RAMAYAN—EPISODE 3
Title: “Janmotsav”
Logline: Putrakameshti ke
phal se Ayodhya me chaar ratnon ka janm hota hai. Nagar mehke, veena–shehnai
goonje. Door Mithila me bhi dharti apna vardaan deti hai. Yug apne nayakon ka
swagat karta hai.
Key Cast (Ep3):
Sutradhar (V.O.), Dasharath, Vashishth, Sumantra, Kaushalya, Kaikeyi, Sumitra,
Vaidya–parishad, Nagar ke devtaal, Janak & Sunayna (Mithila).
Look & Feel: Subah
ke pearl-golds, antahpur me soft pastels, janmotsav me deep saffron–kumkum.
Music—mridang (utsav), bansuri (mamta), shehnai (shubha), choir “Om” pad
(divine).
TEASER
(00:00–01:30)
EXT. AYODHYA –
BRAHMAMUHURAT
Halka dhund, ghanton ki duri se dhun. Paani par diyas khud-b-khud laayen
banate.
SUTRADHAR (V.O.)
“Jab dharma ka sankalp poora hota hai, prakriti pehle lori gaati hai.”
TITLE CARD: RAMAYAN
— Cut to a diya ki lau jo jhilmil kar char bani
hui roshniyon me bathti hai.
🌸 Ramayan – Ek Yug, Ek Sankalp 🌸
"Ramayan" Bharat ke
sanskaar, dharma aur maryada ka adarsh granth hai. Is maha-katha me sirf
Rajkumar Ram ka jeevan nahi, balki ek yug ka manthan samaya hai — jahan prem,
tyag, nyay aur satya har mod par apna rang dikhate hain.
Is series me hum aapko Ayodhya se
Lanka tak ke is divya yatra par le chalenge — ek-ek kadi ko gehraai se samajhte
hue. Har episode aapko us yug ke rang, sur aur sugandh me le jaayega — jaise
aap swayam us samay ke sakshi hon.
Pichle bhaag me…
Ayodhya me Putrakameshti ke baad shubh-lakshan dikhne lage. Teeno ranis
garbh-sukh ke sanket paati hain. Maharaj Dasharath aur Guru Vashishth ne
maryada ke saath janmotsav ki tayyari shuru ki. Nagar me shaanti aur umang ka
mahaul hai, aur door Mithila me bhi prakriti apna sandesh bhej rahi hai.
Aaj ke bhaag me…
Putrakameshti ka phal Ayodhya me prakat hota hai—chaar ratnon ka janm.
Veena–shehnai ki goonj, nagar ka sukh, aur chaaro dishaon me anand ka prasar.
Saath hi Mithila ki dharti apna vardaan deti hai, yug apne nayakon ka swagat
karne ko taiyaar hota hai.
ACT 1 (01:30–09:00) — AYODHYA
ME SHUBH PRABHAT
SCENE 1
INT. RAJPRASAD –
KAUSHALYA KE KAKSH – PRE-DAWN
Veena ki door ki taan. Kaushalya par shant ujala. Sevika–vaidya vyavasthit.
SUTRADHAR (V.O.)
“Pratham ujala—mata Kaushalya ke kaksh me.”
SFX: komal
shishu-nada (bahut halka).
Sevikayein aansuon ke saath muskurati. Dasharath dehleez
par theher kar pranam karte hain, antar se toot kar ro padte hain—khushi me.
DASHARATH (faint whisper)
“Prabhu… kripa!”
VASHISHTH (soft,
arriving)
“Rajan, shant anand—yahi maryada hai.”
(We keep visual pious: close-ups on tiny dor, pehlu ki komal chaadar, diya bokeh;
actual newborn ka reveal minimal, devotional framing.)
SCENE 2
INT. KAIKEYI KE KAKSH –
SUNRISE
Shehnai phrase. Kaikeyi ke chehre par veerta se mamta me badalta ujala.
