🎬 Movie Title : “Teen Chhayein” (Three Shadows)
ACT 1 (Introduction –
Conflict Setup)
- Opening Scene: Ek chhoti si town ki ladki Ananya, simple aur middle-class background ki hai. Ladki ambitious hai, par emotional aur vulnerable bhi.
- Uski life mein ek waqt par teen alag mardo se rishta/judaav hota hai:
- Raghav – Uska pehla
college crush, jisse pyaar to hai par commitment nahi.
- Kabir – Uska office
senior, jo charming hai par married hai.
- Aman – Ek dost jiske
saath ek baar emotional breakdown ke dauraan physical relation ho jata hai.
- Turning Point:
Ananya ko pata chalta hai ki woh pregnant hai. Shocked hai kyunki usse khud
nahi pata bachcha kis ka ho sakta hai.
ACT 2 (Suspense +
Emotional Turmoil)
- Society ke log us par ungli uthate hain, family bhi confuse aur shame feel karti hai.
- Ananya har ek aadmi ka samna karti hai:
- Raghav use chhod deta
hai, bolta hai “Mujhe yaqeen hai ye mera nahi hai.”
- Kabir use secret rakhne
ko bolta hai, warna uski shaadi toot jaayegi.
- Aman guilty feel karta
hai aur ready hai zimmedari lene ke liye, par Ananya usse trust nahi karti.
- Is beech ek DNA test ka track aata hai – par twist ye hai ki test reports chori ho jaati
hain.
- Psychological angle: Ananya khud guilt aur depression mein girti ja rahi hai, society
ke questions, family ka pressure aur apne confusion ke saath struggle karti
hai.
ACT 3 (Climax –
Revelation)
- Ek court case tak baat pahunchti hai, jahan teeno ladke apni taraf se alag alag kahani sunate hain.
- Judge ke saamne sach aata hai ki DNA report asli mein Aman ka naam dikhati hai – par shockingly pata chalta hai ki reports deliberately change ki gayi thi Kabir ke taraf se, taaki uski shaadi bachi rahe.
- Final mein sach samne aata hai – bachcha Raghav ka hai, jisse sabse zyada use pyar tha, par woh khud usse accept karne ko tayyar nahi tha.
- Ending: Ananya faisla karti hai ki woh kisi ke sahare ki zarurat nahi rakhegi. Bachche ko apni marzi se paalti hai. Ek strong independent ending, jo women empowerment ko dikhati hai.
🎥 Story Themes:
- Suspense & Drama (DNA test, secret affairs, missing reports)
- Family & Society pressure
- Female empowerment (final decision by girl herself)
- Psychological struggle
Primary Characters
- ANANYA (24) –
Middle-class, bright, empathetic, self-respecting.
- RAGHAV (26) –
Ex-college crush, talented but commitment-phobic.
- KABIR (34) –
Ananya ka office senior; suave, married, risk-taking.
- AMAN (25) –
Dheet par dil ka saaf best-friend type; loyal, guilt-ridden.
- SARITA (45) –
Ananya ki maa; conservative par dil se protective.
- MAHESH (50) –
Ananya ke pita; practical, chup rehne wale.
- DR. MEERA (38) –
Gynae; firm, ethical.
- ADV. SHALINI (32) – Ananya ki lawyer; sharp & calm.
- ADV. BAKSHI (45) – Opposing counsel; relentless.
- RAJAT (40) –
Lab technician; key witness.
- MEERA REPORTER (28) – Local media.
- JUDGE (60) –
Fair, observant.
Plan for Expanded Script Delivery
- Act 1 (Introduction + Conflict)
- Ananya ka parivaar aur uski normal life establish
- Teen relationships (Raghav, Kabir, Aman) ke long scenes
- Pregnancy ka revelation aur uska emotional impact
- (Isme 6–7 bade long scenes rahenge, har ek me 5–10 minute ka material)
- Act 2 (Suspense + Emotional Turmoil)
- Family ke saath bade confrontations
- Teenon mardon ke saath lambi baatcheet (cross questioning type)
- Media aur mohalla ka pressure
- DNA test ka twist (altered report + investigation buildup)
(Isme courtroom ke pehle ka bada portion detail me likha jayega)
- Act 3 (Climax + Resolution)
- Courtroom drama fully stretched with long cross-examinations
- Har character ka confession aur breakdown
- Final DNA truth + Kabir exposed
- Emotional closure scenes with Ananya’s decision and baby’s birth
ACT 1 — “Dhundhli
Lakeerein”
SCENE 1 – EXT. SHEHAR KI TANG GALI – SUBAH
(Halka dhuaan, doodh wala cycle se nikalta,
bartan ki khanak. Camera dheere-dheere upar uthta. Ananya balcony se neeche
dekhti hai.)
ANANYA (V.O.)
“Log kehte hain sach ek hota hai. Par kabhi kabhi sach teen tukdon me bat kar
hawa me tairta rehta hai… aur tum bas haath badhate reh jaate ho.”
(Uski maa neeche se awaaz lagaati hai.)
SARITA (O.S.)
“Anu, utni der ho gayi beta! Nasta thanda ho raha.”
ANANYA
“Aa rahi hoon, Maa!”
(Ananya ek pal ko apne chehre ko mirror me
dekhti— aankhon ke neeche halki thakan.)
SCENE 2 – INT. ANANYA KA GHAR – RASOI / CHHOTA
DINING – SUBAH
(Ghar saaf-suthra par purana; Mahesh akhbar ke
peeche, Sarita tawa pe parathe.)
SARITA
“Thodi hari chutney le lo. Aaj office me meeting hai na? Safed kurta pehen
lena— accha lagta hai tum par.”
ANANYA (baithte hue)
“Meeting hai… par kurta pehnun ya armor, yeh decide nahi ho raha.”
MAHESH (akhbar se jhaank kar, muskura ke)
“Armor to hum hain. Bas sach bolna. Baat khatam.”
SARITA (teekhi nazar)
“Sach bolna aasaan hota hai jab saamne wala sunne ko tayyar ho. Office wale—”
ANANYA (narmi se)
“Office wale bhi log hi hote hain, Maa. Kabhi kabhi ache, kabhi kabhi thode
mushkil.”
MAHESH
“Salary time pe milti rahe, to mushkil log bhi theek lagte hain.”
(Teeno halki si hansi share karte. Ek
naram-parivarik silence. Phir Maa aankhon me padh leti hai.)
SARITA (suddenly, softly)
“Thak gaye ho kya? Raat der tak jagi thi?”
