Friday, December 19, 2025

"A Spooky Night at The Chalet: Where Ghosts Sip Tea and Secrets Linger in the Mist! đŸĩđŸ‘ģ"


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The December sun bathed Darjeeling’s mall in a golden glow, its warmth a fleeting shield against the Himalayan chill that crept into your bones. A few years back, I was wandering through the bustling heart of the town, sidestepping tea hawkers and selfie-snapping tourists, when I met Thapa, a retired professor from St. Joseph’s College. With his tweed jacket, salt-and-pepper beard, and eyes that sparkled with mischief, he looked like he’d just stepped out of a lecture on Himalayan mysticism. We settled on a bench, soaking in the view of Kanchenjunga’s snow-draped peaks, and got to chatting.

I mentioned Darjeeling’s reputation for ghost stories—tales of spectral British sahibs haunting colonial bungalows, restless monks wandering ancient monasteries, and the infamous “Gray Lady” of the old Victoria Hospital, said to drift through its abandoned corridors, searching for her lost child. Thapa chuckled, adjusting his glasses. “Hope you don’t think *I’m* one of those ghosts, lurking here to haunt unsuspecting tourists.”

I grinned and gave his arm a playful nudge. “Nope, you’re too solid for a specter. Ghosts don’t carry library cards, do they? Or do they haunt the overdue fines section?”

He laughed, a deep, rumbling sound that echoed like a monastery gong. “In Darjeeling, the line between the living and the dead is thinner than a first flush tea leaf. If you’re chasing ghosts, meet me at The Chalet at 8 pm. It’s a tucked-away cafe on the winding road to the Himalayan Mountaineering Institute.”

I raised an eyebrow. “The Chalet? What’s the deal—haunted by spirits, or just hipsters in Halloween costumes year-round?”

Thapa’s smile turned cryptic, like he was sharing a secret with the mountains. “Oh, it’s a place where the past lingers like mist. Ever heard of the Lepcha legend of the ‘Shadow Walkers’? They say spirits of ancient traders roam these hills, guarding hidden treasures from the Silk Route days. Some claim The Chalet’s built on one of their old paths. Show up, and you’ll see. Bring a scarf—it gets chilly when the shadows dance.”

Intrigued and mildly spooked, I arrived at The Chalet that evening. The cafe was nestled on a lonely hillside, shrouded by towering pine trees that stood like silent sentinels, their needles whispering secrets to the night. The air carried the scent of woodsmoke and mystery, and the distant howl of a Himalayan wolf—or was it the wind?—sent a shiver down my spine. The exterior was deceptively charming, with ivy-clad walls and glowing lanterns, but stepping inside was like crossing into a gothic novel. Dim candlelight flickered, casting eerie shadows on the walls, and the low, haunting strains of organ music—straight out of a Dracula soundtrack—filled the air. The patrons didn’t help: cloaked in dark coats, wide-brimmed hats, and masks that hid all but their glinting eyes, they looked like they’d wandered in from a masquerade for the undead. Were they locals sipping Darjeeling’s finest, or apparitions nursing spectral brews? The jury was out.

Thapa waved me over to a semi-dark corner table, where the light barely reached. “You made it,” he said, handing me a leather-bound menu that creaked like an old crypt door. “No chickening out now. The ghosts here don’t take kindly to cancellations.”

I slid into the seat, scanning the room. “This place is creepier than a fog-covered tea estate. Those folks over there—coats, hats, masks—look like they’re auditioning for a ghost convention. What’s the deal, Thapa? Are we in a cafe or a portal to the underworld?”

He leaned back, smirking. “In Darjeeling, my friend, every cafe is a potential portal. You know the local lore about the ‘Mist Wraiths’? They say when the fog rolls in thick, spirits of lost trekkers wander the hills, drawn to warm places like this. Those masks? Could be fashion, could be precaution. Ghosts hate being recognized—it ruins their mystique.”

Before I could retort, a lanky waiter glided over, his black uniform blending into the shadows. “Good evening, sirs. I’m Luther,” he said, his voice smooth as moonlight on a frozen lake. “Our special tonight is the ‘Wraith’s Whisper,’ a dessert so light it might float off your plate. What’ll it be?”

I smirked. “Wraith’s Whisper? Sounds like it’ll haunt my stomach. What if it possesses my fork?”

Luther’s eyes twinkled, but his face stayed deadpan. “Sir, our forks are blessed by a lama from Ghoom Monastery. No possession guaranteed, but if it tries, we’ll banish it to the kids’ menu.” Thapa roared with laughter, and I ordered a masala chai to calm my nerves, while he opted for a black coffee—“to match the vibe,” he quipped.

As we sipped, the manager, Sebastian, strolled over—a burly man with a mustache that could hide a yeti and a voice like gravel crunching under boots. “All good here, gentlemen? No spectral disturbances?”

Thapa grinned. “Sebastian, my friend here thinks your customers are straight out of a Lepcha ghost tale. Tell him—are those masks for style, or are we dining with the Shadow Walkers?”

Sebastian’s mustache twitched with amusement. “In The Chalet, we welcome everyone—living, dead, or just here for the Wi-Fi. But if you’re worried, try our ‘Yeti Toddy.’ It’ll warm your soul, even if it’s halfway to the afterlife.”

I played along. “Yeti Toddy? Does it come with a side of abominable snowman? I’m already wondering if I’m dining with humans or the cast of a haunted tea party.”

The banter flowed like the chai, but the atmosphere thickened when the music surged and a sudden gust from an open window rattled the lanterns. One of the masked figures at the bar turned slowly, its eyes locking onto mine with an intensity that froze my blood. My pulse quickened—was this a real ghost? A Shadow Walker, perhaps, guarding some ancient treasure buried beneath the cafe? I whispered to Thapa, “Professor, that one’s staring like I owe it money. Friendly spirit, or should I start chanting the names of tea estates to ward it off?”

Thapa whispered back, “Chanting tea names? Brilliant. Try ‘Margaret’s Hope, Temi, Castleton.’ Ghosts can’t resist a good Darjeeling blend—they’ll float off in embarrassment.”

Luther reappeared with our drinks, but as he set them down, his hand seemed to shimmer *through* the steam rising from my chai—or was it the dim light playing tricks? I blinked, and he smirked. “Just the fog, sir. It loves to mess with first-timers. Or maybe I’m just that ghostly fast.”

Sebastian joined in, chuckling. “Don’t mind Luther. Last month, a tourist swore he saw a spectral yak herder at the bar. Turned out it was just Mrs. Tamang in her new shawl, sipping momos and rum.”

The tension broke when the “ghost” at the bar unmasked, revealing a young local artist in costume for an Instagram photoshoot, her eyes glinting with laughter, not malice. No Shadow Walker, just Darjeeling’s quirky charm at work. But the near-miss had us all cackling. Thapa raised his cup. “To almost-ghosts and foggy frights! Better than meeting a real Mist Wraith—they’re terrible tippers.”

I clinked my chai against his coffee. “And to Thapa, the professor who drags innocents into haunted cafes. Next time, warn me if the menu includes ‘spectral samosas’ or a side of Lepcha curses.”

Luther chimed in, balancing a tray with eerie grace. “No curses here, sir, unless you count our spicy chutney. That’ll haunt you till dawn.”

Sebastian clapped me on the shoulder. “Come back tomorrow. We’re hosting a ‘Ghosts of Darjeeling’ storytelling night. You might hear about the Phantom Rickshaw of Chowrasta or the Singing Monk of Observatory Hill. Bring your friend—he’s got a knack for spotting spirits.”

