Yeh
"Mehmaan" ka concept ek sensitive, intimate, aur soul-stirring
kahaani banne ki potential rakhta hai. Neeche full film banane ke liye tone,
treatment aur scenes ka ek structured vision diya gaya hai:
🎬 Title: Mehmaan
Genre: Slice of Life /
Social Drama
Language: Hindi (with regional flavor)
Duration: 2 hours
Setting: A small chawl flat in Mumbai during the peak of COVID lockdown
🧱 Structural
Breakdown:
✳️ Act 1 – Setup
(0:00–0:30)
- Scene 1–5: Introduction:
- Rafiq Ansari, a 26-year-old
delivery boy, is evicted after his roommate tests COVID-positive.
- Dilip Joshi, a widowed
52-year-old Hindu landlord, has a vacant room but is hesitant to rent it.
- Due to local
pressure (NGO/legal notice), he reluctantly allows Rafiq in.
- Tone: Awkward
silences, reluctant conversations.
- Festival
Reference:
Ramzan chal raha hota hai, Rafiq quietly fasts. Dilip comments bitterly
but notices his discipline.
✳️ Act 2 –
Confrontation (0:30–1:15)
- Scene 6–15:
- Lockdown
extends. Claustrophobia sets in.
- Clashes over
food, TV, hygiene, religion — subtle microaggressions.
- Rafiq helps
Dilip during a diabetic low.
- Dilip,
surprisingly, stitches Rafiq’s torn kurta.
- They discover
common ground: both lost someone during COVID — Rafiq’s sister, Dilip’s
wife.
- Key Emotional
Scene:
- They cook
together during Eid — awkward, but heartfelt.
- Dilip gifts him
a small cap; Rafiq fixes Dilip’s old fan.
✳️ Act 3 – Resolution
(1:15–2:00)
- Scene 16–25:
- Rafiq gets an
offer for a permanent job with housing.
- Dilip quietly
packs his bags for him.
- Rafiq decides
to leave, but the parting is difficult.
- Final emotional
beat:
Rafiq touches Dilip’s feet; Dilip hugs him tight — awkward, overwhelmed.
- Ending Shot:
- Rafiq leaving
with his bag.
- Dilip stands at
the door, then picks up the cup Rafiq used, smiles softly.
🎭 Themes:
- Post-COVID
trauma and survival
- Religion as a
backdrop, not a barrier
- The idea of ghar
vs mehmaan
- Grief, kindness,
and emotional repair in isolation
🔥 Poster Line Options:
- “Jab taale bandh
hue... dil khul gaye.”
- “Ek lockdown. Do
tanhaaiyaan. Ek kahaani.”
- “Jo rehne aaya
tha kuch din ke liye... dil mein reh gaya hamesha ke liye.”
- “Kuch mehmaan
chhod jaate hain apna pan.”
🕒 Duration Breakdown:
🟢 Act 1 – Setup (30
minutes)
- Character
introductions
- Lockdown
situation buildup
- Initial tension
between Rafiq and Dilip
🟡 Act 2 –
Confrontation & Bonding (45–50 minutes)
- Cultural clashes
- Personal grief
reveal
- Slow emotional
connection
- Eid and shared
moments
🔵 Act 3 – Closure
(30–35 minutes)
- Job opportunity
- Rafiq leaving
- Emotional
farewell
- Final moment that
lingers in the audience’s heart
Shuruaat
karte hain Scene 1–5 ka full Roman Hindi script se — dialogue + action
dono, Roman Hindi mein, indie feel aur raw naturalism maintain karte
hue.
🎬 "Mehmaan"
— Scene 1 to 5
(Roman
Hindi Dialogue + Action)
Scene 1
Location: Footpath ke paas ek
chhoti jhopdi
Time: Early morning
Camera
open hoti hai — Rafiq apne kapdon ke thaili ke saath footpath pe baitha hota
hai. Aas-paas police barricade, sanitizer spray ho raha hai.
Rafiq
(mutters thake hue)
"Ek hi room tha... woh bhi gaya. Na job bacha, na chhat."
Uska
phone bajta hai. Screen pe ‘Aslam Bhai’ ka naam.
Rafiq
(phone pe)
"Haan bhai... haan nikal gaya. Nahi, kahin jagah nahi mil rahi. Sab dar
rahe hain... Muslim naam sunte hi gate band."