ANANYA (jhooth chhupa kar)
“Nahi… bas kal thoda… yaad aaya.”
MAHESH
“Kya?”
ANANYA (dheere)
“College ke din.”
(Beat. Sarita samajh jaati hai— Raghav.)
SARITA (topic badalti)
“Chalo, tiffin le lo. Sham ko jaldi aana.”
ANANYA
“Koshish karungi.”
SCENE 3 – EXT. COLLEGE GROUNDS – FLASHBACK –
SHAAM
(Din dhal raha. Bench par Raghav aur Ananya.
Background me students ki hansi.)
RAGHAV
“Tumhe pata hai na, mujhe job Bangalore me mil sakti hai. Long distance… tough
hota hai.”
ANANYA
“Maine kab bola aasaan hai? Maine sirf itna bola ki agar hum dono chahe, ho
sakta hai.”
RAGHAV (hathaash, honest)
“Mere andar… main waisa banda hi nahi, jo… jo promise de ke kal tod de. Better
hai abhi hi… realistic rahein.”
ANANYA (hurt par composed)
“Realistic hona alag hota hai, bhagna alag. Tum bhaag rahe ho, Raghav.”
RAGHAV (teekha)
“Main apne aap se jhooth nahi bol sakta. Main ready nahi hoon.”
ANANYA (palat kar, aankhon me nami)
“Main tumse ‘forever’ nahi maang rahi. Main bas… kal subah tumhare message ka
intezar nahi karna chahti. Bas itna sa.”
RAGHAV (halki hansi, phir thanda)
“Phir to tum galat aadmi ke saath ho.”
(Silence. Hawa tez chalti. Ananya uski taraf
dekhti rehti hai, phir khud ko sambhal kar utth khadi hoti.)
ANANYA
“Thik hai. Aaj ke baad main bhi realistic rahungi.”
(Woh chal padti hai. Raghav usse jaate dekh kar
aankhon ko jhapkata hai, par rukta nahi.)
SCENE 4 – INT. AD AGENCY OFFICE – CONFERENCE
ROOM – SHAAM
(Glass walls, projector band. Pitch abhi khatam.
Log nikal rahe. Sirf Kabir aur Ananya bache.)
KABIR (slow clap, teasing)
“Round of applause. Tumne client ko wahi sunaaya jo wo sunna chahte the— aur
wahi jo unhe sunna chahiye.”
ANANYA (files samet-te)
“Do alag cheezen hain. But thanks.”
KABIR (baithkar)
“Coffee? Office wali nahi. Bahar— better beans, better conversation.”
ANANYA (guarded)
“Conversation kis baare me?”
KABIR (smirk)
“Kaam, growth, next pitch… aur thoda life. Don’t worry, I don’t bite.”
ANANYA (half smile)
“Coffee pe bite ka koi logic nahi banta.”
KABIR (lean in, gentle)
“Tum achchi ho. Smart, sorted. Bas thodi nazuk. Is sheher me nazuk logon ko…
chot jaldi lagti hai.”
ANANYA (seedha dekh ke)
“Mujhe bhi yahi lagta hai— ki mujhe chot lagti hai. Par main theek hona bhi
jaanti hoon.”
(Beat. She agrees with a nod.)
KABIR
“Chalo. Ek cup. Professional boundary intact. Pinky promise.”
SCENE 5 – INT. CAFE – SHAAM SE RAAT
(Corner table. Warm lights. Door bell chaim.)
KABIR (casual)
“Shaadi hui meri 7 saal pehle. Good woman. Good family. Par good life… kabhi
kabhi calendar aur clock se bahar gir jaati hai.”
ANANYA (saf-saf)
“Mujhe jhoot pasand nahi. Aur mujhe apna role clear chahiye. Boss ho aap. Main
employee.”
KABIR (haath utha kar)
“Crystal. Boss office me. Yahan sirf do insaan. Aur main kisi line ko cross
nahi karunga jab tak tum na kaho.”
ANANYA (thoda naram)
“Hmm. Par ek mard jab kehta hai ki voh line cross nahi karega, aksar uska
matlab hota hai— abhi nahi.”
KABIR (thoda saaf)
“Point taken. Main tempting nahi banunga.”
(Dono hansi share karte. Silence. Phir Kabir
soft ho jata.)
KABIR
“Tum kabhi apne aap se thak jaati ho?”
ANANYA
“Roz raat ko 11:37 pe. Alarm bhi laga rakha hai— ‘Tired of self’.”
KABIR (laughs, then sincere)
“Kabhi kabhi kisi aur ka kandha chahiye hota hai. Bas itna.”
ANANYA (dekhte reh kar)
“Bas itna hi rahe to theek.”
(Door ke bahar koi pehchaan wala nigaah milata
hai. Ananya pal bhar ko awkward. Kabir samajh jaata hai.)
KABIR (low)
“Kal se 2 ft zyada distance. Aur main khud rakhunga. Deal?”
ANANYA (relieved)
“Deal.”
SCENE 6 – EXT. NADI KINARA – RAAT (DOOSRA
FLASHBACK)
(Halki hawa, phone torch. Aman aur Ananya kinare
baith kar paani me pathar uchhalte.)
AMAN
“Tu mere saath dictionary kholi thi jab 7th me admission hua tha— ‘plagiarism’
ka matlab pehli baar tab samjha. Tu tab se seedhi hai.”
ANANYA (thaki muskuraahat)
“Seedhi line me chalne wali ladki kabhi kabhi tedhe raste pe phisal jaati hai.”
AMAN (concern)
“Phisal gayi to haath pakad lo mera. Main uthaa dunga.”
ANANYA (eyes moist)
“Aaj ghar pe ladai ho gayi. Maa ne bola— ‘Zyada dimag mat chala, shaadi kar
le’. Aur main— main bas… phat padi.”
AMAN
“Unhe nahi pata tu kitna bada kaam kar sakti hai. Tu manager banegi ek din,
dekh lena.”
ANANYA (halki hansi)
“Manager? Abhi to apni feelings bhi manage nahi ho rahi.”
(Silence. Aman uske paas baith kar jacket utar
ke uske kando pe rakh deta hai.)
AMAN (soft)
“Thand lag rahi hogi.”
ANANYA (dekh kar, thankful)
“Thanks.”
(Unke beech ek lamba, vulnerable pause. Door se
train ki siiti. Time dil ki dhadkan jaisa.)
AMAN (dheere)
“Anu… agar kabhi tujhe lage— ki tu akeli ho— main… yaani, main yahin hoon.”
ANANYA (palak bhigti)
“Pata hai.”