As we stepped out into the starry night, the pine trees rustling like they were applauding our survival, I felt the thrill of a memorable adventure. The Chalet hadn’t been truly haunted, but between the foggy folklore, the masked patrons, and Thapa’s wicked wit, it was the closest I’d come to dining with Darjeeling’s legendary spirits. The town’s tales—of Shadow Walkers, Mist Wraiths, and ghostly sahibs—lingered in my mind, as did the warmth of that chai and the laughter that echoed louder than any ghostly moan. I turned to Thapa. “Next time, professor, I’m picking the cafe. Somewhere with less... otherworldly ambiance.”

He winked. “Good luck. In Darjeeling, even the tea leaves have ghosts.”


Saturday, December 13, 2025

āĻŦাংāϞা 1 āϞেāϟ āύাāχāϟ āĻļো

**āĻŦাংāϞাā§§ āϞেāϟ-āύাāχāϟ āĻļো: “āϰাāϤেāϰ āϏāĻ™্āĻ—ী” – āύāύ্āϤুāϰ āϏāĻ™্āĻ—ে** 
*(āϰাāϤ ⧧⧍āϟা āĻĨেāĻ•ে āĻ­োāϰ ā§Šāϟে – āĻ•āϞāĻ•াāϤা, ā§§ā§Ē āĻĄিāϏেāĻŽ্āĻŦāϰ ⧍ā§Ļ⧍ā§Ģ)*
*[āϏ্āϟুāĻĄিāĻ“āϰ āĻŽৃāĻĻু āφāϞো। āϜাāύাāϞাāϰ āĻŦাāχāϰে āĻšুāĻ—āϞি āĻšāϞāĻĻে āφāϞো⧟ āĻিāĻ•āĻŽিāĻ• āĻ•āϰāĻ›ে। āĻĻূāϰে āĻāϏāĻĒ্āϞ্āϝাāύেāĻĄেāϰ āĻ•াāĻ›ে āĻļেāώ āϟ্āϰাāĻŽেāϰ āϟুংāϟাং āĻļোāύা āϝাāϚ্āĻ›ে। āĻļো āĻļুāϰু āĻšā§Ÿ āϰāĻŦীāύ্āĻĻ্āϰāϏংāĻ—ীāϤেāϰ āĻŽৃāĻĻু āϏুāϰে…]*

**āύāύ্āϤু** (āĻ—āĻ­ীāϰ, āĻŽāĻ–āĻŽāϞেāϰ āĻŽāϤো āĻ—āϞা, āϧীāϰে, āĻĒ্āϰা⧟ āĻĢিāϏāĻĢিāϏ āĻ•āϰে):  
āφāĻ•াāĻļ āĻ­āϰা āϏূāϰ্āϝ-āϤাāϰা…  
āĻ—ুāĻĄ āχāĻ­āύিং, āĻ•āϞāĻ•াāϤা। āĻāϟা āϤোāĻŽাāĻĻেāϰ āύāύ্āϤু, āĻŦাংāϞাā§§-āĻāϰ āϰাāϤেāϰ āϏāĻ™্āĻ—ী। āϰাāϤ āĻ…āύেāĻ• āĻšā§Ÿে āĻ—েāĻ›ে, āϟ্āϰাāĻŽেāϰ āĻļেāώ āϘāĻŖ্āϟাāĻ“ āĻŦেāϜে āĻ—েāĻ›ে, āĻ•িāύ্āϤু āϤোāĻŽāϰা āϜেāĻ—ে āφāĻ›। āφāĻŽাāϰ āϏāĻ™্āĻ—ে āϜেāĻ—ে āĻĨাāĻ•ো।  
āφāϜ āϰাāϤে āφāĻŽāϰা āĻāĻ•āϏāĻ™্āĻ—ে āĻŽোāĻŽোāϰ  āĻ–ে⧟ে, āĻŦিāϰি⧟াāύিāϰ āĻ—āύ্āϧ āύি⧟ে, āϰোāϞ āϚিāĻŦি⧟ে… āφāϰ āϏāϞ্āϟ āϞেāĻ• āϏ্āϟেāĻĄি⧟াāĻŽে āĻŽেāϏিāĻ•ে āĻ িāĻ•āĻ াāĻ• āĻĻেāĻ–āϤে āύা āĻĒাāĻ“ā§Ÿাāϰ āĻāχ āĻ•াāϞেāĻ•্āϟিāĻ­ āĻšাāϰ্āϟāĻŦ্āϰেāĻ• āύি⧟ে āĻ•āĻĨা āĻŦāϞāĻŦ।  
āĻĢোāύ āϞাāχāύ āĻ–োāϞা āφāĻ›ে। āĻĄা⧟াāϞ āĻ•āϰো। āĻ•ী āĻŦāϞāĻŦে?  

*[āϏুāϰ āĻŽিāϞি⧟ে āϝা⧟ āύীāϰāĻŦāϤা⧟। āĻĒ্āϰāĻĨāĻŽ āĻ•āϞাāϰ āφāϏে।]*

**āĻ•āϞাāϰ ā§§ – āϰাāϜু, āϏুāχāĻ—ি āĻĄেāϞিāĻ­াāϰি āĻŦ⧟** (āĻšাঁāĻĒাāϚ্āĻ›ে āĻāĻ•āϟু, āĻĒেāĻ›āύে āĻŦাāχāĻ•েāϰ āχāĻž্āϜিāύেāϰ āĻļāĻŦ্āĻĻ):  
āĻĻাāĻĻা, āϞাāϏ্āϟ āĻĄেāϞিāĻ­াāϰি āĻļেāώ āĻ•āϰে āĻāϞাāĻŽ āĻ•āϞেāϜ āϏ্āϟ্āϰিāϟে। āĻāĻ•āϟা āϚিāĻ•েāύ āĻŦিāϰি⧟াāύি āĻāϏāĻĒ্āϞ্āϝাāύেāĻĄ āĻĨেāĻ•ে āĻĒাāϰ্āĻ• āϏাāϰ্āĻ•াāϏ… āĻāĻ–āύ āϰাāϤ āĻĻুāϟো, āĻĒেāϟে āĻ›ুāϟāĻ›ুāϟ āφāĻ“ā§ŸাāϜ āĻ•āϰāĻ›ে।  

**āύāύ্āϤু** (āĻŽৃāĻĻু āĻšেāϏে):  
āφāϰে āϰাāϜু āĻ­াāχ, āĻŦিāϰি⧟াāύি āĻĄেāϞিāĻ­াāϰ āĻ•āϰে āύিāϜে āĻŦিāϰি⧟াāύি āĻ–াāϏāύি? āĻāϟা āϤো āĻ…āύ্āϝা⧟!  
āĻŦāϞো, āφāϜ āϰাāϤেāϰ āĻŽুāĻĄ āĻ•ী? āĻĢুāϟāĻŦāϞ āύি⧟ে āĻĻুঃāĻ–, āύা āϏāϞ্āϟ āϞেāĻ•েāϰ āĻŦিāĻļৃāĻ™্āĻ–āϞা āύি⧟ে āĻĢ্āϰাāϏ্āϟ্āϰেāĻļāύ?  

