EXT. MOUNTAIN RANGE - DAY
We see the camera moving through mist into a mountain range where we can see the spring of a mighty river, shots of the river which meanders through the mountains down into the jungles and into the plains as V.O. speaks...
अस्यां कथायाम् समस्तजीवराशीनां भागः अस्ति। एषा प्रकृतिधर्मस्य मानवलोभस्य च सङ्घर्षस्य कथा। यस्य कस्यापि कालस्य, यस्य कस्यापि ग्रामस्य कथा एषा। एषा घटना सहस्राधिकवर्षेभ्यः पूर्वम् जाता। मानवानां वनभूमीनाम् कृषीणाम् जन्तूनाम् स्वजलेन पोषणं कुर्वत्याः कावेरीनद्याः तटे जाता कथा। फलभूयिष्ठे कावेरीतटे “करुनाटु” नाम कश्चन प्रसिद्धग्रामः। अथ कदाचित्, ग्रामस्य नेतारः तक्षाश्च कावेरीनद्याः पारतरणाय सेतुमेकं निर्मातुं निश्चयं कृतवन्तः। करनाटुग्रामस्य समस्तजीवजालस्य भागधेयस्य परिवर्तनहेतुः भविष्यन् मानव-अहंकारप्रतीकम् अयं सेतुः।
 EXT. MOUNTAIN RANGE - NIGHT
A puppet show in the village. We see a moving series of pictures of the building of a bridge ending in the shot tranforming into the real brigde. A song in the background. Credits roll as the song progresses.
Workers walking across the work site near the river
Large machinery made of wood
Boats moving across the river
Workers cutting trees
Animals running away from their water hole
Big logs of wood being transported to the work site
Elephants dragging logs
Forests being cleared
Workers sighting small animals
Animals scatter as a shower of arrows and spears rain on them
Hunters take back their prize
The carcass of animals being carried across the river
In the light of a campfire, we can see them roasting the meat over a stake
Their children and wives dote over the workers
The bridge is half built now as the engineers check the strength of the construction
In the higher ranges of the forest, animals leave their habitat and move towards the higher ranges, fearing the hunters
The singe of the sun increases, the workers wipe off their sweat.
The bridge is finally done and the last log is laid in place.
The sun gently goes down on a fully constructed bridge.
Title - Punyakoti - rolls in.
कलयध्वं सहसा प्रकृतिमचलां
दलयध्वं मनसा विकृतिमखिलां
दिवि पादं प्रकटं यच्छेम
भुवि मोदं विकटं गच्छेम
आशंसा भाति नो मुखे
नाशं सा याति नो सखे
तुङ्गशैलशृङ्गश्रेणी दीर्यते हठात्
चित्रयन्त्रसन्दोहं भावयेम निर्मोहं
स्फुरति रतये करगता
साधयेम पथि पथि
दैवमद्य वार्तां पृच्छेम।
वारयेम विद्विष्टं पूरयेम निर्दिष्टं
विलसेम वसुधावलये सदा
दुर्जनेषु संक्रुद्धा दुर्जयांशुसम्बद्धा
निवसेम विपुले विपिने मुदा
द्रव्यमीहितं वर्धयेम चिरमिह
 INT. A VILLAGE HOME, BEDROOM - EARLY MORNING
Little sparrows appear at the door and chirp while eating their way through the fallen grains.
The bedsheet gets thrown away and reveals a small boy of about 7 or 8. The throwing away of the bedsheet scares the sparrows away.
 EXT. STREET - DAY
The boy watches out the window and sees a lot of people, cattle, etc. walking towards the bridge.
The boy also joins the group. The boy play mischief with a monkey and a snake along the way.
The group reaches the bridge, which has been decorated with a stage. The village headman and the engineers are standing in a raised platform.
 EXT. BRIDGE - DAY
The priest makes the customary 'Aarti' and welcomes the headman. The headman climbs the stairs and makes a speech.
Among the crowd are many key characters in the movie. As the camera pans through the crowd we can see Kaalinga, the cowherd, a man in his 30s, his wife, a homely woman in her late 20s, the young boy whom we saw running, Putta, who is their son.
We can also see a portly and unkempt man - the banana merchant standing near the headman.
भो! आदरणीयग्रामवासिनः! महद्दिनम् समागतम्, यतः अद्य करनाटुवासिनः सर्वे जनाः गर्वसमन्विताः
अभवन्। चिरकालस्वप्नोऽयं सेतुः अद्य सफलो जातः। हे युवतक्षाः कर्मकराः तथा ये अहोरात्रं तदर्थं कृतप्रयत्नाः! भवतां सर्वेषां मम अभिनन्दनानि।
(युवतक्षाः कर्मकराः तथा अहोरात्रं तदर्थं कृतप्रयत्नाः अन्ये सर्वेऽपि अभिनन्दनार्हाः।)
कावेरी इदानीं अस्मदधीना कृता। तेन सेतुना पारस्थं अप्राप्यं निगूढवनमपि सद्यः सुगमं जातम्। गच्छाम:, वनानि अस्माकं वशे कुर्म:, ततश्च शीघ्रं तानि उत्तुङ्गगिरिशिखराण्यपि।
मान्यजनाः, इदानीं आकाशं किल अस्माकं सीमा, अपि च आकाशात्परम् अस्माकम् सीमा। तस्मात्, हे ग्रामवासिनः.....
A voice interrupts the speech
... कस्मात्? तिष्ठ तिष्ठ। अलं तव मूर्खभाषणेन। ह! आकाशात्परम् अस्माकं सीमा इति वदत्येषः ......
भो! कोऽत्र? कस्त्वम्?
As the camera moves slowly, we can see an old woman standing among the crowd. She is Ajji, the oldest and wisest. A mystic who is looked at with a mix of respect and fear in the town.
सावधानाः तिष्ठत बान्धवाः, अग्रे भविष्यन्ति तमोमय-दुर्दिनानि एव।
अस्याः भविष्यवाणी च । किमेतत्? किमर्थमागता एषा उन्मत्ता वृद्धा सभायामस्याम्?
The merchant comes forward to physically remove the old woman. Kaalinga comes forward and stops him physically.
मास्तु मास्तु कुमार! शृण्म वयं तावत् यत्तया अज्ज्या उच्यते।
Kumara scorns at Kaalinga and moves away.
मूर्खाः! लोभाविष्टचेताः! जानीत, अग्रे भविष्यन्ति तमोमयदुर्दिनानि, तमोमयदुर्दिनान्येव।
Defeated, Ajji turns back and in slow motion walks through the crowd as a confused crowd watches her.
As Ajji walks away on one side, the Headman and Engineer and the priest walk slowly towards the bridge to inaugurate it.
An eagle flies through the screen and knocks off the holy tray from the priest's hand, and the contents fall splashing on the ground.
There is a look of shock in the headman's face and all that have assembled.
They slowly move away and the crowd thins out. The Engineer tries in vain to contain his disappointment. He and his assistants move away last.
The eagle flies past the bridge.
 EXT. GRAZING GROUND - DAY
Sights of a nice grazing ground along the river banks move past us. We can see that the cows are grazing peacefully.
Two cows, Kungi and Pungi are looking at Punyakoti that is grazing far away.
शृणु, अत्र सर्वेऽपि पुण्यकोटीभक्तगणसदस्याः ननु? यद्यपि सा अस्मत्सद्शी सामान्या गौः, कियान् दर्पः तस्याः? आ... सौभाग्यम् तस्याः....
करनाटुवासिनः तस्यां पुण्यकोट्यां दिव्यशक्तिं पश्यन्ति इव भासते। तस्याः माता अपि दिव्यशक्तियुता इति श्रूयते। कङ्गि भगिनि, एतत् सत्यम्, मया दृष्टं च, यत् तस्याः माता रोगपीडितान् मानवान् पशून् पक्षिणश्च स्वदिव्यशक्त्यैव स्वास्थ्यं कारयति स्म।
रे पङ्कि! मास्तु मिथ्याप्रशंसा। तस्याः पुण्यकोट्याः माता तु हिडुम्बीतः तव जन्मनः परेद्युः वा मृता इति अहं जानामि।
न, न मिथ्याप्रशंसा। हरिततृणोपरि सत्यं करोमि... यत् तस्याः अद्भुतदिव्यशक्तिः मया साक्षात् दृष्टा।
हा हा हा... हरिततृणं तु इदानीं पीतं जायमानं दृश्यते ...
कालिङ्गस्य विश्वासः यत् पुण्यकोट्याः दिव्यशक्तिः एव अस्माकं सर्वासां पयोबाहुल्यस्य कारणम् इति। तस्याः गले लम्ब्मानं सुवर्णमणिं पश्यति किम्? सोऽपि दिव्यशक्तियुतः इत्युच्यते, कालिङ्ग-कुटुम्ब-जनैः। सत्यं किम्? को वा जानाति...
Punyakoti majestically appears from a hillock where she is grazing.
(सम्भाषणे अरुचीं प्रदर्श्य...)
धिक् तस्याः मन्त्रशक्तिम्, धिक् तं सुवर्णमणिं च। रत्नखचितम् असत्यम् तत्सर्वम्।
(मुहूर्तं विचिन्त्य निश्चयेन...)
