Our movie begins with a dedication to the producer's mother that includes a phrase I rather liked: "Who gave us the courage to dream in a harshly real world." This phrase is rather relevant to some of the events that will be witnessed in the film ahead.
The
first true scene of the film shows us a closely cropped shot of a bike being
pedaled through the streets. It's nighttime, and we pass some impressive large
buildings all lit up. The bike comes to a stop outside some wrought-iron gates,
and the rider dismounts.
Through an extended POV shot, the rider approaches the palatial house, and begins peering through the windows. We can hear him breathing heavily through his mouth. He comes to rest at a window that provides a good look into the living room where a father and his teenage daughter are dancing to a 50's rock version of "Santa Claus is Coming to Town." There are a few Christmas decorations up to let us know what time of year it is.
A
glimpse of our stalker is given, allowing us to see one pierced ear and one eye
as he leans out a little from the corner he's hiding behind.
Back inside, the mother of the family comes into the room and starts playfully hassling the father to get ready for a party they're going to. It looks like he's ready to me but she apparently wants him to do more. Eventually she gets him to stop clowning around and head out the door. During this another look at the stalker is given, allowing us to see he has a gold tooth.
The parents leave the house and the daughter waves goodbye from the front door, then closes it behind her. The stalker rounds the corner towards the front of the house and his theme sound starts to play. This is far more upsetting than the "bloop-bloops" we heard for the killer in Gupt. It's hard to describe, other than it sounds like a man chanting in a slow, droning sound. It might be actually saying something, but all I know is that it disturbed me when I first heard it.
The
stalker climbs the front steps and rings the doorbell. The daughter calls from
inside asking who's there. The stalker replies, "Postman." The opening credits
start during this sequence. The daughter opens the door, and gets shoved
backwards by a push to the face. We hear her cries for help over a few title
cards. What exactly happens to her after that is not shown, and I think it's
probably best that it wasn't.
Once the credits are over, we see a man walking into a darkened room carrying a bit of tinsel and singing to himself. He begins to unbutton his shirt and starts talking to himself. We hear his name is Gokul, and he's clearly out of his mind. He looks into a mirror while carrying on the conversation with himself about "having his fill" for the day, and having "met his quota." He then begins musing about the next day, and tells himself not to worry. He knows that "The One who provided the mouth will also provide the food."
Okay, this guy is right behind Nana Patekar in being able to make you hate him.
We cut to a nice house in the morning. A newspaper is slipped under the door, and we see one of the headlines describes Gokul's previous night's atrocities. The girl was 15 years old, and he murdered her after he was done.
Over at the small shrine, we see the mother of the household performing her morning's prayers. She has a small picture of a man on the shrine that I'm assuming is the father, and that he is no longer alive. When she's done, she heads upstairs to wake the family.
In
one large bedroom, there is a huge bed where two people are asleep. She turns
back the covers on one side to reveal a long-haired twin - Naina. She gives her
a peck on the cheek while Naina makes a grumpy face and rolls over. She repeats
the process on the other side, only this twin has short hair - Sonia. The same
kiss and grumpy face follow, and we get a nicely done effect of Sonia rolling
over and putting her arm on Naina.
The younger sibling is introduced by being chased down the steps by Sonia, who is trying to get a photograph back from Diya.
