CHALTI PHIRTI KAHANIYAAN

Full Screenplay (Roman Hindi, 2.5-hr feature — anthology with one throughline)

Genre: Anthology / Slice-of-life / Social drama
Setting: Ek bada sheher (Mumbai/Dilli type), zyada tar real streets, chawls/bastis, sarkaari daftar, hospital, school, nadi ke kinare.
Throughline Protagonist: RAJU YADAV (38), autorickshaw driver. Seedha, thoda hasmukh, jugadu, EMI ka bojh, par dil garam. Pocket diary “Safar-Nama” mein roz 2–3 lines likhta hai.
Motif: FM radio par RJ Bulbul ki choti-choti baatein; rickshaw ki ghanti; meter ka chadhte-utar-te numbers; safed rung ki chauk-lakeer jisme Raju apne din ke “kisse” ginti karta hai.
Theme: “Har musafir ki kahaani, ek nayi film.” Har ride ek short film hai. Raju beech mein na hero, na villain—bas darpan.

PRINCIPAL CHARACTERS

· Raju Yadav – Auto driver, nazar tez, dil narm.

· Sapna – Raju ki biwi, 34, ghar sambhalti, silai karti, theek-thaak zubaan, par pyaar se.

· Chintu – Raju ka beta, 9, asthma, school jaata hai.

· Bauji – Raju ke pitaji, 65, ex-mill worker, seedhe-saadey, khansi ke mareez.

· Constable Patil / Mishra – Traffic police, kabhi sakht, kabhi insaan.

· RJ Bulbul (Voice) – Gaane ke beech sheher ki nabz batati.

Anthology Riders (5 kahaaniyan):

1. “File Number 13” – Sushila Devi (62, vdhuva) & Aman (24, ward boy) — health, dignity, sarkaari chakker.

2. “30 Minutes Delivery” – Faizan (19, gig worker, delivery rider) — kaam, sapne, road safety.

3. “Paper-Wali Shaadi” – Ananya (26) & Rukhsar (25) — love, acceptance, law vs log.

4. “Do Kagaz” – Birsa (32, migrant mason) & Gudiya (8) — identity, school admission, language.

5. “Kalash” – Raghav (40) — maa ki asthiya lekar nadi tak — grief, riwaaz, rehmat.

Narrative Span: ~2.5 ghante.
Structure: Prologue + 5 Short Films (≈22–25 min each) + Epilogue tying Raju’s inner arc.

ACT I — PROLOGUE + STORY 1

SCENE 1 — EXT. BASTI GALI – SUBAH 5:45 AM

(Neeli subah. Chai ki bhaap. Raju apne auto ka cover hataata hai. FM radio ON.)

RJ BULBUL (V.O.)
“Shubh subah, sheher! Yaad rakho—har mod par ek kahaani behti hai. Bas dekhne ki nazar chahiye.”

(Raju meter par halka sa thap-thap. Diary kholta: “Din 248: EMI due. Bauji ki dawa. Chintu ka nebulizer.”)

RAJU (Halka muskura)
Chal mere sher… aaj tu chal, main chalaata hoon.

SCENE 2 — EXT. MAIN ROAD – SUBAH

(Montage: Rickshaw weave karta, school-bachche, doodh-wale, dhakka-mukki ke beech Raju ka auto ek,
teej chalti zindagi.)

STORY 1: “FILE NUMBER 13” (Dignity in a system)

SCENE 3 — EXT. HOSPITAL GATE – SUBAH 7:10

Raju ko haath deti Sushila Devi (62). Saath mein Aman (24), ward-boy uniform.

SUSHILA
Beta, Civil Lines jana hai. Par ek chakkar daftar ka bhi lagana padega.

AMAN (jhijhak)
Aunty ko sarkari card renew karana hai. File gum gayi—number 13.

RAJU
Aaiye. Meter par. (Nazar se aunty ki saans ki takleef dekh leta.)

SCENE 4 — INT./EXT. AUTO – CHALTE HUE

(Aman file ke papers dekh raha.)

SUSHILA
Pehle mere patidev ki file thi. Ab meri. Zindagi ke kagaz bhi kisi ki mehnat pe chaltein.

RAJU (soft)
Aunty, aaj kaam poora karwa ke hi chhodunga.