Rafiq
ka chehra thoda utra hua, aankhon mein thakan aur bechaini.
Scene 2
Location: Dilip Joshi ka 1BHK
flat — Lower Parel chawl
Time: Mid-morning
Dilip
chai bana raha hai, mask thoda naak ke neeche.
Dilip
(apne aap se)
"Yeh virus toh insaaniyat kha gaya... kal se khaana tak nahi banaya."
Darwaze
pe knock hota hai. Local NGO worker — Sapna — mask pehne khadi hoti hai.
Sapna
"Dilip ji, ek ladka hai... delivery ka kaam karta tha. Abhi street pe so
raha hai. Aapke paas ek khali room hai, yaad hai?"
Dilip
(taana maarke)
"Haan hai. Par main dharamshala nahi chalata."
Sapna
(thoda ruk kar)
"Woh ladka Musalmaan hai, isliye na? Yeh toh waisi hi baat ho gayi jaise
virus bhi caste check karta ho."
Dilip
kuch nahi bolta, aankhen jhuka leta hai.
Scene 3
Location: Flat ka gate — late
morning
Rafiq
ek chhoti potli ke saath gate ke bahar khada hai.
Dilip
(andar se)
"Naam kya bola tha?"
Rafiq
"Rafiq Ansari."
Dilip
"Masjid ke paas wale area se toh nahi ho?"
Rafiq
(thoda thak kar)
"Nahi sahib... Parel se hi hoon. Delivery boy tha. Ab bas raat guzarni hai
kahin."
Dilip
gate kholta hai — thoda reluctant, par aankhon mein thoda guilt bhi.
Dilip
"Ek kamra hai, alag entrance. Bathroom shared hai. Raat ko der se mat
aana, aur koi guest nahi."
Rafiq
"Shukriya, sahib."
Scene 4
Location: Kitchen + Shared Bathroom
Time: Afternoon
Rafiq
silently kitchen ke ek kone mein chai bana raha hai. Dilip TV pe news dekh raha
hai — "Lockdown extended by 15 more days."
Dilip
(TV dekhte hue)
"Ab aur kya baaki hai? Nikalna bhi nahi, jhelna bhi hai."
Chai
ki khushboo se Dilip thoda mudta hai.
Dilip
(taunting)
"Kya chai mein bhi halal hoti hai?"
Rafiq
kuch nahi kehta. Cup rakh ke chala jaata hai. Dilip ki muskurahat dheere se
chali jaati hai.
Scene 5
Location: Evening, flat ke
chhote balcony mein
Time: Sunset
Rafiq
azaan ki awaaz sunke chup chaap balcony mein khada hota hai. Dilip door se
dekhta hai, phir apna radio band kar deta hai.
Do
log — ek balcony mein, ek andar — silence mein rehte hain. Aas-paas ka sheher
quiet hai. Sirf azaan ki awaaz, aur chidiya.
[End
of Scene 1–5]
✨ Mood aur Tone:
- Realistic camera
movement
- Background mein
mask, sanitizers, distant sirens
- Color grading —
muted, thoda yellow-brown
- Dialogues simple
aur character-driven
Ab
chalte hain "Mehmaan" ke Scene 6–10 ki taraf — iss section
mein story emotional tension aur subtle bonding ki taraf move
karti hai. Scene flow kaafi natural, slow-paced aur realistic
hoga, jaise indie films mein hota hai.
🎬 "Mehmaan"
— Scene 6 to 10
(Roman
Hindi Dialogue + Action — Slice of Life, Natural Realism)
Scene 6
Location: Common Area (TV
Room)
Time: Morning
Dilip
TV pe Ramayan dekh raha hai. Rafiq silently apna roza rakh raha hota hai.
Chhota calendar pe Ramzan ka date circle mein.
Dilip
(TV dekhte hue)
"Yeh toh wahi episode hai... jab Ram Lanka pahunchta hai."
Pause.
Dilip
(murmurs)
"Aaj kal toh asli Lanka yeh duniya ho gayi hai."
Rafiq
ne suna, par kuch nahi bola. Usne silently ek glass paani aur khajoor table pe
rakha.
Scene 7
Location: Bathroom ke bahar
Time: Afternoon
Dono
bathroom ke liye line mein khade hain.
Rafiq
(muskurata hua, halka joke)
"Aapka schedule mujhe yaad ho gaya hai."
Dilip
(thoda hass ke)
"Tumhare jaise hi roz line mein khade ho, toh yaad toh hona hi hai."
