACTER ONE-LINERS (Trailer/Promo)
· Asha: “Darr ki koi jaat nahi hoti.”
· MLA: “Saboot se pehle darr aata hai.”
· Rafiq: “Sahab se dosti nahi—sach se dushmani nahi.”
· Ranjit: “Jeet hamesha taqat ki hoti hai.”
Dialogue Draft v1 complete. Ready for table read / punch-up pass
(dialect polish, legal accuracy, runtime trims).
Done! I’ve put the full dialogue screenplay into a clean, printable document on the canvas titled “Khaamoshi Ka Shor – Full Screenplay (Dialogue Draft v1)”.
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