(Woh nazdeek aati hai. Camera respectfully upar
shift hota, hawa tez. Scene feelings par khatam— explicit kuch nahi.)
SCENE 7 – INT. BATHROOM – SUBAH (CURRENT
TIMELINE)
(Pregnancy test— do laal lineen. Sink ka pani
boond-boond tapak.)
ANANYA (faint whisper)
“Do…”
(Uske haath kaapte. Chehre pe disbelief, fear,
aur ek ajeeb si shaanti.)
ANANYA (V.O.)
“Do reshe— jaise do sach. Ek jo maine jiya. Ek jo ab mujhe jeena padega.”
(Phone vibrates— “Maa calling”. Ananya deep
breath leti hai.)
SCENE 8 – INT. GYNAE CLINIC – DIN
(Dr. Meera professional par warm. Anatomy
charts. Window se roshni.)
DR. MEERA
“Pregnancy confirm. Dates ke hisaab se 6–7 weeks lag rahe. Tum theek ho. Ab
options par calmly baat karenge— medical, legal, emotional, sab.”
ANANYA (seedha, shame se ladte)
“Doctor… mujhe nahi pata… father kaun ho sakta hai. Us daur me… meri life me
teen log the.”
DR. MEERA (bina judgement)
“Jo ho gaya— ho gaya. Ab aage kya sahi hai, us par focus. Tumhari marzi sabse
upar. Kisi ke pressure me kuch mat sochna.”
ANANYA
“Mujhe sach chahiye. Jis bacche ko main life dungi, uska janam jhooth pe na
ho.”
DR. MEERA
“Paternity ke liye legally post-birth DNA sabse straightforward hota hai, par
kuch pre-natal options bhi hote. Risk–benefit samjhaungi. Aur privacy— meri
responsibility.”
ANANYA (relieved)
“Thank you.”
DR. MEERA
“Ek counselor se bhi milwa sakti hoon. Aur— iron levels, supplements start. Tum
strong raho, baaki hum dekhenge.”
ANANYA (narmi)
“Main koshish karungi.”
SCENE 9 – INT. ANANYA KA GHAR – SHAAM
(CONFESSION)
(Sarita bartanon ki awaaz band karti. Mahesh
window ke paas khada. Ananya unke beech aati hai.)
ANANYA (seedha, steady)
“Maa… Papa… main pregnant hoon.”
(Ek lambi khamoshi. Sarita ka chehra dhad se
neeche. Mahesh aankhen band kar ke saans rokta.)
SARITA (phusphusahat)
“Kya… kiska…?”
ANANYA (aankhon me pani, par awaaz seedhi)
“Mujhe nahi pata.”
(Sarita kursi pakad kar baith jaati, aansu rok
nahi paati.)
SARITA
“Main buri maa hoon…? Mujhse kahan kami reh gayi…?”
ANANYA (jaldi paas aake)
“Maa, please. Yeh aapki galti nahi. Yeh meri zindagi hai— meri zimmedari.”
MAHESH (bahut dheere)
“Kab se pata tha?”
ANANYA
“Aaj se. Aur main kal se sach ka raasta chalu kar dungi.”
SARITA (gussa + dard)
“Raasta? Log pathar phenkenge, Anu. Mohalle wale muh bana ke dekhenge. Kaise
sambhalegi?”
ANANYA (unger ke saath, aankhen seedhi)
“Shiromani sabji waali aunty roti nahi denge mujhe. Par aap dono— aap mere
saath rahoge na?”
(Sarita ka gussa pighal kar dard me badalta. Woh
Ananya ka chehra dono haathon me pakad leti.)
SARITA (rote hue)
“Main hoon. Par darr lagta hai.”
MAHESH (steady)
“Darr sabko lagta hai. Par sach bolke jo khada rah jaaye— woh akela nahi hota.”
ANANYA (saans lekar)
“Mujhe teeno se baat karni hogi— Raghav, Kabir, Aman. Aur doctor ke through
legal tareeke samajhne honge.”
SARITA (nigah tez)
“Kabir? Vo tumhara boss— shaadi-shuda?”
ANANYA (downcast)
“Han. Galti meri bhi utni hi hai.”
MAHESH (seedha, na to chillaya na judge kiya)
“Ab jo kaam bacha hai— sach tak pahunchna. Main lawyer ka number laa deta hoon.
Baaqi tu decide karegi.”
(Ananya shocked— support expected nahi tha.)
ANANYA (gile me pighli muskurahat)
“Papa… aap—”
MAHESH (halki si hansi)
“Main abhi bhi armor hoon. Bas thoda purana model.”
(Teeno halki si hansi me aansu chhupa lete.)
SCENE 10 – EXT. MOHALLA / KIRANA – DOPAHAR (NEXT
DAY)
(Shutters, gossip. Do padosan— kam awaaz me.)
PADOSI #1 (fuss-fuss)
“Suna? Sarita ki ladki….”
PADOSI #2
“Aaj kal ki ladkiyan na… phone pe hi—”
(Ananya seedha nikalti. Dono ko dekh kar rukti.
Nazrein milati. Firm.)
ANANYA
“Namaste, Aunty. Maa ko bolungi aaj aapke liye dahi jama de. Bas ek baat— aap
logon ke muh par tala lagane ka humare ghar me budget nahi. Isliye jo kehna ho,
mere saamne kaho. Peechhe se nahi.”
(Dono sharminda si ho jaati. Ananya nikal jaati—
head high.)
SCENE 11 – INT. AD AGENCY – WORKFLOOR – SHAAM
(AFTER HOURS)
(Log ja chuke. Kabir apna bag pack kar raha.
Ananya door band kar ke andar aati.)
ANANYA (direct)
“Mujhe tumse zaroori baat karni hai.”
KABIR (sense of dread, mask on)
“Kya hua? Client—”
ANANYA
“Main pregnant hoon.”
(Kabir ka chehra pehle khali, phir calculation
mode.)
KABIR (narmi bana kar)
“Okay… okay. Sit. Pani? Main—”
ANANYA
“Pani nahi chahiye. Sach chahiye. Jo bhi ho— mujhe handle nahi, sach chahiye.”
KABIR (dheere, thehr kar)
“Dates… match karte hain?”
ANANYA
“Teen log the meri life me us daur me. Main kisi ke saath unfair nahi hona
chahti. Aur kisi ke jhooth pe khadi rehna bhi nahi.”
KABIR (breathes out)
“Main married hoon. Yeh tum janti thi. Main tumhe hurt nahi karna chahta. Main
apni family ko bhi… todenge nahi.”
