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E12: Paan Singh Tomar Breakdown · Breakdown Besties | Bollywood Screenwriting Podcast

• Breakdown Besties Podcast: Hi again, Bestie. For our next week, we are breaking down the film Fashion. So see you next Thursday. Ananya: Hello everyone and welcome to another episode of the Breakdown Besties podcast. I'm Ananya. Akshay: I'm Akshay. Ananya: And we are your breakdown besties. Together we have 14 years of experience writing for shows like Rana Naidu, Inside Edge, Mismatched, Wedding.con, Shark Tank, Ishq in the Air, and a host of others that have gotten stuck in development hell but will see the light of day one day. goal the Breakdown Besties is to give you a screenwriting experience by breaking down the techniques used by iconic Bollywood films on the page that make them work on the screen. We do them just like they do in film school by picking apart the films and seeing what works, what doesn't, and how can we make things better and emulate them in our own writing. And the film we're going to be breaking down today ⁓ is Paan Singh Tomar written Sanjay Chauhan and Tigmanshu Dhulia. Released in 2010 this biopic of its eponymous... How do you use the word eponymous? Eponymous of Paan Singh Tomar as the of. Anyway, we all get the point. This eponymous biopic. Akshay: I was like, I don't know so much English. Ananya: Okay. this biopic catalogues the life of Paan Singh Tomar who is a national steeplechase champion and then goes on to become a dacoit in the Chambal valley because of the lack of resources provided by the government film essentially talks about, well they say a film which talks about how sportsmen are really treated in our country after having serviced their nation so well and so loyally. but it addresses a much broader theme of how the government treats its people and actually comes of service to them or not. Cool. So should we get into it the way we always do by breaking down the log line? Akshay: Yeah. Let's do it. Ananya: Okay, so first what is a log line? A log line is the premise of your film in one line. It is your guiding light. When you can't see the forest for the trees anymore and you're lost deep in the weeds of your screenplay and you're like, what am I actually writing this film about? Like mudda kya hai ye scene ka, ye dialogue ka, ye sequence ka? At that point, you want to go back to your log line because it'll remind you. And why is a log line so effective at reminding you what actually goes into making your film the film? It has four essential elements which do this. One, you have the flaw, limitation, block or wound. Essentially, these are four ways of calling the same thing which a character possesses within themselves and is outside of their control. It is something which they need to change or overcome in order to achieve their goal, which is the second element. The goal is what the character is after. It is the journey we are going on on this film. We are going to see our character achieve their goal. Then we have conflict. Conflict is the engine of your story. It's what keeps challenging your character's need, your character's flaw, your character's limitation and makes them overcome it by doing the hard thing of facing it over and over again. so that they can achieve and come one step closer to their goal. And then we have the stakes. What are stakes? Stakes are what your character is going to lose should they not achieve their goal. It is not simply them not achieving their goal. It is them going one level lower and actually losing something when they don't achieve their goal, right? Akshay: Huh. Huh. Ananya: So, I want to talk about the logline of Paan Singh Tomar and written version but I also think this version is a little bit different than the loglines we have written earlier. Akshay: Okay? Ananya: Let me ⁓ narrate it to you and When Paan Singh Tomar, a patriotic army sportsman, is failed by the government, he decides to become a rebel and deliver justice to his mother's murderer on his own, even if it costs him his own life. Akshay: Hmm. Yeah. It does encapsulate everything. Ananya: right yeah so Akshay: except for the fact that they paid so little attention to the mother's murder. Ananya: Maddo character. Yeah. Akshay: kept wondering is she alive? Is she not alive? Like what is the deal? Ananya: Yeah, I didn't know he had a mother character until she like died. So I was like, oh, okay, she was here. Akshay: Yeah. Ananya: But okay, let's break down the log line. So first let's go into the flaw which in this case is a limitation. His limitation is that he becomes a rebel. So the word rebel itself gives you the idea that they're going up against a big system or they're going up against what is the norm. So you're kind of the underdog in that situation. So how the around you are going to be much greater, you are going to have limited resources. ⁓ Akshay: ⁓ ⁓ Ananya: Right? Akshay: Yeah, fully. But I also think this person's limitation also comes from the fact that he does belong from Chambal. Because that's something it doesn't take him forward in his life. Like even that becomes the reason he had to stop pursuing his career further. He had to leave the army. So I don't know if we can bring that also in the log line ⁓ because Ananya: Oh, for sure. It is in there. I'll tell you how exactly because that's what I want to talk about. Yeah, but we have to bring in the fact that he is from Chambal and maybe we can do this in a better way, but I'll come to how I think it's there. Okay. Then the next is the goal. The goal is deliver justice to his mother's murderer. Right? Simple. This is what he's after. The conflict is hidden in the word rebel and murder, murderer. Akshay: ⁓ Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Ananya: Because you automatically understand that okay, there's going to be like police coming after him, there is gangs, you have the word government mentioned. So you understand what conflict is going to drive this story. You don't have to state it out loud. And then you have the stakes, which is it may cost him his own life. Right? Now, if you like in this log line, we have one element, which we usually don't have in all of our other log lines. Akshay: Hmm. Hmm. Yeah. Ananya: and that is the inciting incident. The first line of this log line is, when Paan Singh Tomar, a patriotic army sportsman is failed by the government. That is the inciting incident, right, of this story. This is when the real action begins. Now usually, if you go back to any of our episodes and note, we don't have an inciting incident in there. Right? But here it's important because it establishes Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Huh, huh. Ananya: two things. One, it establishes that it's a biopic which is important because you put the name Paan Singh Tomar in there, right? And two, it creates an added level of empathy because you've added that he's a patriotic sportsman. So, what I would add here, I would literally add the words as you said, from Chambal Valley because otherwise if you don't add this, we don't Akshay: Hmm hmm. Ananya: care about this story as much, right? Because I want to draw attention to one scene which comes later in the film to drive home what I mean by this, right? We have a scene where Paan Singh Tomar is fighting the man who has grabbed his land, right? And have called in a collector to come and resolve to kind of mediate the dispute between them. Now in this mediation, the collector has come. Akshay: Hmm. Yeah. Huh. ⁓ Ananya: as a favour because Paan Singh's senior in the army used to know him and called him as a favour. But he is extremely dismissive of these people. He says that this is typical, savage behaviour from Chambal. You all have no sense of proprietary, proprietary, proprietary, propriety. Propriety. You all are savages, right? Akshay: Huh. Hmm. Yeah Ananya: So if we didn't have the fact that he was a patriotic army sportsman, if we just had the words Chambal in there, we would not have any empathy or interest in watching this character because we also, given the audience for whom this film is made, would be like, arey one more, like wo pagal log, inka toh sab chalta hi raha tha hai, you know. So this is why I think this log line is a little different because Akshay: Huh. Yeah ⁓ ⁓ Ananya: as you are writing, you have to remember that he is still patriotic a person. He is still a decorated ⁓ sportsman. And otherwise, you lose interest in the film. I would not watch a film about a regular dacoit. Akshay: Hmm. Hmm, hmm. Yeah, yeah. One more thing. But again, like we spoke about our previous few films, this stake is something which keeps evolving in the film right like ⁓ it's not set up right from the beginning of the film like it's again like comes so late right like ⁓ it's at the first the film becomes about him like winning the race then it's about like whatever getting the land back and ultimately it becomes about ⁓ no matter what I'm not surrendering so again like Ananya: Yeah. Akshay: again one of those classic cases where stake is not established right up front. So, yeah. Ananya: Yeah, definitely. And I think that's a good point to go into the hero's journey, what you just said about how this really evolves because we're in so many different worlds throughout the film. So I believe that this film doesn't have one but has two hero's journeys. Akshay: ⁓ my god, okay. Yes. Yes. I was feeling I was feeling like my god What will we talk about this like? Will it just be an endless debate, but good! Ananya: Good, I have Akshay's approval. Good to know. Okay, so what is the hero's journey? The hero's journey is the structural spine of your film. Joseph Campbell coined the monomyth, which means that every story essentially is one single story, where your characters are hitting the same beats, whichever journey that they're going on. Akshay: Yeah. close. Ananya: These beats enable you to give an emotional hit to your audience every so often so that they feel like the journey is progressing. So sometimes even if your characters are a little weak or your plotting is not yet strong or not yet definitive and crystallized, these will guide you in terms of where to put turny and turny and twisty, no English today, plot points. So that you constantly have those emotional hits coming to your audience and you ensure that they're coming along for the ride with you. So in this story as we just discussed there are actually two hero's journeys because we are in two completely different worlds. In the first world we have Irfan going into the army and joining the army and his track of him being a sports person. This track is almost removed Akshay: Cool. Hmm. Ananya: from the second track or the second two thirds of the film which starts a new storyline which is informed by the original storyline of his experiences in the army which is caused due to him leaving the village and joining the army but not exactly related... yeah the only cause and effect is the inciting incident there where because Akshay: ⁓ Yeah. Ho. a byproduct. Ananya: Irfan has left his village and gone and joined the army. His land has been vacant. His family land has been vacant. Half of the land was sold by his brother. The other half was still in Irfan's name. The guy who bought the land, who was their cousin, Bhanwar Singh, grabbed Irfan's share of the land too. This happened because he was in the army. But there is no other relation to him being in the army and the second half of the story. Akshay: Yeah. Yeah. Now this is only possible because this is a story based on the real story, right? Like, like because a real life is not like movie, like just one goal, one world, one thing. Like this person, the person, the story is based on, they did have this elaborate life where they had one life which was so different and the second world which was there, they were in, was so different. So yeah, innovative way to put the story out. Ananya: Definitely. And also the first half or the first one third of story, the sports line, sports slash army storyline is essentially empathy building for Irfan's character because you are so invested in him that in second half then whatever he decides to do you're on his side. Akshay: Hmm, hmm, yeah. yeah Ananya: Cool. So let's go over both heroes journeys, right? So first you have the ordinary world. The ordinary world is the world in which the character exists. It's where they are before the call to action has come, before they have started pursuing their goal. We understand where, what, who, why, and we see what their conflict or limitation is and what's stopping them from achieving their goal. Akshay: Hmm, yeah. Bye. Ananya: So over here, we establish Irfan's normal life. That he has a wife in the family who he loves, he's left the village to come join the army. He actually has a really big appetite. ⁓ He ⁓ really to a lot, but the army doesn't give him as much food as he requires. And then the first call to action comes when he is told, Akshay: Yeah Ananya: that you want ⁓ you should join sports the sports division of the army because there's no on food there, so he to actively part of sports but people are skeptical they're like they I think he's only here for the food after a race he eats bananas as everyone is like stretching and all of that Akshay: unlimited food you will get. ⁓ Ananya: and cooling down so they're like bro he's not serious about sports. That's the refusal to the call ⁓ you have this I'd say mentor is there are it's how do I put this but there are two kinds of mentors that come in in this next sequence the first is his senior who gets the news that he's actually from a village of Dacoits Akshay: Hmm. Hmm. Yeah. Hmm. Hmm. Yeah. Ananya: So he pulls Irfan in and they have a meeting with some of the other seniors and they're like, dude, you're from a village of dacoits and this man is a recipe for mutiny within the ranks. So they decide that best put him in sports because there won't be any risk of mutiny. So then he goes into sports. Now over there, he meets his sports mentor, but he becomes a mentor at this point. Akshay: Hmm. Huh. Huh. Ananya: because you have another mini call to action, refusal of the call, meeting of the mentor, right? And that is the beauty of screenwriting because this is what you call a fractal system. Now, what is a fractal system? When you think of a snowflake, they say a snowflake is very, has a certain shape and then every atom within a snowflake has a particular shape of its own that resembles a snowflake. Akshay: Yeah Hmm. Hmm. Ananya: Here, what when we say that okay, we have the hero's journey of the whole film, then each act has its own hero's journey. If you really set to break it down, you should be able to find it in a well written script. The moments will be subtle, but you should be able to find it. Then each scene will have its own hero's journey. Over here you have the sequence of him joining sports, but then you have a scene which has a mini hero's journey of its own. Akshay: Huh. Hmm. Ananya: where he wants to run the 5000 meter race but the call to action comes that no you're going to do the steeplechase. He refused. Like what is this? I'm not doing this. And then the mentor character who is his coach says look if you lose if you win the 5000 meter race the one who will actually lose it is my daughter's brother-in-law and they will take their anger out on my daughter. Akshay: Huh. Bye bye. ⁓ Huh. Yeah. Ananya: Irfan immediately being the good guy that he is says that okay I will do the steeplechase whatever you say. Akshay: Yeah, Ananya: So he doesn't think twice about it. He's immediately like, ⁓ it's your daughter's life or safety on the line. We will do this. No questions asked. Akshay: Yeah I do everything, yeah. Ananya: And then you have the crossing of the threshold which is the famous sports genre trope which we'll talk about the training sequence. So he trains for the... he enters the new world and you learn what the new world is about, they explain steeplechase to him, he starts training for him. Then you have tests, allies and enemies. This is the phase in the hero's journey when the hero starts understanding what this new world is about. Akshay: Hmm, yeah. Ananya: What challenges are they going to face? What problems are they going to have? Who's going to help them? Who's going to be their ally? Right? And over here you have a sequence of events. You have the first race where he's running slowly until he's threatened by his coach and he overtakes and he wins. Then you have his first international race where they've him shoes. New shoes after never having trained in shoes right before the race. ⁓ Akshay: It's... She was... ⁓ Ananya: He goes home, we see how his home life progresses, we see that he has two kids now, right? And then we have the approach to the innermost cave, which is where India goes to war. Not once, but twice, in 1965 and 1967. And he wants to be on the front lines. He goes to his seniors and he says, can you please put me on the front lines because, matlab, izzat ka sawal hai. Like, gaon me chehra nahi dikha paunga, if I'm like sitting here. Akshay: Hmm. Hmm. Hmm. Huh. Yeah. Yeah. Ananya: and doing nothing and they say that look no you are a national treasure, we send sportsmen to the front line. Then the ordeal is his literal frustration and boredom just Just sitting around, he's doing random things in the fire and he's just waiting for his turn. He's really right? ⁓ And ⁓ the gets over, there is going to be another international sports meet ⁓ and the for him is going to be being sent to that sports meeting. ⁓ And ⁓ we the road back. Akshay: Hmm. Hmm, yeah. Yeah. Ananya: which I think the road back is him literally running that race, right? While he's running the race at the International Sports Meet because that is him gaining his life back, walking the paths that he used to walk and his resurrection is when he wins the race. He's like, yeah. And then you have the return with the elixir which is returned with the ice cream because he gets... Akshay: Huh. Hmm. days. Yeah. Ananya: He quits the army but he gets and he leaves to go back home and his senior gives him ice cream as a parting present which is a setup and payoff we will talk about later. Cool. So that is Hero's Journey number 1 and this is only one-thirds into the film. Akshay: Oops. Fuck like, yeah. Yeah. Ananya: After this, we go to a whole other world and we follow a different story almost, which goes to tell us something about TV series, right? Which, yeah, where we don't watch TV series for the story, we watch it for the characters and wherever the character goes after you've built enough empathy for them, you will follow them. Akshay: Hmm. Hmm. Hmm. Ananya: whether a family drama decides to take you to outer space in season 4, you will go there willingly. And I think they've done that very well in this film, right? Where they've made Irfan so lovable that you will follow him into this world of Chambal, even though you're used to him being in a different world. Akshay: Yeah. Hmm. Hmm. Yeah. And like what you said that the hero's journey has its every act will have a hero's journey every scene will have a hero's journey so is our tv series right every episode has its own hero's journey arc fully so like what you're saying bang on yeah Ananya: let us get into the next one. The ordinary world. The ordinary world is that his cousin, cousin, cousin, his cousin Bhanvar Singh-- today is not happening. Akshay: Hmm. Hmm. You've just seen this Paan Singh Tomar so little English. Ananya: Yeah, Akshay: rough Rough around the edges. Ananya: So his cousin, Bhanwar Singh, has grabbed his land and ⁓ he speaks to Bhanwar Singh to return it but instead he gets threatened and he refuses to return the land. And there itself, I think you have the first call to action because everyone around him is like, beat the man up, beat the man up. Like there's a call to take arms and he's like, no, I will not take arms. Akshay: You ⁓ Hmm. Huh. Huh. Huh. Huh. Ananya: And then you have a series of escalating conflicts where first he calls the collector and says can you come and mediate this dispute. The collector says it looks like it is Paan Singh Tomal's land but you all kind of sort it out amongst yourselves you savages and he goes away. Then Irfan gets angry, he cuts the crops in that guy's field and that guy, Bhanwar Singh comes after his son and beats him up. Akshay: Huh. Hmm. Hmm. Yeah. Yeah. Huh. Hmm. Hmm. Ananya: There again instead of you know answering fire with fire, he believes in law enforcement and he goes to the police. And the police also say essentially like there's no dead body, no one died, we can't intervene yet, right? So and then Irfan gets really angry and he goes back, right? But he still doesn't bear arms. Then we have his ⁓ cousin finding out that he went to the police. Akshay: Huh. Hmm. Yeah. Yeah. Yeah. Hmm. Huh. Ananya: And now he's like, I am coming for you. Irfan gets wind of it in the nick of time. He leaves, his wife leaves, everyone clears the house, but they forgot about his mother mostly because I don't think she existed. Akshay: They have I think two shots of her in the movie. when if Irfan first comes back home like early on in the movie with his army uniform that's when she looks at him and blah blah blah and then this is the mother's her dying yeah Ananya: second shot is of her dying. Yeah, you don't even see her face. You just see a woman crouched and Banwar Singh and his men are so agitated that they can't find Irfan that they beat her with the butt of their gun. Very cowardly move on their part, right? And ⁓ up till now, this has been the call to action and refusal of the call constantly. And then meeting the mentor. Akshay: Yeah. Yeah. Yeah. Yeah. Ananya: I believe the mentor in this way, you know how Akshay you'd said in Chakde that the men act as the mentor figure, the men who catcall the women kind of push them to go forward. I think the law ⁓ acts as the symbol of a mentor ⁓ essentially Irfan is like, look, no one's going to help us now. So they are also pushed into bearing arms and taking illegal action and becoming dacoits. Akshay: Hmm. Hmm, hmm. Hmm. Hmm. Hmm. Hmm. Ananya: because they know that law enforcement is not going to show them, not going to give support. ⁓ Akshay: Hmm hmm hmm that's very interesting I hadn't made that correlation but yeah fully correct. Ananya: Because my other option was it's either the mother's tutti chudiya which she sends somehow with someone, she was dying. I