**āϰাāϜু**:  
āĻĻাāĻĻা, āĻŽেāϏি… āϏāϞ্āϟ āϞেāĻ•ে āĻāϏে āĻ—েāϞ, āĻ•িāύ্āϤু āφāĻŽāϰা āĻ িāĻ•āĻ াāĻ• āĻĻেāĻ–āϤেāχ āĻĒেāϞাāĻŽ āύা। āĻŦাāχāϰে āĻĻাঁ⧜ি⧟ে āĻš্āϝাāĻļāϟ্āϝাāĻ— āĻĻি⧟ে āĻŽāϰāĻ›ি, āφāϰ āĻ­িāϤāϰেāϰ āϞোāĻ•েāϰাāĻ“ āĻŦোāϤāϞ āĻ›ুঁ⧜āĻ›ে।  

**āύāύ্āϤু**:  
āĻš্āϝাঁ āϰে, āĻĒুāϰো āĻ•āϞāĻ•াāϤা āĻāĻ•āϟা āĻ•াāϞেāĻ•্āϟিāĻ­ āĻšাāϰ্āϟāĻŦ্āϰেāĻ•ে āĻĄুāĻŦে āĻ—েāĻ›ে – āφāĻŦাāϰ āĻāĻ•āĻŦাāϰ। āĻ•িāύ্āϤু āϜাāύিāϏ āϰাāϜু, āĻŽেāϏি āϚāϞে āĻ—েāĻ›ে, āĻ•িāύ্āϤু āϤোāĻĻেāϰ āĻŽāϤো āĻĄেāϞিāĻ­াāϰি āĻŦ⧟āϰা āϰাāϤেāϰ āĻ•āϞāĻ•াāϤাāĻ•ে āĻŦাঁāϚি⧟ে āϰেāĻ–েāĻ›ে। āϤুāχ āĻšিāϰো।  
āĻļোāύ, āϤোāϰ āϜāύ্āϝ āĻāĻ•āϟা āĻ—াāύ… āĻĒ্āϰāϤি āϰাāϤে āĻŦাāχāĻ•ে ā§§ā§Ļā§Ļ āĻŽাāχāϞ āĻĻৌ⧜āύোāϰ āϜāύ্āϝ।  

*[āĻŦাāϜে: “100 Miles” – āχংāϰেāϜি āĻ—াāύ, āϏāĻĢāϟ āϰāĻ• āĻ­াāχāĻŦ]*  

**āύāύ্āϤু** (āĻ—াāύেāϰ āĻĒāϰ):  
āϰাāϜু, āĻāĻ–āύ āĻŦিāϰি⧟াāύি āĻ–ে⧟ে āϘুāĻŽি⧟ে āĻĒ⧜। āĻĄেāϞিāĻ­াāϰি āĻļেāώ, āϰাāϤ āĻļেāώ āύা… āĻ•িāύ্āϤু āϤোāϰ āĻļিāĻĢāϟ āĻļেāώ। āĻ—ুāĻĄ āύাāχāϟ, āĻšিāϰো।  

*[āĻĒāϰেāϰ āĻ•āϞাāϰ]*

**āĻ•āϞাāϰ ⧍ – āϰিāύা, āĻŦেāĻšাāϞাāϰ āĻ—ৃāĻšিāĻŖী** (āĻ—āϞা āĻ•াঁāĻĒা, āϰাāĻ—ী āĻĢিāϏāĻĢিāϏ):  
āύāύ্āϤু-āĻĻা, āĻ“ āφāĻŦাāϰ āĻĄ্āϰিāĻ™্āĻ• āĻ•āϰে āĻŦেāϰি⧟ে āĻ—েāĻ›ে। āϰোāϜāĻ•াāϰ āϰোāϜāĻ•াāϰ… āĻāĻ–āύ āϰাāϤ āϤিāύāϟে, āϘāϰে āύেāχ। āĻŦাāϚ্āϚাāϰা āϘুāĻŽি⧟ে āĻ—েāĻ›ে, āφāĻŽি āĻāĻ–াāύেāχ āĻŦāϏে āφāĻ›ি।  

**āύāύ্āϤু** (āĻ—āϞা āφāϰāĻ“ āύāϰāĻŽ, āĻ•াāωāύ্āϏেāϞāϰ āĻŽোāĻĄ):  
āϰিāύা āĻĻি, āĻļাāύ্āϤ āĻšā§Ÿে āĻŦāϏো। āĻļ্āĻŦাāϏ āύাāĻ“… āĻļ্āĻŦাāϏ āĻ›া⧜ো।  
āϜাāύো, āĻ•āϞāĻ•াāϤাāϰ āĻ…āύেāĻ• āĻŽে⧟েāϰা āϰাāϤে āϰেāĻĄিāĻ“ āĻļুāύে āĻļো⧟। āϤুāĻŽি āĻāĻ•া āύāĻ“।  
āĻ“ āϝাāĻŦে, āĻāϏে āĻĒ⧜āĻŦে, āĻ•াāϞ āϏāĻ•াāϞে āĻš্āϝাāĻ™্āĻ—āĻ“āĻ­াāϰ āύি⧟ে āĻŽাāĻĢ āĻŽাāĻ—āĻŦে… āφāϰ āϤুāĻŽি āĻ…āĻĒেāĻ•্āώা āĻ•āϰāĻŦে, āĻ•াāϰāĻŖ āϤুāĻŽি āĻŦ⧜ো āĻŽāύেāϰ।  
āĻāĻ•āϟা āĻĒুāϰোāύো āĻ—াāύ āĻļোāύো… āĻŦেāϞা āĻŦ⧟ে āϝা⧟, āϝāĻĻি āĻ“ āύা āφāϏে…  

*[āĻŦাāϜে: “āĻŦেāϞা āĻŦোāϏ” – āĻ…āĻž্āϜāύ āĻĻāϤ্āϤেāϰ āĻ—াāύ, āύāϏ্āϟাāϞāϜিāĻ•, āĻ–ুāĻŦ āĻ•āϞāĻ•াāϤা]*  

**āύāύ্āϤু**:  
āϰিāύা āĻĻি, āĻ•াāϞ āĻ“ āφāϏāĻŦে। āφāϰ āύা āĻāϞেāĻ“… āϤুāĻŽি āϏ্āϟ্āϰং। āϝāĻ–āύ āχāϚ্āĻ›ে āĻ•āϞ āĻ•āϰো।  

*[āĻŽাāĻে āĻŽুāĻĄ āĻŦāϜা⧟ āϰাāĻ–āϤে]*  

**āύāύ্āϤু**:  
āĻ•āϞāĻ•াāϤা, āϰাāϤেāϰ āĻāχ āĻļাāύ্āϤিāϤে āĻāĻ–āύ āĻāĻ•āϟা āĻ—াāύ āϝে āφāĻŽাāϰ āĻ—াāύেāϰ āϏ্āĻŦāϰāϞিāĻĒি āϞেāĻ–ে… āĻšেāĻŽāύ্āϤ-āĻĻাāϰ āĻ—āϞা⧟। āĻļোāύো, āĻāχ āϰাāϤāϟাāĻ•ে āφāϰāĻ“ āϏুāύ্āĻĻāϰ āĻ•āϰে।  

*[āĻŦাāϜে: “āφāĻŽাāϰ āĻ—াāύেāϰ āϏ্āĻŦāϰāϞিāĻĒি” – āĻšেāĻŽāύ্āϤ āĻŽুāĻ–োāĻĒাāϧ্āϝা⧟েāϰ āφāϤ্āĻŽিāĻ• āĻŦাংāϞা āĻ•্āϞাāϏিāĻ•]*  

*[āĻĒāϰেāϰ āĻ•āϞাāϰ – āĻ•্āϞাāϏ āϟেāύেāϰ āĻŽে⧟ে, āĻ—āϞা āĻ•াঁāĻĒāĻ›ে]*

**āĻ•āϞাāϰ ā§Š – āĻĒ্āϰি⧟া**:  
āύāύ্āϤু-āĻĻা… āĻŦাāĻŦা-āĻŽা āĻĢোāύ āĻĻেāĻŦে āύা āĻŦāϞে… āφāĻŽি āφāϜ… āĻ…āύেāĻ• āĻ•িāĻ›ু āĻ­েāĻŦে āĻĢেāϞেāĻ›িāϞাāĻŽ…  