सत्यं वदामि चेत्, अहमपि अस्मि दिव्यमन्त्रशक्तियुता गौः।
तेन श्रेष्ठोलूकेन शिक्षिता अभ्यसिता च, यः मध्याह्ने अस्माकं पुल्लानिवनं आगच्छति स्म।
अहो.... एवम्? किन्तु पूर्वम् कदापि न उक्तम् भवत्या!
The priest's son appears from among the grass with a sling and takes aim at a bird that is sitting atop a cow.
Kaalinga is checking the grass that is growing thinner and gets worried. As he looks up at the sky, the sun is shining bright. He squints his eye and adjusts and then he sees the boy.
(चिन्नस्य कुचेष्टितम् दृष्ट्वा)
भोः, कोऽत्र? तिष्ठ, तिष्ठ त्वमत्रैव तिष्ठ।
The boy misses his aim and the bird's wings get hit. The bird falls down. The boy runs away. Kaalinga runs after him and they disappear offscreen.
The fallen bird is weak and bleeding. The cows surround the hurt bird. A young cow walks away and calls out to Punyakoti over the hillock.
पुण्यकोटि, पुण्यकोटि ....
Punyakoti majestically looks up from a hillock where she is grazing. She walks towards where the bird has fallen. And stands in front of the bird. The golden bell she is wearing gives out a glow. She licks the bird. A golden glow heals the bird's wings. All cows mooo together when Punyakoti saves the bird.
The cows cheer as the bird flies away into the sky. Pungi and Kungi who are also watching the bird fly into the sky in the background, away from the crowd look at each other.
(पक्षिणं चिकित्सयन्तीं पुण्यकोटिं दृष्ट्वा)
कङ्कि भगिनि, भवती एतां विद्यां जानाति वा?
एषा तु क्षिप्रा... गोमन्त्रविद्या। बहुसरला रे एषा, अत्र पश्य।
“श्वानं च नक्रं च दुर्द्दुरः स्वाहा। सर्वे सुखिनो भवन्तु स्वाहा ...”.
He focuses his energy on an empty shell of a snail. The heat increases and the little one leaves the shell and starts to run away really scared, cursing the cow. Pungi looks disappointed at Kungi.
(शम्बूकशुक्तिं पश्यन्ती व्याजमन्त्रोच्चारणं करोति)
इदानीं प्रत्यक्षं दृष्टा भवत्याः गोमन्त्रशक्तिः, या गुरोः श्रेष्ठोलूकात् अधीता भवत्या।
 EXT. TOWN SQUARE, EVENING - DAY
Setting sun, Kaalinga moves with cows through the temple yard, where Ajji is seen sitting in a corner and scratching at a few pieces of wood. She acknowledges the cows as they pass and dust is raked up gently. She coughs lightly, but has a smile on her face.
 EXT. YARD OF KAALINGA'S HOUSE - EVENING
Close up of a hand lighting the lamp. As the camera moves out, we can see Kaveri lighting the lamp for the evening in front of the house. In the background, in the orange light, Kaalinga lets the cow move into the barn.
Hearing the dangling of the bells, Kaalinga’s son runs out from inside the house and flings himself at the father.
(सायं गाः नीत्वा आनयन् प्रत्यागतं कालिङ्गं दृष्ट्वा)
Kaveri smiles and turns around to go into the house.
 INT. KITCHEN OF KAALINGA'S HOUSE - NIGHT
Camera moves to show the family having a simple meal of gruel in the light of a dangling lamp.
भोः, काञ्जीसेवाम् अकुर्वन् किं वा चिन्तयति?
(Without drinking gruel)
विचारमग्नः इव दृश्यते।
अज्ज्या यदुक्तं तदेव इदानीं सम्भवति [आपतितम् दृश्यते]।
नदीतटे तृणलवमपि न दृश्यते। पुरा तु तृणे पीते जायमाने नूतनहरिततृणोत्पत्तिः अवश्यम् भवति स्म।
अहो सद्यः तावत् घर्म तावान् धूलीप्रसारश्च। अदृष्टपूर्वम्।
मनसि नितरां व्यथा इदानीम्। एवं चेत् अग्रे गोचारणाय बहुदूरं गन्तव्यं भवति।
A frightened Putta gets up and looks through the window. As the light falls on Ajji begging for alms.
 EXT. YARD - KAALINGA'S HOUSE - NIGHT
(noticing the boy)
पुत्र! अत्र समीपम् आगच्छ।
He hesitates. His mother takes some rice and gives it to Ajji and nudges the boy forward. Ajji takes out a doll made of wood and gives it to Putta. He smiles. He hesitates but as his mother nods in approval, takes it. There is a gentle bond established.
Ajji loudly laughs, nods her head and disappears into the darkness.
 INT. BEDROOM - NIGHT
Camera pans through the dim light and we can see the family lying on a mat. Mother, father and the son in the middle.
पितः! एकां कथां वदतु।
का कथा पुट्ट?
सा कथा यत्र पुण्यकोटी सुवर्णमणिं लभते।
कति वारं उक्ता मया सा कथा? पुनः सा एव?
तामेव श्रोतुमिच्छामि, नान्यां कामपि पितः।
शृणु तर्हि, श्रुत्वा निद्रां कुरु।
बहु पुरातनी कथा एषा, युगेभ्यः पूर्वं इति जानीहि। श्यामवर्णस्य भगवतः बाल्यकालम् .....। तेषु दिनेषु कृष्णः सर्वदा गोपसुहृद्भिः गोभ्यश्च सह कालिन्दीपुलिने विहरति स्म। गीतं नृत्यम् वृक्षारोहणम् गोवत्सानुधावनम् इत्यादिभिः आनन्देन कालक्षेपो तेषाम् तत्र। कदम्बवृक्षशाखोपरि वा बकुलवृक्ष-छायायाम् उपविश्य कृष्णः मधुरं वेणुवादनं करोति स्म।
यथा अश्वत्थवृक्षस्य अधः उपविश्य भवानपि मधुरं वादयति?
हा हा.... नेत्रे निमील्य इदानीं निद्रातु।
 EXT. YAMUNA BANKS - DAY
As he speaks, the child imagines the story and a visual montage appears in front of us with music. The treatment is dream-like with fewer tones of colours.
वनराणी वृन्दावनम् .... हरित-चारुता-बहुलविहारभूमिः। वने पक्षिमृगाः इव वृन्दावने गोपबालाः लीनाः अभवन्। फलवृक्षेषु बहूनि मधुरफलानि....। लम्बमानाः लतावृक्षशाखादयः तु तेषां डोलाः अभवन् ...। बहुवर्ण-रुपकुसुमैः नितरां विराजितं वनम्। गोपबालिकाः पुष्पाणि कण्डोले सङ्गृह्य प्रियेभ्यः मालां कुर्वन्ति स्म। सङ्गृहीतानि फलकुसुमानि अन्येभ्यश्च दत्वा आह्लादेन ते वृन्दावने सर्वत्र अटन्ति स्म, विहाय स्थानमेकम्।
आम्, कालिन्दी घोरनदी एव यस्याः अतिप्रवाहः पार्श्वस्थानपि निगलति। अथ कदाचित् एको यदुकुलबालकः अजानन् कालिन्दीतटं प्राप्तवान्। वराकस्य तस्य किं अभवत्....?
As the child imagines the story, Kaalinga speaking moves into a VO and visuals of a boy falling into a river and the cow rushing and falling into the river and pulling him out with her long horns. She swims back as children assemble around and shout. Krishna jumps from his tree and skids. When he gets up and reaches the spot, Punyakoti’s ancestor has already saved the boy.
Krishna rushes and takes his feather and strokes the cow around her neck - a golden bell appears.
निर्भया सा गौः पुण्यकोट्याः पूर्ववंशजा आसीत्। कालिन्दीकरालवक्त्रात् स्वमित्रस्य संरक्षणस्य प्रत्युपकाररुपेण श्रीकृष्णेन तस्यै दत्तं वरम्, सः सुवर्णमणिः।
 INT. KAALINGA'S HOUSE BEDROOM - NIGHT
Camera moves to a sleeping Putta and the mother. Kaalinga covers him with a bedsheet and gets up to dim the light. He watches through the window and finds the calf asleep with her mother Punyakoti on hay, the bell glowing in the moonlight. He blows out the light. And then there is darkness.
 EXT. MONTAGE - NIGHT
Only the sound of crickets can be heard for a few seconds.
Then a dark eye appears glowing with redness and fire moving with great velocity. A set of teeth appears and chops into the screen.
A series of frightening creatures move about.
The nightmare ends with the skeleton of a dead cow falling with a thud.
 EXT. BEDROOM - NIGHT
Kaaling wakes up with a jerk. He is sweating.
He watches his wife and son asleep and moon outside. He realises that it is a bad dream and covers himself with a bedsheet.
 EXT. RIVER BANK - DAWN
Tight shot of a frog on a large leaf as the orange glow of the morning sun falls on him. Suddenly a splash of water frightens him and he jumps into water. As the camera moves we can see a group of cows being given a bath. Putta and his mother are there near the banks of the river behind the barn.
Punyakoti is praying to the sun god.
Pungi is seen practicing some yoga to impress the rest of the cows and she falls with a splutter into the water.
Putta whispers something into the calf’s ears. All we can hear is the music as he speaks into the ears. The expression of the cow changes. Obviously some mischief is cooking.
Putta’s mother who is milking another cow notices that something is amiss. She sees Putta whispering.