Ek
second ka silence. Phir dono thoda muskuraate hain.
Scene 8
Location: Kitchen
Time: 4 PM
Rafiq
fridge kholta hai. Ek anda aur aadha packet doodh bacha hai. Notes likh raha
hota hai notebook mein: ‘Eid tak ration kaise chalayega.’
Dilip
chhupke dekhta hai. Dus minute baad silently ek thaila laata hai — thoda
chawal, biscuit, anda aur ek Glucon-D ka packet.
Dilip
(awkwardly)
"Yeh... woh... thoda zyada aa gaya tha bazaar se. Rakh lo."
Rafiq
(surprised, soft)
"Shukriya, sahib... matlab... Dilip ji."
Dilip
(quickly)
"Bas rakho. Kal se fridge ka use time pe karna, bijli ka bill mein deta
hoon."
Thoda
smile aata hai dono ke chehre pe. Real but restrained.
Scene 9
Location: Shared room
Time: Late Night
Light
chali jaati hai. Room andhera.
Dono
alag beds pe lete hain. Bahar sirf ceiling fan ki awaaz aur distant dogs ke
bhaukne ki awaaz hai.
Rafiq
(andar se, pareshan tone mein)
"Behen ki yaad aa rahi hai aaj... Eid ke ek din pehle hi chali gayi thi.
COVID."
Silence.
Dilip
(softly, after a pause)
"Meri Lakshmi... 2020 ke April mein... bina goodbye."
Rafiq
chup. Dono ke liye shabd kam pad jaate hain.
Camera
dheere-dheere upar jaata hai — dono apne-apne side pe lete hue, ek chhat ke
neeche.
Scene 10
Location: Small Hall Area
Time: Next Day Morning
Dilip
newspaper padh raha hai. Rafiq chai banata hai, Dilip ke liye ek cup le aata
hai bina pooche.
Dilip
(surprised)
"Tu chai banata bhi hai?"
Rafiq
(muskurata hua)
"Aur paratha bhi. Eid pe khilaunga."
Dilip
ek second ke liye kuch nahi bolta. Cup leke sips...
Dilip
(soft tone)
"Thik banata hai."
Rafiq
ka chhota sa smile. Background mein radio bajta hai — slow old Hindi song:
“Chal jhooti duniya se door...”
✨ Scene Flow Summary:
- Pehle suspicion
ka tension ab understanding mein badalne laga
- Small actions —
shared food, shared grief — ne emotional bridge create kiya
- Real India ka
post-COVID loneliness aur subtle communal walls spotlight mein
Ab
aate hain "Mehmaan" ke Scene 11–15 par — yahaan se kahaani
emotional peak ki taraf badhti hai. Dosti, mutual respect, aur lockdown
ke beech chhoti-chhoti khushiyon ka phase start hota hai. Natural realism,
slow pacing aur unspoken emotions maintain kiye gaye hain.
🎬 "Mehmaan"
— Scene 11 to 15
(Roman
Hindi Dialogue + Action — Natural, Warm, Poetic)
Scene 11
Location: Kitchen
Time: Subah 6 baje
Rafiq
quietly sehri bana raha hai — roti, dahi, thoda anda. Dilip aankhon mein neend
leke uthta hai, kitchen light dekhta hai.
Dilip
(half-sleepy)
"Aur kya... subah subah kya jung jeetne jaa raha hai?"
Rafiq
(halki muskaan ke saath)
"Roza rakhne. Aaj aakhri jumma hai Ramzan ka."
Dilip
"Hmm... toh aaj Eid ke pehle ka Friday. Log toh naye kapde pehente the iss
din..."
Rafiq
(thoda shant ho kar)
"Kapde toh purane hi chalenge... par rooh saaf ho, toh naya lagta
hai."
Dilip
kuch nahi kehta. Ek moment of mutual respect.
Scene 12
Location: Chhoti Balcony
Time: Dophar
Baarish
ho rahi hai. Rafiq chhoti balcony mein khada hai, haath faila kar baarish
mehsoos kar raha hai. Dilip peeche khada, quietly observe karta hai.
Dilip
(softly)
"Bachpan mein main bhi karta tha aisa."
Rafiq
(muskurata hua)
"Phir kya hua?"
Dilip
(thoda soch ke)
"Bade ho gaye... aur society ka darr samajh aaya."