**āύāύ্āϤু** (āĻ—āϞা āφāϰāĻ“ āύীāϚু, āϜāϰুāϰি āĻ•িāύ্āϤু āĻļাāύ্āϤ):  
āĻĒ্āϰি⧟া, āĻļোāύ। āĻĢোāύāϟা āĻāĻ•āϟা āĻŽেāĻļিāύ। āϤুāĻŽি āĻāĻ•āϟা āϜীāĻŦāύ।  
āĻŦাāĻŦা-āĻŽা āϤোāĻŽাāĻ•ে āĻ­াāϞোāĻŦাāϏে, āĻ“āĻĻেāϰ āϭ⧟ āĻšā§Ÿ āϤোāĻŽাāĻ•ে āχāύ্āϟাāϰāύেāϟেāϰ āĻšাāϤ āĻĨেāĻ•ে āĻŦাঁāϚাāϤে।  
āϤুāĻŽি āĻ–ুāĻŦ āχāĻŽ্āĻĒāϰ্āϟ্āϝাāύ্āϟ। āĻāχ āϰাāϤāϟা āĻĒাāϰ āĻ•āϰে āĻĻাāĻ“… āĻ•াāϞ āϏ্āĻ•ুāϞে āϝাāĻ“, āĻŦāύ্āϧুāĻĻেāϰ āϏāĻ™্āĻ—ে āĻ•āĻĨা āĻŦāϞো, āφāĻŽাāϰ āĻļো āĻļোāύো।  
āϞাāχāĻĢ āĻ…āύেāĻ• āĻŦ⧜ো, āĻĢোāύ āĻ›োāϟো। āĻĒ্āϰāĻŽিāϏ āĻ•āϰো āĻāĻ–āύ āϘুāĻŽোāϤে āϝাāĻŦে?  

**āĻĒ্āϰি⧟া** (āύাāĻ• āϟাāύāĻ›ে):  
āĻĒ্āϰāĻŽিāϏ…  

**āύāύ্āϤু**:  
āĻ—ুāĻĄ āĻ—াāϰ্āϞ। āĻāχ āĻ—াāύāϟা āĻļোāύো… āφāϰ āĻŽāύে āϰেāĻ–ো, āϤুāĻŽি āϤোāĻŽাāϰ āωāĻĒা⧟েāχ āϜিāϤāĻŦে।  

*[āĻŦাāϜে: āĻĢ্āϰ্āϝাāĻ™্āĻ• āϏিāύাāϤ্āϰা – “My Way”]*  

**āύāύ্āϤু** (āĻ—াāύেāϰ āĻĒāϰ):  
āĻĒ্āϰি⧟া, āϤুāĻŽি āϤোāĻŽাāϰ āωāĻĒা⧟েāχ āϜিāϤāĻŦে। āϝāĻ–āύ āχāϚ্āĻ›ে āĻ•āϞ āĻ•āϰো।  

*[āĻĒāϰেāϰ āĻ•āϞাāϰ – āϚিāύ্āϤিāϤ āĻ­োāϟাāϰ]*  

**āĻ•āϞাāϰ ā§Ē – āĻŦিāĻļ্āĻŦāύাāĻĨ, āϏāϞ্āϟ āϞেāĻ•েāϰ āĻŽāϧ্āϝāĻŦ⧟āϏি āĻ­āĻĻ্āϰāϞোāĻ•** (āωāĻĻ্āĻŦিāĻ—্āύ, āϤা⧜াāĻšু⧜ো āĻ—āϞা):  
āύāύ্āϤু-āĻĻা, āĻ­োāϟেāϰ āϞিāϏ্āϟে āφāĻŽাāϰ āύাāĻŽ āĻĨাāĻ•āĻŦে āĻ•ি? āĻāχ āĻāϏāφāχāφāϰ-āĻāϰ āϜāύ্āϝ āϏāĻŦ āĻ•āύāĻĢিāωāĻļāύ… āĻĄāĻ•ুāĻŽেāύ্āϟ āϜāĻŽা āĻĻি⧟েāĻ›ি, āĻ•িāύ্āϤু āϭ⧟ āϞাāĻ—āĻ›ে, āχāϞেāĻ•āĻļāύ āφāϏāĻ›ে, āύাāĻŽ āύা āĻĨাāĻ•āϞে āĻ•ী āĻšāĻŦে?  

**āύāύ্āϤু** (āĻļাāύ্āϤ, āφāĻļ্āĻŦāϏ্āϤ āĻ•āϰে, āĻ•াāωāύ্āϏেāϞāϰ āĻ­াāχāĻŦ):  
āĻŦিāĻļ্āĻŦāύাāĻĨ-āĻĻা, āĻļাāύ্āϤ। āĻāϏāφāχāφāϰ-āĻāϰ āĻāχ āĻ—োāϞāĻŽাāϞে āĻ…āύেāĻ•েāχ āϟেāύāĻļāύে āφāĻ›ে, āĻ•িāύ্āϤু āϤোāĻŽাāϰ āύাāĻŽ āĻĨাāĻ•āĻŦে। āĻ…āύāϞাāχāύে āχāϞেāĻ•āĻļāύ āĻ•āĻŽিāĻļāύেāϰ āϏাāχāϟে āϚেāĻ• āĻ•āϰো, āύা āĻšāϞে āϞোāĻ•াāϞ āĻŦুāĻĨে āϝাāĻ“।  
āĻāχ āĻļāĻšāϰে āφāĻŽāϰা āϏāĻŦাāχ āĻāĻ•, āĻ­োāϟেāϰ āĻ…āϧিāĻ•াāϰ āĻ•েāω āĻšাāϰাāĻŦে āύা। āϰিāϞ্āϝাāĻ•্āϏ, āĻāĻ• āĻ•াāĻĒ āϚা āĻ–াāĻ“, āφāϰ āĻāχ āĻ—াāύ āĻļোāύো… āφāĻ—āϰ āĻŽুāĻāϏে āĻŽোāĻšাāĻŦ্āĻŦāϤ āĻš্āϝা⧟, āϤাāĻšāϞে āϟেāύāĻļāύāĻ•ে āĻĻূāϰ āĻ•āϰো।  

*[āĻŦাāϜে: “āφāĻ—āϰ āĻŽুāĻāϏে āĻŽোāĻšাāĻŦ্āĻŦāϤ āĻš্āϝা⧟” – āφāĻĒāĻ•ি āĻĒāϰāĻ›াāĻ‡ā§Ÿাঁ āĻ›āĻŦিāϰ āϰোāĻŽাāύ্āϟিāĻ• āĻšিāύ্āĻĻি āĻ“āϞ্āĻĄি, āĻāĻ•āϟু āϰāϏিāĻ•āϤাāϰ āĻ›োঁ⧟া āύি⧟ে]*  

**āύāύ্āϤু**:  
āĻŦিāĻļ্āĻŦāύাāĻĨ-āĻĻা, āĻ•াāϞ āϚেāĻ• āĻ•āϰো। āϏāĻŦ āĻ িāĻ• āĻšā§Ÿে āϝাāĻŦে। āĻ—ুāĻĄ āύাāχāϟ।  

*[āĻļেāώ āĻ•āϞাāϰ – ⧧⧍ āĻŦāĻ›āϰেāϰ āφāϰāϜুāύ, āϭ⧟ে āϭ⧟ে]*

**āφāϰāϜুāύ**:  
āύāύ্āϤু āφāĻ™্āĻ•āϞ… āĻŽা-āĻŦাāĻŦাāĻ•ে āĻĒুāϞিāĻļ āĻŦāϞেāĻ›ে āĻĄিāϜিāϟাāϞ āĻ…্āϝাāϰেāϏ্āϟ… āĻ“āĻĻেāϰ āĻĢোāύে āĻ•িāĻ›ু āĻĢ্āϰāĻĄ āĻŦāϞেāĻ›ে, āĻŦ্āϝাāĻ™্āĻ• āĻ…্āϝাāĻ•াāωāύ্āϟ āĻ–াāϞি āĻšā§Ÿে āϝাāĻŦে āĻŦāϞে… āφāĻŽি āĻ•ী āĻ•āϰāĻŦ?  

