Afsos Page:1/21

d.
Lt
Episode 6: The Mirror

t.
Pv
t
en
nm
ai
rt
te
En
L
M
O

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 Afsos Page:2/21

FADE IN:

1 INT. HIGHWAY CAFE (NIGHT) 1

An empty cafe at the middle of nowhere. It has a car parking

area close by.
An old lady is sitting on the counter counting her meagre
sales.

Nakul and Fokatiya are the only customers. They are sitting
opposite to each other.
There is a sign board near the kitchen that reads 'We are
hiring'. A TV is running in the background in very low

d.
volume.

Lt
Nakul is staring on the highway milestone outside. It reads

t.
Lonavla 84 kms. He is deep in thought.

Pv
FOKATIYA
Tumne use maar diya tha Nakul, uske
t
en
pet mein chhura bhok diya, phir bhi
woh ruki nahi, uski ek ungli bhi
nm

zyada thi.
As Fokatiya speaks, we intermittently see glimpses of the
ai

lake attack from Fokatiya's point of view.

rt
te

This is slightly different from the actual attack. Here

everything is in slow motion with radio silence and
En

Upadhyay's face looks paranormal as she walks towards

Fokatiya and Nakul. We are seeing this as Fokatiya's
L

interpretation.
M
O

FOKATIYA (VO) (CONT’D)

Aur achanak toofan?
Itna sab kuch sanyog nahi ho sakta.
Main nischint hoon, Upadhyay amar
hai!

Cut back to present.

FOKATIYA (CONT’D)
(in dilemma)
Magar aise ek shaitaan ko amrit
kaise saunp du?

Nakul doesn't respond. He seems distracted and lost.

We again see the glimpses of the same attack, this time from
Nakul's POV.

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 Afsos
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While Upadhyay is attacking, Nakul can hear a faint ringtone

from Upadhyay's pocket, as the attack continues. It increases
in volume rapidly and Nakul realises who's phone it is.

CUT TO:
NAKUL
SHLOKA!

FOKATIYA
Kya? Kahaan?

Fokatiya looks behind expecting Shloka.

NAKUL
Shloka ka phone uske paas tha.

d.
Matlab ....

Lt
FOKATIYA

t.
(starts praying)

Pv
Hey bhagwaan.

Nakul is lost in contemplation.

t
en
He doesn't know whether Shloka is dead or alive, when the old
nm

lady in the counter walks in and places a couple of two

yellowish drinks on the table.
ai

NAKUL
rt

(politely)
te

Umm... Humne ab tak order nahi kiya

hai. .
En

OLD LADY
L

(high pitch tone)

M

Welcome drink beta.

O

Nakul looks at the drink.

He focusses on it for a good few seconds, and gets an idea.

FOKATIYA
(alarmed)
Yeh toh mera ashram hai!
Nakul turns around to see the ashram murders being reported
on TV.

A news reporter is reporting from the shut ashram.

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 Afsos
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REPORTER ON TV
Manikaran mein baraah sadhuon ki
hatya ke mukhya aaropi Fokatiya
baba Mumbai mein hai, aisa local
police ka kehna hai.

An inset picture of Fokatiya is on the screen.

The TV reporter keeps reporting as his voice fades out.

TV REPORTER
(trailing voice)
Pados ke gaon se kai sadhugan
Manikaran police station ke bahar
dharne pe baithe hai. Aur keh rahe
hai ki tab tak dharna karenge jab

d.
tak Fokatiya giraftar na ho.

Lt
Looking at the news report, Fokatiya freezes in shock.

t.
Pv
AFSOS PACKAGING

t
en
6 INT. UPADHYAY'S HOUSE (NIGHT) 6
nm

Shloka has been reinstated to her chair. She doesn't have the
tape on her mouth.
ai

She is still tied to the chair though.

rt
te

Upadhyay is back to her painting. She is visibly injured and

in some pain. Some antiseptic creams are spread on her
En

wounds.
L

SHLOKA
M

I understand your confusion. Mujhe

O

bhi vishwas nahi ho raha tha jab us

sadhu ne bola. Magar tum khud
socho- tumne kitni baar use maarne
ki koshish ki, phir bhi woh nahi
mara. Kyun?