ANANYA (steel)
“Main tumhari family ko todne nahi aayi. Bas sach.”
KABIR (low, almost pleading)
“Sach kiski madad karega? Tumhari ya meri? Dekho… agar yeh baat bahar gayi—”
ANANYA (cutting in)
“Yeh baat meri kokh me chal rahi hai. Bahar se zyada andar me goonj hai.”
(Kabir thoda toot kar seedha ho jata hai.)
KABIR
“Jo bhi financial, medical help chahiye— I’ll do it. But… naam—”
ANANYA (cold)
“Naam sirf ek cheez ka hoga: truth. Baaki sab baad me.”
(Ek lamba pause. Kabir ka phone vibrate— “Wife
Calling”. Woh screen dekhkar phone silent karta.)
ANANYA (dekhti hai)
“Phone uthao. Main kal fir baat karungi. Formal process— counselor, lawyer,
doctor— sab documented.”
KABIR (halki ghabrahat me)
“Main… kal tak kuch sochta hoon.”
ANANYA
“Please. Sochna mat. Sirf sach bolna.”
(Woh nikal jaati. Kabir kursi par gir sa jata.)
SCENE 12 – EXT. BUS STOP – RAAT
(Halki barish. Streetlight ke neeche Ananya,
apne aap se baat.)
ANANYA (V.O.)
“Sach bolna kabhi kabhi naak par chamakti teekhi dhup jaisa hota hai— aankhen
jhalte hain, par raste saaf dikhte hain.”
(Phone unlock. Contact: “Raghav”. Thumb hover
karta. Phir type: “Kal mil sakte ho?” Send.)
(Doosra message: “Aman, kal free?” Send.)
(Screen par “Delivered”. Ananya saans chhodti.)
SCENE 13 – INT. LAW CHAMBERS – DIN (NEXT DAY)
(Books, files. Adv. Shalini composed,
empathetic.)
ADV. SHALINI
“Mujhe timeline, names aur koi bhi proof— messages, call logs— sab organized
chahiye. Hum tumhari privacy protect karenge. Tumhari marzi supreme hogi.”
ANANYA
“Mujhe sirf ek cheez chahiye— kisi par jhootha ilzaam na lage. Aur mera bachcha
jhooth ke saaye me paida na ho.”
ADV. SHALINI
“Noted. Technically paternity ka best proof post-birth DNA hota. Pre-natal
routes me risk aur consent layers aati hain. Hum Dr. Meera ke saath sync me
chalenge. Aur— media ko door rakha jayega.”
ANANYA (relief)
“Thank you.”
ADV. SHALINI (warm)
“Strong rehna. Strong ka matlab ro na padna nahi hota— strong ka matlab ro kar
bhi seedha chalna hota hai.”
ANANYA (halka sa hansi)
“Mujhe yahi seekhna hai.”
SCENE 14 – INT. ANANYA KA GHAR – LATE EVENING
(Andhera. Bijli ka bulb. Sarita bartan pochti.
Mahesh receipt ki diary me kuch likh raha.)
ANANYA (andar aate)
“Lawyer mil li. Process samajh li.”
SARITA (anxious)
“Kya bole?”
ANANYA
“Abhi sab meri marzi pe. Medical steps, legal steps— sab planning ke saath.
Aur— un teenon se baat karni hogi.”
MAHESH (seedha)
“Main saath chalun?”
ANANYA (pyaar se)
“Nahi. Ye baatein mujhe khud karni hongi.”
SARITA (narmi)
“Raat ka khana ban gaya. Khake so jana. Kal subah se tumhari jang lambi hogi.”
ANANYA (unhe dekh kar)
“Maa… aap meri maa ho aur meri pehli dost bhi. Agar main girun to?”
SARITA (gale lagate)
“To hum dono haath badha denge— ek tumhara, ek mera.”
(Mahesh halka sa haath unke kandhe par rakhta.
Family ki chhoti jeet.)
SCENE 15 – EXT. CITY PARK – DUSK (SET-UP FOR ACT
2)
(Bench. Hawa me sarsarahat. Raghav door se aata—
hesitant.)
RAGHAV
“Message mila. Sab theek?”
ANANYA (seedha)
“Nahi. Aur isi liye milna tha.”
RAGHAV (baithte hue, edgy)
“Kya hua?”
ANANYA (steady gaze)
“Main pregnant hoon.”
(Raghav ki saansein tez. Woh turant defense me
aata par khud ko rokta.)
RAGHAV (low)
“Dates…?”
ANANYA
“Mujhe facts chahiye, blame nahi. Kal clinic chaloge? Doc se process samajhna
hai.”
RAGHAV (long beat, phir dheere)
“Chalunga.”
ANANYA
“Thank you.”
(An awkward silence. Raghav aankhon me guilt—
par words nahi. Ananya utth kar chal padti.)
SCENE 16 – EXT. TEA STALL NEAR STATION – NIGHT
(Aman chai ke do kulhad rakhta. Ananya aake
khadi hoti.)
AMAN (chehre se samajh kar)
“Bataa.”
ANANYA (seedha)
“Main pregnant hoon.”
(Aman ka chehra ek pal ko tot-ta, phir set ho
jaata— steadiness.)
AMAN (slow, clear)
“Main hoon. Jo bhi process, jo bhi din… main hoon. Par ek shart— jhooth par
nahi.”
ANANYA (soft)
“Isi liye tumse milne aayi.”
AMAN
“Kal doctor. Kal lawyer. Kal jo tum bolo. Bas— aaj raat kaam ek hi— sone ki
koshish.”
ANANYA (half-smile)
“Try.”
(Do dono chai ka ghunt lete. Camera unke chehron
par rukta— dosti ka saccha, be-shart saaya.)
SCENE 17 – INT. ANANYA KA KAMRA – LATE NIGHT
(ACT-ENDING MONOLOGUE)
(Ananya bed ke kinare. Diary khuli. Pen ruk-ruck
kar chalti.)
ANANYA (writing, V.O.)
“Dear A— (A for Aasha?)
Aaj se main tumhe sach ke saath paalungi. Shayad logo ko meri kahani me masala
mile, par tumhe sirf sach milega. Teen parchhaiyan mere peechhe chal rahi hain—
ek kabhi ‘ready’ nahi hota, ek apni ‘family’ ke piche chhup jata, aur ek ‘dost’
ban kar khada rehta. Par tum— tum meri roshni ho. Kal se main un sab se unke
naam ke bina nahi, unke sach ke saath milungi. Jitna dar hai, utni himmat bhi.”