**āύāύ্āϤু** (āĻĻৃā§ āĻ•িāύ্āϤু āĻ­াāϞোāĻŦেāϏে):  
āφāϰāϜুāύ, āϏাāĻŦāϧাāύে āĻļোāύ। āĻāϟা āϏ্āĻ•্āϝাāĻŽ। āĻĒুāϞিāĻļ āĻ•āĻ–āύো āĻĢোāύে āĻĄিāϜিāϟাāϞ āĻ…্āϝাāϰেāϏ্āϟ āĻ•āϰে āύা।  
āϤুāĻŽি āĻāĻ–āύ āĻŽা-āĻŦাāĻŦাāĻ•ে āĻŦāϞো āĻĢোāύāϟা āĻ…āĻĢ āĻ•āϰে āĻĻিāϤে। āĻ•োāύো āϞিāĻ™্āĻ• āĻ•্āϞিāĻ• āĻ•āϰāĻŦে āύা, āĻ•োāύো āχāωāĻĒিāφāχ āĻĒিāύ āĻĻেāĻŦে āύা।  
āĻ•াāϞ āϏāĻ•াāϞে āĻ•াāĻ›েāϰ āĻĨাāύা⧟ āϝাāĻ“, āĻ•āĻŽāĻĒ্āϞেāύ āĻ•āϰো।  
āϤুāĻŽি āĻ–ুāĻŦ āϏ্āĻŽাāϰ্āϟ āĻŦাāϚ্āϚা… āĻāχ āϏāĻŽā§Ÿ āϤুāĻŽিāχ āĻ“āĻĻেāϰ āĻšিāϰো।  
āĻāĻ•āϟা āϰোāĻŽাāύ্āϟিāĻ• āĻĒুāϰোāύো āĻ—াāύ āĻļোāύো… āϜাāύো, āϞাāχāĻĢে āĻ…āύেāĻ• āϏāύ্āϧে āĻ…āĻĻ্āĻ­ুāϤ āĻšā§Ÿ, āĻ•িāύ্āϤু āϏāĻŦ āĻ িāĻ• āĻšā§Ÿে āϝা⧟।  

*[āĻŦাāϜে: “āĻ‡ā§Ÿে āĻļাāĻŽ āĻŽাāϏ্āϤাāύি” – āĻāĻ•āϟু āϰāϏিāĻ• āĻšিāύ্āĻĻি āĻ•্āϞাāϏিāĻ• āĻ­াāχāĻŦ āĻĻি⧟ে āĻŽুāĻĄ āĻšাāϞāĻ•া āĻ•āϰāϤে]*  

**āύāύ্āϤু** (āĻ—াāύেāϰ āĻĒāϰ):  
āφāϰāϜুāύ, āĻšিāϰো, āĻāĻ–āύ āϘুāĻŽি⧟ে āĻĒ⧜। āĻ•াāϞ āϏāĻŦ āϏāϰ্āϟ āĻšā§Ÿে āϝাāĻŦে।  

*[āφāϰেāĻ•āϜāύ āĻ•āϞাāϰ āĻĸোāĻ•াāϰ āϚেāώ্āϟা āĻ•āϰে]*  

**āĻ•āϞাāϰ ā§Ģ – āĻ…āϜ্āĻžাāϤāύাāĻŽা āϰাāϜāύৈāϤিāĻ• āĻ‰ā§ŽāϏাāĻšী** (āωāϤ্āϤেāϜিāϤ, āϰ‍্āϝাāύ্āϟ āĻ•āϰāĻ›ে):  
āύāύ্āϤু-āĻĻা, āĻāχ āϏāϰāĻ•াāϰāϟা… āϏāĻŦ āĻĻুāϰ্āύীāϤি, āĻŽেāϏিāϰ āϘāϟāύাāϟাāĻ“ āϰাāϜāύৈāϤিāĻ• āώ⧜āϝāύ্āϤ্āϰ, āφāϰ āĻāχ āĻāϏāφāχāφāϰ āĻŦা āĻāύāφāϰāϏি-āϰ āϜāύ্āϝ āĻĒুāϰো āĻŦাংāϞা⧟—  

**āύāύ্āϤু** (āĻŽāϏৃāĻŖāĻ­াāĻŦে āĻ•েāϟে āĻĻি⧟ে, āĻšাāϏি āĻŽিāĻļি⧟ে):  
āφāϰে āĻ­াāχ, āϰাāϤেāϰ āĻāχ āĻļাāύ্āϤিāϤে āĻĒāϞিāϟিāĻ•্āϏ āύা। āĻāχ āĻļোāϟা āϞাāĻ­, āϞাāχāĻĢ āφāϰ āĻ•āϞāĻ•াāϤাāϰ āϰোāϞ-āĻŦিāϰি⧟াāύি āύি⧟ে। āϤোāĻŽাāϰ āϜāύ্āϝ āĻāĻ•āϟা āĻ—াāύ āϝে āϏāĻŦ āĻ•āĻĨাāĻ•ে āĻ“ā§Ÿাāϰ্āĻĄāϏে āĻŦাঁāϧে… āĻ•িāύ্āϤু āĻĒāϞিāϟিāĻ•্āϏ āύ⧟, āĻĒ্āϞিāϜ!  

*[āĻŦাāϜে: “Words” – āĻŦিāϜিāϏেāϰ āĻ—াāύ, āĻļাāύ্āϤ āχংāϰেāϜি āϟ্āϰ্āϝাāĻ• āĻĻি⧟ে āϟেāύāĻļāύ āĻ•āĻŽাāϤে]*  

**āύāύ্āϤু**:  
āĻĻেāĻ–ো, āĻ•āĻĨা āϏাāϰি⧟ে āĻĻিāϤে āĻĒাāϰে āĻŦা āφāϘাāϤ āĻ•āϰāϤে āĻĒাāϰে… āϏাāĻŦāϧাāύে āĻŦেāĻ›ে āύাāĻ“। āĻ•āϞাāϰ, āĻĒāϰেāϰ āĻŦাāϰ āĻĒাāϰ্āϏোāύাāϞ āĻ—āϞ্āĻĒ āĻŦāϞো।  