Upadhyay keeps painting as she gives her defence.

UPADHYAY
Pehli baar usne galat adress diya,
Dusri baar maine galat handgun use
kiya, close range mein M36 use
karna chahiye tha,
teesri baar Vikram ki wajah se.
Chauthi baar...

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 Afsos
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SHLOKA
And... what is common here? Har
baar Nakul bach gaya.
UPADHYAY
Yes. Bach gaya. Because he is a
little weasel, that I will hunt
down.

SHLOKA
See I understand your state of your
mind, I have also

Upadhyay stops painting and unloads on Shloka.

UPADHYAY

d.
(mockingly)

Lt
You understand?
(turns serious)

t.
What do you mean you understand?

Pv
Have you ever killed anyone?
Do you know what it feels to make
someone stop breathing?
t
en
Have you ever seen someone blue and
cold in front of your eyes?
nm

Beat.
ai

SHLOKA
rt

I have.
te

Upadhyay's attention is drawn.

En

CUT TO:
L
M
O

12 INT. SHLOKA'S BEDROOM (FLASHBACK) 12

We begin directly with Shloka's flashback being narrated to
Upadhyay.

Shloka and Dibakar are on their bed.

Dibakar is sleeping peacefully in fetal position. Shloka is

in a semi sitting position under the same quilt.

Shloka is observing him intently. Shloka's VO kicks in.

SHLOKA (VO)
Dibakar was a great husband.
Usne humesha mujhe khush rakhne ki
koshish ki, prioritised me over
himself,
(MORE)

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 Afsos
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SHLOKA (VO) (CONT’D)
Would apologise even when I was
completely wrong. Always.

We see Dibakar sleeping peacefully. Shloka takes Dibakar's

hand in her hands softly.
SHLOKA (CONT’D)
I cheated on him once and he just
forgave me. That's it. Who does he
think he is?

She quietly takes out a knife (same from ep 1) and slits

Dibakar's wrist.
Blood spreads all over the bed.

d.
SHLOKA (O.S.) (CONT’D)

Lt
(with conviction)
Sometimes if someone is too good it

t.
irritates you... You know what I

Pv
mean?
Their goodness makes you feel like
YOU are a bad person...
t
en
And thats a very suffocating
feeling, that I was living for
nm

years. I constantly felt like I

don't deserve him... so I let him
go.
ai
rt

We see blood streams out of Dibakar's wrist.

te

His body becomes lifeless.

En

She calmly places the knife on Dibakar's other hand.

L
M

CUT TO:
O

Upadhyay is listening expressionless.

Shloka has confessed her story and hopes it will open up
Upadhyay.

There are tears in Shloka's eyes.

They seem to have connected.

Upadhyay keeps looking at her, non-threateningly.

3 INT. TRUTH MAGAZINE OFFICE (NIGHT) 3

Ayesha is on a call when Kartik enters. He is fuming.

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 Afsos
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He is about to shout when Ayesha raises her finger to signal

'2 mins'. She is on a call.
He waits by furiously pacing up and down.

AYESHA
(on the phone)
Haan of course of course aap dono
aajao...
No problem at all.
Main location bhejti hoon.

As soon as she cuts the call, Kartik screams.

KARTIK
What the fuck is this Ayesha?

d.
Lt
Kartik throws the magazine on her desk, opened at the page
where her article title reads: Hitwoman attempting to kill an

t.
immortal man

Pv
KARTIK (CONT’D)
Hitwoman attempting to kill an
t
en
immortal man???
nm

AYESHA
(casually)
Haan I know. Title thoda lamba ho
ai

gaya na?
rt
te

KATHIK
What? Do you know how ridiculous
En

this sounds?
L

AYESHA
M

What?
O

KARTIK
Maine tumse kaha hitwoman story
karne ko... aur tumne idhar bhi
immortality ghused diya. Yeh
tumhaare baap ka company hai kya?