VAIDYA namra muskuraahat:
“Devi, shubh janm.”
KAIKEYI
(ankhen nam) “Veer geet aaj lori ban gaye.”
SCENE 3
INT. SUMITRA KE KAKSH –
LATER MORNING
Sumitra ke kamre me veena ke do taar saath
bajte; hawa me do pankhiyon ki chhaya.
VAIDYA SENIOR
“Devi, yeh vishesh kripa—do shishu ke
shubh janm ke sanket.”
SUMITRA
(haath jod kar) “Raag ko do sur mil gaye.”
SCENE 4
INT. RAJ SABHA COURTYARD
– CONTINUOUS
SUMANTRA awaz deta hai,
nagara bajta hai; Nagar ko shyam–patak se sujhaaya ja raha.
SUMANTRA
“Maharaaj! Ayodhya dhanya ho gayi.”
DASHARATH
(akash ki or) “Yeh roshni mere rajya ki rekhayein badal degi.”
SUTRADHAR (V.O.)
“Chaar roshni—ek vansh, ek yug.”
ACT 2 (09:00–16:30) — SHRADDHA
KA PHAL & MARYADA
SCENE 5 — VASHISHTH
KA VACHAN
INT. RAJ SABHA – FORENOON
Rishigan, purohit, vaidya. Dhoop–samidha ki sugandh.
VASHISHTH
“Rajan, Putrakameshti ka phal prakat hua. Maryada yahi—shishuron ki raksha,
matrigan ka aaram, rajya me shant utsav.”
DASHARATH
“Agya. Utsav me kolahal nahi, kewal kritadnyata.”
VASHISHTH (chant, soft)
“‘श्रीरामाय नमः’—(arth: maryada ke
aadhar ko pranam).”
SCENE 6 — PAYAS–VIDHI
KA SMARAN (BRIEF FLASHBACK)
MONTAGE (POETIC RECAP):
Kalash se prasad ka sam-vibhajan: Kaushalya
(ardh), Kaikeyi (chaturth), Sumitra (shesh) — phir Sumitra ka punar-vibhajan (do bhojan) —
isliye do shishu.
SUTRADHAR (V.O.)
“Kripa jab samta se bati jati hai, to ghar surila ho jaata hai.”
SCENE 7 — NAGAR
ME SHANT UTSAV
EXT. AYODHYA STREETS –
NOON
Shehnai, dholak narm lay
par. Rangoli, pushp–varsha, ann–dan. Bacche chhote pankhe hilate.
PANDIT (to crowd)
“Utsav me maryada: mandir–darshan, gaayan–bhajan, par shor nahi.”
SCENE 8 — ANTAH-PUR—THREE
MOTHERS
INT. KAUSHALYA / KAIKEYI
/ SUMITRA – INTERCUT
·
Kaushalya komal lori hum karti:
“लल्ला लल्ला लोरी…” (soft hum; rights-free traditional feel)
·
Kaikeyi sheeshay me talwar ka pratibimb hata kar chameli phool lagaati.
·
Sumitra veena par do taar ko
halki saazish me jodti.
SUTRADHAR (V.O.)
“Veerta ka arth jab mamta se milta hai, to rajya ko nayak milta hai.”
ACT 3 (16:30–24:00) — MITHILA
PARALLEL & CRESCENDO
SCENE 9 — MITHILA:
JANAK KA HAL-POOJAN
EXT. MITHILA KSHETRA –
AFTERNOON
RAJRISHI JANAK hal
se bhoomi todte; sun-haze, dharti ki saundhi khushboo. SUNAYNA door se pooja ki thali lekar.
Halka prakash khet
ki rekh me se prakat; pankhiyon ki tezi se udaan.
JANAK
(astonished, pranam)
“Dharti–maa…”
Soft choir pad. A
DIVINE SIGN (symbolic: luminous flower–kalash/soft light cradle)
— ek kanyaa ka dev-sanket. (We
keep this poetic & dignified; visual
implication only, bina literal depiction.)