(Woh diary band karti hai. Deep breath. Window
se bahar andhera halka sa halka.)
ANANYA (faint whisper)
“Kal. Shuruwaat ka doosra din.”
CUT TO BLACK.
ACT 1 END —
TEEN CHHAYEIN – ACT 2 (Expanded, Dialogue-Heavy hai.
Ye pura portion mid-film ka hai jahan tension barhta hai – family pressure,
mohalla gossip, teen mardon ke confrontations, DNA test ka drama aur media
intrusion. Runtime roughly 50–55 minutes cover karne laayak dialogues aur lambi scenes.
ACT 2 — “Gawah, Gumrah
aur Guilt”
SCENE 18 – INT. ANANYA KA GHAR – SUBAH
(Mahesh breakfast table par. Sarita silent hai.
Ananya tasla me doodh garam kar rahi.)
SARITA (halki si awaaz me)
“Kal mohalla wali Sunita ne seedha puchh liya— ‘beta ke liye ladka dekh rahe
ho?’ Main bas chup ho gayi.”
ANANYA (calm)
“Ab chup rehna option nahi hoga, Maa. Logo ko jawaab dena padega.”
MAHESH (seedha)
“Jawaab sach hoga. Aur sach me himmat chahiye hoti hai. Tum tayyar ho?”
ANANYA (deep breath)
“Ho jaungi.”
(Beat. Camera par teenon ke chehre – sabko apna
apna darr hai.)
SCENE 19 – EXT. MOHALLA CHOWK – DIN
(Gossip karne wale 4–5 auratein, ek aadmi.
Camera static. Ananya seedha unke beech se guzarti hai.)
AURAT 1 (fuss fuss)
“Kehte hain ladki achhi job karti hai. Par aaj kal ki padhai… bas bigaad deti
hai.”
AURAT 2
“Teen-teen ladke ghoomte the aas paas. Abhi dekho…”
(Ananya ruk kar seedha unki taraf dekhti hai.)
ANANYA (firm)
“Main khud chal kar aayi hoon yahan. Koi bhi sawaal ho, mujhse puchho. Peechhe
se bolne ki zarurat nahi.”
AADMI (awkward)
“Beti… hum to bas baat kar rahe the.”
ANANYA (thoda naram)
“Baat karni hai to mere muh pe karo. Aur haan— main pregnant hoon. Us bacche ka
janam aapki kahani banane ke liye nahi, meri zindagi banane ke liye hoga.”
(Silence. Sab sharminda. She walks away.
Background me halki si fusahat.)
SCENE 20 – INT. RAGHAV KA ROOM – SHAAM
(Room me posters, half-packed suitcase. Raghav
pacing. Ananya door par.)
RAGHAV
“Tumne mujhe bulaya aur phir… yeh sab keh diya. Tum… tum serious ho?”
ANANYA (calm)
“Main pregnant hoon. Aur mujhe tumse bas sach chahiye. Kya tum ready ho agar…?”
RAGHAV (interrupts, restless)
“Mujhe yaqeen hai ye mera nahi hai.”
ANANYA (hurt, steady)
“Tumhare liye ye sirf ‘yaqeen’ hai. Mere liye meri zindagi hai.”
RAGHAV (gussa, hands shaking)
“Main apni life barbaad nahi kar sakta. Tumne— tumne kisi aur ko bhi…!”
ANANYA (tez)
“Bas. Mujhe blame game nahi chahiye. Main DNA test karaungi. Aur jo sach hoga,
wahi maanungi. Tum tayyar rehna.”
(Raghav silence me ghoor kar dekhta. Camera uske
bechene chehre par.)
SCENE 21 – INT. KABIR KA CAR – BARISH – RAAT
(Car parking me khadi. Barish boondon ki awaaz.
Kabir aur Ananya saamne.)
KABIR (desperate, low)
“Mujhe bataaya hota to main manage kar leta. Main tumhari care karta hoon.”
ANANYA (cold)
“Mujhe care nahi, sach chahiye. Care ke naam pe tumne apni wife ko jhooth bola,
mujhe bhi.”
KABIR (pleading)
“Please samjho. Main apni family chhod nahi sakta. Bachcha mera ho ya na ho…
sab khatam ho jaayega.”
ANANYA (aankhen me aansu, par voice strong)
“Meri zindagi khatam ho rahi hai. Aur tum abhi bhi apna ghar ginte ho.”
KABIR (angry)
“Sach sabko barbaad kar deta hai.”
ANANYA
“Sach barbaad nahi karta. Jhooth karta hai. Aur tum jhooth ke aadmi ho.”
(Ananya car ka door khol kar bahar chalti hai.
Kabir peeche chillata hai.)
KABIR
“Report aayi to tumhe pata chalega! Tumhe mere bina survive karna mushkil
hoga!”
(Camera Ananya ke chehre par – aansu girte, par
kadam mazboot.)
SCENE 22 – INT. AMAN KA KAMRA – RAAT
(Guitar, cricket posters. Aman Ananya ko chai
pakadata hai.)
AMAN (straight)
“Bol de mujhe. Main zimmedari le lunga.”
ANANYA (sad smile)
“Tum kyun lena chahte ho zimmedari jab tumhe bhi nahi pata…?”
AMAN (guilt)
“Shayad meri galti hai. Shayad main hi…”
ANANYA (interrupts, softly)
“Galti nahi thi. Weak moment tha. Aur hum dono uss waqt akelay the.”
AMAN (eyes moist)
“Main dosti nibhata hoon. Par yeh… yeh bada hai. Agar bachcha mera hai— main
accept karunga. Agar nahi bhi… main tumhe akela nahi chhodunga.”
ANANYA (tears)
“Isi liye tumse baat karna sabse easy tha. Tum jhooth nahi bolte.”
(Un dono ke beech ek long silence. Trust
evident. Camera dheere se zoom out karta hai.)
SCENE 23 – INT. LAB – DNA TEST – DIN
(Dr. Meera supervision me. Technician Rajat
forms fill kar raha. Raghav, Kabir, Aman alag chairs par. Tension thick.)
DR. MEERA (firm)
“Sab samples court ke chain-of-custody ke through seal honge. Kisi ko interfere
karne ka chance nahi.”
(Ananya haath me form sign karti. Kabir ghabra
kar Rajat ki taraf ek pal dekhta. Rajat aankhen neeche kar leta hai.)
DR. MEERA
“Reports teen din me.”
(Ananya sabko dekhti hai— teeno ki aankhon me
alag kahani: Raghav guilty, Kabir scared, Aman steady. Camera slow pan.)