AYESHA
(offended)
Kartik, mind your language. I have
only written the tru...

KARTIK
(interrupts angrily)
Language my ass, kya karegi? HR Ke
paas jayegi? GO, go right now and
do your exit interview coz YOU are
fired.

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 Afsos
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AYESHA
(taken by surprise)
Kartik?
KARTIK
Get. Out.

Ayesha is hurt. She is about to break into tears but she

regains composure.
She gets up and grabs her bag.

AYESHA
You know what? I don't want to work
here, I quit.

d.
She puts her laptop inside the bag and leaves.

Lt
Kartik follows.

t.
Pv
KARTIK
No no no. You don't quit, you are
fired. You understand? Take your
t
en
shit with you.
nm

Kartik follows her to the lobby and throws the magazine at

her as she gets inside the lift.
ai

Before the lift shuts, Ayesha gives him the middle finger.
rt
te

Kartik is angrily standing in the lobby when his receptionist

interrupts.
En

RECEPTIONIST
L

Ah Excuse me sir?
M
O

KARTIK
(snaps)
Kya hai?

RECEPTIONIST
Aap se koi milne aaya hai, aap ke
cabin mein.

Kartik takes a look through the glass door. He can see

figures of three men in his cabin.

Kartik enters his room, he walks around them to take his

seat.

He is still visibly pissed.

Indifferently, and in a matter of fact tone he asks.

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 Afsos
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KARTIK
(while sipping water)
Yes? How can I help?

As Kartik takes his seat we see it's Goldfish in front of

him. There are two bodyguards. One of them draws the curtains
shut to alienate Kartik from the rest of the sparsely
populated office.

GOLD FISH
Good evening sir. I am here to see
Ms. Ayesha Mirani.
Goldfish says while pointing his finger on Ayesha' photo at
the bottom of the article in the magazine kept on the table.

d.
Ayesha has stormed out of the building.

Lt
t.
4 EXT. STREET OUTSIDE TRUTH MAGAZINE 4

Pv
Ayesha is walking and crying, and wiping her tears when she
gets a call from Kartik.
t
en
She contemplates picking up for a while but...
nm

...disconnects.
ai
rt

5 INT. KARTIK'S CABIN 5

te

Kartik is shit scared almost trembling at the phone being

En

disconnected.
L

One of Goldfish's henchmen is holding Kartik by his tie.

M

Goldfish is now sitting on the table.

O

KARTIK
(apologetically)
Kaat diya...

Kartik breaks into a nervous smile.

Goldfish signals him to to try again. Kartik feverishly calls

again.

This time Ayesha picks up with angst.

AYESHA
Kya hain?
KARTIK
Ayesha, listen I am sorry for the
way I spoke to...

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 Afsos
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AYESHA
Go to hell Kartik.
Ayesha disconnects again.

As Goldfish looks on, Kartik seems doomed.

2 INT. POLICE STATION (NIGHT) 2

Late night at the police station. Most officers have left for
the day.

Vitthal, Piyush, Bir Singh and a couple of other officers

remain.

d.
They have changed from their uniforms.

Lt
Vitthal is few pegs down. It's his usual ritual post evening

t.
before going home.

Pv
Bir Singh is seated across him. He is staring at the
Fokatiya's book retrieved from Shloka's house. He is turning
t
en
pages and stops at a picture of a royal.
nm

Vithhal puts some peanuts on the pictures of the king to

irritate Bir Singh.
ai

BIR SINGH
rt

Mat karo bhai.

te

VITTHAL
En

Kya itna dimaag pechi kar raha hai

Himachal? Jaa na tu wapas.
L
M

Bir Singh lists evidence found at Shloka's house.

