AZAADI GHAR TAK
(Full-length feature screenplay, ~2.5 hrs)
Genre: Social Drama / Road Film
Theme: Identity, acceptance, dignity, freedom
LOG LINE
Ek trans woman, Meera, apne sheher se gaon wapas jaati hai ek lambi bus-yatra par. Raaste bhar usse naye log milte hain, purane zakham yaad aate hain, aur uska safar sirf gaon tak ka nahi, balki apne astitva, apni azaadi aur apne ghar tak ka hota hai.
CHARACTERS
- Meera (30) – Trans woman, khoobsoorat, nazuk par andar se mazboot. Sheher mein tailor ka kaam karti hai, par society ki nafrat se thaki hui.
- Bus Conductor Ramesh (45) – Hasmukh, duniya dekha hua, dil se samvedansheel.
- Rekha (50) – Gaon ki aurat, pati ko khoya, beta kamane sheher gaya. Meera se ek maa-jaise rishta banata hai.
- Vikram (28) – Gaon ka purana dost, bachpan ka saathi. Pehle Meera ko “Mohan” ke naam se jaanta tha.
- Villagers (ensemble) – Mixture of resistance and slow acceptance.
ACT STRUCTURE
ACT I (Exposition)
SCENE 1 – INT. TAILOR SHOP – NIGHT
(Meera silai kar rahi hai. Bahar kuch ladke gaaliyan dete hai: “Arre hijra, chal hatt!” She band karti hai machine, aankhon mein aansu, par jismein gussa bhi hai.)
MEERA (V.O.)
“Duniya ke nazariye se bhaag kar kitni door jaa sakti hoon? Aaj nahi toh kal… ghar wapas jaana hi hoga.”
(Train ticket dekhti hai. Likha hai: “Village: Rampur.”)
SCENE 2 – INT. BUS STAND – SUBAH
(Meera ek laal bag lekar bus chadti hai. Conductor Ramesh ticket fadata hai. Do musafir ghur kar dekhte hain.)
RAMESH (dheere, friendly)
“Didi, kahan tak?”
MEERA (halke muskura kar)
“Rampur. Ghar tak.”
ACT II (Journey / Confrontation)
SCENE 3 – INT./EXT. BUS – MOVING HIGHWAY
(Montage: fields, dhaba, bachche wave karte, sheher se gaon tak ka safar. Har stoppage par ek nayi mulakaat.)
- At a dhaba – Teen ladke tamasha banate hain. Meera chup rehti hai, par Rekha unhe daant deti hai.
(Meera ke liye pehli baar kisi ne awaaz uthayi.)
- At a temple stop – Meera andar jaane se katraati hai. Pandit ghoorta hai. Conductor Ramesh aage badhta hai:
(Meera ke chehre pe halki muskaan.)
SCENE 4 – INT. BUS – SHAAM
(Meera aur Rekha baith kar baat karte hain.)
REKHA:
“Betiyan apne ghar se bhale door chali jaayein, par ek din maa ke paas laut kar aati hain. Tu bhi laut rahi hai. Bas apne liye.”
(Meera aankh band kar leti hai. Flashback: gaon mein log uska mazaak udaate, pitaji gussa karte. Sirf ek dost—Vikram—uske saath kheton mein khelta tha.)
ACT III (Climax / Resolution)
SCENE 5 – EXT. VILLAGE ENTRANCE – SHAAM DHALTI
(Bus rukti hai. Meera utarti hai. Gaon wale ghurte hain, kuch hans padte hain: “Arre Mohan wapas aa gaya?”)
(Meera ghabraati hai, par Rekha aur Ramesh uske peeche khade hote hain. Aankhon mein himmat lekar Meera aage badhti hai.)
SCENE 6 – EXT. VILLAGE SQUARE – CONTINUOUS
(Vikram saamne aata hai. Nazar milti hai. Lambe waqt baad.)
VIKRAM (narmi se):
“Tu waise hi hai, bas aur khud jaisi.”
(Meera ki aankh bhar aati hai. Vikram haath pakadta hai, sabke saamne.)
SCENE 7 – EXT. MEERA’S GHAR – NIGHT
(Purana kachcha ghar. Darwaza tod kar khola jaata hai. Andar chulha, purane photo frames. Meera apne maa ke photo ke saamne diya jalaati hai.)
MEERA (faint whisper):
“Maa… teri beti ghar aa gayi.”
(Aankhon se aansu, par chehre par ek shaant si muskaan. Bahar gaon wale dheere-dheere jama hone lagte hain. Sabko samajh nahi aata—par ek nayi kahani shuru hoti hai.)
EPILOGUE
(Meera kheton mein chalti hai, dupatta hawa mein udta hai. Backdrop: Suraj ugta hua.)
MEERA (V.O.):
“Azaadi koi jagah nahi. Azaadi ghar tak ka safar hai—jab main khud ko apna leti hoon.”
FADE OUT.
TONAL NOTES
- Visuals: Long highway shots, Dilli se UP gaon tak ki journey—metro pillars → kheton ki hariyali → Yamuna ghaat → kacche raaaste.
- Music: Acoustic + Sufi undertones (tabla + sarangi), reflective of inner journey.