(FM par RJ Bulbul “sarkari naukri se zyada sarkari daftar mushkil” par halka nukta-chinhi.)

SCENE 5 — INT. SARKARI DAFTAR – SUBAH

(Lambi line. Peon, clerks, stale hawa.)

CLERK
File number?

AMAN
13. Gum ho gayi.

CLERK (thakela)
Nayi file banao. 3 passport photo, photocopy—aur kal aana.

SUSHILA (bechain saans)
Beta, kal shayad na aa saku. Dawaai… dialysis…

(Raju side mein constable-type Office Peon ko dekh kar samajh jaata—“chai-paani” maangega.)

SCENE 6 — EXT. DAFTAR COMPOUND – SUBAH

(Raju Aman se dheere bolta.)

RAJU
Seedha rasta lamba padta hai par sahi hota hai. Aunty ke saath ghalat na ho. Chalo Medical Superintendent se milte hain.

SCENE 7 — INT. SUPERINTENDENT OFFICE – DOPEHAR

(Sushila dheere-dheere bolti, Raju unke liye paani lata.)

SUSHILA
Sahab, bas ek kaagaz… taaki hospital mein yeh kehna band ho jaaye ki “file lao phir bed milega.”

SUPERINTENDENT (narm ho kar)
Aman, is case ko priority do. Aadhaar verify, dialysis slot reserve. File recreate karo—aaj.

(Aman ki aankhon mein izzat. Clerk ki aankhen neeche.)

SCENE 8 — EXT. HOSPITAL – SHAAM

(Sushila ki nafri saans, par chehre par sukoon.)

SUSHILA
Beta Raju, kiraye se zyada dua degi.
(Choti si thaili: til ke laddoo.)
Pehle pati ke liye banati thi. Aaj tumhare liye.

RAJU (halke hans)
Aunty, dua hi toh chalati hai mere auto ko.

(She exits. Raju diary mein likhta: “File 13: System thoda dheema, insaan tez ban sakta hai.”)

ACT II — MIDDLE (Stories 2, 3, 4)

STORY 2: “30 MINUTES DELIVERY” (Gig life & road safety)

SCENE 9 — EXT. FLYOVER RAMP – SHAAM 6:20

Faizan (19), helmet, delivery bag, hawa-hawai. Auto rokta.

FAIZAN
Bhaiya, Sunder Nagar jaldi! 10 minute bache!

RAJU
Seat belt nahi, par dua badi. Baith jao, par… speed meri, hosh tumhara.

SCENE 10 — INT./EXT. AUTO – MOVING – SHAAM

(Phone pe “Order Delayed” ka beep. Faizan ghabra.)

FAIZAN
Aaj agar late ho gaya toh 200 rupaye ka penalty. Kal sister ki fees deni hai.

RAJU (nazar road par, awaaz narm)
Zindagi ki penalty sabse mehengi padti hai, chote.

(Horn, cut traffic. Ek biker overtakes dangerously.)

SCENE 11 — EXT. SIGNAL – CONTINUOUS

(JUTE WALI LAL BATTI. Biker slips ahead—minor skid. Raju control karta, Faizan ka haath thoda kaanpta.)

RAJU (saaf)
Dekha? Dusron ki jaldi tumhari zindagi le sakti hai.

FAIZAN (saansein)
Bhaiya, par job hi aisi hai—“30 minutes ya free.”

RAJU
“30 minutes ya zindagi?” Code kaunsa? (Chhota sa muskura.)

SCENE 12 — EXT. SUNDER NAGAR – THODI DER BAAD

(Delivery ho jaati. Customer grumpy, phir soft ho jata jab Faizan seedha-sadha sach bolta.)

CUSTOMER
Thik hai, main app pe note daal deta hun—“rider safe tha.” (Narm.)

SCENE 13 — INT. AUTO – WAPSI

FAIZAN
Bhaiya, aapki beti hai?

RAJU
Beta. Chintu… beta hai, par bachi jaisa. Asthma.
(Chhoti si hansi.)
Par sapne bade.

FAIZAN (nazar jhuka ke)
Meri behen—Nagma. School first. Main road second.

RAJU (diary mein)
“Gig ka clock rukta nahi. Zindagi ka clock ruk sakta hai—agar hum na ruke.”

(Montage end. Faizan utarta, Raju ko salaam karta. Raju usse ek spare mask aur chhota reflector band deta.)