O

BIR SINGH
Bathroom ke paas khoon ke nishaan,
phir Manikaran ka ganja, aur table
pe chaar visiting cards- Ayesha
Mirani ke naam- yeh usi Truth
Magazine ke liye kaam karti hai, jo
ashram mein mila tha.
Kuch na kuch toh connection hai.
VITTHAL
Abbe Byomkyesh Bakshi ki aulaad,
India mein har second laakhon
hazaaron log marte hai, sab case ke
peeche itna time dega toh jeeyega
kab?
(whispers)
(MORE)

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 Afsos
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VITTHAL (CONT’D)
Likh de na sab sadhu power ke
chakkar mein ek dusre ko maar diye.

BIR SINGH
Vitthal bhai, aap bura mat manna,
magar aap police mein kaam karne ke
layak nahi ho.

Vittal was about to reply but then suddenly comprehends Bir

Singh's comments
VITTHAL
Aaye, kya bola tu?

BIR SINGH
Ke aap police ke layak nahin ho.

d.
Lt
VITTHAL
Suna main. Magar tu aisa kaise bola

t.
re?

Pv
Vitthal softens down.
t
en
VITTHAL (CONT’D)
Main bura aadmi nahi hai re... main
nm

samajhta hai tere liye ye bada case

hain, magar apna line mein
practical hona maangta hain. Aaj
ai

agar aisa murder case mein tu

rt

ghusa, aur kal tereko koi goli maar

te

diya toh?
En

BIR SINGH
Maar diya to maar diya. Daaru pee
L

ke marne se toh behtar hain na.

M
O

VITTHAL
(dismissively)
Arre jaa naa. Tu bahut juna hain.

BIR SINGH
Humaare Manikaran mein kahawat hai,
Jeev Nashwar hai, Karm amar hai.

VITTHAL
Matlab?

BIR SINGH
Matlab, insaan toh mar jaata hai,
magar uska kaam use amar banata
hain.

VITTHAL
Arre baap re!

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 Afsos
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BIR SINGH
Arre baap re nahi, aap khud hi
socho yeh hum kaisi zindagi jee
rahe hain? Sirf gareeb peeyadkar ko
pakad ke khud ko hero samajhte hai.
Aap police mein kya soch kar bharti
hue the? Samaaj ke liye kuch accha
karenge, apni chhaap chhodenge, hai
na?
Aur abhi kya kar rahe ho? Sirf
logon ki shikayat sun rahe ho aur
phir hasi mazaak se apni khokli
zindagi pe pardah daal rahe ho.
Dekho Vitthal bhai mujhe pata hai
main bas ek chhote police station
ka afsar hu. Aap ke paas toh aise

d.
bohot cases aate honge.

Lt
Magar, aap agar kuch kar nahe
sakte, toh bandh kar do na thana.

t.
Sirf dhobi ke rozgaar ke liye, kyun

Pv
uniform dhulwa rahe ho?

Vitthal listens to this intently.

t
en
He is taken aback by Bir Singh's taunts.
nm

VITTHAL
Accha theek hai theek hai, tera
ai

case dekhte hai.

rt

Magar yeh drink ke baad theek hai?

te

Bir Singh breaks into a chuckle and picks and takes a sip
En

still looking at the book.

L

Vitthal picks up the peanut from the picture and puts it into
M

his mouth while looking at the items collected as evidence.

O

7 INT. AYESHA'S HOUSE 7

Nakul and Fokatiya have come to Ayesha's house. It's a small
house that is well-maintained.

Nakul has just narrated the events of the last day to Ayesha.
AYESHA
Unbelievable!

NAKUL
Toh mujhe kuch samajh nahi aa raha
tha ke main inko leke kahaan jaun.

Nakul says referring to Fokatiya.

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 Afsos
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Fokatiya is sleeping on Ayesha's couch.

AYESHA
Haan haan bilkul sahi kiya, waise
bhi main aaj free hu.

NAKUL
Yeh bohot hi toot chuke the. Bahut
roye.

AYESHA
Hmmm... Sach kahu toh somewhere I
also feel responsible.