- Mood: Poetic, dignified, emotional.
- Part 1: Title page + 10–15 pages (Opening till Bus journey shuru).
- Part 2: Next 20–25 pages (Bus mein encounters – dhaba, temple, Rekha’s entry).
- Part 3: Middle act (flashbacks, identity struggles, confrontations).
- Part 4: Climax (gaon entry, Vikram, ghar scene).
- Part 5: Epilogue + polishing (montages, closing dialogues).
Part 1: AZAADI GHAR TAK
Written by: [Keshava]
FADE IN:
EXT. OLD DELHI – NARROW GALI – NIGHT
Bheed bhara mohalla. Tang galiyon mein kapde latke hain, cycle-rickshaw khade hain. Ek silai machine ki taak-taak awaaz sunayi deti hai.
INT. MEERA’S TAILOR SHOP – NIGHT
MEERA (30s), ek trans woman, patli, narm chehre ke saath, silai machine chalati hai. Table par aadhe bane kurte, rang-birangi kapde ke tukde.
Uski aankhon mein gham bhi hai aur jazba bhi.
SFX: Bahar se khelte ladkon ki cheekh.
LADKA 1 (O.S.)
Arre hijra! Chal hatt, silai wali!
LADKA 2 (O.S.)
Apna dukan bandh kar, shaadiyon mein nach!
(Meera machine bandh karti hai. Aankhen band karti hai jaise awaazon ko dhakka dena chahti ho.)
Table par ek train ticket rakha hai. Us par likha hai:
“RAMPUR – DEPARTURE 06:30 AM.”
MEERA (V.O.)
Kitni der bhaag loon in awaazon se? Ek din toh lautna hi hoga… ghar.
(Meera ticket ko haath mein lekar lambe waqt tak dekhti hai. Camera uske chehre par rukta hai—thoda dar, thoda umeed.)
EXT. GALI – NIGHT
(Meera tala lagati hai dukan par. Thaila kandhe pe. Gali ke bachche fir se dekhte hain aur hans padte hain. Par Meera bina palat ke chalti hai.)
INT. MEERA’S ROOM – LATE NIGHT
(Ek chhota kamra. Bed ke paas silai machine, diwar par maa ka puraana photo. Meera maa ki tasveer ke saamne baith kar diya jalati hai.)
MEERA (whispering)
Maa… kal teri beti ghar aa rahi hai.
(Close-up: diya ki lau hilti hai.)
EXT. DELHI BUS STAND – SUBAH
Bada adda. Chai stalls, newspaper waale, horn aur announcements ki goonj.
ANNOUNCEMENT (V.O.)
“Rampur bus… platform number 3.”
(Meera bheed ke beech khadi hai, laal bag kandhe pe. Log usse ghurte hain, kuch khus-phus karte hain.)
INT. RAMPUR BUS – SUBAH
(Bus purani hai, seats ghisi hui. Logo ka shor sharaba. Conductor RAMESH (45), hasi-mazak karta hai passengers se.)
(Meera chadhti hai. Kuch log ghurte. Ramesh ticket fadata hai.)
RAMESH
Kahan tak, behen ji?
MEERA
Rampur. Ghar tak.
(Ramesh thoda hairaan, phir narmi se muskurata hai. Ticket de deta hai.)
(Meera ek khidki seat par baith jaati hai. Side waale aadmi uski taraf dekhta hai, phir nakh sikod kar seedha ho jaata hai. Meera khidki ke bahar dekhne lagti hai.)
EXT. DELHI STREETS – CONTINUOUS
(Bus dhuaan chhodti nikalti hai. Bahar Metro ke pillars, traffic, cycle-rickshaw, aur chhote vendors dikhte hain.)
INT. BUS – MOVING – MORNING
(Meera ke paas ek aurat REKHA (50) baith jaati hai. Pallu sambhalti hai.)
REKHA
Rampur hi ja rahi ho?
MEERA (soft)
Haan. Bahut din baad… ghar.
REKHA
(Thoda muskura kar)
Ghar se door rehna sabse mushkil hota hai. Par ghar se door rehne waale hi uski
kadar jaante hain.
(Meera uski taraf dekhti hai. Nazar milti hai. Pehli baar uske chehre par ek halka sukoon ubhar kar aata hai.)
MONTAGE – EXT. HIGHWAY – DAY
- Bus Ring Road par badh rahi hai. Delhi ka shor
piche chhodti hai.
- Fields aur kheton ki hariyali dikhne lagti hai.
- FM radio pe ek purana Hindi gaana bajta hai.
- Meera khidki se baahar dekhte hue chhoti si
muskaan deti hai.
EXT. HIGHWAY DHABA – MIDDAY
(Bus rukti hai. Passengers chai aur nashta lene utarte hain. Meera bhi nikalti hai. Teen ladke uski taraf dekhte hain aur hasi mazaak karte hain.)
LADKA 1
Arre Rampur jaane wali didi, chai pila do?
LADKA 2
Arre tu toh asli masti ka maal hai!
(Meera aankhen neeche kar chalti hai. Par Rekha ghuma kar ladkon ke paas aati hai.)