Pause.
Rafiq slowly aankhon se baarish wipe karta hai.
Scene 13
Location: Shared Hall
Time: Raat 8 baje
Rafiq
ek chhoti si Eid card bana raha hota hai — paper se haath se likha hua. Dilip
TV dekh raha hai, par chhupke dekhta hai Rafiq ko likhte hue.
Rafiq
(sharma ke)
"Behen ke liye banata tha... iss baar socha aapke liye bana doon."
Card
deta hai. Card pe likha hota hai:
"Eid Mubarak, sahib. Aap jaise logon se hi duniya thodi si behtar lagti
hai."
Dilip
(emotional)
"Main sahib nahi hoon, beta. Dilip bol... sirf Dilip."
Scene 14
Location: Kitchen + Room
Time: Eid Morning
Rafiq
simple sheer khurma bana raha hai. Dilip white kurta pehne darwaze pe aata hai.
Dilip
(awkwardly)
"Yeh kapda... purana rakha tha. Eid ke liye pehna."
Rafiq
(muskura kar)
"Bahut accha lag raha hai aap par."
Sheer
khurma dono plate mein dalte hain. Ek dusre ko quietly serve karte hain. Eid ka
asli jashn — simplicity, dosti aur izzat.
Scene 15
Location: Same Room — Late
Evening
Rafiq
phone pe call attend kar raha hai, muted excitement ke saath.
Rafiq
(phone pe)
"Permanent job mil gaya bhai! Saath mein company ka stay bhi milega. Kal
se shift karna hoga."
Pause.
Dilip uske peeche quietly sun raha hai. Chehre pe ek mixed emotion — khushi aur
khaali-pan.
Rafiq
(after call, Dilip ko dekh ke)
"Aapko batane wala tha... par dil nahi kar raha tha."
Dilip
(aankhon mein halka paani)
"Beta, ghar ka mehmaan tha tu. Par... chhod gaya apnapan."
Silence.
Distant mein Eid ke patakhe bajte hain. Raat thodi aur gehri lagti hai.
✨ Emotional Arc:
- Religious
tolerance
quietly dosti mein badal jaata hai
- Eid becomes an
emotion, not just an event
- Dilip ka
transformation
— from cold to caring
- Rafiq ka dilemma — gratitude vs
moving forward
Ab
chalte hain "Mehmaan" ke Scene 16–20 ki taraf — yahaan kahaani
apne emotional crescendo par pahuchti hai. Rafiq ke jaane ki tayyari,
Dilip ke andar ka khali-pan, aur ek unsaid bond ka closure dikhega. Har scene
mein silences zyada bolenge, aur dialogues kam — jaise ek achhi festival
indie film mein hota hai.
🎬 "Mehmaan"
— Scene 16 to 20
(Roman
Hindi Dialogue + Action — Emotional, Understated, Realistic)
Scene 16
Location: Shared Hall
Time: Next Day Morning
Rafiq
apna bag pack kar raha hai. Ek ek cheez slowly samet raha hai — Quran, ek
photo, kapde.
Dilip
dusre kamre se dekh raha hai, par kuch nahi bolta. Fir dheere se andar aata
hai, ek chhoti si chabi uske haath mein hoti hai.
Dilip
(halke tone mein)
"Yeh locker ki chhabi hai. Behen ke liye rakha tha. Usme kuch nahi, par ek
chitthi mil jaaye toh sambhal lena."
Rafiq
(ruk kar)
"Aap jaise log... kam milte hain."
Dilip
(muskurake)
"Tu mehmaan tha... par lagta hai ghar ka hisaa ban gaya."
Scene 17
Location: Kitchen
Time: Noon
Rafiq
Dilip ke liye last time aloo-paratha bana raha hota hai. Dilip bina kuch bole
help karne aa jaata hai.
Dilip
"Yeh lo... thoda dhaniya kaat deta hoon. Aise kaatna aata hai mujhe."
Rafiq
(hans kar)
"Paratha pe dhaniya nahi lagta."
Dilip
(taunting lightly)
"Main toh pehle se hi keh raha hoon... tumhara taste hi alag hai."
Dono
hans padte hain — halka, real, bittersweet laughter.
Scene 18
Location: Entrance of Chawl
Time: Evening, Just Before Sunset
Rafiq
nikalne ko tayyar hai. Mask pehna hua, bag kandhe pe. Gate ke paas rukta hai.