NAKUL
Arre nahi Ayesha ji, isme aapki kya

d.
galti hai? Aapko kaise pata hoga ke

Lt
ek article se yeh sab ho jayega.

t.
Nakul gets up to leave.

Pv
AYESHA
Arre kahaan?
t
en
NAKUL
nm

Shloka ko dhoondna hai Ayeshaji.

AYESHA
ai

Haan par tum akele kya karoge?

rt

Baitho. We will talk to the police

te

and figure out something.

En

NAKUL
(determined)
L

Ayesha ji, jab us aurat ko maine

M

chhure se wapas mara na... mujhe

O

aisa laga ki yahi mujhe pehle karna

chahiye tha. I need to fight back.
Abhi yeh sab meri wajah se hi shuru
hua hai, toh main hi khatam
karunga.

Nakul says while holding on to Jim's gun in his pocket.

AYESHA
Magar kaise?
Nakul doesn't reply.

AYESHA (CONT’D)
Nakul, dekho. I promise main tumhe
nahi rokungi. But you need to tell
me your plan.

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 Afsos
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Nakul decides to share his plan with her.

As soon as he is about to tell her, Fokatiya turns around and

makes some noise in his sleep.
Nakul spots it. He doesn't want to share the plan if Fokatiya
is listening.

He signals to Ayesha 'kaan mein batata hu'

Ayesha obliges. Nakul whispers in her ears.

Ayesha's expression says 'it's dangerous'.

8 INT. UPADHYAY'S HOUSE 8

d.
Lt
Upadhyay has now freed one hand of Shloka.

t.
She has given her some food in a bowl, which Shloka is

Pv
struggling to eat from as one of her hands is still tied up.

She seems hungry.

t
en
Upadhyay is sitting right across Shloka.
nm

She is not painting now. She is nursing her injury absent-

minded looking straight into Shloka,
ai
rt

A mosquito/ fly is hovering.

te

SHLOKA
En

Accha hai!
L

Upadhyay chuckles
M
O

UPADHYAY
To quote the famous English chef
James Beard- 'my choice for an
ideal last meal is bacon and eggs'

Shloka has been eating bacon and eggs. She stops.

There is silence.
She tries to make her case.

SHLOKA
But I have not done anything to you
and honestly neither has Nakul, He
just wants to...

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 Afsos
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UPADHYAY
(interrupts)
86 people. All at the first
attempt. I had never missed. Until
that weasel showed up...
I have never been more embarrassed.
As Upadhyay is saying this, the mosquito now flies near her.

She attempts to slap it dead but she misses.

Nothing is addressed.
CUT TO:

d.
9 EXT. A STREET OUTSIDE A SCHOOL 9

Lt
A bell ringing can be heard in the background.

t.
Pv
Nakul is standing on a footpath, when a bird shits on him,
again.
t
en
This time, out of sheer frustration, Nakul instinctively
takes the gun out of his back pocket and in one swing of his
nm

arm, shoots at the sky.

Beat.
ai
rt

The bird drops dead in front of the exit of a school across

te

the street from Nakul.

En

Kids in school uniform get scared and scream.

L

They scramble in panic.

M
O

Nakul is standing across the street opposite the school. He

is surprised at his own accuracy.

14 INT. AYESHA'S HOUSE 14

Fokatiya has woken up.
He is crushing weed again, with tears rolling down his
cheeks.

AYESHA
Babaji, mujhe laga aapko pata tha.
FOKATIYA
Maine apni puri zindagi us ashram
mein bitayi hai, Guruji mere liye
Mata - pita sab the.
(MORE)

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 Afsos
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FOKATIYA (CONT’D)
Aur mere saare mitra-gurubhai
unhone kabhi kisi ka nuksaan nahi
kiya. Inki hatya koi kaise kar
sakta hai?

AYESHA
Duniya aisi hi hain babaji.
Maine teen saal diye us company ko.
Kabhi koi short cut nahi liya.
Imaandari se kaam kiya, aur mujhe
ek second mein nikaal diya?