पुट्ट, किं प्रचलति तत्र?
(संभ्रमेण तथापि कुचेष्टया)
न किमपि, मात:।
बाला: सर्वे मिलित्वा किमपि आयोजनं कुर्वन्ति वा?
(पुत्रं तीक्ष्णं पश्यन्ती)
हुम्। सद्यः तव शालागमनसमयो जात:। शीघ्रं स्नात्वा आगच्छ।
(Looking at the calf and winking)
एषोऽहम् आगच्छामि शीघ्रमेव।
He then runs away.
Putta jumps into water for a quick bath.
 INT. BARN - DAY
An old cow appears in front of the camera.
(निद्राकुलतया जृम्भति - yawns)
श्श् .... (Shh)। तूष्णीं तिष्ठन्तु। छात्राणां अनुशासनम् आवश्यकम् । किम् आवश्यकम् छात्राणाम्?
अस्माकं बाल्यकाले शालायां वृषभाचार्य: यदा कक्ष्यां प्रविशति, सर्वत्र शान्तता एव। सर्वे छात्रा: तूष्णीं तिष्ठन्ति स्म। यस्य कस्यापि वत्सस्य स्वस्थानात् न किञ्चित् विचलनम्। यदा आचार्य: पादेन तालं ददाति, भोजनकक्षायां वा चर्वणकक्षायां, तमेव तालानुसारम् अभ्यास:।
Camera pans the bored looking young calves standing in a row looking bored. We can see some haystacks behind. The old cow continues...
OLD COW (CONT'D)
(कुचेष्टितानां वत्सानां मृदुहासं श्रुत्वा, उच्चैः)
तूष्णीं तिष्ठन्तु। किं रे, अद्य तव पुच्छे वातरोगबाधा अस्ति वा? (उच्चैः) सावधानो भव।
A lazy looking cow comes to attention and stamps another cow.
OLD COW (CONT'D)
(पलालसङ्ग्रहं परित: अटत: अलसान् वत्सान् तीक्ष्णं पश्यन्ती।)
अद्य सर्वानपि पाठं पाठयिष्यामि...। आगच्छन्तु सर्वे अत्र, पङ्क्तिशः तिष्टन्तु।
All the cows start to munch on the hay in front of them.
OLD COW (CONT'D)
(तस्य वत्सस्य श्रोत्रं नोदयन्ती)
एकैव चिन्ता तव ... भोजनम्, भोजनम् इति।
The cows drop the hay. And stand in attention. A haystack starts to move towards Punyakoti’s calf. All the cows are surprised.
OLD COW (CONT'D)
(अग्रे आगत्य सर्वान् उद्दिश्य)
सर्वे छात्रा: अत्र मम पादं पश्यन्तु।
The haystack comes to a standstill.
Again the haystack comes near Lakshmi, the calf. And two eyes appear. They realise it is Putta draped in hay. Slowly the other cows push the hay in front of them towards Lakshmi. They giggle.
OLD COW (CONT'D)
अस्तु... अस्तु। सर्वेऽपि मम पादं पश्यन्तु।
दक्षिणपादौ.... वामपादौ... युगपत्....
The cow appears serious. The old cow turns back again. As we hear the feeble voice of the old cow in the background, we see that Lakshmi is now draped in the haystack and is moving along with the other cows in a march.
Slowly she is in the second row and WHIZZ, Putta and Lakshmi disappear out of the classroom.
 EXT. BACKSIDE OF KAALINGA'S HOUSE - DAY
We can still hear the march in progress behind. Out of the bushes, three kids appear, one is the priest’s son, Chinna; one is the Engineer’s daughter Pushpa and the third is the headman’s son, Gundu. Chinna is short with a ‘juttu’ on top of head. Pushpa is a smart looking young girl in the traditional skirt and plaited hair. Gundu is plump and with a clean shaven head. The boys are bare bodied. They watch the approaching haystacks with surprise.
Two haystacks come close and out of it appears Putta and Lakshmi. They are all excited and do a high five.
भवतां शालातः निर्गमनं तत्र येन केनापि दृष्टं वा?
उत्तमम्। अस्माकम् आगमनमपि केनापि न दृष्टम्। अग्रे गच्छाम वा?
Camera pans to show women in the field and a row of bullock carts carrying farm produce to the market.
Far away, the bullock carts carrying farm produce are inching towards the market. Putta gets an idea and he shares it with his friends. Their eyes light up.
They all start to run behind the train of bullock carts.
The chidlren run alongside and cross the fields and enter a clearing. All of them form a circle and watch Putta draw a circle on the ground.
सर्वे नयने निमील्य तिष्ठन्तु।
इदानीं मनसि मायालोक-प्रवेशद्वारमिदम् इति भावयन्तु।
आम् आम् ....। अस्माभिरेव दृश्यमानो मायालोक:।
हा हा, अहो...! अस्माभिरेव दृश्यमानो मायालोक:।
They close their eyes. Camera fades to black and then there are a lot of sparkles.
 EXT. FANTASY LAND - DAY
They all jump into the new magical world on the other side of the imaginary circle. Even their clothes change into colourful stripes. And the Freedom song starts.
Kids land in a strange plane and welcome the audience to the new world and break into a song.
पुरतो जगदधुना लसति हन्त सन्ततकल्पितमायं
रमताम् इह जनताहृदयम् आर्द्रविस्मयम् अनपायम्।
नहि नहि कर्म च नहि कर्ता
भवति न भृत्यो नहि भर्ता
वयम् अवनिभुजो बाला
गुरुरिह नास्ति न शाला
वेतनस्य वद वार्ता का
सुलभवर्त्मनि च गतिरनघा
स्वैरमत्र तनुमो भूतिं
भवति वस्तु नवम् अतिरुचिरम्॥
इच्छामो व्योमाङ्गणे अच्छिन्नं क्रीडारसं
पक्षाभ्यां मेघावलीं अक्षीणा लङ्घामहे
शत्रुर्नैव सर्वत्र मित्रं
स्पर्धा कुत्र सर्वं स्वतन्त्रं
 EXT. MARKET - DAY
The bullock carts we saw earlier arrive at the market. The fat merchant is supervising a group of porters who are taking it into the warehouse.
Among the big bamboo baskets that are going inside are ones that have the kids and the calf as well.
As the cart approaches the warehouse, they pop out of the basket. And they hide themselves behind the moving wheels.
They enter the warehouse and find tons of bananas hanging all around and look at each other, excited.
Suddenly they watch the merchant entering the warehouse and hide themselves behind the banana piles.
The merchant inspects and walks out, but on instinct comes back to check. As he nears their hiding place, a cat jumps across his face, he pushes it aside with a casual whack, annoyed. And walks past to close the door.
The children come out with a sense of victory. They pile around the banana and start peeling and eating the bananas.
As Putta goes to pick a banana from the ripe pile, a heavy hand falls on his shoulder. He panics and looks around. He finds the merchant standing with his hands on his hips and wild glee on the evil merchant’s face.
The other scoot away in a jiffy. The calf also joins them, but stops to look behind at her friend caught red handed.
She changes her mind and comes back to the fold of Putta.
A wild victorious smile spreads across the evil one’s face. He laughs loudly.
 EXT. GRAZING GROUNDS - DAY
The cows are peacefully grazing while Kaalinga is playing his flute lazing under a tree. On an instinct, he looks across the bridge and decides to walk to it.
He checks the firmness of the bridge and then takes a step on it. An eerie music takes over as he gently walks across. With every step, the new bridge squeaks and bends.
And when he is half way, a loose log piece, dislodges and falls away. He loses his balance for a minute. But is able to gain balance again. He watches with fear at the river below.
He reaches the other side. The worksite is empty. The stumps of what were once mighty tall trees only remain as a mute witness. He goes beyond. And clears some bushes. He notices the fresh grass and bends forward to pick up a handful of it. There is a tall tree and a rock under it. Camera moves and rests on it.
He watches the cows grazing on the other side. He decides to go back and as he walks over the bridge, the eerie music takes over again. He has this uneasy feeling that someone is following him. He stops and looks back and finds nothing.
The sun is now setting and picks up his staff and lifts in a signal to indicate that they need to head back home. A distant cow moos and they all fall in line.
 EXT. KAALINGA'S YARD - EVENING
As Kaalinga approaches the house, he sees a group of villagers standing in his yard. His expression changes. He is worried. He rushes forward and moves the crowd to get to the center. There standing in the center is the merchant. Putta is standing next to his mother. The calf is standing next to the old cow. Their heads hang in shame. Pungi and Kungi rush towards the old cow curiously. Punyakoti looks around in confusion.
As music rolls in the background, we can see the Merchant blaming the boy and the calf.
A look of triumph on the face of Pungi and Kungi.
किमर्थं सर्वे अत्रागताः? का समस्या?
तव “श्रेष्ठं” पुत्रमेव पृच्छ।
(पुत्रं पुट्टं वत्सं च वीक्ष्य, पत्नीं अन्यान् सर्वान् च उद्दिश्य)
किम् भो! बालकैः किमपि अनिष्टं आचरितं वा?
न, न किमपि। केवलं कदलीफलचौर्यम्, तदपि शालातः रहसि पलायनं कृत्वा। पर्याप्तम् किल?
चौर्यं कृतम् वा एतैः बालकै?