Dilip uske peeche aata hai — haath mein ek kapda ka bundle.
Dilip
"Yeh... tera kurta hai. Pehle din phata hua tha, sil diya."
Rafiq
(surprised, emotional)
"Aapne sil diya?"
Dilip
"Nahi. Seekh gaya silna... tujhme rehkar kaafi kuch seekha."
Ek
second ka silence.
Rafiq
(slowly)
"Aapko chhodkar jaane ka mann nahi hai."
Scene 19
Location: Same Entrance —
Moments Later
Auto
ke liye wait ho raha hai. Rafiq peeche mudkar Dilip ki aankhon mein dekhta hai.
Rafiq
(aankhon se bhar kar)
"Ek baar pair choon lun?"
Dilip
(jaldi se rokte hue)
"Pagal hai kya? Abbu ban gaya hoon main?"
Rafiq
"Abbu nahi... par ab lagta hai ghar waale ho."
Dilip
usse khinchkar gale laga leta hai. Awaaz nahi hoti, sirf silence aur heartbeat.
Scene 20
Location: Room ka andar —
Raat
Rafiq
chala gaya hai. Dilip akela chai bana raha hai. Uska haath automatically ek
extra cup nikalta hai... phir ruk jaata hai.
Table
pe Rafiq ka chhota Eid card rakha hota hai. Us pe ek line likhi hoti hai:
"Main
mehmaan tha... par aapne mujhe ghar de diya."
Dilip
card ko uthata hai, aankhon mein aansu nahi — sirf ek sukoon bhari smile.
Background
mein radio bajta hai —
🎵 “Khaali kamra ab bhi
poora lagta hai...”
Camera
zoom out karta hai — ek chhoti si duniya, jahan dosti aur insaniyat ne ek nayi
misaal banayi.
[End
of Scene 20]
🧱 Tone & Feel:
- Minimalism,
silences, aur aankhon ki acting
- Background score
light, piano-based
- Real homes, real
faces, no melodrama
- Closure with emotional
dignity, not loud dialogues
Ab
chalte hain "Mehmaan" ke Scene 21–25 ki taraf — yeh final act
ka build-up hai. Kahaani lockdown ke end aur emotional transition ki taraf
badhti hai. Rafiq jaa chuka hai, lekin uski yaadein Dilip ke ghar aur dil mein
reh gayi hain. Is phase mein hum loneliness, silent transformation, aur
acceptance ko explore karenge.
🎬 "Mehmaan"
— Scene 21 to 25
(Roman
Hindi Dialogue + Action — Minimalist, Poetic, Deeply Emotional)
Scene 21
Location: Room ke andar
Time: Agli subah
Dilip
breakfast bana raha hai — pehle jaise carefully nahi, thoda distracted. Ek cup
chai banata hai, aur reflex se dusra bhi nikalta hai... phir ruk jaata hai.
Table
pe aankh padti hai ek chhoti spoon par — Rafiq ki chai wali favorite chammach.
Dilip
(apne aap se, muskurakar)
"Chammach chhoti thi... par aadat badi."
Scene 22
Location: Building ka
compound
Time: Dopahar
Bacche
cricket khel rahe hote hain. Dilip unhe door se dekhta hai. Ek ball uske paas
aati hai.
Baccha
(chillate hue)
"Uncle, ball feko!"
Dilip
ball uthane jaata hai, par zameen par ek chhoti patang bhi padhi hoti hai —
uspar likha hota hai:
"Rafiq — Eid 2021."
Woh
patang ko slowly uthata hai, aankhon mein ek nostalgia ki chamak.
Scene 23
Location: Local Masjid ke
baahar
Time: Shaam
Dilip
quietly chalte-chalte Masjid ke baahar se guzarta hai. Ek stall pe sevaiyaan
dikhta hai. Woh rukta hai.
Shopkeeper
"Saheb, sevaiyaan Eid wali hai, le lijiye."
Dilip
(soch kar)
"Ek packet de do."
Ghar
lautke Rafiq ke plate mein rakhta hai, jahan woh baitha karta tha.
Voiceover
— Rafiq ki yaad mein (past dialogue repeat hota hai):
"Kapde
toh purane hi chalenge... par rooh saaf ho, toh naya lagta hai."