*[āĻļো āĻļেāώ āĻ•āϰāϤে, āĻ—āϞা āωāώ্āĻŖ, āĻŦāĻšুāĻ­াāώিāĻ•]*  
āĻ•āϞāĻ•াāϤা, āϰাāϤ āĻ…āύেāĻ• āĻšā§Ÿে āĻ—েāĻ›ে – āφāϜ āϤো āϏāϞ্āϟ āϞেāĻ•েāϰ āĻŦিāĻļৃāĻ™্āĻ–āϞাāϰ āĻĒāϰেāĻ“। āĻ•েāω āĻŽোāĻ—āϞাāχ āĻĒāϰোāϟা āĻ–ে⧟ে āϘুāĻŽোāϤে āϝাāϚ্āĻ›ে, āĻ•েāω āωāϤ্āϤāĻŽ-āϏুāϚিāϤ্āϰাāϰ “āϏāĻĒ্āϤāĻĒāĻĻী” āφāĻŦাāϰ āĻĻেāĻ–āϤে āĻŦāϏāĻŦে।  
āϤোāĻŽāϰা āϜেāĻ—ে āĻĨাāĻ•ো, āĻ•াāϰāĻŖ āĻāχ āĻļāĻšāϰ āϰাāϤেāχ āĻŦেঁāϚে āĻĨাāĻ•ে। āχāύāϏāĻŽāύি⧟াāĻ•āϰা, āφāĻŽাāϰ āϏāĻ™্āĻ—ে āĻĨাāĻ•ো।  
āĻ•াāϞ āφāĻŦাāϰ āĻŽিāĻĄāύাāχāϟে āĻĻেāĻ–া āĻšāĻŦে – āφāĻļা āĻ•āϰি āĻ•āĻŽ āĻŦিāĻļৃāĻ™্āĻ–āϞা āύি⧟ে। āĻāĻ–āύ… āĻļুāĻ­ āϰাāϤ্āϰি, āĻļুāĻ­ āϰাāϤ্āϰি, āĻ—ুāĻĄ āύাāχāϟ।  
āφāĻ•াāĻļ āĻ­āϰা āϏূāϰ্āϝ-āϤাāϰা… āφāĻŦাāϰ āĻļুāϰু āĻšāĻŦে।  

*[āφāωāϟ্āϰো: “āφāĻ•াāĻļ āĻ­āϰা āϏূāϰ্āϝ-āϤাāϰা”āϰ āχāύ্āϏāϟ্āϰুāĻŽেāύ্āϟাāϞ āĻĢেāĻĄ, āĻĻূāϰে āϰাāϤেāϰ āĻĢুāϚāĻ•া āĻ েāϞাāϰ āϘāĻŖ্āϟিāϰ āĻļāĻŦ্āĻĻ āĻŽিāĻļি⧟ে]*

Friday, December 12, 2025

Midnight masala with Sandy



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🌙 “Midnight Masala With Sandy” — Private FM Delhi

Time: 12:05 AM – 2:00 AM
Host: RJ Sandy
Station Tagline: “Dilli ke raat ke saath… hum bhi jaagte hain!”


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🎙️ Opening Monologue

“Good eveniiiiing Dilli!
Yeh hai aapka dost… aapka padosi… aur thoda sa nautanki… Sandy!
Aur aap sun rahe ho Midnight Masala, jahan raat bhi jawaan hai… aur main bhi!”

“Abhi clock ne bajaya 12… aur iss waqt Dilli teen categories mein divided hoti hai:
1️⃣ Jo so rahe hain…
2️⃣ Jo so nahi paa rahe…
3️⃣ Aur jo so nahi chaaahte… like me… kyunki paisa tabhi milta hai jab main mic par bolta rehna hoon!”

“Chaliye… raat ki shuruaat ek old-school English beauty se karte hain… Elton John ka ‘Sacrifice’.
Stay tuned, don’t go anywhere… warna main aapke sapnon mein aa jaunga!”

đŸŽļ SONG 1: Elton John – Sacrifice


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☎️ Caller 1 — The Night-Shift Nurse

Sandy: “Aur ab hamare saath line par hain… Sister Neha from Safdarjung Hospital. Neha, kya haal-chaal?
Aap log hamare asli heroes ho!”

Neha (tired voice): “Bas Sandy… 14-hour shift hoyi… teen emergency cases aa gaye.”

Sandy: “Neha, aapko salute! Aaj ke liye aapka dedication… ‘Zindagi ki yahi reet hai’—from Mr. India.”

đŸŽļ SONG 2: Zindagi Ki Yahi Reet Hai – Mr. India

Before the song ends Sandy cuts in smoothly:

“14 ghante duty? Agar main karta toh show mein soota milta! But Neha… you rock.”


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☎️ Caller 2 — The Insomniac Philosopher

Sandy: “Agla call… oh ho… hamare regular caller ‘Shakespeare Sharma’!
Sharma ji, iss waqt aap kya soch rahe?”

Sharma: “Sandy beta… zindagi ki meaning batado?”

Sandy: “Sir, agar mujhe meaning pata hota… toh main FM RJ nahi… TED Talk speaker hota!
Chaliye, aapke liye ek soulful track bajata hoon.”

đŸŽļ SONG 3: ‘Fix You’ – Coldplay


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☎️ Caller 3 — The Restless Auto Driver

Sandy: “Line pe hain Mukesh bhaiya, CP se! Bhaiya auto chala rahe ho is waqt?”

Mukesh: “Haan Sandy bhai… ek chakka utha ke laaya hoon Gurgaon se. Ab thoda music chahiye.”

Sandy: “Lo bhai… aapke auto ki headlight se zyada bright gaana:
‘Khaike Paan Banaras Wala’!”

đŸŽļ SONG 4: Khaike Paan Banaras Wala – Don


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☎️ Caller 4 — The Suspiciously Nervous Man

(A thief)

Sandy: “Hello caller! Naam bataoge?”

Caller (whispering): “Naam mat puchho… bas gaana bajao… ‘Don’t Stop Me Now’…”

Sandy: “Arre bhai… itni raat ko kya kar rahe ho?”

Caller: “Bas… kaam par jaa raha hoon…”

Sandy: “Kaisa kaam?”

Caller: “Mat puchho!”

Sandy: “Theek hai… naam nhi batate… kaam nhi batate… par gaana suno.
Just don’t commit anything illegal before the chorus. Police bhi sun rahi hoti hai kabhi-kabhi!”

đŸŽļ SONG 5: Don’t Stop Me Now – Queen

Sandy fades in laughing:
“Bas bhai… agar kuch ulta-seedha karne ja rahe ho… toh mera naam mat lena!”


---

☎️ Caller 5 — The Final, Sensitive One (possible suicidal mood)

Sandy switches tone: gentle, empathetic.

Sandy: “Hello… this is Sandy. Aap kaun bol rahe ho?”

Caller (sad male voice): “Sandy… I don’t know if I should continue… everything is useless…”

Sandy pauses, soft voice:

Sandy:
“Dost, ruko. Deep breath.
Raat lambi hai… aur mushkil bhi.
Lekin ek RJ ka phone line kabhi band nahi hota.
Tum bolte raho… main yahin hoon

Caller sobs about job loss, loneliness.

Sandy:
“Sun… ek gaana bajata hoon. Tum phone mat rakho.
After the song, we talk again… okay?”

đŸŽļ SONG 6: ‘Chalo Ek Baar Phir Se Ajnabi’ – Talat Mahmood

After the song:

Sandy:
“Dost… duniya me koi raat itni andheri nahi hoti jisme subah naa ho.
Tum mujhe paraya mat samajhna.
Hum sab kabhi-kabhi toot jaate hain.
Par radio is for keeping you company… till the sun rises.”

They continue talking (off-air).


---

🎙️ Closing Monologue

“Dilli… it’s 1:55 AM.
Main hoon Sandy… aur yeh thi Midnight Masala.

Aaj ki raat ne sabko dikhaya:
Koi beedi pee raha, koi auto chala raha, koi hospital me jaan bacha raha…
Aur koi sirf zinda rehne ki koshish kar raha.

Music un sabka saath hai.

Main kal phir aaunga… tab tak…”

đŸŽļ SONG 7: ‘Sweet Child O' Mine’ – Guns N’ Roses

“Good night Dilli… stay kind… stay alive.”


---



---

🌙 EPISODE 2 — “The Robber, The Radio, And The Ridiculous Night”

From the series: Midnight Masala With Sandy

The night after his emotional roller-coaster show, Sandy comes back to the FM station at 11:40 PM, clutching his favourite plastic cup of vending-machine cappuccino (which tastes like wet cardboard but keeps him awake).

He enters Studio 3 and the technician Ravi whispers:

“Bhai… raat ko ek ajeeb banda phone kiya tha… ‘Don’t Stop Me Now’ wala. Lagta hai kuch gadbad tha.”