सत्यम्। मम कदलीफलशेखरे चौर्ये प्रवृत्ते सति, तव पुत्रः मित्रैः सह मया गृहीतश्च।
सर्वे तूष्णीं तिष्ठन्तु। ... तावदहं तं मम पुत्रं ....
(कालिङ्गं सम्भाषणमध्ये स्थगयन्, तं ततः निष्कासयन्)
कालिङ्ग! पप्रथमं यावत् स्वपुत्राणां सम्यक् पालनम् कुरु, अनन्तरमेव अन्येषां उपदेशः।
As Kaalinga tries to pacify the merchant, he pushes him aside and walks out. One by one the villagers disappear - all have a look of disapproval.
Putta looks up at this mother. She covers her mouth and runs inside. He looks at Kaalinga. Kaalinga is ashamed and he moves into the house without speaking a word.
Punyakoti makes small steps while the calf follows her inside. Pungi and Kungi give a disapproving look.
Shot of the empty yard as the sun sets and moon lights up the shot in blue shades.
 INT. KAALINGA'S KITCHEN - NIGHT
Camera moves to show empty bowls as the gruel is uneaten. Kaalinga’s wife is sitting in one corner in the dim light. And further away is Kaalinga lying down on the mat and staring at the light.
Putta comes out of the bedroom and looks at his parents and gauges the mood and runs out to the front yard and covers his face to hide his tears.
 INT. BARN - NIGHT
Camera continues to move to show the cows also in a distraught mood. The calf is all cuddled up on the haystack. Pungi and Kungi are chewing hay. The only ones that seem to be not participating in the grief.
Ajji walks into the yard. She assesses the scene and a smile of compassion spreads across her face. She goes and signals to Putta to come to her. He jumps and runs and hugs her. She pats him in the head.
 EXT. BARN SIDE - NIGHT
Ajji and Putta sitting on the porch of the house against the backdrop of the moon.
Ajji in close up
अलं दु:खेन पुत्र! जानाम्यहं यदत्र प्राचलत्। किं तेन? किमपि न।
Putta looks at her confused and curious.
किन्तु, वयं तु....आपणस्य कदलीफलसङ्ग्रहात्....
तदेव किल? तेन किम्? यदा कदापि सर्वैरपि बालकैः क्रियते एव तादृशं कार्यम्? नवनीतचोरस्य कृष्णस्य कथा न श्रुता वा त्वया?
सः वेणुवादकः कृष्णस्तु उत्तमबालकः आसीत् किल?
ह ह् ह... पुत्र! तथापि भगवान् कृष्णः बाल्यकाले सर्वदा नवनीतं चोरयति स्म।
एवम्? सत्यम् वा?
Kaalinga appears at the door. Punyakoti and the calf also walk towards Ajji.
आम्, सत्यम्। तेन किम्? नवनीतचोरः स एव अग्रे लोकाभिरामः यदुकुलपतिः इति ख्यातः। पूर्वकृतस्य यस्य कस्यापि दोषस्य, दोषलवस्य वा प्रभावः अग्रिमकालेषु न भवति। स्व-दोषनिवारण-सामर्थ्यमेव उत्तमानां श्रेष्ठत्वम्। भगवता कृष्णेन यथा, तथा त्वयापि बाल्यसहजं कञ्चित् चापल्यम् आचरितम्। तावदेव!!
The calf licks her.
अहो! आगता श्यामवर्णस्य सखी च। ह ह ह
(इति उच्चैः हसति)
Putta gives a smile and looks at his father. His mother appears behind him. Their faces are grim. Putta is not sure if he has been forgiven. And then their faces gently light up. He jumps and runs towards them.
तर्हि, स्वस्व मुखे व्यापृतं अन्धकारं त्यजन्तु। (उपरि चन्द्रमसं दर्शयित्वा) सर्वेऽपि तस्मात् चन्द्रात् किञ्चित् प्रकाशं चोरयित्वा आगच्छन्तु ... स्वस्व मुखे प्रसन्नतां प्रसारयन्तु च।
Putta smiles, while looking at parents.
Ajji disappears into the darkness.
उत्तमम्...ग्रहणसमाप्तौ राहुमुक्ता पौर्णमी इव, इदानीं सर्वेऽपि दोषविमुक्ताः सत्यशीलाः अभवन् । ह ह ह...
 EXT. TEMPLE - DAY
As the sun rises on another day in Karunadu, Kaalinga is seen praying at the temple in front of the huge statue of the Blue Lord. The priest steps out.
स्वामिन्! सत्यम्, न स्मराम: एतादृशं दुरितपूर्णं ग्रीष्मकालम्।
अग्रे गोचारणाय बहुदूरं गन्तव्यं भवति।
Kaalinga salutes the lord and walks down the temple and leads the cows towards the bridge.
 EXT. BRIDGE - DAY
One by one the cows move across the bridge. There is fear and trepidation as they struggle through the squeaking bridge. They look at each other and behind.
They come to the place where a piece of log is dislodged.
Kaalinga urges them to move on.
They move forward.
 EXT. CLEARING - DAY
They move to the other side and inspect their new grazing ground. They are hesitant at first. Then slowly start to chew the top. Some of them have a smile. They like the taste and then they get to their jobs in the right earnest.
There is a satisfied smug expression on Kaalinga's face as he watches the cows settle down. He settles down on the rocks with his flute.
The grass around the bushes rustle and a pair of eyes appear. The music of the flute stops and there is complete silence. Some of the birds that are eating the nits in the cow notice the movement in the grass and fly away with a screech.
Then quite unexpectedly a dark form flings itself on an unsuspecting cow.
It is a wolf. The cows panic and runs helter skelter. Everything comes to a standstill. As we see cut shots of the wolf lunging at the cow.
Kaalinga drops the flute and one swift movement picks up the staff and runs towards the wolf.
The cow gives the slip to the wolf and run away. The wolf almost catches up with a young calf. The cowherd jumps in between just as the wolf is about to lunge at the cow.
With one blow of his staff he shoves the wolf in midair (still lunging) aside. The wolf lands on the grass. He gets up and bares his teeth at the man. the cowherd puts his staff down with a thud.
Wolf steps back two steps. Lunges forward with a screech. Shots of them engaged in battle. At one time, the wolf scratches his chest. Blood appears.
Close up of blood, his sweat from the forehead, and the saliva from the teeth of the wolf. Again the wolf attacks. This time the retaliation is stronger - the reaction is swift - and the speed is more - the intensity of the blows are also stronger
In one ‘kalari’ kind of move - the cowherd touches several points of the wolf meridians. The wolf whimpers and falls down. A tired and sweating cowherd stands feet apart with his staff for support
The wolf looks up. The cowherd moves forward menacingly. The wolf yelps and limps back into the darkness of the thicket towards the hills and jungles. The cowherd lifts his staff and cries a shout of victory.
 EXT. JUNGLE - DAY
As the shout fades, we can see the wolf walking unsteadily into a thicket. He makes a mis-step and falls into a ravine and slips into a misty zone. He is still dazed. He hears the screeching sound of some birds and parts the bushes.
We now are watching 3 birds eat some strange blue berries from a bush. One by one they eat it and their eyes change colour. They get a kick and start to dance around the bush in a ritualistic manner once and shyly stand in front of their friends. They give a hiccup and then go around the bush and come back again. They chuckle and giggle.
One of them starts to walk in marchpast style across the jungle, only to skid and fall. The others laugh. They imitate him and fall as well. Slowly they walk, fall, walk, fall and disappear out of the screen.
The wolf steps out and suspiciously looks at the berries. He takes one and pops it inside. Nothing happens. Close up of his eyes. Stillness for a few seconds and then his eyes change colour.
He gets a hiccup. He now has a new found courage. He steps into a hillock and gives a wild wolf cave.
 EXT. CAVE - DAY
The wolf arrives at the cave. There is a spring in his step. He calls out.
अहो! रे अलस! अलम् गुहाभ्यन्तरे स्थित्वा अन्धकारसेवया। जडप्रभो! मन्दशिरोमणि, बहिरागच्छ।
The dark mouth of the cave stands empty. And then we see the tiger's entry from black majestically. We see that he is a serious one. Thinned by hunger and starvation, but still majestic.
Now the wolf slightly gets frightened. But musters courage.
रे मूढ, अद्भुत! कस्त्वम्? वीरपराक्रमी वा, येन एतावत्पर्यन्तम् एकः मूषकोऽपि न गृहीतः? अहो! अपराधो मम..., महापराधः, यदहं वनेऽस्मिन्, क्षुद्र-शुनक-शृगलादिभिरपि तिरस्कृतेन त्वया सह मैत्रिं कृतवान्। कीदृशो मोहः मम? एषस्तु व्याघ्रराजः... प्रतिदिनं गां हरिणं वा हत्वा आनयति...। एवं सदा सुभिक्षभोजनं भविष्यति इति चिन्तयित्वा त्वया सह मैत्रिं कृतवान् किल? नैवं अस्यां शुष्कगुहायाम् उपविश्य वायुभक्षणमेव कृत्वा वृथालापं कर्तुम्? त्वं न अद्भुत:, त्वमसि बुद्बुद:।
जानासि किं भोजनं कृत्वा मम कति दिनानि अतीतानि इति? अद्य कथञ्चित् बुभुक्षानिवारणाय स्वयं मृगं अन्विष्य प्रस्थितवान्। वनं अटतः मम किमभवदिति पश्य।
एकेन दुष्टमानवेन गृहितोऽहम्, नितरां ताडितश्च।
(अद्भुतस्य निःसङ्गभावं असहमानः)
अन्धकारप्रियं त्वां एतत्सर्वं निवेद्य किं वा प्रयोजनम्? हा, हन्त! मम दौर्भग्यम्...