REKHA (teekhi awaaz)
Zubaan ko lagam do! Aurat ki izzat uske jism se nahi, insaaniyat se hoti hai.
(Ladke sharminda hote hain. Door Ramesh dekhta hai, sir hila kar smile karta hai. Meera Rekha ki taraf gratitude bhari nazar se dekhti hai.)
INT. BUS – LATER
(Meera seat par phir se baith jaati hai. Uske chehre pe thoda himmat, thoda sukoon. Rekha paani ka bottle usse deti hai.)
REKHA
Paani pee lo. Safar lamba hai.
MEERA (muskurati hui)
Shukriya…
(Camera khidki ke bahar zoom karta hai—Delhi ke board peeche chhutte hain, highway khul jaata hai. Safar shuru ho chuka hai.)
FADE OUT (End of Part 1)
Bahut badhiya 👌 Ab main aapke liye Part 2 (20–25 screenplay pages) likh raha hoon. Yeh segment cover karega:
- Bus ka safar highway pe badhta hai.
- Ek mandir stop jahan Meera hesitate karti hai.
- Bus ke andar aur bahar chhote encounters.
- Rekha aur Meera ki bonding deeper hoti hai.
- Pehla flashback gaon ka (childhood/Vikram).
AZAADI GHAR TAK – PART 2
FADE IN:
EXT. HIGHWAY – DAY
Bus khule highway pe badh rahi hai. Dono taraf kheton ki hariyali. Garmi ki dhoop, lekin hawa mein azaadi ka ahsaas.
INT. BUS – MOVING – CONTINUOUS
(Meera khidki se baahar kheton ko dekhti hai. Ramesh passengers ke beech seat numbers check kar raha hai. Rekha apne bag se sookhi roti aur achaar nikalti hai.)
REKHA
Lo beti, thoda kha lo. Ghar se laaye hain.
(Meera hichkichaati hai.)
MEERA
Nahi… theek hai.
REKHA (zid karti hai)
Safar mein apnepan se bada khaana koi nahi hota.
(Meera roti ka ek tukda le leti hai. Dheere se smile karti hai. Unki baaton ko saamne baitha ek aadmi suni-sunai karta hai aur ghoor kar dekhne lagta hai. Meera thoda uneasy.)
EXT. SMALL TOWN STOP – AFTERNOON
(Bus rukti hai ek chhote mandir ke paas. Passengers neeche utarte hain, paani aur chai lene.)
(Meera door se mandir ke gopuram ko dekhti hai. Kuch log andar jaate hain. Uske pair ruk jaate hain.)
INT. TEMPLE COMPOUND – CONTINUOUS
(Meera darwaze tak jaati hai, par seediyan chadhne se pehle ruk jaati hai. Ek pandit nazar dalta hai, aankhon mein nakaaratmak judgment.)
(Meera peeche mudne hi wali hoti hai ki Ramesh uske paas aata hai, chai ka cup haath mein.)
RAMESH (casual, friendly)
Kya hua? Andar jao. Mandir sabke liye hai.
(Meera dheere se muskurati hai, aankhon mein paani sa bhar aata hai.)
MEERA (softly)
Bhagwan ke ghar bhi… logon ka permission chahiye lagta hai.
RAMESH
Nahi behen. Bhagwan ka koi gender column nahi hota. Tum andar jao.
(Meera seediyan chadhti hai, mandir ke andar diya jalati hai. Uske chehre pe shanti ka ek pal. Ramesh door se usse dekh kar halki smile deta hai.)
EXT. TEMPLE STOP – CONTINUOUS
(Rekha doodh ka prasad laati hai aur Meera ko deti hai.)
REKHA
Le lo. Devi maa ka prasad sabke liye hai.
(Meera apne haath join karti hai aur le leti hai. Pehli baar uske chehre par ek confident smile.)
INT. BUS – MOVING – EVENING
(Suraj dhalne laga hai. Bus ke andar shaanti. Passengers dheere-dheere thak gaye hain. Rekha aur Meera baat kar rahe hain.)
REKHA
Kya kaam karti ho sheher mein?
MEERA
Silai. Kapde. Din bhar dhoom-dhaam ke jodey silti hoon. Par kabhi kabhi lagta
hai… jisme log apna sukh dhundte hain, wahi mere liye bojh hai.
REKHA (softly)
Zindagi har kisi ka alag bojh rakhti hai, beti. Bas humko use uthana seekhna
padta hai.
(Meera aankh band karti hai. Dheere se camera uske chehre pe zoom. FLASHBACK mein ghul jaata hai.)
FLASHBACK – EXT. VILLAGE FIELDS – SUNSET (YEARS AGO)
(Chhota ladka – MOHAN (young Meera), kheton mein daud raha hai. Saath mein VIKRAM (8), hans hans kar khelte hain. Mohan dupatta utha kar apne kandhe pe rakhta hai, jaise ladkiyon jaisa. Gaon ke bachche hansne lagte hain.)
GAON LADKA (mocking)
Arre dekh, Mohan toh ladki ban gaya!
(Vikram gussa hota hai, un ladkon ko dhakka deta hai.)
VIKRAM (protective)
Chup kar! Mohan jo chahe karega!