STORY 3: “PAPER-WALI SHAADI” (Love vs log)

SCENE 14 — EXT. FAMILY COURT – DOPEHAR

Ananya (26) aur Rukhsar (25) auto tak bhaagti. Piche door se do aadmi (relatives) cheekhte.

ANANYA
Bhaiya, Jaldi! Registrar office, building B!

RUKHSAR (dar)
Please.

(Raju samajh jaata—ankhon mein sawaal nahi, bas raasta.)

SCENE 15 — INT./EXT. AUTO – MOVING – CONTINUOUS

RAJU
Seat andar, dar bahar.
(Rearview se pursuers ko dekhta.)
Piche wale tumhare apne lagte hai.

ANANYA (saaf)
Haan. Par aaj hum khud ke apne banne ja rahe.

RUKHSAR
Bas sign ho jaye… phir sab ko samajh aa jaayega—ya na bhi aaye, chalega.

SCENE 16 — EXT. NAKA – POLICE CHECK – CONTINUOUS

(Pursuers side se horn dekar bypass karne ki koshish karte. Constable Patil unhe rokta hai. Raju slow karta.)

PATIL
Kahan? (Raju ko pehchan kar haath se “niklo.”)
Raju bhai, seedha le jao. Aaj tumhara rasta saaf.

(Raju ka halka salute. Pursuers phas gaye.)

SCENE 17 — INT. REGISTRAR OFFICE – BAAD MEIN

(Paperwork, stamps. Clerk thoda cold.)

CLERK
Witness chahiye do.

(Raju aur Patil (jo thodi der mein aa jata) sign karte.)

RUKHSAR (aankhon mein paani)
Shukriya.

RAJU
Jab rasta sahi ho, toh hawa bhi madad karti hai.

SCENE 18 — EXT. COURT STEPS – GOLDEN HOUR

(Ananya-Rukhsar ek dusre ka haath tham kar neeche. Phone buzz—family ke calls, par wo silent.)

ANANYA
Aaj ghar ka matlab badal gaya.

RUKHSAR (halki hansi)
Aur sheher ka bhi.

(Raju diary: “Ishq ka paper sabse bhaari kagaz.”)

STORY 4: “DO KAGAZ” (Identity, school gate)

SCENE 19 — EXT. CONSTRUCTION SITE – DUPAHAR TAPTI GARMEE

Birsa (32) aur beti Gudiya (8) auto mein baithte. Dhoop. Mitti. Thakaan.

BIRSA
Masterji ke school le chalo. Admission aaj last.

GUDIYA (excited)
Papa mujhe English aati—“Mango.” (Hasti.)

RAJU (pyaar se)
Wah! Aur “Auto”?

GUDIYA
“Auto is my rocket!”

SCENE 20 — EXT. GOVT SCHOOL – THODI DER BAAD

(Guard rokta: domicile, birth certificate original, transfer letter. Birsa ke paas photocopies only.)

GUARD
Kal aao.

BIRSA (haara hua)
Kal kaam. Phir kaam. Phir kaam… Beti ka school kab?

(Raju side jaake phone karta—Aman ward boy (Story 1) ka cousin jo yahan data-entry karta.)

SCENE 21 — INT. SCHOOL OFFICE – CONTINUOUS

(Data-entry ladka check karta: “Samagra ID, Aadhar se e-verify.” Raju guidance deta, chai pilata.)

OFFICE BOY
Sir, original kal layiye. Par form abhi bhar do, token de dete.

GUDIYA (top)
Papa, token matlab pehle number?

BIRSA (aankhon mein nami, garv)
Haan. Pehla number tumhara.

SCENE 22 — EXT. SCHOOL GATE – SHAAM

(Gudiya token ko ticket jaise hilati. Birsa Raju ko paisa deta, haath kaanpta.)

RAJU
Paise rakh lo. Dusri copy aur photo ke liye.
(Chhota sa thaila: Sapna ne banaye parathe.)

BIRSA (ruk kar)
Bhai, aap kaun?

RAJU
Auto wala. Par sheher mein hum sab ek dusre ke kagaz hai.

(Raju diary: “Do Kagaz se zyada—ek bachchi ka kal.”)