Sandy laughs:
“Arey aise log roz aate hain yaar… Dilli ka late-night clientele. Insomniac philosopher, heartbroken lover, night-shift nurse, aur beech mein koi petty thief. It’s part of the charm!”

🎙️ ON AIR — 12:03 AM

Sandy starts the show:

“Good night, Dilli! Aaj raat ka episode… thoda thanda, thoda garam, thoda masaledaar! Let’s open with ‘Hawa Hawai’ from Mr. India!”

The phones start lighting up like Diwali.

He takes one call, then another… and then…

Line 4 flashes.
The same number from last night.
The “nervous thief.”

Sandy smirks and picks up.


---

☎️ Caller: The Nervous Robber Returns

Sandy: “Hello caller… aapki saanson ki gati dekh kar lagta hai… ya toh aap ne marathon daudi… ya kuch aur.”

Caller (whisper whisper):
“Sandy bhai… main phir bol raha hoon…”

Sandy: “Waah! Delhi ka Robin Hood is back! Kal kya kara? Bank loot liya?”

Caller:
“Nahin bhai nahin! Main abhi mission par hoon… aur ek request hai… please aaj ‘Eye of the Tiger’ bajaa do. Motivation chahiye.”

Sandy can’t stop laughing.
He lowers his voice theatrically:

“Bhai… honestly… agar chor bhi motivation ke liye FM sunte hain… toh hamara TRP khatarnak hai.”

Caller (still nervous):
“Sandy bhai… bas bajaa do… main thoda darr gaya hoon.”

Sandy:
“Haan bajata hoon… but ek baat batao… last time kya kaam karne jaa rahe the?”

Caller:
“Bhai… sach bolun? Main chor nahin hoon…”

Sandy: “Toh?”

Caller:
“Main… learner chor hoon.”

Sandy: “WHAT? Apprentice chor?”

Caller:
“Haan bhai… training chal rahi hai! Aaj pehla assignment hai. Ek kirane ki dukaan se cash drawer uthana… bas… chhota kaam hai… 2-minute ka.”

Sandy chokes on his coffee.

He plays the song anyway — because station guidelines say “Never break character on-air” — and the moment the mic is off, he bends double laughing.


---

đŸŽļ SONG BREAK: Eye of the Tiger – Survivor


---

🕐 1:15 AM — Off-Air Twist

After a commercial break, Sandy walks out to the vending machine to get water.

As he turns the corner of the parking lot…

A man jumps out of the dark.

Black hoodie.
Mask hanging on one ear.
Mobile in hand.

The SAME VOICE says:

“Sandy bhai?”

Sandy freezes.

“TU?!”

The man looks exactly like a nervous mosquito.

Skinny, jumpy, eyes like he hasn’t slept since demonetisation.

Robber:
“Bhai, main hi hoon. Aap se live advice leni thi… radio pe nahi bol sakta tha.”

Sandy:
“Bhai… tu radio pe tu robbery ka consultancy le raha hai… and now you’re here in person?! Security!”

The robber waves frantically.

“Nahin bhai… main chor type ka banda hoon hi nahin! Mujhe actually chor ban’na hi nahi tha!”

Sandy rubs his forehead:
“Then why the hell did you choose THIS career path?”

The man blurts:

“Bhai… main BCom fail ho gaya… call center mein bolne ka talent nahi… girlfriend ne bola ‘Tu kuch dhamakedaar kar’… toh main scripts dekh raha tha… chor character bada stylish lagta hai! But real life… haal kharab!”

Sandy starts laughing so hard he holds his stomach.

“Bhai… film mein Ranveer Singh chor hota hai, tu nahi. Tu toh ‘training wheels’ waala chor lagta hai!”

The robber looks embarrassed.

“Bhai… ek problem solve kar do.
Mera trainer, Vimal Cargo, waiting in that alley. He told me: ‘Jaa, store loot ke aa.’
But main darr raha hoon. Kya karoon?”

Sandy becomes philosophical.

“Dekh bhai… agar tujhe chor banna hota, tu mujhe phone nahi karta. Chor raat ko FM nahi sunte.
Unke paas apna playlist hota hai — ‘Jab se tere naina’ and ‘Jai Ho’.
You’re not a criminal. You’re just unemployed.”

The robber nods miserably.


---

🎭 THE CLIMAX — SANDY THE SAVIOUR

Sandy grabs his arm.

“Chal, tujhe ek kaam deta hoon.”

“FM station mein housekeeping ka vacancy hai. Raat ki shift. Paisa kam, crime zero.”

The robber’s eyes shine.

“Sach? Job mil jayegi?”

Sandy: “Haan. Bas training chor ki chhod de.”

At that moment, the trainer Vimal Cargo arrives — a bulky man with gutka-stained teeth.

“Arrey… isko kya sikhaya re Sandy?!”

Sandy folds his arms.

“Vimal bhai… isko HR department de diya. Ab ye radio station ka employee hai.
Agar aap usko disturb kiya… toh kal subah police wala Sharma ji ko main khud phone karunga.”

Vimal Cargo mutters curses and disappears into the darkness.

The robber looks at Sandy like he’s God.

“Bhai… main aapko life bhar ‘Don’t Stop Me Now’ dedicate karunga.”

Sandy pats his shoulder.

“Chal… jaa job join kar. Aur haan… aaj ki raat ka gaana tere naam…”


---

🎙️ BACK ON AIR — 1:40 AM

Sandy (on air):
“Dilli… kabhi-kabhi life weird logon ko aapke raste mein bhej deti hai…
Par agar aap thoda sa waqt de do… toh sab theek ho sakta hai.
Aaj ka gaana… sab ‘lost but not bad’ logon ke liye.”

đŸŽļ SONG: “It’s My Life” – Bon Jovi


---

🌅 END OF EPISODE 2

Sandy signs off at 2:00 AM, walks out of the studio…

…and sees the nervous ex-robber sweeping the office corridor, humming “Jai Jai Shivshankar.”

Sandy smiles.

“Welcome to honest work, brother.”


---

Friday, December 05, 2025

The Magnet of Misery

The Magnet of Misery

In the quiet lane behind the old Hanuman temple in Dehradun lived Baba Samaranand, retired electrical engineer from Bharat Heavy Electricals, self-certified philosopher, and part-time therapist who charged nothing but asked for total surrender to his “methods”. People called him “Baba Magnet-wale” because he had a bowl full of fridge magnets shaped like laughing Buddhas, OM signs, and one suspiciously obscene dancing Shiva that he swore was “pure tantra”.

One monsoon afternoon, a man stormed in wearing a safari suit two sizes too tight, face redder than a Diwali lantern.

“Babaji!” he shouted, “I am Vinod Tandon, branch manager, Punjab National Bank, Sector 17. My life is finished! My BP is 180/110, my wife has stopped cooking paneer, my daughter wants to marry a boy who makes YouTube videos about cryptocurrency, and yesterday the ATM swallowed my own debit card! Tell me, Babaji, is mercury retrograde or have I offended Shani-dev in my previous birth?”

Baba Samaranand was drinking tea from a steel glass that had “Best Employee 1998” printed on it. He looked at Vinod over the rim, slow as a lizard.

“Arre Tandon-sahib, sit. First remove your shoes, they are leaking tension on my floor.”

Vinod sat, sweating.

Baba opened his wooden Godrej cupboard, took out a bright red horseshoe magnet, and placed it in Vinod’s palm.

“Hold this.”

Vinod stared. “That’s it? I came from Chandigarh for a magnet?”

“Shh. Close fist. Feel the pull.”

Vinod closed his fist. “Nothing is pulling.”