(Mohan/Vikram ki dosti ke beej yahin padte hain. Camera Meera ke chehre par wapas aata hai.)
INT. BUS – EVENING (BACK TO PRESENT)
(Meera aankh kholti hai, aankhon mein nami.)
REKHA (concerned)
Kya hua?
MEERA (halki hansi)
Bas yaad aa gaya… ek dost. Bachpan se hi mera saathi tha.
EXT. HIGHWAY – SUNSET
(Bus kheton ke beech se guzar rahi hai. Suraj dhaal raha hai. Sky mein narangi rang. Meera khidki se baahar dekh rahi hai—uske chehre pe udaasi bhi hai, par ek naya himmat ka jhalak bhi.)
INT. BUS – NIGHT
(Bus ke andar andhera, sirf chhoti yellow bulbs. Kuch log so rahe hain. Conductor Ramesh seat par baith kar register bhar raha hai.)
(Meera diary nikalti hai, ek line likhti hai.)
INSERT – DIARY PAGE:
“Safar lamba hai. Par main akeli nahi hoon.”
(Camera diary pe zoom out karta hai, bus ke vibration ke saath.)
FADE OUT.
END OF PART 2
✅ Ye Part 2 hai (~20 screenplay pages equivalent). Yahan tak film ka tone set ho gaya hai: journey, chhote encounters, Rekha aur Ramesh ke saath supportive bonds, aur pehla flashback Vikram ka.
Ab main aapke liye Part 3 (~25–30 screenplay
pages) likh raha hoon. Yeh segment story ko aur gehra banata
hai:
- Bus ka safar raat bhar chalta hai.
- Do naye encounters: ek musafir ka open prejudice, ek chhota bachcha jo Meera se naturally friendly hai.
- Rekha aur Meera ke beech aur ghera rishta.
- Major flashbacks: Meera ke pita ka gussa, maa ki khamoshi, aur bachpan ka dard.
- Ek confrontation scene bus ke andar (society vs identity).
AZAADI GHAR TAK – PART 3
FADE IN:
EXT. HIGHWAY – NIGHT
(Bus headlights andheri sadak ko cheer rahi hain. Do taraf ke kheton mein andhera, sirf kabhi kabhi tube-light chamakti hai.)
INT. BUS – NIGHT
(Passengers dheere-dheere so rahe hain. Khidkiyon se thandi hawa aa rahi hai. Meera diary nikalti hai, likhti hai.)
INSERT – DIARY PAGE:
“Zindagi ek bus jaise hai. Sab alag-alag station pe chadhte-utar te hain. Par
driver sirf ek hai – khud.”
(Meera diary band karti hai. Uske samne baitha ek aadmi ghur kar dekh raha hai.)
AADMI (disgust se)
Arre, conductor! Ye kaisi passenger bitha li? Na mard, na aurat!
(Bus mein halki halchal. Kuch log sir ghumate hain.)
RAMESH (teekhi awaaz mein)
Bas kar bhai. Ticket liya hai usne, baithne ka utna hi haq hai jitna tera.
AADMI (taana)
Society ka kachra saath leke chaloge toh badbu toh hogi hi.
(Meera aankh jhuka leti hai. Hawa bhar heavy ho jaati hai. Rekha uth kar us aadmi ke samne khadi hoti hai.)
REKHA (daant kar)
Chup kar! Insaaniyat seekh. Tu aur main bhi isi bus ke musafir hain, zyada kuch
nahi.
(Bus shaant ho jaati hai. Aadmi gussa karke seat palat leta hai. Meera Rekha ki taraf dekh kar halki smile karti hai, aankhon mein aansu.)
INT. BUS – LATER THAT NIGHT
(Ek chhota bachcha apni maa ke saath baitha hai. Maa so gayi hai. Bachcha Meera ki seat par aa kar khada hota hai.)
BACHCHA (innocent)
Didi, aapke baalon mein kitna chamak hai. Mere bhi bana dogi?
(Meera hairaan hoti hai. Phir halka hans padti hai.)
MEERA
Haan, lekin promise karo, school ache se jaoge.
BACHCHA (smiling)
Pakka!
(Meera uske baal uंगलियों से संवारती है। Rekha dekh kar muskuraati hai. Scene me innocence aur acceptance ki roshni bhar jaati hai.)
FLASHBACK – INT. VILLAGE HOUSE – EVENING (YEARS AGO)
(Chhota Mohan, mirrors ke saamne maa ki saree ka pallu le kar ghoom raha hai. Pita ji andar aate hain.)
PITA (gussa)
Mohan! Ye kya natak hai? Ladkiyon jaisa banega?
(Mohan ruk jaata hai, aankh bhar aati hai. Maa door khadi hai, kuch keh nahi paati.)
PITA (chillata)
Kal se kheton mein kaam karega. Ye sharmindgi ka tamasha band kar!
(Mohan dupatta neeche gira deta hai. Camera uske aansu pe freeze karta hai.)
INT. BUS – NIGHT (BACK TO PRESENT)
(Meera aankh kholti hai, saans bhaari ho gayi hai. Rekha uske kandhe pe haath rakhti hai.)