SCENE 24 – INT. ANANYA KA GHAR – SHAAM
(Sarita darwaze pe aati, kuch auratein gossip
kar rahi bahar.)
SARITA (chillakar)
“Apne ghar jao sab! Mere ghar ka faisla doctor karega, mohalla nahi!”
(Ananya maa ko pakad ke andar kheenchti.)
ANANYA (gentle)
“Maa… aapko prove karne ki zarurat nahi. Jo sach hai, wahi chalega.”
SARITA (rote hue)
“Main apni beti ko logo ki nazar se bacha nahi pa rahi.”
ANANYA (hugging her)
“Maa… mujhe bas aapki nazar chahiye. Baaki duniya ko dekhne do.”
SCENE 25 – EXT. PRESS CONFERENCE / STREET – DIN
(Reporter Meera mic lekar Ananya ko gher leti hai.
Cameras flash.)
REPORTER MEERA
“Ananya ji, teen suspects, ek unborn child— public ko jaana hai sach! Aap kiske
bachche ki maa banne wali hain?”
ANANYA (rage, firm voice)
“Mera bachcha kisi headline ka subject nahi hai. Uska naam hai— ‘Aasha’. Aur
yeh Aasha aapke TRP se bada sach hoga.”
(Reporters stunned. She walks away. Background
me slogans.)
SCENE 26 – INT. LAB RECEPTION – SHAAM
(Ananya report lene aati. Receptionist
confused.)
RECEPTIONIST
“Ma’am… report file missing hai. Kal tak…”
ANANYA (shock, angry)
“Missing? Yeh courier nahi hai! Yeh meri zindagi hai!”
(Rajat corner me guilty. Kabir doorway me chhup
kar dekh raha.)
SCENE 27 – EXT. BUS STOP – RAAT
(Rain. Ananya bheeg rahi. Phone ring— Kabir ka
call.)
KABIR (V.O., low whisper)
“Kal aa jao. Sab set ho jaayega. Tumhe tension nahi leni.”
ANANYA (rage)
“Kya set hoga? Sach ya tumhari kahani?”
KABIR (snapping)
“Jo tumhe bacha sake.”
ANANYA (cold)
“Main bachna nahi chahti. Main ladna chahti hoon.”
(She cuts the call. Camera uske determined
chehre pe freeze.)
SCENE 28 – INT. ANANYA KA GHAR – LATE NIGHT
(Mahesh quietly lawyer ka visiting card deta
hai. Sarita anxious. Ananya card dekh kar ek long sigh leti hai.)
MAHESH
“Kal se tu akeli nahi. Kal se hum ladenge. Kanoon ke saath.”
(Ananya finally relaxes, thoda smile.)
ANANYA
“Papa… thank you.”
MAHESH (smiling faintly)
“Bas sach ke saath rehna. Baaki hum dekh lenge.”
FADE OUT.
— End of Act 2
Neeche
hai TEEN CHHAYEIN – ACT 3 (Expanded, Dialogue-Heavy).
Style wahi rakha gaya hai: Roman Hindi, lambi confrontations, courtroom drama,
cross-examinations, aur emotional closure. Scene numbers Act 2 se aage continue
ho rahe hain.
ACT 3 — “Sach ki Aakhri Roshni”
SCENE 29 – INT. DISTRICT COURT – LOBBY – SUBAH
(Crowded
corridor. Media mic, flash. Ananya, Sarita, Mahesh aage badhte. Aman thoda
piche, protective. Raghav side se aankhon ko chhupa kar aata. Kabir expensive
lawyer Adv. Bakshi ke saath.)
REPORTER
MEERA (mic aage)
“Ananya ji, aaj sach saamne aa jayega? Public ko kya kahengi?”
ANANYA
(seedha)
“Public se pehle mera bachcha meri zimmedari hai. Baaki court batayega.”
(Adv.
Shalini aati— files haath me.)
ADV.
SHALINI
“Press se door rahiye. Hum in-camera hearing ki request ke saath ja rahe hain.”
(Shalini
Ananya ko halkasa nod deti. Sab courtroom ki taraf badhte.)
SCENE 30 – INT. COURTROOM – HEARING 1 – SUBAH
(Judge
high bench par. Gallery me murmur. Court officer “Order!” kehta.)
JUDGE
“Petitioner Ananya vs Respondents Raghav, Kabir, Aman. Issue: Paternity
determination & evidence tampering. Aaj ki hearing me decorum maintain
hoga. Media ko limited access.”
ADV.
SHALINI (rising)
“My Lord, pehli DNA report ‘missing’ ho gayi. Humein chain-of-custody breach ka
shubhah hai. Prayer: Court-monitored fresh DNA test, sealed custody, and
interim restraint on press speculation.”
ADV.
BAKSHI (for Kabir, cool)
“My Lord, mere client ko vilify kiya ja raha. Missing report ka zimma lab ka
hai, na ki mere client ka. Hum cooperate karenge.”
JUDGE
(to Dr. Meera, present as officer of court)
“Doctor, kya court-supervised retest feasible hai?”
DR.
MEERA
“Ji, my Lord. Immediate collection, seal in your custody, independent lab with
blind coding.”
JUDGE
“Ordered. Fresh DNA test today. Sealed result directly to court. Media
restraint order continue— koi party press me comment nahi karegi, warna
contempt.”
(Gavel.
Court adjourn for collection.)
SCENE 31 – MONTAGE – DNA RE-TEST (COURT-SUPERVISED) – DIN
- Ananya ka blood/saliva sample; court officer seal karta.
- Raghav,
Kabir, Aman ke separate swabs; bar-bar
chain-of-custody signatures.
- Blind
code labels; box pe court wax seal.
- Courier
police escort lab tak; CCTV shots; log entries.
(Music bed me slow heartbeat; sabke chehre tense.)
SCENE 32 – INT. COURTROOM – HEARING 2 – DOPEHAR
(Sab
wapas. Judge bench me. Gallery me shaant ghum phir.)
JUDGE
“Witness examination. Prosecution?”
ADV.
SHALINI
“Rajat ko bulaiye.”
(Lab
tech RAJAT oath leta, visibly nervous.)
ADV.
SHALINI
“Mr. Rajat, pehle report ‘missing’ kaise hui?”
RAJAT
(gulp)
“Sir… ma’am… pressure tha. Phone calls aaye. Files ko delay karne ko kaha gaya.
Digital copy par naam change karne ko kaha—”
ADV.
BAKSHI
“Objection! Hearsay. Kisne kaha?”