(अद्भुतः नेत्रनासिके विकास्य वृकं रूक्षं पश्यति - किञ्चित् भयेन)
रे विरूपाक्ष! किमर्थं एवं रूक्षं पश्यसि?
एतैः फलैरेव मम जीवधारणम्। नो चेत् एवं तव पुरत: उपस्थितिरेव न भवति इदानीम्।
सिद्धौषधमेतत्... सर्वरोगसंहारि ... नवमधु निस्सरति तेभ्यः ... एकं खादसि किम्?। पश्य, बहूनि सन्ति अत्र।
त्वया न शक्यमेव! अतः एवं फलभोजनेन जीवनं कर्तुं सिद्धो भव।
इत्यदिना सङ्कीर्तनेन भाविकाले अर्पितगिरिवनराजं त्वां जनाः स्मरन्ति किल?
Tiger moves forward and gives one slap, berries fall and so does the wolf.
He gets up - and still dazed from all the beating, salutes the tiger like a constable and walks unsteadily into the darkness.
महाराज! भवते शुभरात्रि:।
The Tiger looks at the fallen berries and gets tempted - he takes one and eats it. His eye colour changes to red.
 EXT. JUNGLE IN A DIFFERENT TONE - FLASHBACK
Flashes of Arbuta, the tiger playing with his cubs (three of them) in front of his habitat - we can see the caves and a few tigers and tigresses resting.
He teaches them to catch a butterfly that keeps dodging them. Finally the cubs get bored and get into a wrestling match with him. He pins them down. And gives a victorious roar. But then allows his calves to overpower him and acts as if he has fallen under their claws. The mother looks from the mouth of the cave and nods her head.
Some unsuspecting deer are grazing and the tigers lead by Adbuta appear from different parts of the tall grass. The deer run helter-skelter and the tigers give a triumphant roar and they gather.
The deer now run back into the frame with dark silhouettes of men chasing them. We can see a stray arrow moving in slow motion, like in a graphic novel, chasing the deer.
The tigers seeing the approaching deluge of deers look curiously and see the men appear over the ledges.
They run away from the screen.
Flashes of arrows tear the screen and then tongues of flames take over the screen. In the dark montage that follows, we can see animals running away. The screeches and the cries of animals grow louder. A flurry of drums indicate that the men who are causing this havoc are nearby.
Arbuta’s wife and cubs are seen chased by the flame as they outpace it at every step. Arbuta comes running to their rescue but is stopped by a tree that falls. When he gets up, he watches the family sucked into the flame. He gives a roar that reverberates through the screen.
Close up of the tiger’s eyes. Tear drops fill the screen. A long shot of the village, the bridge and in the dark shadow of the moon, the tiger that is watching the village from the cliff. The screen fades to black.
 EXT. VILLAGE - DAY
Montage of shots that show the growing drought in the town accompanied by slow music. Series of shots depicting drought
Start with a burning sun
Lady pulling water and nothing comes out
Clay Pots dried up with crows trying to drink water
River bed dried up
Goats eating bushes that have dried
Paddy fields are lying empty
Old man looking at the sky with his hands on the brow
People migrating to other villages with their belonging.
पूर्वमेव अज्ज्या कथितानि कष्टदिनानि किञ्चित् शीघ्रमेव आगतानि वृष्टिः नैवाभूत्
कावेरी शुष्का जायमाना आसीत्
पशवः बुभुक्षया कृशा अभवन्
कृषीवलाः भग्नाशा सञ्जाताः
जलाशयाः निर्जलाः अभूवन्
आतपः असहनीयः अभवत् पशुपक्षिमानवानाम्
आशा शोषितरसा जाता
जनाः अन्यान् प्रदेशान् मार्गयन्तः ततो निरगच्छन्
परिहारसमयः इह आगतः
 INT. VILLAGE COUNCIL - DAY
The villagers walk as a procession for a meeting at the temple yard. The priest's naughty son is trying to pee into the empty pot. Seeing some villagers approaching he runs away.
Camera moves around the hall of expectant villagers, the headman has already taken his position, the engineer, priest, merchant, Kaalinga and others can be seen prominently.
हा हन्त। कीदृशी दुर्दशा अस्माकम् ? भो: मित्राणि। इदानीं दुरितपूर्णदिनान्येव। वृष्टिदेवताभिरपि परित्यक्ता: वयम्। अभूतपूर्वा एषा अनावृष्टिपीडा। पुण्यनदी कावेरी निर्जला जाता। समस्तं कृषिक्षेत्रं शुष्कं जातम्। कथं वा अस्माकं वास: अत्र? अग्रे करुनाटुं त्यक्त्वा कुत्रापि गन्तव्यम् भविष्यति।
(अभियन्तारं तस्य गणं च पश्यन्)
एतान् पश्यन्तु, अत्र सन्ति बहव: प्रगल्भा: कुशलाश्च, किन्तु किं प्रयोजनम्?
स्वामिन्! सत्यम्, न स्मराम: एतादृशं दुरितपूर्णं ग्रीष्मकालम्। किन्तु पित्रा उक्तं किञ्चित् स्मरामि, पुरा प्रवृत्तस्य दुरितपूर्ण-ग्रीष्मकालस्य विषये। तदा अस्माकं ग्रामस्य रक्षिका आसीत् एका मन्त्रसिद्धा वृध्दा।
भो! स्वामिन्! अस्मिन् कालेऽपि तादृशः अन्धविश्वासः एतेषाम्? (सर्वानुद्दिश्य) पूर्वजैरिव अधुनापि मन्त्रतन्त्रादिना य: कोऽपि वृष्टिं कारयति इति वा भवतां चिन्तनम्? हा, तदपि एषा अज्ञा अज्जी। नूतनविषयेषु तस्या किञ्चिदपि ज्ञानम् नास्ति अवज्ञा अस्ति अपि।
वृध्दमातरम् अज्जिं एकवारं प्रार्थयति चेत् तत्र का आपत्ति:?
Headman waves his hand.
श्श् .... मास्तु कोलाहल:। भवत: समीपे वृष्टिं आनेतुम् कोऽपि उपायः अस्ति वा? नास्ति, तर्हि तूष्णीं तिष्ठन्तु।
कालिङ्ग, शीघ्रं गत्वा ताम् अज्जीम् अत्र आनय।
 INT. BY THE RIVER BANK - DAY
The banks of the river where Ajji is busy chipping away wood to make a toy. Kaalinga and a group of people approach her.
She is seen nodding her heads in denial.
The boy walks across to her and shows her the toy and makes an appeal with his eyes.
She smiles and nods her head. She picks her bag and with the villagers in tow walks into the council.
 INT. VILLAGE COUNCIL - DAY
She inspects the council’s VIPs with scorn. They all hang their head in shame.
भो मित्राणि। अस्मिन् लोके सर्वमपि दृष्टिगोचरम् अस्ति वा? उदाहरणं – चिन्तनं दृष्टिगोचरं वा? तथैव स्नेह: द्वेष: इत्यादय:। एवं बहूनि दृष्टिगोचराणि न सन्ति खलु? अदृष्टासु दृष्टादपि विशिष्टा: भवन्ति कदाचित्।
(आश्चर्यचकितान् ग्रामसदस्यान् पश्यन्ती)
केवलं दर्शनमेव अस्तित्वस्य प्रमाणं इति वक्तुं शक्नोति वा?
(विदूरं पश्यन्ती, ध्याननिष्ठा इव)
अथ सर्वे एतत् जानन्तु , सामान्यचक्षुषा अदृश्यमाना प्रकृति: केषांचित् सत्यपुरुषाणां अन्त: चक्षुषु सहजतया व्यञ्जयति। अपूर्वमुहूर्तोऽयं समागतः, यत्र अस्माकं पुरत: सहज-सत्य भावेन प्रकृते: साक्षात् आविर्भावो भवति।
 INT. TEMPLE YARD - EVENING
Ajji comes to the center of the hall. She picks up a few colours from the bag and begins a magical ritual.
Music takes over - Close up of series of coconut shells with yellow, indigo, red, white powders -
Close up of hands as she picks up these in random and starts to throw them on the screen -
The powders seem to travel in air taken by the fine breeze and taking a shape of their own - The closed eyes of the old woman -
She opens them and watches the direction of the powders - her pupils follow them with glee - Her toothless mouth opens to reveal a smile -
She puts her hands inside the pot to draw a liquid that looks more like blood - She looks at gleefully at the liquid in her hands - And splashes it on the floor - Some chemical reaction happens and there are sparks all over -
As the dust and spark settles we can see a vague form on the floor - Now she inhales deeply and then blows - We are amazed at the lung capacity as a small storm raises from the settled colour dusts -
The camera minutely follows the grooves made by the lifting powders - When the camera lifts we see the small nerves (like blood vessels) that are conjoining together with great speed - The colours are changing as well into a creamish white, like the texture of a skin -
As the camera moves up we see the form of a well decorated cow -
SFX of a big sigh of surprise -
Again the eyes of old woman expands and with one short breath she sucks in - The powders come back into the power of her breath like an obedient pet and she catches hold them into her palms with a wild laugh and lifts her hand and let them out into the sky -
As music winds down - the divine form of the cow like a rangoli fills up the screen.