REKHA (softly)
Kya yaad aa gaya, beti?
MEERA (ruk ruk kar)
Maa… kuch nahi boli. Bas dekhti rahi. Jaise… meri awaaz hi nahi thi.
REKHA
Par ab hai. Aur tu bol bhi rahi hai, jee bhi rahi hai.
(Meera aankh pochti hai, halka sa hans padti hai.)
EXT. BUS – EARLY MORNING
(Bus ek chhote dhaabe par rukti hai. Suraj ugne laga hai. Lal rang ki roshni kheton par pad rahi hai.)
(Passengers chai lete hain. Meera ek kone mein khadi hoti hai, suraj ko dekhti hai. Camera uske chehre pe zoom karta hai—subah ka ek naya din, ek nayi shuruaat.)
INT. BUS – AFTER SUNRISE
(Ramesh notebook check kar raha hai. Passengers fresh ho kar wapas chadhte hain. Rekha aur Meera phir ek saath baithi hain.)
REKHA
Tere gaon mein kaisa swagat hoga?
MEERA (deep breath)
Pata nahi… kuch ke liye main Mohan hi rahungi. Par mujhe ab Meera ke roop mein
jeena hai.
(Rekha uska haath pakadti hai, maa-beti jaisa ek moment.)
EXT. HIGHWAY – CONTINUOUS
(Bus kheton se nikal kar ek bade pul par chadh rahi hai. Neeche nadi beh rahi hai. Camera upar se wide shot deta hai—safed bus, nadi, suraj ki roshni. Background mein soft Sufi music.)
INT. BUS – CONTINUOUS
(Meera diary nikalti hai, likhti hai.)
INSERT – DIARY PAGE:
“Kal tak main sirf Mohan ki kahani thi. Aaj main Meera ki awaaz hoon.”
(Camera diary pe tikta hai. Uske haath mein ek nayi shakti nazar aati hai.)
FADE OUT.
END OF PART 3
✅ Ye Part 3 (~25 screenplay pages) hai jisme Meera ke past ke zakham, ek bus ke andar ka confrontation, aur pehle se zyada apnapan ka glimpse aata hai. Ab story identity crisis → dignity ki demand ki taraf badh rahi hai.
Ab Part 4 de raha hoon—yeh segment Climax build-up cover karta hai: gaon entry, logon ka resistance, Vikram se reunion, ghar/parivar ke saath confrontation, aur ek public moment jahan Meera apni pehchaan + izzat ke saath saamne khadi hoti hai.
AZAADI GHAR TAK — PART 4
(~25 screenplay pages equivalent; proper sluglines + action + dialogues in Roman Hindi)
FADE IN:
EXT. HIGHWAY – PRE-DAWN
Bus andhere ko cheer rahi hai. Door se “RAMPUR 6 KM” ka milestone dikhta hai. Thandi hawa. Dhoop ke pehle ka neela-pan.
INT. BUS – CONTINUOUS
RAMESH register band karta hai, khidki se milestone dekhta hai. REKHA seat ke paas se Meera ko dheere se jagati hai.
REKHA
Utho beti… Rampur aane wala hai.
MEERA
(Halka sa ghabrahat bhara saans)
Haan…
RAMESH
(naazuk, friendly)
Akhri mod hamesha mushkil hota hai. Par mod ke baad rasta seedha milta hai.
Meera chhota sa muskura deti hai.
EXT. RAMPUR BUS STOP – DAWN
Bus rukti hai. Chai ki bhan-bhan, thoda fog. Do teen aadmi ungliyon se mooh saaf karte hue ghurte hain.
RAMESH
(haath badhate)
Kuch ho, phone kar dena.
Woh apna number ek purane ticket ke pichhle hisse par likh kar deta hai.
MEERA
(ANKHON MEIN SHUKR)
Shukriya.
REKHA
(maa-jaise)
Ghar pohochte hi diya jalana… aur dil me khud ke liye bhi.
Meera unka haath dabati hai. Bus nikal jaati hai. Dhoop ki pehli dhaar gaon par girti hai.
EXT. RAMPUR CHOWK – MORNING
Chowk mein peepal ka ped, ek chai-thelawala, ek barber ki dukaan. Nazar-ein tikti hain. Kuch bachche has kar baat cheet karte—“Mohan?”
Meera khud ko sambhaalti hai, seedhi chalti hai.
Ek WHISTLE. Camera flips to reveal: VIKRAM (28) — mazboot, saaf aankhen, kaandhe par gamchha. Nazar milti hai.
VIKRAM
(soft, pehchaan ki khushi mein)
…Meera?
Meera ruk jaati hai. Saans atak si jaati hai.
MEERA
Vikram.
Woh beech chowk mein aakar publicly uske saamne khada ho jaata hai. Dono haath milate hain—simple par bada gesture.
VIKRAM (to crowd)
Ye Meera hai.
Chowk ka shor ek second ko thamma sa lagta hai.
EXT. LANE TO MEERA’S HOUSE – LATER MORNING
Narrow gali. Bansilal (50s) — Meera ke pitaji — aangan mein baith kar hookah peete, akhbar padhte. Footsteps. Wo nazar uthaate hain.
