P. K. Nair and Satish Bahadur travel to Nasik, taking the 3 am Kesari cab, which carries issues of the newspaper. Surrounded by newsprint, they reach the city while it is still morning. They go to the Phalke house, where Nair smiles to see the small motif of the camera that is set into the wall above the door.
Prabhakar meets them warmly and gives them some cans.
They return excitedly with their material, on the evening Kesari cab, to Pune.
Nair works with Rajput- Kakaji- from the Film Institute, and they put together the shots, which are not in order. Nair looks at the shots and tries to create a continuity. He notices one stranded shot, and sees the stripes on the child's dress atop a tree. " This comes here" he places Mandakini Phalke atop a tree before her descent into the waterworld below.
He sees the wonderful shots of a procession following young Krishna through the lanes of Gokul. Shots are missing- how should he piece theses bits together. Because the rhythm of these shots will speak like a pulse of the film maker. He looks at them again and again on the Steenbeck. He sees a pattern.. the isolated individual follower here and there on the landscape, increasing in numbers till the crescendo on the river bank. He works on trying to recreate the pulse.. as he does so, marking, as Rajput splices and cuts, they feels the spirit of the film maker speaking through their hands.
The reels are given to Bhaskar Chandarvarkar to create live music.