 EXT. MONTAGE -
भगवत: कृष्णस्य सन्निधौ सहस्र-संख्यकान् कलशान् स्थापयन्तु। तेषु केवलम् एकस्मिन् कलशे कावेरिजलं पूरयन्तु। पिहितमुखाः सर्वे कलशाः वृत्ताकारेण स्थापनीया:। अनन्तरं पुण्यकोटिं तत्र आनीय कलशेषु एकं चित्वा भेतुं तां प्रार्थयन्तु। तया सः जलपूर्ण-कलश: एव भिद्यते चेत्, एष: ग्राम: वृष्टिदेवतया अनुगृहीतो भवति। नो चेत् ....
Ajji’s voice fades away as we see the pots arranged and ready.
 EXT. TEMPLE YARD - NIGHT
From behind the pillar, the 4 kids appear. The priest’s son leads the pack.
नेत्रे रज:प्रसारिणी मान्त्रिकविद्या एषा।
तर्हि नेत्रे पीडा अपि भवति वा?
न जाने। स: अभियन्ता एवं वदति।
रे चिन्न, रज:प्रसारिणी इत्युक्ते वञ्चना इत्यर्थ:।
आम् आम्। तदेव।
पुण्यकोटिस्तु कमपि न वञ्चयति इति मम दृढविश्वासः।
जानासि किम्? तेषु कलशेषु जलपूर्णकलशस्य चयनं तया न शक्यते इति स: अभियन्ता वदति, तदपि सम्भावनासिद्धान्तस्य आधारेण। अहो, सम्भावनासिद्धान्तस्तु महान् वैज्ञानिकांश:। एतत् सर्वं वृद्धमाता अज्जी कथं जानाति?
तत् किमिति त्वं जानासि किम्?
न रे। अहं सम्भवासिद्धान्तं न जानामि।
आस्तां तत्। मम समीपे अस्ति अन्या एका विद्या।
अज्जी वदति यत् पुण्यकोटि: दिव्यशक्तियुता इति। पश्य, तस्यां पुण्यकोट्यां तादृशी कापि दिव्यशक्ति: नास्ति इति वयं समर्थनं कुर्म:।
एवम्? कथं कुर्म: एतत्?
सरलसाध्यम् किल एतत्।
सर्वे मम समीपम् आगच्छन्तु।
They all club around the leader. And he explains a plan that we are not able to hear. There is discomfort in Putta’s face. There is curiosity in the Engineer’s daughter’s eyes. There is some uncertainty in the headman’s son’s eyes. But they all agree.
 EXT. TEMPLE YARD - NIGHT
Three large jugs open and the kids pop out of them, the priest’s son (Chinna) leads the others. They move quietly from one pillar to another to avoid the guards and pick the pot with the water.
Chinna picks up the pot and walks across to the other side to the river and unties the mouth and posing as if he is doing a holy ritual pours it back into the river.
He comes back and places the pot in place and before a guard turns back whizzes past behind the pillar.
TOP SHOT of the formation of pots in the night.
 INT. PRIEST'S HOUSE - DAY
Chinna opens the door and rushes out with the crowd to watch the ritual. The villagers have come from afar and are carrying flowers and fruits. Unexpectedly, he rushes past his father who is also in the procession. He realises that he should not raise any alarm. As his father looks at him with a little suspicion.
He walks as if he is not in a hurry and acts as if he is inspecting a hen that is sleeping by lifting its wings.
His father nods disapprovingly and moves on. As soon as his father is out of sight, he again rushes through the crowd.
 EXT. TEMPLE YARD - DAY
Camera moves slowly to capture a large crowd and the decoration in the temple. The crowd moves into two sides as musical drums can be heard and Punyakoti walks in majestically with her master. The calf is looking at its mother with pride. The other cows are looking anxiously. The other cows have already arrived earlier to watch the spectacle.
She walks to the center and looks at the formation of pots...looks at the temple, the Blue Lord and then the bell. The bell gives out a big glow. And she can see the form of a peacock feather in the clouds. A sign that the Blue Lord has blessed her.
(To the crowd)
तस्या: मणे: शोभां पश्यन्ति वा? तस्मिन् मणौ अस्ति प्रपञ्चचैतन्यस्य शोभा। पुण्यकोट्या: सत्यं दिव्यत्वं च तस्मिन्नेव मणौ तिष्ठति.... भगवता वररूपेण दत्ते तस्मिन् मान्त्रिकमणौ।
Punyakoti then looks sideways to look at the kids who have moved to the front through the crowd. A pang of guilt takes over all of them and they avoid looking her directly in the eye.
She smiles and moves to the pot that had water but is now empty. She slowly lifts her leg. The boy’s eyes go wide. There is silence on the screen.
And then the pot breaks into pieces and a big splash of water hits the screen. The spray travels far and wide. The kids avoid it. As it falls on the crowd. A big cheer goes up in the air.
 EXT. TEMPLE YARD - CONTINUOUS
Flowers go up in the air. And a dance follows with lyrics that suggest that good times are coming. It is a song of hope, of victory of the unseen over the known.
घनाम्बुदात् पतन्तु जलानि सत्वरं
जना मुदा भवन्तु सर्वकालम् ईदृशम् ।
भेदनात् घटस्य जातम् आस्तिकानां
वेदनाऽपयानम् अत्र सज्जनानाम् ।
कवेरजाजलं वहेद् भृशं प्रपञ्चे ॥
शीतं वहेद् वनान्तवायुरालये
नीतं भवेत् श्रमस्य वारि भाले ।
गन्धं प्रवाहयत्वरण्यतः सुमं
अन्धं मनोऽपि भातु दीपितं ध्रुवम् ।
पूर्यतां मनोरथश्चिराय लोके
नितान्तमङ्गलं प्रजायतां समस्ते ॥
 EXT. TEMPLE YARD - CONTINUOUS
In the middle of the song, the kids are seen hiding behind the pillars.
(Upset and worried)
अहो, इदानीं वयं किं कुर्म:? पुण्यकोट्याः रोषाग्नि: अवश्यं अस्मान् दहति...न न.... मां दहति। अहमेव सर्वस्य मूलकारणम्।
Chinna starts crying.
रोदनं मास्तु। स्वापराधं अङ्गीकृत्य पश्चात्तापचित्ताः, सत्यशीला: भविष्यन्ति इति अज्जीमाता वदति किल? कृतमपराधं सर्वं पुण्यकोटिं निवेदयाम, सा अवश्यं क्षमयेत।
क्षमते वा सा तादृशं घोरापराधं यदस्माभि: आचरितम्?
आम् आम्। अवश्यं क्षमते। माता अज्जी जानाति, भगवता कृष्णेन साक्षात् उपदिष्टा सा।
Song and dance continue in the background as the kids come running and fall at Punyakoti’s feet. Everything stops and people watch in surprise.
There is a look of shock in the face of the prominent characters. The Engineers look at the pot in disbelief.
Punyakoti bends and licks Chinna. He gets up and hugs Punyakoti.
Ajji laughs loudly.
ह ह ह। अहो, बालका: सत्यस्वरूपिण: ये स्वापराधं अङ्गीकृत्य दोषनिवृत्यर्थं क्षमां याचन्ते। एते स्वयमेव सत्यस्य मान्त्रिकवीथिं आगतवन्त:। एषा मान्त्रिकवीथि:। अयं सुवर्णमणिः मान्त्रिकमणि:। सत्यमपि मान्त्रिकम्। अस्मिन् पुण्यवंशे महता कालेन सः दिव्यमणिः मात्रा पुत्र्यै दीयते तस्य दिव्यमणेः परम्पराप्राप्तिः प्रचलति। अग्रिमकालेऽपि अनया परम्परया एव मान्त्रिकमणेः सत्यस्यापि सङ्क्रमणं भविष्यति। ह ह ह।
Pungi and Kungi look ashamed. There is pride in the face of Lakshmi. Pungi tells Lakshmi.
काले प्राप्ते पुण्यकोटि: एतं मणिं तुभ्यं ददाति। तत: वृष्टिप्रवचनं तव कार्यं भवति।
कदा वा प्राप्नोमि अहं एतं मणिम्?
न जाने, पृच्छ। तव मातरमेव पृच्छ।
Punyakoti is watching the dance and through the crowds notices that Ajji is walking into the sunset. Ajji’s voice can be heard feebly.
(Absent-mindedly - faint)
Ajji disappears into the sunset.
 EXT. GRAZING GROUNDS - EVENING
A few ants walk into the camera on a branch of a tree. Far away (in shift focus) in the background, we can see the cows grazing in the new grazing ground.
A leaf falls down. An ant picks up the leaf and holds it like a target. Another ant, the ‘dada’ in the team comes forward, puffs up enough air into his lungs and then blows hard, the leaf falls a few meters away. The other ants are impressed and clap. The dada looks around in pride.
The ant takes another leaf and dada puffs up. A thin ant comes around and taps him to stop and step aside. Surprised, dada steps aside. There is a look of mockery in the faces of the other ants.