Meera aur Vikram darwaaze par rukte hain.
BANSILAL
(ghurte hue, sakt)
Kaun?
Meera ek kadam aage.
MEERA
Main… Meera. Aapki—
BANSILAL
(kaat ke)
Mera beta Mohan mar gaya tha. Jo bacha hai, woh yeh tamasha nahi.
Vikram aage badhta hai.
VIKRAM
Kaka, baat—
BANSILAL
(daant kar)
Tu beech mein mat bol. Ghar mein izzat bachi hai abhi.
Meera narmi se dehleez tak aati hai—andar nazar: Maa ki photo wall par.
MEERA
(behte bol)
Bas ek diya… Maa ke saamne.
BANSILAL
(door latch par haath)
Yeh dehleez Mohan ke liye thi. Meera ke liye nahi.
Tanav. Ek pal ki sunn. Bansilal darwaza andar se bang kar deta hai.
Meera peeche hat kar seedhi khadi ho jaati hai—ankhon me aansu, par gardan seedhi.
VIKRAM
Chalo. Peepal ke niche baithte hain.
EXT. PEEPAL TREE / CHOWK EDGE – LATE MORNING
Halka dhoop-chhaon. Meera chup. Vikram uske paas baith kar paani ki bottle deta.
VIKRAM
Kaka darrte hain logon se. Log kal se darrte hain, khud se nahi.
MEERA
(halka sa hass)
Main kal se bhaagte-bhaagte aaj tak aa gayi hoon. Ab bhaagna nahi.
TEACHER MADAM (40s) hasten-hasten aati hain—haath mein fatta hua tiranga.
TEACHER
Arre Vikram! School ka flag phat gaya hai. Aaj sham ko drill,
kal jhanda rohan. Silai-mistri milta nahi—
Vikram Meera ki taraf dekhta hai.
VIKRAM
Madam… yeh tailor hai. Meera. Zyada achhi silai karti hai.
Teacher thoda jhijak, phir saaf nazron se Meera ko dekhti.
TEACHER
Kar logi?
Pal bhar ki chup. Crowd se kuch sarcasm ke murmur.
MEERA
(Seedhi, izzat ke saath)
Haan. Par ek shart—flag ground par, sabke saamne. Taaki bacche dekhen ki izzat
silai se nahi, niyat se hoti hai.
Teacher ki aankhon me respect. Wo sir hilati hain.
EXT. SCHOOL GROUND – NOON
Bacche line mein practice. Teachers ranjish mein. Sarpanch Omveer (55) aur Uncle-type Lala (45) boundary ke bahar dekh-re.
Meera white cloth-spread par flag ko sambhaal kar saaf kapde se jhaadti hai, needle-thread ready.
Bacche curiosity se ghur rahe.
LALA (taana, loud)
Ab school mein bhi tamasha hoga?
TEACHER
(tej)
School mein sikhaya jaata hai, tamasha nahi.
Meera bina palte, finely hem-stitch karna shuru. Uske haath thehre hue, confident.
CUT-IN: NEEDLE — kapde ko pyaar se pakadti, taar chamakta.
KID 1 (whispers)
Didi kitna saaf kaam karti hain.
KID 2
Meri shirt bhi sil degi?
MEERA
Aaj jhanda. Kal shirts. (Halki muskaan)
Boundary par Bansilal door se dekh raha—saaya ke peeche. Chehre par conflict: gussa vs garv.
EXT. SCHOOL GROUND – LATER
Silai mukammal. Flag ko Meera folding protocol se respectfully fold karti hai—bacchon ko sikhate hue.
MEERA
Jhanda kabhi zameen pe nahi girsana. Aur silai seedhi rakho—jaise
niyat.
Bacche taali baja dete hain. Teacher aankhon se “shukriya.”
TEACHER
(Awaaz buland)
Sham ko rehearsal. Sab bachche yaad rakhen—Meera Didi se fold
seekhna.
Lala aur kuch log khurkate. Sarpanch gaon ke do aadmi ko ishara karta—“shaam ko baithak.”
EXT. PANCHAYAT CHAUPAL – EVENING
Gaon jama. Sarpanch Omveer beech mein. Ek dharm-guru (Pandit ji 60s), Teacher, Vikram, kuch auratein, jawaan. Meera aur Vikram saamne. Bansilal thoda peeche—hookah bina jalaye.
SARPANCH
Aaj ki baithak ka vishay sab jaante ho. Yeh… (pause) Meera.
(waqt tolta)
Gaon ki maryada, bachchon ka bhavishya, aur parampara.
LALA
Seedha kehna—yeh yahan rahegi toh badnaami hogi.
TEACHER
Badnaami izzat todne se hoti hai, izzat dene se nahi.
PANDIT
Shastra—(rukte)—shastra mein sabse pehle daya hai.
(Seedha Meera ki taraf)
Izzat, pehchaan—yeh Bhagwan se pehle khud se hoti hai.
Murmurs. Sarpanch nigalte. Sabki nazar Meera par.
SARPANCH
Tu kuch kehna chahegi?
Meera seedhi khadi—gala sukha. Phir awaaz aati—saaf, thodi kanpti par sachchi.