FOKATIYA
Agar pata hota aisa hone wala hai,
toh main guruji ki baat katei nahi
maanta. Bambai na aata, unke saath

d.
marr jaata.

Lt
AYESHA

t.
New York Times mein mujhe

Pv
internship mila, phir bhi main nahi
gayi sirf Kartik ki wajah se.
t
en
GURUJI
Ab main kya karu? Kaha jaun?
nm

Guruji nahi rahe, unka aadesh reh

gaya.
(reaches for his jhola)
ai

Ab main ya karu iska...

rt
te

Fokatiya realises the potion is missing.

En

FOKATIYA
Amrit?
L
M

Ayesha continues with her flow

O

AYESHA
And I thought Kartik had a thing
for me. I should have...
Fokatiya jumps in panic.

FOKATIYAAN
Arre amrit kaha gaya?
Kisne liya?
(accusingly at Ayesha)
Tumne liya?.

Fokatiya says while grabbing Ayesha's collar.

AYESHA
Kya?

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 Afsos
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Bell rings several times.

Fokatiya goes to the door while still suspiciously looking at

Ayesha.
As Fokatiya opens the door, he is surprised to see Bir Singh.
He immediately recognises the familiar face from Manikaran.

FOKATIYA
Chintu?
CUT TO:

15 INT. AYESHA STAIRS 15

d.
Bir Singh drags Fokatiya down the stairs.

Lt
Ayesha is also climbing down behind them.

t.
Pv
FOKATIYA
(authoritative, angry)
Chintu tu pagal ho gaya hai?
t
en
Maine maara guruji ko?
Main maar sakta hu guruji ko?
nm

AYESHA
Sir... aap galat samajh rahe hain.
ai

Inhone kuch nahi kiya.

rt
te

Bir Singh doesn't reply. He keeps pulling Fokatiya down.

En

AYESHA (CONT’D)
Shit.
L
M

Ayesha stops mid-stairs and thinks for a moment. She decides

O

to call Kartik.

We hear a few rings but Kartik doesn't pick up.

At the end of the stairs, Fokatiya tries to reason with Bir

Singh.
FOKATIYAAN
Chintuuu. Maine kuch nahi kiya hai.
Mujhe guruji ne bheja amrit ke
saath jo abhi mil nahi raha hai.
Anarth ho jayega agar woh nahi mila
toh.

BIR SINGH
Aapko joh bhi bolna hai, thaane
mein chalke bolna.

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 Afsos
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Bir Singh says while dragging Fokatiya harder. Now they are
out on the street.

On the other side, Vitthal is sitting on the driver's seat of

the police car with a vada pav in his hand.
He sees Bir Singh waving to him. He starts the car...
...just as an SUV comes and stops next to Bir Singh and
Fokatiya.

Some henchmen get out and push both of them inside.

Bir Singh tries to fight back, but is overpowered.

The car drives off

d.
Lt
From the other side of the street, Vitthal is startled.

t.
Pv
16 INT. UPADHYAY'S HOUSE 16
Upadhyay is back to painting.
t
en
Shloka has one hand tied like before. She probes.
nm

SHLOKA
See I don't know what your plans
ai

are with me. I understand I have no

rt

say. But can I just ...I am

te

intrigued to know why are you...

YOU?
En

UPADHYAY
L

Matlab?
M
O

SHLOKA
Matlab how did you start all this?

UPADHYAY
(thinks)
I don't know. I just saw a Picasso
painting.
SHLOKA
No no, I mean why do you kill
people?

UPADHYAY
Why do I kill people?
Why does anyone do anything?
Why do people smoke?
Why did Picasso paint?
We do because we must.

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 Afsos
18.Page:19/21

Upadhyay pauses, only to speak up again.

UPADHYAY (CONT’D)
If you are looking for a sad story,
there is none.

Momentary pause.
Shloka tries again.

SHLOKA
Accha theek hai, but tell me this.
Why do you make those marks on your
hand?
UPADHYAY

d.
To keep a record.