The thin one musters enough lung power and blows. The leaf moves in slow motion and as everyone watches goes beyond and beyond and beyond. There is a sigh of surprise. Even the thin one did not expect this and look around. And then sees a big wave of leaves coming its way.
The ants watch as a small storm is building up. They panic and start to run knocking off the dada.
Camera moves along and we can see dry leaves and fine dust moving around along with the build up of dark clouds in the sky.
As the sky darkens, surges of electricity pass as small sparks and big lightning sparkles.
The cows panic, the flash shows on their faces and for an instant in Kaalinga’s face as well. Following it is the big thunder.
Now the cows are unsettled and start to run here and there. Kaalinga points to the bridge and shouts, but in the commotion, all we can see is the movement of his mouth, all of them take off to the bridge in panic. They push and shove each other.
Punyakoti looks here and there and she also moves towards the bridge along with the rest.
Camera closes in to show her bell loosening during the rush. And as Pungi pushes her to race ahead, the bell comes off. Before Punyakoti could realise, the bell falls (in slow motion) to the ground.
All sound stops and for a few seconds we can hear just the ‘ting’ echo.
Cuts of cows going farther and farther away, while the camera is fixed on the bell. And then in close up a paw appears and picks up the dropped bell.
 EXT. THE OTHER SIDE OF THE BRIDGE - EVENING
A quiet procession of the cows across the road towards the barn. Only the gentle rhythm of the various bells can be heard. Punyakoti also dangles her head and moves along. For a few seconds there is no jingle of the bell and all is quiet on the screen except for her quiet walk. She bends and notices that there is no bell.
A look of shock and surprise. She turns around and looks at the bridge. Dark clouds are closing in and the visibility is now poor. She turns around and few other cows are moving ahead and she is left to be the last in the line of cows.
She looks back and forth. In the quietness, she hears her promise in a faint echo. She decides to go and look for the bell.
She again looks forward at the marching cows, the clouds, the bridge and the darkness. Her face tightens in determination and she moves ahead towards the bridge.
 EXT. CLEARING - EVENING
The quietness of the clearing, she looks around for the bell. There is hurriedness, panic and guilt all lit on the face of the holy cow.
किं अन्विषसि त्वम्? एनं मणिं वा?
Punyakoti jerks and turns back. In slow motion, we can see the bell dangling and the camera moves to reveal the tiger, sitting on top of a rock.
Shock in the face of the cow. The tiger is amused.
अहो, ज्ञातं किम्? स्वरक्षणाय कोऽपि उपायो नास्ति।
(सम्भ्रमेण तथापि निश्चयेन)
(ह ह ह ह.....)
अहम् पुण्यकोटिः, एका सत्यशीला गोमाता। अहम् असत्यं न ब्रवीमि, न आचरामि च।
अहो, स्वचरित्रवर्णनम्? आसन्नमरणाः गावः स्वपरिचयं कारयन्ति वा? क्षम्यताम्, ग्राम्यानां युष्माकं यथा अस्माकम् वन्यजीविनाम् आचरणे न तादृशी औपचारिकता। तथापि ....
अहम् अद्भुतः। त्वम् गोमाता चेदहम् व्याघ्रपिता।
(तत्क्षणं... वर्धितदुःखेन कोपेन च)
जानसि किम्? ते दुष्टमानवाः वनं प्रविश्य मम पुत्रान् पत्नीं च निर्दयं नाशितवन्तः। अनाथोऽहम् ततः अस्मिन् गुहायाम् एकाकी वसामि।
(मुखे क्रूरभावं हास्यमं च, तथापि शान्तस्वरेण)
सौभग्यं मम... यत् बहुदिनानन्तरं प्राप्तमीदृशं भोजनम्। कीदृशी भुभुक्षा, त्वां हत्वा शीघ्रं खादामि।
तत्र तु मम न कापि आपत्तिः, अहं तव भोज्यमिति पूर्णमनसा अङ्गीकरोमि। किन्तु मम अन्तिमा एका प्रार्थना अस्ति। पुत्र्यै दत्तां प्रतिज्ञां पालयितुं इच्छामि, कृपां कुरु। तव हस्ते स्थितं मणिं तस्यै समर्प्य, मरणात् पूर्वं अन्तिमवारं तां स्तन्यं पाययित्वा आगच्छामि।
हा हा हा, विचित्रमेतत् किल? त्वं तु नूनं मम रात्रिभोजनम्...किन्तु त्वया इदानीमेव पुत्र्यै भोजनप्रदानम् कर्तव्यम् इति।
धिक् त्वाम् । दुष्टमानवैः सह तव चिरं संसर्गः...। तत्राधीतो वा तादृशो नीचोपायः [तत्राधीता वा तादृशी कपटविद्या]?
तव कपटप्रार्थनां श्रुत्वा एवमेव त्वां त्यजामि इति चिन्तितवती वा? नाहं मुर्खः... अहो, कति दिनानि मम भोजनं विना..., तथापि दृष्टमात्रेणैव तवोपरि न उत्पतितम् मया इति चकितोऽहम्।
(अत्युच्चैः) शीघ्रम् विनम्रशिरसा उपविश।
मृत्योः पूर्वं सत्यपालनं मया कर्तव्यम्.... कृपां कुरु!
कस्य कृपा.. कीदृशी कृपा? तव चिरसुहृदः मानवान् पृच्छ ये अत्युत्साहेन समस्तं वनं वनजीविनश्च नाशयन्ति स्म। तेषां लोभिनां मनसि कृपा आसीत् वा किञ्चिदपि? मम शिशवः प्रियपत्नी बान्धवाश्च तैः दुष्टैः वह्निना दग्धाः किल? प्रक्रुतिनियमानां विपरीताचरणं कृपा इत्युच्यते भवद्भिः? सा एव कृपा इच्छसि इदानीम्? तर्हि आगच्छ.... मम समीपं आगच्छ.... दास्यामि तुभ्यं निष्ठुरां कृपाम्.... या तेषां मानवानां कृपापेक्षया विशिष्टतरा भविष्यति।
अद्भुत| यथा त्वम्, अहमपि अस्मि चतुष्पात्। त्वया चिरं अनुभूतं दुःखं तथा भुभुक्षापीडाम् च सम्यक् जानामि। तव भोजनाय अर्पितोऽयं देहो मम। किन्तु एषा मम अन्तिमापेक्षा अस्ति। मम प्रार्थनां अङ्गीकुरु... गत्वा शीघ्रं आगमिष्यामि.... एतत्त् सत्यम्... सत्यम्... सत्यम्।
पश्य एनां सत्यशीलाम् गोमातरम्! असम्भवम्... मम विश्वासो नास्ति कस्मिन्नपि ग्राम्येषु।
अहं निश्चयेन विश्वासार्हा...। स्व-दुःखे नीतिबोधे च तव विश्वासो नास्ति वा? एवं वृष्टिपातः नदीप्रवाहः वृक्षोत्पत्तिः उदयास्तौ चेति प्रकृतिनियमेषु तव विश्वासो नास्ति वा? तथैव भवतु मम वचनेष्वपि तव विश्वासः।
(पुण्यकोट्याः सत्यभाषणप्रभावेन निश्चेष्टो जातः अद्भुतः)
अहं सत्यसन्ततिः...., सत्यमेव मम पितरौ..., मम जीवनं सत्यम्... मनः सत्यम्, देहः सत्यम्..., मम सर्वमपि सत्यम्। सत्ये सर्वेषां स्थितिः रक्षणम् च...सत्येन कदापि यस्य कस्यापि नाशनं न भवति। सर्वेषां जीवनं सत्यम्... जन्मजन्मान्तराणि अपि सत्यम्..., मोक्षोऽपि सत्यम्... सर्वं सत्यमयम्।
Tears roll down from Arbuta's eyes. As if in a trance, he hands over the bell to Punyakoti who takes it and walks back over the bridge.
 EXT. MONTAGE - DAY
Punyakoti slows down and there is a montage of shots as a strange light engulfs the whole area.
We can see tiny sub-atomic particles moving around like light flickers around the two.
The space turns into a bluish tinge in which appear small fishes and a variety of aquatic animals, a whale of giant proportions, a flurry of starfishes.
The whale jumps out of water. And out of the splash appear a tortoise, a slew of birds and butterflies.
As the butterflies give way we can see snakes, zebras, elephants, deers, monkeys all spread and occupy the deep jungles with leaves and flowers and vines and tall trees going in circles in a collage.
Camera zooms in. The spread of stripes across the animals dance on screen which turn from a zebra stripe to a spotted deer to a striped tiger to a spotted cheetah, showing that all that is different is also the same and all that are same are also different.
The moving cows and the breeze all dance to the music in a great round merry go round.
The montage ends with the small ones of the tiger yearning for Adbuta turning into a calf but still roaring and chuckling like a tiger.
All the effects are accompanied by the song:
सत्यं जनको जननी सत्यं
सत्यं स्वजनो दैवं सत्यम्।
सत्या भाषा सत्यं कृत्यं
तुल्ये भाषाकृत्ये नित्यं॥
सत्यं मोक्षः सत्यं वीक्षा
सत्यं धैर्यं निर्भयदीक्षा।
भुवने राजतु सत्यं स्तुत्यं
वद कथमत्र परस्परभिन्नाः।
वैरं भेदकरं बहुकुटिलं॥
यदि विज्ञातमिदं भवसारं
वेत्सि तदा सत्यस्य विचारं।
किमपि न ते परमस्ति ज्ञेयं
यदि जानीषे सत्यममेयं॥
सत्यं शान्तिमपारां यच्छति॥
सत्यं बुद्ध्वा भजति न मरणं
सत्यं साधुजनानां शरणं।
म्रियते यद्भुवने तदनित्यं
म्रियते यन्न तदेकं सत्यं॥
Arbuta hangs his head in introspection.