ACT III — STORY 5 + RAJU’S INNER ARC + EPILOGUE

STORY 5: “KALASH” (Grief, ritual, release)

SCENE 23 — EXT. GHAR KI GALI – SUBAH

Raghav (40), suit, thaile mein kalash (asthi). Chehra sakht, aankhon mein nami.

RAGHAV
Dakshinpuri ghat. Nadi tak.

RAJU
Ji.

(Radio par RJ Bulbul: “Kuch raaste baat nahi maangte, bas saath.”)

SCENE 24 — INT./EXT. AUTO – MOVING – SUBAH

RAGHAV
Maa ko corporate hospital le gaya. Machines thi, par aadmi kam.
(Thamba.)
Ab main… bas poora karne jaa raha.

RAJU
Poora? Ya shuru? (Narm.)

SCENE 25 — EXT. GHAAT – DOPEHAR

(Dharmic shor, pandit log. Raghav fee list dekh kar akshar toot-te.)

PANDIT
Ye karna padega, warana…

RAJU (beech mein)
Babu, rasam dil se hoti hai, rate list se nahi.
(Old boatman ko bulata—simple vidhi, paani ka phool.)

BOATMAN (shaant)
Maa ko paani yaad rehta hai, paisa nahi.

(Raghav dheere ro padta. Raju door hat kar space deta.)

SCENE 26 — EXT. NADI – GOLDEN HOUR

(Raghav asthiya paani ko saup deta. Halki hawa. Door meethi shehnai kahin shaadi ki.)

RAGHAV (feeble smile)
Dhanyavaad. Aaj… usse chhod kar jaa nahi raha, usse le kar jaa raha hoon—andar.

RAJU (diary mein)
“Chhodna bhi kabhi-kabhi pakadna hota hai.”

RAJU’S INNER ARC (Permit, EMI, Bauji)

SCENE 27 — INT. TRAFFIC CHOWKI – SHAAM

(Constable Patil notice deta: Raju ka permit renewal + fitness test + pending challan. Raju ghabrata.)

PATIL
Raju, rishwat se kaam 10 din jaldi, par 10 saal bojh. Paper theek kar, main line mein khada karwa dunga.

RAJU
Time lag jayega.

PATIL (seedha)
Par izzat bachegi.

SCENE 28 — INT. GHAR – RATI

(Sapna silai. Bauji khansi. Chintu nebulizer.)

SAPNA
Rasta lamba sahi, par theek. Kal subah chalna.

RAJU (muskurata, thakta)
Aaj “Safar-Nama” mein kuch acha likhne ka mann hai.

(He writes: “Main bhi kisi ki kahaani hoon—Sapna, Bauji, Chintu ki. Aur mere sheher ki.”)

EPILOGUE — THREADS TIE BACK

SCENE 29 — EXT. RTO LINE – SUBAH

(Raju apne papers ke saath line mein. Tabhi chhote-chhote log aa kar side se khade—Aman (Story 1), Faizan (Story 2) reflective band pakad kar, Ananya & Rukhsar (Story 3) ek dabba mithai, Birsa & Gudiya (Story 4) school bag dikhate. Raghav door se haath hilata.)

AMAN
Bhai, yahan mere chacha ka dost—medical certificate ka counter—main le chalta hun.

FAIZAN
Helmet tumhare liye bhi. (Hansi.) Safety sab ki.

ANANYA
Witness chahiye toh phir se sign karenge.

RUKHSAR
Aur mithai toh banti hai.

BIRSA
Bhai, photocopy free!

GUDIYA (naach kar)
Auto is my rocket!

(Raju hairan, khush. Patil door se dekh kar thoda salute karta. Paper clear hota.)

SCENE 30 — EXT. BASTI – SHAAM

(Chawl mein chhoti si party. Sapna ke parathe, Sushila aunty ke til laddoo, sabka hasna. RJ Bulbul V.O.)

RJ BULBUL (V.O.)
“Yeh sheher chalti phirti kahaniyon ka ghar hai. Koi driver, koi musafir—par sabhi ek doosre ke ‘paper’ hain. Jab rasta sahi ho, sheher khud tumhe aage dhakel deta hai.”

(Raju camera ki taraf dekh kar diary band karta.)

RAJU
Chalo. Kal phir milte hain. Nayi kahaani pakadni hai.