SUNAYNA ke chehre par kripa
ke aansu.
SUTRADHAR (V.O.)
“Jise janak ne paya, vah dharti ki putri thi—vartmaan uska naam nahi jaanta,
par yug use Janaki kahega.”
SCENE 10 — AYODHYA:
DASHARATH & VASHISHTH
INT. RAJPRASAD – SANJH
Dasharath, Vashishth ke saath dip–daan.
DASHARATH
“Gurudev, yeh chaar deep—mere liye prabhu ka chaar guna varad hai.”
VASHISHTH
“Chaar deep nahi, chaar disha—maryada, sneha, dharma, veerta. Inhe ek sutra me
baandhna hoga.”
SCENE 11 — JANMOTSAV
GEET (ENSEMBLE)
EXT. SABHA CHOWK – NIGHT
Shant geet–nritya (folk
+ temple choir). Lines (chorus, easy rights-free bhav):
“Om jai anand hari,
ghar–ghar deep jale,
Ayodhya me ujala, man me
prem phale.”
CAMERA: Overhead
circle on diyas forming चार ki rekha.
SCENE 12 — NEAR-FINALE:
FOUR LIGHTS
INT. ANTAHPUR – NIGHT
Intercut: teen kaksh + Dasharath ki akhiyan.
·
Soft close-ups: tiny
kadam, komal haath par dhaga, chhoti payal (devotional abstraction).
·
Kaushalya ki
aankhon me ek alag si shaanti (hint of Maryada
Purushottam).
·
Kaikeyi ke
chehre par veer–mamta (hint
of Bharata).
·
Sumitra ke
kamre me do diyas saath-saath
(hint of Lakshmana–Shatrughna).
SUTRADHAR (V.O.)
“Yug ne apne nayak de diye. Ab naam us maryada ko roop dega.”
MUSIC SWELL: mridang
+ shehnai + choir “Om”.
TAG (24:00–25:00) — NAAMKARAN
TEASE
INT. RAJ SABHA – NEXT
MORNING (TEASE)
Vashishth vedika ke saamne namkaran ki
aadhar–vedi sajate. Purohit karm–kalash rakhte.
VASHISHTH (V.O. / soft)
“Naam, keval pukarne ka shabd nahi. Naam—dharma ka sankalp hota hai.”
END CARD: “Agle
episode me: Naamkaran —
Ram, Bharat, Lakshman, Shatrughna.”
— END EPISODE —
SAMPLE
DIALOGUE INSERTS (shoot-ready)
·
Vashishth → Dasharath: “Rajan, anand ko shor nahi, shukr ka
saath chahiye.”
·
Kaushalya (lori, spoken): “Soye
mere nayan–roop, prabhu ke naam ki chhanv me.”
·
Kaikeyi: “Aaj
veerta talwar se nahi, god ki muskurahat se naapti hoon.”
·
Sumitra: “Do
sur jab saath bante hain, raag apna aap ban jata hai.”
·
Janak (Mithila): “Dharti–maa,
yeh vardaan tumhara hai—hamara kewal nivaas.”
MUSIC
& DIRECTION NOTES
·
Leitmotifs:
·
Birth signs = single temple bell + bansuri me chhota meend
·
Kaushalya = veena–lullaby; Kaikeyi = shehnai–veer–soft; Sumitra
= veena ke do taar
·
Mithila = maand–folk strings + tanpura drone
·
Camera Language: Antahpur
= close, warm, respectful framings; Sabha/Chowk = wide symmetricals; Mithila =
earthy handheld + low sun flares.
·
VFX: Practical
first—floating pollen, soft light leaks; divine moments me subtle bloom;
newborns ka abstract representation (ethical,
devotional tone).
PROMO
LINES (TV + Social)
·
“Ayodhya me chaar roshniyan, yug ka janm.”
·
“Veer geet aaj lori bane—janmotsav shuru.”
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