 EXT. CLEARNING - EVENING
From the farther shadows appears the Wolf. He is angry, upset and his eyes reveal his disbelief.
अहो, धन्योऽस्मि... भवद्दर्शनम् इदानीम्
महाप्रभो मम प्रणामाः... अर्पितगिरेः महराजाय भूयो भूयो प्रणामाः... शत्रुसंहारनिरताय अद्भुताय.. महाद्भुताय नमो नमः।मया किमपि न वक्तव्यम्?
(तस्य तर्जनं मन्दं मन्दं रोदनमिव परिणमति)
यद्यपि तावती भुभुक्षा, हस्तगता सा गौः त्वया त्यक्ता। तत्सर्वं दृष्ट्वाऽपि न किमपि वक्तव्यम्?
त्वं निर्लज्जो व्याघ्रः... नाहं बिभेमि त्वत्तः...। आगच्छ...
मां कामं ताडय।
Arbuta looks at the Wolf with disinterest
न ताडयसि किम्?
सर्वैः तिरस्कृतस्य तव चिरकालमैत्र्या मम को लाभः एतावत्? इदानीं तु हस्तगतां सम्पुष्टां गां प्रति अस्य नीचस्य उदारभावः। जानामि.. मम मृत्युः शीघ्रमेव भविष्यति। गुहाभ्यन्तरे चिरवासेन त्वं मौनसन्यासी निष्क्रियश्च जातः। अतः एव तस्याः गोः मधुरभाषणे मोहितोऽभवस्त्वम्। अद्य आवयोः मैत्री-समापनम्... आज्ञां देहि, अर्पितगिरिं त्वां च त्यक्त्वा कुत्रापि गमिष्यामि।
बहुदूरं गच्छ...अपि च, न कदापि तव प्रत्यागमनम् अत्र।
अवश्यम्... न प्रत्यागमनं मम कदापि।
भुभुक्षापीडया मृत्युः भवतु... नो चेत् कुत्रचित् शाकाहारगणसदस्यो भविष्यामि, तथापि न अत्रागमनं अग्रे कदापि । त्वं न व्याघ्रः त्वमसि गर्दभः...नीचगर्दभः...।
(तस्य सम्भाषणं स्थगयन्... क्रोधेन शब्दं करोति)
गृ... गृ... गृ...
... नीचानां राजा... नीचमहाराजा अद्भुतः।
(रुदन्निव एवं उक्त्वा ततः गच्छति)
Runs away into darkness. Arbuta stares into the darkness.
 INT. COWSHED - TWILIGHT
Camera pans across the shocked faces of the cows standing in a row. Punyakoti is standing in front of them.
गौ व्याघ्रैः हन्यते च खाद्यते इति निसर्गनियमः । एवं वयं तेषां भोज्यम्... वयं तेषां संवर्धनायेति निश्चितं किल?
Other cows look at Punyakoti, surprised.
प्रत्यागमिष्यामि इति मया प्रतिज्ञातम्... अतः मया गन्तव्यम्। नो चेत् असत्याचरणं भवति... यद् भगवता न क्षम्यते। मम एका प्रर्थना यत् मम पुत्री स्वपुत्रीवत् पाल्यताम्। सा किञ्चित् चपला शिशुः, यतः एतावत् मया सम्यक् न शिक्षिता...।
Punyakoti turns to Lakshmi.
इदानीं तद्दायित्वं भवतीनां हस्ते। भवतीभिः सुशिक्षिता सा शीलगुणसम्पन्ना भवतु। अग्रे गोष्ठोऽयं तव रक्षणम् करिष्यति। तव गले लम्बमानं मया दत्तं मणिं पश्य। सः दिव्यमणिः... सः सत्यम्.. विशुद्धतमं विशिष्टतमं सत्यम्। इतः परं त्वया सत्यमेव वक्तव्यम्... सत्यमेव आचरणीयम्।
Punyakoti slowly moves towards the bridge. Cows stand in attention with tears in their eyes. Sad music. Dard clouds part to show the little procession. Top shot of rains starting to fall in a drizzle as she slowly marches on.
 INT. ENGINEER’S HOUSE - TWILIGHT
Little drops of rains fall through a leak in the roof into the table of the Engineer and his team as they are viewing the blueprint of another bridge. The drop deletes a drawing portion. There is a look of irritation on the Engineer’s face and he looks up.
A drop lands in his cheeks. He wipes it off. A smile appears on his face. The smile spreads across to others in the room. They look at the door and walk towards it.
 EXT. TOWN STREETS - TWILIGHT
As they step out, scores of people are walking out of their homes. With banana leaves as their umbrella a small procession of people walk towards Kaalinga’s house.
Shots of people dancing their way to Kaalinga’s house accompanied by music.
 EXT. KAALINGA’S YARD - TWILIGHT
The town arrives at Kaalinga’s yard. Kaalinga opens the door and greets the crowd. They move to the barn and then the music stops. They look around for the cow. There is silence as the cows hang their heads.
सर्वे तूष्णीं तिष्ठन्ति, किमर्थं?
In the silence, Lakshmi walks out - the tinkling of the golden bell breaks the silence.
Kaalinga runs to her and hugs her. Putta also runs forward. Kaalinga strokes the bell.
(to the cows)
पङ्गि, कुङ्गि... सर्वे रुदन्ति किम्? हा हन्त, किम् अभवत्?
तव माता कुत्र ?
He wipes her tears. Lakshmi points towards the bridge. The crowd looks bridgewards. Slowly the town proceeds. The young men pick up sticks. Light sticks are lit and covered with banana leaves.
 EXT. CLEARING - DUSK
A flash of lightning. Arbuta catches a glimpse of the cow. He rubs his eyes and through the rain comes the cow towards him. Over the bridge, over the hillock, over the clearing and closer to him.
Arbuta hangs his head in shame.
 EXT. BRIDGE - CONTINUOUS
A lighting dislodges a big rock and it rolls down in an avalanche. Big tides of water splash through the river gorge uprooting trees. Tiny rats run out of their holes fearing the torrents of rain. The level of the river rises. Big rocks and trees smash across the pillars of the bridge.
The villagers appear near the bridge. Kaalinga stops them. They watch in the dim light as Punyakoti crosses over and heads towards a tiger. There is a gasp of shock.
 EXT. CLEARING - CONTINUOUS
Punyakoti walks up to Arbuta and surrenders.
A nods his head to indicate he is not going to eat her.
Punyakoti looks up in surprise.
 EXT. BRIDGE - CONTINOUS
The young men raise a loud cry. The move forward. A large boulder snaps the bottom of the bridge. The bridge breaks with a loud thud and caves in. A giant wave of water rises across.
The villagers run to safety. As the wave settles, in slow motion, the remaining pieces of wood are eaten away by the water.
 EXT. CLEARNING - CONTINUOUS
Arbuta gets up - uninterrupted by the commotion that is happening around him and walks into the darkness.
 EXT. RIVER BANK (CLEARING SIDE) - CONTINUOUS
A big cheer goes up in the crowd. They start dancing in slow motion. Shots of water becoming more gentle and settling down. Music winds down.
Punyakoti walks arrives. Her calf walks through the crowd and comes forward. Looks her mother in the eye. Looks at her bell. Kaalinga and Putta walk forward by her side.
Punyakoti gently places her leg in water. There is a gasp of shock from the crowd.
A boat pops up and holds Punyakoti in water - she gently places her other leg and step by step, she moves forward as there is a dance between water and her walking in perfect rhythm.
Music rises in crescendo as she moves forward in the same theme of celebration. Finally she lands on the other side.
 EXT. RIVER BANK (VILLAGER'S SIDE) - CONTINUOUS
The priest comes forward and puts a garland. Kaalinga comes and hugs the cow. The calf stands proudly.
The bubbles settle down. Music comes to a stop. Fade out.
 EXT. TEMPLE YARD - DAY
Title appears: A FEW YEARS LATER.
The temple is decorated with leaves and flowers. A row of pots line up the yard in a formation. An anxious crowd is waiting.
Among them are an older Kaalinga, his wife.
Putta is now a young and sturdy man, much resembling his father. So are the other characters who have all grown older with time.
As Lakshmi walks towards the pots in slow motion, there is a big wait and anxiety.
She kicks a pot and water splashes all over. The crowd go up in a big cheer as drums starts to beat and flowers start to fall all over.
 EXT. FOREST - DAY
Wolf lords over the birds. He has now reformed himself into a mystic.
 EXT. ANOTHER PART OF THE FOREST - CONTINUOUS
Somewhere in the forest as a pair of legs appear and starts to walk through the misty forests. We can vaguely see that the person is a wandering mendicant.
A tiger skin lays on the ground. A hand comes forward and picks it up. Then we see the hips of the person who is now wearing the tiger skin around his waist and he has a long staff. He places the staff and looks at the town down below where the celebrations can be heard. Fade out.
FADE TO BLACK