(He cranks the auto. Meter ticks. Frame freeze on spinning meter → CUT TO BLACK.)

TITLE CARD: CHALTI PHIRTI KAHANIYAAN

END.

SAMPLE DIALOGUE PAGES (Expanded excerpts)

Note: Neeche 2 kahaniyon ke select scenes fully scripted style mein—tone/flow dikhaane ke liye. Baaki scenes upar ke outline ke mutabik shoot/expand.

STORY 1 — SCENE 5 (Sarkari Daftar)

INT. SARKARI DAFTAR – SUBAH

(Lambi line, pankha ghoom raha. Raju, Sushila, Aman counter par.)

CLERK
Haan boliye.

AMAN
Unka dialysis card renew—file number 13 gum—

CLERK (interrupt)
Toh? Gum ho gayi toh hum kya karein? Nayi file.
Teen photo. Photocopy. Aur kal aana.

SUSHILA (saans chadhti)
Beta… kal… shayad main… (khamoshi)

RAJU (seedha aankhon mein)
Bhai, emergency case hai. Aaj kaam kara do. Procedure ke andar bhi insaniyat ka clause hota hai, pata hai na?

CLERK (taana)
Law padh liya? Yahaan sabko jaldi hai.

(Raju baahar ishara, Sushila ke liye paani. Wapas: narmi par adig.)

RAJU
Aunty zyada der line mein khadi nahi reh sakti. Aap Superintendent se baat kara do. Hamari bhi izzat bach jaayegi. Aapki bhi.

(Clerk aankhen ghumata. Aman halka sa muskurata—Raju ko follow karta.)

CUT TO: Superintendent Office (Scene 7) — progress/payoff.

STORY 3 — SCENE 16 (Police Naka)

EXT. POLICE CHECK – CONTINUOUS

(Raju ka auto slow. Pichhe waale gaadi wale chilla rahe. Constable Patil aage aata.)

PATIL
Kya scene?

RAJU (seedha, kam shabdon mein)
Do logon ki shaadi. Dar se tez bhaag rahe hain. Kanoon se nahi.

(Patil Raju ko dekhe—aastha. Pichhe waalon ko rok leta.)

PATIL (pichhe waalon se)
Paper? License? (Unhe busy rakhta.)
(Raju ko aankh se signal.)
Nikal jao.

ANANYA (dheere)
Thank you.

PATIL (thoda hass)
Shaadi kar ke jaldi ghar mat jao. Ice-cream kha lena. Gussa thoda pighal jaata hai.

(Ananya-Rukhsar hans deti. Auto nikalta. Patil camera ki taraf: “Insaaniyat ka naka kabhi band nahi hota.”)

VISUAL & SOUND DESIGN NOTES

· Radio RJ Bulbul: Har story ke shuru/khattam par 8–10 sec ka VO—city ke heartbeat ke saath theme connect.

· Motifs: Meter ka close-up; rickshaw ki choti ghanti; diary ke do-shabd ke headlines (on-screen supers).

· Music: Minimal acoustic + city ambience; story 5 (Kalash) mein shehnai + river wind.

· Color Palette: Story-wise subtle shifts—

o Sushila (cool desaturated blues/greens)

o Faizan (warm oranges, traffic neons)

o Ananya-Rukhsar (neutral natural light, soft gold at court steps)

o Birsa-Gudiya (dusty earthy browns; school blues)

o Raghav (muted grayscale → golden-hour warmth at release)

SHOOTING PLAN (High-level)

· Days: ~32 shooting days (street-heavy).

· Unit Split: A-unit streets+dialogue, B-unit inserts (meter, diary, radio, city montages).

· Key Locations: RTO/traffic post (permissions), govt school, sarkari daftar, river ghat, construction site facade, court exteriors.

· Crowd Control: Story 3 & 5 ke liye controlled extras.

· Auto Rig: Suction mounts + small gimbal, interior lav mics, wild tracks for traffic.

WHY THIS STRUCTURE WORKS

· Anthology but unified: Raju = emotional spine; each rider = mini-film.

· Rising empathy curve: System → Survival → Love → Identity → Mortality → Community payoff.

· Return of characters in Epilogue: “What you put out, comes back.” Organic closure.

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🎬 Social Movie Script - CHALTI PHIRTI KAHANIYAAN / Genre: Anthology / Slice-of-life / Social drama