have no idea how that logically happened but his friend, someone, his older brother comes, maa ne kaha ki ye chudiya tujhe doon. I'm like, so you found her dying but you didn't take her to the hospital? I was very ⁓ Akshay: Yeah. Yeah. Yeah. there mustn't be a close by hospital like Yeah, I mean... Ananya: Okay, Akshay just to defend this film. ⁓ Chauhan, Tigmanshu Dhulia, if you're looking for your next co-writer. ⁓ Akshay: I mean. ⁓ Ananya: I mean I love the film, I have like no problem with it at all. But I just this one thing, one thing on which everything hinges. Like I know the buildup has been very strong but this is the straw that breaks the camel's back, right? ⁓ The mother dying and there was such little focus on the mother that it kind of threw me off. Akshay: Yeah, yeah. Hmm. Yeah. have a feeling this must be like an on-set problem. know, like it would be like woman they chose to be the mother must not have been a good actress. You know, like it would be one of those things. ⁓ know, how these things can be. Ananya: You So they didn't They didn't have the shot so they removed scenes. ⁓ Akshay: yeah yeah yeah they're like let's play on the emotion that like like killing anybody's mother ⁓ the mother you know like Ananya: Yeah. Yeah. And then have crossing the threshold where he crosses over into the new world, which is the first bullet to Bhanwar Singh's people, where he goes and fires at their family. It's a single bullet, but he says, beware, there's more to come. Right. Then we have the test allies and enemies where you see them acquiring police uniforms because they're going to be impersonating the police and going to that they can do their looting. Akshay: Hmm. Yeah. Yeah. Yeah. Ananya: Unobstructed. They kidnap people in order to be able to fund their campaigns and ⁓ buy all of machinery and They kidnap a politician to that end. And ⁓ then have the approach to the innermost cave. This is where your character is coming very close to what they want. This is us taking the bag of gold from the dragon. And over here we have Irfan catching Bhanwar Singh. Akshay: Yeah. ⁓ weapons ⁓ Hmm. Hmm. Hmm. Ananya: And Bhanwar Singh is killed. But of course, once you get your bag of gold from under the dragon, you have to deal with the dragon chasing you. is your ordeal. Now, in the ordeal, you have the police who come after him ⁓ as their location is revealed and are fired upon and in this firing, his older brother is also killed. Then the reward. Akshay: Yeah. ⁓ Huh. Yeah Ananya: The reward is they find out that the person who gave away their location was the Sarpanch and the Sarpanch and his men and they kill the Sarpanch and his men for being mukhbeers to the police, right? And nine villagers who were all as culpable as the Sarpanch. And ⁓ at the same time we have an article in the newspaper that comes out about his Akshay: Hmm. Yeah, they ended up killing those nine villagers. Yeah. Ananya: about Paan Singh Tomar, his life is being catalogued and documented. This combined with the death, leads to the police coming after him in full force and saying that we are going to catch this man, there's a furor in the country to catch Paan Singh Tomar. This is the way back. He decides to lay low for some time. He decides he doesn't want to surrender. Akshay: Hmm. ⁓ Hmm. Hmm. Hmm. Ananya: ⁓ then we have them coming together after laying low back as a gang. But they have an informer in the gang who has let the police know of their location. And this ends in a shootout. Many, many, many, most of his men die in the shootout. But Paan Singh Tomar is left. Is he going to survive? He's by himself. He's at his lowest. And then he has a loudspeaker and he announces that Paan Singh Tomar is still alive. Akshay: Hmm. Hmm. Huh. Ananya: and that is his resurrection. He climbs out of the hole and he jumps over the canal just like he jumps over the hurdles in his steeplechase and just as he makes it, as he takes a moment to appreciate what he's done, he's shot at the back and killed. And there is no return with the elixir. Akshay: hmm this is the next song Hmm. It's a tragedy. Yeah. Ananya: Yes. Great. So that is the hero's journey. What do you want to go into next? Akshay: Scenes and sequences? Ananya: Let's do scenes and sequences. Akshay: first scene or sequence I want to talk about is the thing which they do a lot in these commercial Bollywood movies the most which is the entry shot of the hero. ⁓ spoke about this in English Vinglish as well where you only see ⁓ we saw like the main protagonist only never see their face up top. We see like their hands, their legs, their eyes, all of that. And the same thing happens here that we have the buildup of this reporter coming to see Paan Singh Tomar and you see like his full silhouette is there. You see him from the back. He sits on the chair. see his eyes. The moment we see him is that important dialogue he said. first time word dhakaith is used we see his full face. that's something our character stands for throughout the film. He defends anybody being called a dhakaith. He says, I'm dhakaith nahi baaghi hai. So I thought that was a very cool sequence. Ananya: I think I'll go one step further to add on your thing where definitely they reveal the character with the most thematically revealing dialogue of hum dacoit nahi baghi hai. That's the first time we see him. But even before we see him, we build up the myth of Paan Singh Tomar. So first, the first shot of the film is people talking about him going like, is the police really going to go after Paan Singh Tomar? Like, there's no way they can catch him. Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Ananya: Then we see the journalist talking to the shopkeeper and he says something and the shopkeeper asks, kya tum Paan Singh Tomar ke aadmi ho? So you are wondering like who is Paan Singh Tomar? And then he goes to meet one of Paan Singh Tomar's men. He doesn't even meet him directly and he has to leave his daughter as a deposit as he goes to meet Paan Singh Tomar. So you are like... Akshay: Hmm. Mmm. Mmm. Hmm. Yeah. Hmm. Hmm. Ananya: really what is the stature, what's the status of this man in this world? So you keep making it scarier and scarier then you go up like to this terrace which is hidden away, it's dark. So you're even before the build-up of seeing Irfan's face you have a sense of this character as a legend, he's a myth. Akshay: Yeah. hmm. ⁓ I hadn't ⁓ put that two and two together, but it always works when you build this myth so much. and again, the he's a simple character. It's right, like you're not going to catch him like in a very cool situation, right? Like he's not like playing something right now. He's not like drinking or he's not having like, it's a simple moment, right? So like how do we build that up is like you give information in different ways about his story and his character and so that when you actually do see him in the flesh there is already context at why this person is so important Ananya: And I think what it also does in Irfan's case is like you said the scene is very simple, right? He's a man sitting on a terrace. He's going to give an interview now. But because we've infused so much information about him having a gang, all of that, there is tension in the scene without having to create it within the scene. You're like, is he going to hit him? Is he going to scream at him? Is he going to insult him? So without him having to do anything in the audience's mind, there is fear, there is tension. Akshay: Huh. Yeah. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm, yeah, exactly. I have another thing, this is one scene but like the format in general of starting the film with like an interview sequence. And you've seen this in a couple of other films where you see like the main protagonist is starting with an interview and throughout the film we cut back and forth. First of all, it's great to do like a biography film based on this way. What it ends up doing is that you jump time using these as devices. Like you don't have to see every year, every minute passing of these characters because this span of almost 30 years of the film was the timeframe of the movie. Now we don't have to go year by year, this happened, this happened, this happened, this happened. We could very conveniently use ⁓ an intercut back to the interview scene and you already know the story has progressed. And what ⁓ at one specific moment is that he's won the international race, the first international race, and you as an audience will think, ⁓ now he's going to have more and more of these races. He's going to do more of these. But you come back to that interview and the first question the journalist asks is, So when did you leave the army? And you're like, ⁓ shit, like, ⁓ this is going to happen now. So I thought they've cleverly used these interview sequences and the device as a whole to like, first, to jump time, and secondly, to steer ⁓ story in a different direction, which was not expected. Ananya: Yeah. Yeah. Definitely, yeah. I think the interview device has been used very well, as you said. And I think they've taken it a step further, where usually this is just used as a device to like jump time and to give information in a way that is more economical to the audience. But here they have incorporated a cause and effect into the interview. Because when once you come back to the interview for the final time, you're in act three of the film, usually... Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Ananya: we just use it to cut back and forth. But instead, now the interview is published, we are back in real time and because the interview is published, Paan Singh Tomar is perceived to be like gloating to the police that ⁓ look I am giving interview sitting in Gwalior and this sends him into hiding. So not only is it used as a device, it has an effect on the plot. Akshay: Hmm. Hmm. Huh. Huh. Hmm. ⁓ plot. Ananya: So it is very good way of not just keeping it a device but furthering it. Then I want to talk about a misdirection which is ⁓ this is at that point in the film where they are going to reconvene. The gang has disbanded post the interview and they have laid low for a while and at this point a police officer is on their trail and he says that ⁓ you know you have to give me a lead. Akshay: Huh. Huh. Ananya: He finds one man Gopi which is played by Nawaz in Irfan's gang and his wife is put under threat. Now he needs a way to figure out how to get himself out of the situation, how to hand over Paan Singh Tomar to the police. Immediately after he says, how do I fix this? We cut to him offering laddus. And your first thought is, are those laddus poisoned? Akshay: Hmm. Fuck. Hmm. Ananya: because in an earlier scene you have seen Irfan have others taste the food first because their food is being poisoned, right? By their enemies. So now ⁓ says don't taste this one, taste the other one, you know, to make sure and he bites into it and happens. You realize the food is not poisoned. Okay, great. Akshay: Yeah. first. Yeah. Yeah, yeah. ⁓ Yeah. Hmm. Ananya: Now you think you put, lead the audience to believe that they're safe, everything is fine, only for them to reach the village and realise that their idea is to poison the drinks, the alcohol which they are giving of Paan Singh Tomar's men. So this is lulling the audience into a false sense of safety before you up the stakes and say actually no, we didn't have this small thing in mind, we have a much bigger plan in mind. We're not gonna Akshay: ⁓ Huh. Huh. Yeah. Ananya: kill him. There's going to be poisoning them and then we're informing the police and there's going to be a whole of shootout. So this misdirection of safety to danger really works as it creates tension. ⁓ makes you almost calm down and then the big punch lands. Akshay: Huh. Huh. Yeah, very bang on because I have also written the same sequence and I've also tried to equate it with the other rule of rule of three which is that you establish a moment like this twice before it actually blows up. So in the very first time of the film you see somebody else is tasting the food as soon as he gets it for Paan Singh. Okay, so that's number one. The number twice is the sweet thing that you know he's like okay taste this so you think like okay it's fine like you know only when it actually blows up it's done like it's done it's elegant like you know you if the laddoo moment wasn't there firstly not only would not have a little tension like you wouldn't think they are safe so that's number one out but also you will have probably forgotten like it's so early on in the time that ⁓ ⁓ It's such a small moment anyway and then it would have no bearing right like it would just seem like ⁓ This is a simple thing of poisoning the alcohol like there's no pattern there and without a pattern like story can seem like quite bland Ananya: Hmm. Yeah. Yeah, for ⁓ ⁓ I want to talk about being unexpected in a scene. ⁓ this where Paan Singh Tomar has been pulled in by his seniors in the army when they have just found out that he comes from a family of dacoits. And they ask him, they're kya tumari family mein matlab sab dakey the hai? And he is very calm and very matter of fact. Akshay: Yeah. Hmm. Huh. ⁓ Ananya: would expect someone in this scene to be like, no sir, we arent' dacoits, you have a misunderstanding, know, Chambal people just have a bad name, blah blah. And so he's like, no, ⁓ Baagis. When the government doesn't take care of you, we have to stand up and take care of ourselves. We are rebels. We are not like Dhakaiths. And this is very fresh and unexpected because you don't expect a character to actually be so calm in their identity. this works. Akshay: No. Hmm. Hmm. Ananya: Because the character itself is unexpected. Because Irfan is so blasé about this is a fact, this is who I am, over here also the scene is also like, okay we guess this is who you are. Akshay: Yeah. Yeah and like even when he asked have they ever been caught by the police and his reaction could have been like no no why will they catch him but there's there's no way they can catch my like my uncle you know like yeah Ananya: Yeah. Exactly. So very well done. ⁓ Then I want to talk about one technique which we always need to establish is the technique of exposition through giving someone who doesn't know information before the information. So this ⁓ exposition is when you have give the ⁓ audience a lot of information once which they need to know in order to be able to further the story. Akshay: Hmm. Hmm. Ananya: Now usually the characters always know this information so this comes up as contrived, written just for the audience. But in this case ⁓ Irfan has come into the world of steeplechase as a new person. So as they explain to him what Steepalchase is, they also explain to the audience what steeplechase is. So it's done in a very organic to the story kind of manner Akshay: Uh-huh. Uh-huh. Hmm. Hmm. Hmm. rule for exposition is that if it is organic in that scene that this information, this character would have