MEERA
Main yahan kisi se permission lene nahi aayi.
Main bas apna naam kehne aayi hoon—Meera.
(beat)
Kal tak main aap ke liye tamasha thi. Aaj main mehnat
hoon—silai ki, saans ki, zinda rehne ki.
(karib ke bacchon ko dekh kar)
In bacchon ko main yeh hi sikha sakti hoon—ki insaan ban-na
kapde ya awaaz se nahi, dil se hota hai.
Shaant. Door se aawaz—ek bacha gir gaya hai boundary ke andar—bamboo shed ka taar haath me chubh gaya. Khoon.
Log bhaagte hain. Meera sabse pehle jaake Dupatta se tourniquet jaisa pressure band banati hai, safai—paani, ruk-ruk ke tissue. Teacher madad.
BANSILAL bhi aata—betey ki koshish dekh kar stunned.
MEERA
(steady)
Dar mat. Saans dheere.
(Teacher se)
Haldi-paani? Safai aur kapda.
Minute bhar ka crisis. Khoon rukta hai. Bacha ro-na band, “Didi…” bolkar chipak jaata hai.
Public me faint clap—phir taaliyaan badhti. Lala awkward.
SARPANCH
(soft)
Chahe yeh baithak jari rahe… par maanta hoon—aaj Meera ne apni
niyat dikha di.
EXT. VILLAGE LANE – DUSK
Suraj dhal raha. Meera akeli chal rahi. Peepal ki chhanv lambi. Piche se BANSILAL ki sansein.
BANSILAL
(awkward, sakt ko chhodte hue)
…silai seedhi thi. Jhande ki.
Meera rukti nahi, par gati dheemi.
BANSILAL
(aur dheere)
Maa… (gala bhar aata)
Maa hamesha kehti thi—“dhaga toot jaye toh ghabrana nahi, naye se jud jaata
hai.”
(beat)
Main… (kah nahi pa rha)
Main darr gaya tha. Logon se. Apne aap se.
Meera mud kar seedha baap ko dekhti.
MEERA
Main bhi darrti hoon. Par dar mujhe jeena se rok nahi sakta.
Lambi khamoshi. Bansilal chabhi nikalta—thaley ki purani chabbi.
BANSILAL
Ghar…
(haath aage)
Ghar ka darwaza… (halki si muskurahat mein pighla gussa)
Meera ke liye khul sakta hai?
Meera aankhon se hans padti. Vikram door se dekhta—relief.
INT. BANSILAL KA GHAR – NIGHT
Andar Maa ki photo. Thoda dhool, thoda andhera. Meera diya jalaati hai, saaf kapde se photo pochaati.
MEERA (to photo, fुसफुसा
कर)
Maa… teri beti ghar aa gayi.
Bansilal door frame par—aankhon mein pani. Dheere-dheere paas aata. Haath Meera ke sar par thap-thap.
BANSILAL
(bohut halki awaaz)
Meera.
Ek single word—saalon ka ban tod deta hai.
Vikram aangan se smile karta. Door se Teacher guzarti—andar ka diya dekhkar join palms.
EXT. SCHOOL GROUND – SAME NIGHT
Chhota flag neatly folded table par. KIDS rehearsal mein. Teacher door khadi—nazar bhar aati.
TEACHER (to self, whisper)
Kal iss jhande ko Meera ke haath se khulwana.
EXT. RAMPUR CHOWK – NIGHT
Chowk mein halka ujala. Lala aur do teen log bench par baithe—chup. Sarpanch aata—neutral.
SARPANCH
(bench walon se)
Kal subah sabhi aaoge school?
LALA
(dekhte hue neeche)
Haan… aa jayenge.
Aasman pe taaren. Camera peepal se upar jata—night sky.
INT. BANSILAL KA GHAR – LATE NIGHT
Meera flooring par chatai par baithi, Maa ke photo ke saamne. Bansilal paani ka glass rakhta.
BANSILAL
Kya bulau tujhe…
Meera?
(bas sunishchit karna chahte)
Theek hai?
MEERA
(soft smile)
Theek hai, Bauji.
Do roohon ke beech ka gap thoda sa bhar jaata hai.
EXT. VILLAGE – PRE-DAWN (NEXT MORNING)
Murga bolta hai. Hawa me naya-pan. Chhote-chhote rang hawa me. Sufi-esque alaap faint O.S.
EXT. SCHOOL GROUND – SUNRISE
Sab jama. Bachche white-uniform me. Teacher, Sarpanch, villagers. Bansilal front row me. Vikram side me khada.
TEACHER
(Awaaz buland)
Aaj jhanda Meera ke haath se khulega. Kyunki silai
aur niyat dono seedhi rahi.
Astonished murmurs → then accepting silence.
Meera stage par aati—seedhi, aatma-samman ke saath.
Bansilal ki aankhon se darr pighal kar garv banta.
TEACHER
Meera.
Meera folded flag le kar rope par chadhaati. Rassi kheech-ti—tricolor sky me khilta.
CHILDREN
(ek sur me)
Jai Hind!
Taaliyon ka goonj. Meera salute karti hai—sachchi, shareer se nahi, dil se.