“Exactly,” Baba smiled. “That is the whole point. The world is pulling you from all sides, wife, daughter, ATM, cryptocurrency damad. But this magnet is pulling nothing. For ten minutes daily, you sit with it and tell it your problems. It will listen quietly. No advice, no judgement, no forward of good-morning messages. Just listening.”

Vinod looked doubtful. “But Babaji, this is just cognitive behavioural distraction, right?”

Baba’s eyes widened in admiration. “Arre wah! You also read WhatsApp University psychology groups? Good, then you already know it works. Now go, complain to the magnet, not to your liver.”

Vinod left, slightly confused but lighter.

Three weeks later he returned, looking ten kilos thinner and suspiciously cheerful.

“Babaji, miracle! BP is 130/85, wife made paneer twice, daughter’s boyfriend has only 40,000 subscribers so I have postponed my heart attack, and the bank gave me new card with extra cashback. Your magnet is dev-amaan!”

Baba waved his hand. “Magnet is duffer, yaar. You just stopped short-circuiting your own brain.”

Next came Mrs. Shukla, chemistry teacher from St. Joseph’s, famous for making class 10th boys cry with her mole-concept sarcasm.

“Baba, I can’t sleep. Every night I calculate how many children have ruined their future because they confuse valency with validity. I wake up at 3 a.m. shouting ‘Avogadro!’ in my dream.”

Baba listened patiently, then disappeared into his little courtyard and returned with a small tulsi plant in a broken coffee mug.

“This is Tulsi Devi version 2.0. Your new daughter.”

Mrs. Shukla frowned. “I already have one tulsi outside my house.”

“That one is on autopilot. This one is on manual mode. Your job: keep her alive. Not too much water, not too little. Morning sun till 11, then shade. Talk to her in Hindi, she hates English medium.”

Mrs. Shukla laughed despite herself. “You’re giving me a plant instead of sleeping pills?”

“Sleeping pills have short cut. Plant has no short cut. Every day you will wake up thinking ‘Did I kill Tulsi Devi today?’ By the time you finish checking her soil, your brain will be too tired to torture you with mole concept. Nature’s own CBT.”

Mrs. Shukla took the plant like it was made of glass.

Six months later she sent Baba a Rakhi made of tulsi leaves and a card: “Tulsi Devi now has 47 children (cuttings). I sleep like Kumbhakaran. Thank you for upgrading my motherboard.”

Then came the grand finale: young Arjun, software engineer, 27 years old, 27 tabs open in brain.

“Baba, I have decision paralysis. Startup or Google? Arrange marriage or Tinder? Keto or rice? I overthink so much I forgot my own Wi-Fi password.”

Baba looked at him sadly. “Beta, you are trying to take short cut to life. Life has no Ctrl+Z.”

He thought for a long time, then went inside and returned with… nothing.

Arjun panicked. “No magnet? No plant?”

Baba shook his head. “For you, I have a task that even Google cannot optimise.”

He pointed to a rusty iron trunk in the corner. “Every morning at 6 a.m. you will come here, open this trunk, take out one old photograph, look at it for five minutes, try to remember the story behind it, then put it back exactly the way it was. No phone, no music, no short cut.”

Arjun opened the trunk. Inside were hundreds of faded photographs: someone’s wedding, someone’s first bicycle, a group of engineers in bell-bottoms holding a “400 kV line energised” banner.

“Whose photos are these?” Arjun asked.

“Mine, my friends’, strangers’ who left them here over twenty years. Some dead, some forgotten. You will never know the full story. That is the point. You will sit with mystery that has no closure, no LinkedIn profile, no resolution. Your overthinking engine will sputter and die because it has nothing to optimise.”

Arjun came every morning for three months. One day he arrived with a big grin.

“Baba, I have stopped overthinking.”

“Good!”

“I joined my father’s hardware shop in Roorkee. Cash only, no UPI, no decisions, no keto.”

Baba looked shocked. “Arre! That is too much offline, beta!”

Arjun laughed. “No short cut, Baba. You said.”

Baba hugged him. “Accha, at least update the shop’s WhatsApp DP once a year.”

Years passed. Baba Samaranand’s veranda became famous. People came with anxiety, left with magnets, plants, old photographs, sometimes just a safety pin he asked them to count every day (“there are exactly 108 grooves, no more, no less”).

One evening, a foreign lady journalist arrived with a big camera. “Sir, BBC wants to do a story: ‘The Indian Guru Who Heals With Fridge Magnets’.”

Baba offered her tea in the Best Employee 1998 glass.

“Madam, I am not guru. I am only retired electrical engineer. I know one thing: current always takes path of least resistance. Human beings also want least resistance. Anxiety is high-resistance path. I give tiny low-resistance loops, magnet, plant, photograph, so current calms down.”

The journalist smiled. “So placebo?”

Baba grinned, showing paan-stained teeth. “Placebo, placebo-effect, placebo-wallah, whatever. As long as the fuse doesn’t blow, who cares about the brand name?”

She asked for a magnet to take home.

Baba gave her the obscene dancing Shiva one.

“Careful, madam. This one has extra tantric pull.”

She laughed all the way back to London.

And in the quiet lane behind the Hanuman temple, Baba Samaranand kept his bowl of magnets ready.

Because some problems need surgery, some need medicines, and some just need a small, ridiculous task so the mind stops short-circuiting itself.

After all, as he liked to say, “In the grand 440 kV transmission line of life, sometimes all you need is a little grounding.”

Wednesday, December 03, 2025

A leaaf from a diary

I came across this short story written in blank verse!
The doorbell hums, a single lazy bee.  
I open—there stands a man of thirty-five  
or so, tall, smiling like an old refrain  
I almost know. His face is half a ghost  
of someone’s son; the eyes, perhaps, the chin—  
they tug at memory, then slip the hook.  

“Uncle,” he says, and folds his hands in greeting,  
the word a warm coin pressed into my palm.  
I stare, ashamed. These sixty years of postings—  
Ambala, Tezpur, Wellington, Surat—  
have strewn my mind with faces like confetti  
after parades long over. North, South, East,  
West: I have shaken hands in every dust  
and every rain this country owns. Somewhere  
among those thousands, surely, is his father.  

I smile the helpless smile of the forgetful,  
usher in this polite familiar stranger.  
“Sit, sit,” I say, and wave him to the sofa  
whose springs still sigh for friends who never age.  
The maid is summoned; tea will come anon.  

He sets a box upon the table—mithai,  
bright as festival, wrapped in silver hope.  
“My mother sent,” he laughs, “she still believes  
you have the sweet tooth of a twenty-five  
year captain who could finish half a kilo  
and ask for more.”  

I shake my head, rueful. “Those days are gone, beta.  
Diabetes now polices every spoon.  
Your mother’s love is lethal in the best way—  
it tries to kill me with affection.”  

He laughs, and for an instant I almost catch  
the name that dances just behind his teeth.  
Almost. The moment slips, like railway platforms  
sliding past the window of an express  
I boarded long ago and can’t get off.  

We sip the tea. He tells me of his job,  
his wife, a child who calls the fan “helicopter.”  
I nod, I smile, I say the proper things,  
while in my skull a thousand ghostly uncles  
lean forward, straining to remember him  
for me. They fail.  

At last he rises. “I must go, Uncle-ji.  
Next time I’ll bring namkeen.”  
I touch his shoulder—warm, substantial, real—  
and feel the small sharp sorrow of the old:  
to be a crowded album no one opens  
quite the right way anymore.  

He leaves. The box of sweets remains, unopened,  
a polite assassin on the table.  
I sit alone, tasting the bitter tea  
of being loved by people I’ve forgotten  
and forgetting those who still remember me.