given anyway, then it's not exposition. So that's what I try and keep in mind that is this natural then yes, otherwise no. Ananya: moving. No, exactly. Yeah, it has to be very natural to the character. Then I have a bunch of callbacks and time on English Vinglish you asked a question, You're like, is this a Chekhov's gun? A Chekhov's gun is when you set up something initially, which is almost in passing, like you set up a gun in passing, establish it on the character's wall and then later on in the film, the gun is picked up and used, right? Akshay: Hmm. ⁓ Ananya: and in English from English you ask me what's the difference between a setup and payoff and Chekov's gun Right? I think the two are the same but what need to differentiate them from is a callback. Because in a Chekov's gun or a setup and payoff you are setting it up that something is there and then it is ⁓ used later on. But in a callback is there and then it is referenced later on. Akshay: Check out SCAR. Hmm. Hmm. ⁓ Ananya: It is not really used. Akshay: Hmm... Ananya: I don't think there are a lot of Chekov's guns in this film but there are lots of callbacks. So in the opening of the film you see Irfan going home the first time and his wife says and he ⁓ talks about the astrologer that they have and Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Ananya: I said my astrologer said that you will always be roaming around but come back home to me. And then ⁓ on in the third act of the film where he's being chased by the police, he asks his wife, what did your astrologer say? ⁓ she says he said that you'd surrender. This is not a setup and payoff but it's definitely a callback. Right? And callbacks have two very good uses. I think A is character consistency. Akshay: Now what? Hmm. Hmm. Call back. Yeah. Ananya: because a character who does something, repeats something is a consistent character and you want characters who are consistent. And two, it also adds a sense of no information was being wasted in the scene. Akshay: Yeah, yeah. does is that callbacks become very important in personal scenes, because they also show the relationship either has not changed ⁓ or if they have starkly changed. So even in this scene, while the and wife are not staying together, the nature of the relationship hasn't changed, that they still have these small little sweet nothing moments between them. Ananya: Yeah. And a couple of other callbacks - one is the ice cream which is so for our viewers when ⁓ Irfan wants win ⁓ get into sports division he goes and speaks to his senior and his senior says well I have some ice cream here if you can deliver it to this man's house without it melting then I'll let you into the sports division I'll consider you sports division Akshay: Hmm ⁓ Hmm. ⁓ Ananya: Irfan runs and delivers the ice cream in four minutes and then as he's leaving the armed forces, his same senior gives him ice cream again that this time it's for you, you have earned it. Again, it's not being used but it is a nice moment that the relationship is enforced as you said. And another one is when he's running his first race and his coach is like Akshay: moment. ⁓ Hmm. Ananya: cursing at him, Bencho would like run all of that and he pauses and he says, curse in front of me, I respect you too much. And later on when he visits the coaches house many years hence and coach him like, why did you come here? what was intention? He's like, hear ⁓ It's like you said, it tells us what their relationship is like. Akshay: Hmm hmm. Hmm. courts again. Hmm, yeah. Hmm... Yeah. Ananya: And that is all I have on scenes and sequences. Akshay: Yeah, that's amazing. Great. Ananya: Cool, since we're on scenes, let's just jump into genre tropes real quick. I have one genre trope which I want to talk about, which I mentioned briefly, is the training sequence. Now, in every sports film, and we a sports story, if not a sports film, we always see one sequence, like we had in Chak De too of the characters really like training super hard and ⁓ why do we have these training sequences in films? Akshay: Yeah. Huh. Huh. Ananya: We have them for two reasons. A. It helps you understand what this sport entails, the world of the sport. It sets that up for you. It gives information. And two, it makes the character look superhuman. All your sportsmen are always put in a little god-like level, like above us, who who huff and puff climbing stairs. So, you build admiration for your character by making them superhuman through the training sequence. Akshay: Hmm. Hmm. Hmm. Hmm. Yeah. Yeah. Building on the same thing, I had written the montage of preparation also usually follows with a failure so that you also you see the character really work hard so you really build audience likability, you're rooting for the character and when they fail you feel their heartbreak firsthand. Now they again try to do something like this where in the first place after his preparation he Ananya: Yeah. Yeah. Akshay: we make the audience feel that he's losing, that he's not performing. But he ⁓ still ends up winning Now I think because this is a biopic, so it must have happened that the first race he did run, he won, right? But now that's just bland to see, right? Like we show him prepare and if he show him win, that's bland. So they purposely orchestrated the moment where Ananya: Hmm. Akshay: he wasn't performing well in the beginning of the film, of the race. So again, that's a trope, like you show the montage of preparation, but you give the audience a feeling that your character is losing. Ananya: year. They also set this up very well because you know you even you wonder because you're like you know he is the fastest they've established that so many times on then why is he failing and to make sure that doesn't feel untrue to the character there's one line which his coach says in passing just before he's entering the race he's like conserve your stamina up top don't use it until the end Akshay: Yeah. Hmm. Hmm. Yeah Ananya: But then he saves it until such an end that even the coach starts panicking that dude we are going to lose. That's what he screams. Even he forgets his own advice because he's like end means not the last 10 meters. So that saves you from the logic flaw also. That my god, if he is the fastest how dare he lose. Akshay: hmm huh yeah yeah Yeah, yeah, yeah. Hmm. Hmm. Totally went over my head. But yeah, now that you mentioned that now it's clear in my head. ⁓ I have one more genre trope in this. Which is in a movie where there is chase, running, ⁓ or people are going to be behind you, you have ⁓ the moment where, which is the final run of their life, the hero makes, ⁓ it's glorified. So even in this time, the final moment after Irfan is announced on the speaker, am Pansing, tomorrow I'm not going to surrender. After that, when he makes the jump and he starts running, it's glorified, like, right? Like you have the flash cuts of all the moments he's running, ⁓ all of that happens. And interestingly, the hero never gets shot at the beginning, right? Like you've seen anybody who got out of the bushes, they were immediately fired by everybody. But you know give that time for a hero to run at least a long way. The bullets will keep missing him. In this case it was all dark so that didn't happen. But in other movies you'll see like he'll just duck and keep running throughout. Like whoosh whoosh whoosh will happen but he will not get hurt. So until this movie he had to. But ⁓ build up of that moment is written purposely like that because it's a