Lt
SHLOKA

t.
Of all the murders?

Pv
Upadhyay doesn't answer.
t
en
SHLOKA (CONT’D)
But then what about the misses?
nm

UPADHYAY
(snaps back)
ai

You want the duct-tape back?

rt
te

Shloka retreats, sinks back in her seat.

En

Upadhyay observes Shloka intently. She moves around but her

gaze still fixed on her.
L
M

She opens the bandage around the stomach and winces it pain
O

as some cotton is stuck in the area. She carefully takes it

out.

The condition is worsening and there seems to be an

infection. She applies some liquid on a fresh bandage and
ties it around.

Shloka probes further.

SHLOKA
See, you know my story. I am no one
to judge you. Neither am in a
position to. I am just interested
coz this is what I do, I am a
therapist. I listen to people. I
help people. I can help you.

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 Afsos
19.Page:20/21

UPADHYAY
Oh I see, that way!, Fine.
(performing)
Once upon a time, in a land far far
far away, I was in art school.
Me and my friends were playing
truth and dare. I chose dare.
They dared me to kill the teacher.
In hindsight I should have chosen
truth.
End of story.
No help needed,
Thank you

Upadhyay says with a fake smile.

d.
SHLOKA

Lt
(after some thought)
Okayyy.. was that your first kill?

t.
Pv
Momentary pause, Upadhyay didn't expect shloka to run with
this story.
t
en
UPADHYAY
Nahi.
nm

SHLOKA
Toh pehla khoon kab kiya tha?
ai
rt

Shloka looks at her right leg nodding nervously. Upadhyay

te

takes her time to contemplate whether to answer and resumes

her painting.
En

UPADHYAY
L

Mere janm se pehle...

M
O

Shloka is surprised.

UPADHYAY (CONT’D)
My mother died while giving birth
to me. My father died in grief. I
was born to kill.
Shloka takes a second to process this piece of information.
Then she chooses her words carefully.

SHLOKA
Wow. That sounds just like Nakul.
Before Upadhyay could react to this odd statement, she gets a
call from Maria.

UPADHYAY
Hello?

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 Afsos
20.Page:21/21

17 INT. CLIFF 17

We see Maria on the phone. Tight close up.

MARIA
Upadhyay! Shloka Sachdev tumhaare
paas hai?

18 INT. UPADHYAY'S HOUSE 18

She looks at Shloka.
UPADHYAY
Kyun?

d.
MARIA

Lt
Usko lekar mujhe milo. Abhi!

t.
Upadhyay asks again. Firmly.

Pv
UPADHYAY
Kyun?
t
en
MARIA
nm

Abhi samjhane ka time nahi hain.

This is an emergency, just do as I
say.
ai
rt

Upadhyay senses some thing wrong.

te

UPADHYAY
En

Kahaan?
L

MARIA
M

Grannies cafe, eastern highway.

O

19 INT. MARIA'S VAN 19

As Maria disconnects, we zoom out to see Nakul has a gun
pointed towards her.

They are at the back of the van. His hand is trembling.

As we zoom out further, we see Nakul is holding Maria's

daughter with his other hand.

She is in her school uniform. Maria is scared.

FADE OUT.

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 Afsos Page:22/21

Certificate of Registration

This is to certify that I have registered this Screenplay

titled Afsos
Written by Anirban Dasgupta
Whose SWA Membership No. is 036162
On 12/11/2018
& as a proof thereof is placed below my digital signature and
seal of the Association with relevant details in the QR code.
(CC Avenue) Reference No.:107469186505 and Order Id:036162-21

Mr Sunil Salgia
(General Secretary SWA)

Note - This certificate is subject to the declaration by the writer that This work is my original creation. I hereby declare that I
have neither read it anywhere nor watched it in any Film/TV show. In case it is found otherwise I understand that my
registration of this work will automatically stand cancelled and I will be solely responsible for the consequences
whatsoever.
Tampering with document cancels the digital signature & thus the registration.

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