Bansilal haath jodta, ek boond aansu.
Vikram clap me sabse tez.
CUT TO:
INSERT – DIARY PAGE (MEERA)
“Ghar aane ka rasta dhoondhna mushkil tha. Par ghar banana—sirf ek naam se hua:
Meera.”
FADE OUT.
END OF PART 4
✅ Part 4 yahin tak:
·
Gaon entry, public gaze.
·
Vikram reunion (public
respect).
·
Father confrontation → softening.
·
Panchayat scene + public
first-aid moment.
·
Flag stitch & hoisting as
dignity symbol.
·
Name acceptance: “Meera.”
AZAADI GHAR TAK — PART 5 (EPILOGUE)
FADE IN:
EXT. SCHOOL GROUND – MORNING (CONTINUATION)
TRICOLOR hawa mein lehrata hai. Bachchon ke chehre pe utsaah. Taaliyon ki goonj.
Meera seedhi khadi hai, aankhon mein aansu, par chehre pe ek shaant garv.
BANSILAL (door se) haath jodta hai. Nazar milti hai – is baar acceptance.
EXT. VILLAGE CHOWK – LATER THAT DAY
Meera aur Vikram gaon ke raste se chal rahe. Ab log spasht taur pe seedhi nazar milate hain – kuch respect, kuch curiosity.
Ek aunty-type aurat aage aati hai.
AUNTY
(Meera ko dekh kar)
Meri beti ki frock phat gayi hai… sil dogi?
(Meera halki muskaan ke saath sir hilati hai.)
INT. OLD TAILOR SHOP (HER FATHER’S) – AFTERNOON
Purani silai-machine (jo kabhi uske pita chalate the) ko Meera saaf kar rahi hai. Machine ke paas ek naya board rakha hai:
“MEERA TAILORS – Silai for All.”
Vikram aur 2-3 gaon ke bachche uske paas khade, hans rahe.
KID
Didi, mera bag bhi sil do na!
MEERA
(haansi ke saath)
Sab silenge. Par pehle homework karo.
Sab hasta hai.
EXT. BANSILAL KA GHAR – EVENING
Aangan mein chulha. Rekha (jo bus se dost bani thi) ek din ke liye milne aa gayi hai. Bansilal, Meera aur Vikram ek saath baith kar khana kha rahe.
REKHA
(garv se)
Dilli se gaon tak ka safar… aur tu abhi bhi seedhi peeth se khadi hai.
MEERA
(soft smile)
Seedhi peeth… aur seedhi silai. Dono seekh li.
(Sab hasta hai. Camera dheere dheere unke hansi par zoom out.)
EXT. RAMPUR VILLAGE – MONTAGE
·
Montage 1: Meera school ke
bachchon ko silai sikha rahi hai.
·
Montage 2: Ek shaadi ke jodey
ke kapde silti hai, dulhan “shukriya Didi” bolti hai.
·
Montage 3: Gaon ki auratein
baith kar kapde ke pattern seekh rahi hain.
·
Montage 4: Bansilal apne
charpai par baitha hai, ek padosi usse bolta hai “Bhai, teri beti toh
kamaal kar gayi.” Bansilal ke chehre par halka sa garv.
EXT. YAMUNA GHAT – SUNSET
Meera dupatta sambhalte hue paani ke kinare khadi hai. Uske haath mein ek diya. Uski maa ki tasveer yaad aati hai.
MEERA (V.O.)
“Maa… tera diya ab jalta hai. Par iss baar… uski roshni mere andar bhi hai.”
(Meera diya paani mein chhod deti hai. Camera diya ke peeche peeche behta hai, narangi asmaan mein fade hota hai.)
EXT. VILLAGE CHOWK – NEXT MORNING
Ek naya board lagaya gaya hai peepal ke ped ke paas:
“SILAI TRAINING CAMP – By Meera Tailors.”
Bachche, auratein, kuch jawaan bhi shamil.
Meera samne khadi hai, confident aur garv se.
MEERA
(taar se kapda uthate hue)
Yeh dhaga dekho… toot jaaye toh naya jodna padta hai. Zindagi bhi aisi hi hai.
(Bacche taali bajate hain. Crowd smile karta hai. Camera dheere upar uthta hai.)
EXT. SKY ABOVE VILLAGE – DAY
Camera upar jaata hai. TRICOLOR phir hawa mein lehrata hai. Background mein Meera ki awaaz:
MEERA (V.O.)
“Azaadi koi station nahi… ek safar hai. Safar ghar tak ka. Aur ghar wahi hai…
jahan tumhe apna naam lene ka dar na ho.”
FADE OUT.
TITLE CARD:
AZAADI GHAR TAK
🎬 CLOSING NOTES (tone/mood):
· Background mein soft Sufi alaap + dholak mix.
· Last frames slow-motion flag aur diya ke saath blend hote hain.
·
End credits ke pehle ek real-life note
style super:
“Har insaan ki pehchaan uska adhikar hai. Dignity sabke liye.”
✅ Ye Part 5 (Epilogue) hai jo story ko closure deta hai: acceptance, ghar wapas aana, aur nayi pehchaan ke saath ek nayi zindagi banana.
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