trope. Ananya: And the trope exists because before your hero has to be killed for example over here, you have to in your audience's mind remind them that this is how much you love them, this is how cool they are, this is why they're awesome. So when it hits, when that bullet hits, it hits you too, it hits the audience too like. ⁓ shit. Akshay: Hmm. Hmm. Yeah. Yeah. Yeah, yeah, yeah, yeah, yeah. Ananya: Cool. go into character creation. Yeah. Okay, so I just want to talk about how Irfan's character has been built through the film. And of course, as we discussed through the first hero's journey, the main job of that journey is setting him up as the good guy. He's a great character. But I want to point out the techniques they've used in order to make him likeable. Right? And it is the most important trait in Irfan. Akshay: Okay, let's go. Hmm. Hmm. Yeah. Yeah. ⁓ Ananya: which we see time and again is he speaks truth to power. He has no problem calling out what people in power are doing wrong. Like whether it is telling his coach not to abuse him, he says it in a very nice manner, to screaming at the police and saying like you guys are assholes, you never save us, he has no problem standing up to them. Akshay: Hmm. Yeah. Huh. Hmm. Bye! Ananya: And we love characters like this because we want to be them. We wish we could be brave, right? Next, one thing that always works, especially for male characters, is them being romantic. So, he loves his wife, he misses her. In fact, I love the moment where he's in bed with her and she refuses to turn to see his face. So, he uses the mirror to see the face. Akshay: ⁓ Yeah. Yeah. Hmm, yeah. Yeah, huh? That was so cool! That was so cool! Yeah. Ananya: And that shows us that he actually misses her face, like he misses seeing her. And he goes back to the army also two days late because he's been with his wife. And that shows us that he's a character who really loves his family, who loves his wife. And we love people who genuinely love other people. Building on that, we see that he genuinely cares about everyone. When his daughter's safety is threatened by him choosing to run a certain kind of race, he immediately pulls back. Akshay: Yeah. Yeah. Hmm. Yeah. Yeah. Hmm. Hmm. Yeah. Ananya: Again, we like characters who genuinely care. Then there's a tiny moment where he's training with a dog and where they're seated and in one shot he pets the dog and that's it. But that builds so much likeability, right? It's like taking save the cat one level lower. We like characters who are soft in that sense. Akshay: Yeah. Mm-hmm. Hmm. So much. Yeah. Yeah Yeah. Ananya: He bears no pretenses. I think this is his second biggest trait. He is always like, this is who I am. Why do you want this food? Arey sir, bhukh lagye? Because I'm hungry. Simple. Are you dacoits? Nahi hum baaghi hai. He is very like, this is who I am. And we like characters who have no problem being who they are. Because again, we want to live like that. We want to be who we are and really own ourselves. Akshay: Huh. Hmm. Yeah, yeah. huh yeah yeah yeah Yeah. Yeah. Yeah. Yeah and again while these are things that come over like like in such a long time of the film even in the first four five minutes like first seven eight minutes you already like him because number one like you know that he's just a hungry fellow like he's so innocent right like he's like but i want to eat more like i feel like that innocence is something that people always like right Ananya: Yeah. Akshay: And even the fact that he's running so fast, we know that he's good at his job. Again, so again, that's something which already comes into like the audience's psyche that, ⁓ we're rooting for somebody who capable, you know, he is capable. So I thought that was also really nice. Ananya: Yeah. Ha ha. Very well spotted, yeah. Akshay: Hmm, hmm. Ananya: Next, I want to talk about themes in the film. Now, what is theme? Theme is a dramatic question that you ask in the film and you answer with your main character's actions whether they win or lose. Over here, the main theme of the film is can the government be trusted to take care of its people? It's been masked as a sports film, all of that, but let's be real, this is what the film is really about. Akshay: Hmm. Hmm. Huh. Yeah. Ananya: And usually, how is a dramatic question explored? And we talked about this a little bit in English Vinglish too, where we say that in order to your point of view, to say that this is the answer to the dramatic question, you have to defend that answer. There will be five other points of views ⁓ at least the biggest opposing point of view, which will come and your character has to defend all of them by using their point of view as the weapon and coming out stronger, right? Akshay: Hmm. Huh. Hmm. Huh. Ananya: Over here in this film, they've done that a little differently. Instead of having Paan Singh Tomar be surrounded by people who tell him that, you know, the government is good, the government is good, you are dacoit, you are bad, they make him the person who up top says government is good, government is good, like he keeps asking power to come help save him. So the power... and then he is only driven to such a breaking point Akshay: ⁓ Huh. Huh. Huh. Hmm. point. Ananya: that he only turns and he says no the government is not good and I have to go against them. So instead of having two characters or more characters represent two different point of views they have turned a character's point of view to help you win over the theme. So I thought this was A obviously true to the biopic and B just interesting in terms of a storytelling device, new way of exploring theme. Akshay: Hmm. Yeah. Huh. Yeah, Ananya: ⁓ Akshay: I want to talk about one more thing about theme and I'm very glad you brought English Vinglish into it because there's something I noticed in that film also is that both these films have a strong plot right like there is like she has to go to English class, here he has to become a dacoit right like whatever and multiple things now they both are given one dialogue heavy scene to really ⁓ voice out their problems. Right? Like in English to English, it was that scene with Laurent when she was walking and she said that, how much ever you try, you can never teach niceness to your children. How can you do that? So that was her one thing and it's related to the theme, right? Like acceptance and being nice to some, like it's somewhere it's in the same territory. And here also, when he's about to like, when he's called Bhawar Singh and you know, He shoots one bullet to Bhawar Singh, you know. He has that one monologue where he says that, we're square, right? You made me leave the army to live the life of a dacoit. We will never be square. I had the leave the army, I'd to leave my career. And you've brought me back to where I didn't want to be. Ananya: Mm-hmm. Yeah. Yeah. Akshay: And I think it's again important to give your character that once big scene at least so that you really know. And it's not stating the theme, obviously. That's the beauty of it. Like he didn't complain about the government being this to me or like, you know, nobody came to help me. But it's he blames the situation where he is that he had to take charge in his own hands. Right. So I thought that thematic scene was very nicely explored in this movie. Ananya: Yeah. For sure and to add to that one thing I really liked about that scene is that could have turned into a much longer monologue because that scene was just not coming to a