Scene 24
Location: Ghar ka andar
Time: Raat
Dilip
purane trunk se ek photo nikalta hai — uski patni Lakshmi ki. Photo ke peeche
ek chhoti chitthi likhta hai:
"Lakshmi...
tu hoti toh keh paata — ek mehmaan aaya tha... par jaate-jaate mujhe insaan
bana gaya."
Camera
slowly zoom karta hai Dilip ke chehre par — no tears, sirf shaant si muskaan.
Scene 25
Location: Same Hall — Next
Morning
Door
bell bajti hai.
Dilip
darwaza kholta hai — ek young migrant ladka khada hai, mask pehne, thaila leke.
Ladka
(sharma ke)
"Kya yahan PG mil sakta hai kuch din ke liye?"
Dilip
(pause ke baad)
"Andar aa ja beta... mehmaan ka kya hota hai — kabhi bhi aa sakta
hai."
Door
close hota hai. Screen slowly fade out.
Final
line on screen appears:
"Kabhi-kabhi
sabse gehri dosti... lockdown ke andar hoti hai."
🎯 Ending Mood &
Tone:
- Soulful
- Quiet redemption
- Legacy of
kindness
- Open-ended, but
full-circle storytelling
Ab
chalte hain “Mehmaan” ke final scenes — Scene 26 to 30 — yahaan kahaani
apne emotional climax aur closure tak pahuchti hai. Rafiq ki yaadein ek
nayi shuruat ban jaati hain, aur Dilip ka character arc quietly complete hota
hai. Yeh scenes deeply human, hopeful, aur symbolic hain — bilkul ek
film festival mein slow clap laane wale ending jaise.
🎬 "Mehmaan"
— Scene 26 to 30
(Roman
Hindi Dialogue + Action — Emotionally Silent, Warm Closure, Hopeful)
Scene 26
Location: Ghar ka andar
Time: Early Morning
Naya
ladka (Amit) quietly room mein chai bana raha hai. Dilip usse silently dekhta
hai. Us ladke ke hath kaap rahe hote hain.
Dilip
(softly)
"Chammach chhoti lo... haath kaapenge toh cup gira jaayega."
Amit
muskuraata hai. Same chammach jisse Rafiq chai peeta tha — woh deta hai.
Scene 27
Location: Small market lane
Time: Noon
Dilip
purane path pe chalte hue ek tailoring shop ke saamne rukta hai.
Tailor
(pehchaankar)
"Aap Rafiq ke landlord the na? Usne aapka kaafi zikr kiya tha."
Dilip
(narm si muskaan)
"Zikr karta tha?"
Tailor
(detailing)
"Hamesha kehta tha — 'Ek aisa Hindu mila jo sirf insaaniyat mein maante
hain.'"
Dilip
aankhon mein halka paani lekar sirf "Hmmm" karta hai.
Scene 28
Location: Ghar ka chhota
corridor
Time: Late Afternoon
Amit
guitar baja raha hota hai, same jahan Rafiq Azaan ke waqt khada hota tha. Dilip
quietly baithkar suntā hai.
Ek
halki melody baj rahi hoti hai — soft tune, bina lyrics ke. Camera Rafiq ke
purane plate pe jaata hai jahan sevaiyaan ki ek chhoti si katori rakhi hai.
Background
mein slow montage flashback — Rafiq ke haste, chai banaate, Eid card dete
visuals.
Scene 29
Location: Rooftop
Time: Sunset
Dilip
aur Amit chhat pe baithke biscuit aur chai le rahe hain.
Amit
"Aapko kabhi akela nahi lagta?"
Dilip
(pause karke)
"Jab mehmaan yaad aaye toh lagta hai. Par... ek baar wo apna ban jaaye na,
toh fir sirf yaad nahi... roshni ban jaate hain."
Amit
quietly sunta hai. Sunset ki laali dono ke chehre pe padti hai.
Scene 30 — FINAL SCENE
Location: Ghar ka andar —
Same room
Time: Night
Dilip
bookshelf pe ek diary nikalta hai — pehla page kholta hai. Likha hota hai:
"Rafiq
Ansari – Mehmaan tha... par jaate-jaate mujhe insaan bana gaya."
Wo
diary bandh karta hai. Table pe lamp bujhata hai. Screen dheere dheere dark
hoti hai.
🖋️ Final On-Screen
Quote (Black screen pe white font):
“Kuch
log bas kuch din ke liye aate hain... par hamesha ke liye sab kuch badal jaate
hain.”
🔚 Film Ends.
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