RAJAT
(sweating)
“Mr. Kabir… unke number se call, messages. Mujhe… paisa offer kiya gaya.”
(Gasps.
Kabir ka face tight.)
ADV.
BAKSHI (pounce)
“Proof?”
RAJAT
(files produce)
“Call logs, WhatsApp screenshots, ek voice note. Aur payment attempt ka UPI
request screenshot—I declined.”
ADV.
SHALINI (submits)
“My Lord, exhibits A to F: certified prints; device hash submitted. Forensic
verification requested.”
JUDGE
“Exhibits taken on record, subject to verification.”
ADV.
BAKSHI (cross-exam, calm)
“Rajat, kya tum par petitioner side ka bhi pressure tha?”
RAJAT
“Nahi. Unhone sirf procedure ki baat ki.”
ADV.
BAKSHI
“Kya guarantee hai ki yeh screenshots fabricated nahi?”
RAJAT
“Device aapke forensic ko de raha hoon. Voice note me Mr. Kabir ka voice ID
match karwa sakte hain.”
JUDGE
(stern to Kabir)
“Mr. Kabir, court aapko warn karti hai. Investigation open rahegi.”
(Kabir
aankhen jhuka leta.)
SCENE 33 – INT. COURTROOM – CONTINUOUS (DR. MEERA TESTIFIES)
ADV.
SHALINI
“Dr. Meera, pehle process me breach kahaan ho sakta tha?”
DR.
MEERA
“Collection aur sealing humne standard protocol se kiya. Chain lab pe break
hua— missing file aur altered PDF ka evidence issi taraf point karta hai.”
ADV.
BAKSHI (cross)
“Doctor, kya pre-natal paternity ethically recommend hota?”
DR.
MEERA
“Case-by-case. Risk aur consent bahut matter karta. Isliye humne
court-supervised retest prefer kiya. Ab ambiguity khatam hogi.”
JUDGE
“Noted.”
SCENE 34 – INT. COURTROOM – RAGHAV’S CROSS-EXAM
ADV.
SHALINI
“Raghav ji, aapne Ananya ko ‘main ready nahi hoon’ kaha tha?”
RAGHAV
(low)
“Haan. Main commitment se dara. Galat tha.”
ADV.
SHALINI
“Pregnancy news par aapne pehli reaction me inkaar kyun kiya?”
RAGHAV
(shame)
“Main… apni life ke bare me soch raha tha. Selfish tha.”
ADV.
SHALINI
“Kya aapne lab ya kisi witness ko influence karne ki koshish ki?”
RAGHAV
(straight)
“Nahi. Main bas bhaaga. Interfere nahi kiya.”
ADV.
BAKSHI (short cross)
“Text me aapne ‘It’s not mine’ likha. Basis?”
RAGHAV
“Fear. Facts nahi.”
(Ananya
uski taraf dekhti: hurt + honest admission. Judge note karta.)
SCENE 35 – INT. COURTROOM – AMAN’S CROSS-EXAM
ADV.
SHALINI
“Aman ji, aapne kabhi false claim ki koshish ki?”
AMAN
“Nahi. Maine Ananya se kaha— agar bachcha mera hai, main accept karunga; agar
nahi, to bhi main saath hoon, par jhooth par nahi.”
ADV.
BAKSHI
“Aap emotionally attached hain. Kya aap impartial reh sakte hain?”
AMAN
“Attachment se jhooth nahi ban jata. Main sach ke saath hoon.”
(Courtroom
me low nods. Aman ka steadiness visible.)
SCENE 36 – INT. COURTROOM – KABIR’S CROSS-EXAM (HEATED)
ADV.
SHALINI (ice-cold)
“Kabir ji, Mr. Rajat ne jo calls, messages aur voice note diya— kya woh aapke
number se hai?”
KABIR
(mask on)
“Bahut log hain mere contact me. Fabrication ho sakta hai.”
ADV.
SHALINI (slides transcript)
“Voice note: ‘Rajat, file delay karo. Nahi to main…’— voice aapki hai. Forensic
match ki request already court ke paas hai. Aap deny kar rahe?”
KABIR
(cracks)
“Maine… sirf delay ko bola. Family… bachani thi.”
ADV.
SHALINI (presses)
“Delay se kya hota? Public narrative shape hota. Ananya ko discredit karna
asaan hota. Aur aap safe ho jaate— ‘married, family man’ ke tag ke peeche.”
KABIR
(snaps)
“Main bura aadmi nahi hoon!”
ADV.
SHALINI (steady)
“Bura hona zaroori nahi, galat kaafi hai.”
JUDGE
(warns)
“Mr. Kabir, agar evidence tampering confirm hua to IPC ke tahat serious
consequence hoga.”
(Kabir
sunk. Wife ka naam phone screen pe flash karta— woh phone palat deta.)
SCENE 37 – INT. COURTROOM – LATE AFTERNOON (SEALED RESULT
ARRIVES)
(Court
officer ek SEALEd ENVELOPE laata. Sanse tham jaati.)
JUDGE
“Result court ke paas. Counsel, parties— silent.”
(Judge
seal todta, gaze scan karta, pause— room pin-drop.)
JUDGE
(clear)
“Paternity— Respondent Raghav.”
(Shock
ripple. Aman saans chhodta— ek chhota sa nervous smile; Ananya aankhen band— ek
aansu, relief + grief. Kabir chair me piche ko jhuk jata.)
RAGHAV
(stand, trembling)
“Anu… main—”
JUDGE
(continues)
“Evidence tampering regarding first report— prima facie material Mr. Kabir ke
khilaf. Court orders police inquiry & device forensic. Interim protection
to petitioner continues. Media restraint order maintain for 72 hours.”
ADV.
BAKSHI (muted)
“My Lord, we’ll cooperate.”
JUDGE
(to Ananya)
“Ms. Ananya, aapke medical privacy ko court protect karegi. Custody &
guardianship issues future hearing me, if required. Court appreciates your
fortitude.”
(Gavel.
Hearing over.)
SCENE 38 – EXT. COURT STEPS – SHAAM
(Media
phir gher leti. Guards rokte. Ananya rukti— ek line ke liye.)
REPORTER
MEERA
“Ananya, ab jab sach aa gaya—?”
ANANYA
(calm, strong)
“Mera bachcha kisi scandal ka headline nahi. Uska naam ‘Aasha’ hai— aur woh
sirf meri marzi se palegi. Jo bhi zimmedari lena chahe— pehle sach se naata
jodega, na ki jhooth se.”