resolution. He kept saying this and that Bhanwar Singh who was kept ⁓ saying "forgive me, forgive me," was no real pushback from his end of like most villains otherwise have their own point of view right because they are more complex. They like Thanos saying that I to save like the planet ⁓ sort of thing. Akshay: Yeah Yeah. Yeah. Yeah. Yeah. Ananya: But this guy doesn't have that. the scene is not going to go any further. So what the writers also did very cleverly was they had the party, the rest of ⁓ Paan Singh Tomar's gang coming from behind and just when this monologue is gonna go into too much territory, they shoot him. So very economically, cleverly done that the character got the thematic monologue but the audience didn't get bored. Akshay: Yeah. Yeah Yeah. Yeah, yeah. Same thing in English Vinglish by the way, now that I think about it, where she's going on that rant and the waitress comes to ask for the order and she says it. So again, could have gone more and more, but just cut it right in the, at the high point. Yeah. Ananya: and get bored. Yeah. Yeah. Yeah, exactly. We have the information. I want go into symbolism next. ⁓ So in Paan Singh Tomar's main dialogue is that ⁓ we are the crooks. the government, it's the law enforcement who's a crook. So I thought a great visual way of doing that. was that when they become dacoits, they wear police uniforms. So they don't have to say this, they do say it several times, but it's a great visual reinforcement, a great symbol of the fact that your law enforcement cannot be trusted. And another symbolism I really liked, which is where he says that, you know, earlier I was running for the country, now I'm running all around the country. Akshay: Yeah right. Hmm Yeah, Hmm. Hmm. Hmm. Ananya: My life has turned into a chase And you keep seeing this in the film where initially you see him running over hurdles now you see him jumping over like obstacles as he runs away from the police or runs away from whoever is chasing him then you see him running in the army with weight then when his brother shot at you see him carrying his brother in the same shot it's the same frame it's the same visual reinforcement so it's symbol Akshay: Right. Hmm. Hmm. Hmm. Ananya: He might have opted out of that race, but his life is still a race by using the same visual imagery. Akshay: Hmm. Hmm hmm. Ananya: And ⁓ I have world next, okay, deriving conflicts from the world. Now, of course, this film is rooted in the world of Chambal Valley, the dacoits and every single conflict is drawn from that theme and that world. But I want to point out two conflicts which still draw from that theme while being in a different world, which is one he goes to the first international race and he's handed spikes, right? Akshay: Huh. BOOM Ananya: and his spikes slow him down and ensure that he loses the race. But if you think about it, a race could have so many other factors. It could have been that the weather was bad and he felt hot and he couldn't run or that there was another opponent who was really strong and he couldn't beat him. But why? Akshay: Hmm. Hmm. Yeah. Which is the case in most of the films. Like they'll be like this international Beware of this international player! You know like, yeah. Ananya: Exactly. But the world of the film, the theme of the film is that you can't trust your government. So they had to make the conflict come from the fact that the government people gave him shoes last minute and that ruined the race. Similarly, for when the war is over and there's an international, another international sports meet happening. Again, here they don't want to send him abroad. And it's again, why? Because he's too old. Again, government bureaucracy. It again could have been that, there's a younger person who's faster than him. But they didn't want to show logic. They wanted to show the government being a problem, which is the theme of the film. So they took the conflict as that, ⁓ ageism. So I thought conflict was very well derived from the world here. Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. What I really like about is that the world is done which automatically intrigues the audience so much Right like generally a movie will have one world, right like if you take a sports biopic. It's a sports biopic It's about an army film. It's an army film. This has so much like it's like it has the world of sports It has the world of army officers and it has the world of the dacoits, right? So, and the thing is that they constantly go in and out of each of them, right? Like you start with the interview with where in he is a dacoit. You first go to the army visual, then you go back, okay, now he's a sportsman. We'll come back again to the interview, which brings him back to the Chambal Valley dacoit world. Again, you go back to the race. Again, you go back to the army. Like it's done very thoughtfully and it also just keeps giving the audience more and more intrigue because you're like, oh, these are the worlds we haven't seen before. So I thought that was done very smartly again from the world point of view. Ananya: Definitely, yeah, very well done. Next, I have dialogue. Okay, so first I want to talk about Akshay: Yeah. Mm-hmm. Ananya: a popular film screenwriting rule is show don't tell. Right? How can you do that in dialogue too? And that is by painting visuals within the dialogue. And one very strong dialogue that stuck out to me was when he said ⁓ Akshay: Hello. Hmm. Hmm. Hmm. ⁓ Ananya: goes to the police ⁓ the police says, no one has died yet, we can't help you. And Irfan says, you're to people, not cook food on their funeral pyre. Or something to that extent that you are not here to like cook food on their funeral pyre. And that is such a strong visual. He doesn't say that Akshay: Hmm. Yeah, yeah, yeah. Ananya: ⁓ you're not here to like only take action once someone is dead. Like you only care about that. Like, no, he paints a picture of what it's really like of the lackadaisical attitude that here someone is dead and you are using their fire to their own benefit. So how do you use visual to show rather than tell? Even when you are telling, right? And then dialogue that's true to the world, which is where Akshay: Yeah, yeah. Hmm. Yeah. Hmm. Ananya: He's an army guy at the end of the day. So that army lingo never leaves him. So when he tells his son that unit will leave someone asks but when will our unit leave? ⁓ Bringing that world back. Towards the end of the film when they're all hiding to go to the final like trench... Yeah, the canals. Akshay: Hmm. Hmm. Mmm. Huh. Alright. can also ⁓ Ananya: He tells everyone as they're running, scout formation, scout formation. It's pointing that he's still an army man. So that world has not been forgotten in this world too. Even if they're in a different world, the world of your character can still be brought in through dialogue. Akshay: Hmm... Hmm... Huh. It reminds me of that moment in Munna Bhai where he had to get the stethoscope and he was like, hey, headphone de na. Yeah, yeah, yeah, yeah. Ananya: Yeah. So yeah, this is all I have on Paan Singh Tomar. How about you? Akshay: Yeah, that's all I have too. Ananya: Cool! Well, thank you guys for joining us on yet another episode of the Breakdown Besties podcast. You know the drill, like, share, subscribe and if you have any thoughts, any comments, any notes, any movies, episodes you want us to break down, leave it down in the comments and we will be back for you next Thursday with another breakdown. See ya! Akshay: Bye.