(She
walks. Camera on her spine— straight, steady.)
SCENE 39 – INT. KABIR KA LIVING ROOM – RAAT
(Dim
light. Kabir ki wife door pe. Silence heavy.)
WIFE
(soft, hurt)
“Sach?”
KABIR
(voice broken)
“Haan… maine report me hastakshap ki koshish ki. Bachcha… mera nahi.”
WIFE
(tears)
“Tumne sirf trust nahi toda. Tumne mujhe chhota bana diya apni nazaron me.”
KABIR
(folds)
“Main consequence face karunga. Agar tum… chaaho to—”
WIFE
(firm)
“Ab koi if nahi. Ya to tum sach me sudhro— ya phir… khatam. Main tumhe saste
jhooth se nahi bachaa sakti.”
(Kabir
collapse. Silent sob. Wife door se nikal jaati. He’s left alone.)
SCENE 40 – INT. ANANYA KA GHAR – SAME NIGHT
(Sarita
thali me kheer. Mahesh silent pride. Aman doorway pe.)
SARITA
(khushi me aansu)
“Bhagwan ka shukr— court ne meri beti ko izzat di.”
MAHESH
(Ananya ko)
“Ab next kya?”
ANANYA
(composed)
“Ab next— mera aur mere bachche ka schedule. Checkups, diet, aur peace.”
(Knock.
Raghav darwaze par, nervous.)
RAGHAV
(low)
“Main andar aa sakta hoon?”
ANANYA
(door par hi rokti, gentle but firm)
“Doori rakho. Par baat karo.”
RAGHAV
(eyes wet)
“Main zimmedari lena chahta hoon. Maine galti ki— bhaagta raha. Main… try nahi,
commitment dunga.”
ANANYA
“Commitment ka matlab poster nahi— roz ki mehnat. Parenting me clock-out nahi
hota.”
RAGHAV
(nod)
“Jo kahogi, karunga. Legal, financial, emotional— sab. Bas… mauka de do.”
ANANYA
(measured)
“Ek condition— har kadam sach. Agar ek jhooth pakda, to tum door. Aasha ko
‘baap’ ki kahaani chahiye, ‘bahana’ nahi.”
RAGHAV
(steadying)
“Samjha. Main therapy bhi jaunga— apne fear ko address karne.”
ANANYA
(first, tiny smile)
“Good start.”
(Aman
quietly observes— no jealousy, only relief.)
AMAN
(to Raghav, calm)
“Us din se respect karta hoon is ladki ka jab se maine use pehli baar rote hue
himmat jodte dekha. Agar tum uski himmat barhao— main tumhare saath hoon. Agar
usse todoge— main tumhare against khada ho jaunga.”
RAGHAV
(meek, respectful)
“Fair.”
(Room
me ek nayi, adult clarity.)
SCENE 41 – INT. HOSPITAL – DELIVERY NIGHT (MONTHS LATER)
(Stormy
night echo. Labor room ke bahar Sarita prayer beads. Mahesh water cooler ke
paas. Raghav side me baitha— shaking leg. Aman corridor me toys ka chhota
packet.)
NURSE
(door se)
“Family?”
SARITA
(faint)
“Haan… hum.”
(Inside:
screams, then a rising baby cry. Silence crack— khushi ke aansu.)
NURSE
(smiling)
“Healthy baby girl.”
(Everyone
exhale. Sarita-Mahesh embrace. Raghav aankhen band kar ke shukriya. Aman smile,
head down.)
SCENE 42 – INT. HOSPITAL ROOM – SUBAH
(Soft
light. Ananya bed par, baby ko hold kiye. Sarita pillow adjust karti. Mahesh
window curtain kholta. Raghav door pe— hesitant. Aman thoda piche respectful.)
ANANYA
(to baby, whisper)
“Hello, Aasha.”
(Raghav
aage badhta, rukta. Ananya ek chair ki taraf ishara karti— bed ke paas nahi.)
ANANYA
“Yahan baitho. Aaj se rules clear honge. Co-parenting, not control. Decision
baby-centric, not ego-centric.”
RAGHAV
(soft)
“Accepted.”
AMAN
(smiles)
“Meri taraf se gift— ek chhota sa soft toy. Jab kabhi raat ko darr lage, Aasha
isse pakad ke so jayegi.”
ANANYA
(touched)
“Shukriya, Aman.”
SARITA
(playful, tears)
“Ab is ghar me teen generation ki awazein hongi— aur sabse zyada Aasha ki.”
MAHESH
“Bill kul. Aur sabse badi rule— ghar me jhooth nahi chalega.”
(Sab
hans padte, relief laughter.)
SCENE 43 – EXT. RIVERSIDE WALK – GOLDEN HOUR (EPILOGUE)
(Stroller
me Aasha. Ananya dhakka deti. Sarita-Mahesh side by side. Raghav respectful
distance par chal raha— bag me diapers, wipes. Aman dusri side, coffee le aata,
phir thoda piche ho jaata.)
MEERA
REPORTER (V.O., TV clip)
“Ananya ki kahaani ne shehar ko ek dars diya— sach tak pahunchna lamba ho sakta
hai, par izzat apni hoti hai.”
ANANYA
(V.O., diary tone)
“Dear Aasha,
Log kahenge— tum kaun ho. Tumhari maa kaun. Tumhare baap me kya kamiyan hain.
Tum bas yaad rakhna— tum sach ki bachi ho. Teen parchhaiyan mere peechhe chalti
rahi— ek dar, ek jhooth, ek dosti. Par tum— tum meri roshni ho. Jab kabhi
zindagi me sawaal bade ho, jawab chhote rakhna: ‘Main khush hoon. Kyunki main
sach me hoon.’”
(Camera
upar uthta. Zameen par chaar chhayein: Ananya & stroller ki choti si chhaya
aage, piche thoda door Raghav aur Aman— dono alag-alag raaste par, par nazar
bachi par. Sarita-Mahesh ek saath.)
TITLE
CARD (soft fade): TEEN CHHAYEIN
FADE
OUT.
Trailer/Promo ke liye Act 3 se Strong Dialogue Pulls
- Judge: “Paternity— Respondent Raghav.”
- Shalini
(to Kabir): “Bura hona zaroori nahi, galat
kaafi hai.”
- Ananya
(court steps): “Mera bachcha headline nahi— uska
naam Aasha hai.”
- Aman: “Attachment se jhooth nahi ban jata.”
- Raghav: “Main try nahi, commitment dunga.”
- Mahesh: “Sach bolke jo khada rahe— woh akela nahi hota.”
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