same here 22 i have all punjabi and hindi chanels

Abstract
Machine Transliteration is to transcribe a
word written in a script with approximate
phonetic equivalence in another language.
It is useful for machine translation,
cross-lingual information retrieval,
multilingual text and speech processing.
Punjabi Machine Transliteration (PMT)
is a special case of machine transliteration
and is a process of converting a word
from Shahmukhi (based on Arabic script)
to Gurmukhi (derivation of Landa,
Shardha and Takri, old scripts of Indian
subcontinent), two scripts of Punjabi, irrespective
of the type of word.
The Punjabi Machine Transliteration
System uses transliteration rules (character
mappings and dependency rules) for
transliteration of Shahmukhi words into
Gurmukhi. The PMT system can transliterate
every word written in Shahmukhi.
1 Introduction
Punjabi is the mother tongue of more than 110
million people of Pakistan (66 million), India (44
million) and many millions in America, Canada
and Europe. It has been written in two mutually
incomprehensible scripts Shahmukhi and Gurmukhi
for centuries. Punjabis from Pakistan are
unable to comprehend Punjabi written in Gurmukhi
and Punjabis from India are unable to
comprehend Punjabi written in Shahmukhi. In
contrast, they do not have any problem to understand
the verbal expression of each other. Punjabi
Machine Transliteration (PMT) system is an
effort to bridge the written communication gap
between the two scripts for the benefit of the millions
of Punjabis around the globe.
Transliteration refers to phonetic translation
across two languages with different writing systems
(Knight & Graehl, 1998), such as Arabic to
English (Nasreen & Leah, 2003). Most prior
work has been done for Machine Translation
(MT) (Knight & Leah, 97; Paola & Sanjeev,
2003; Knight & Stall, 1998) from English to
other major languages of the world like Arabic,
Chinese, etc. for cross-lingual information retrieval
(Pirkola et al, 2003), for the development
of multilingual resources (Yan et al, 2003; Kang
& Kim, 2000) and for the development of crosslingual
applications.
PMT is a special kind of machine transliteration.
It converts a Shahmukhi word into a Gurmukhi
word irrespective of the type constraints
of the word. It not only preserves the phonetics
of the transliterated word but in contrast to usual
transliteration, also preserves the meaning.
Two scripts are discussed and compared.
Based on this comparison and analysis, character
mappings between Shahmukhi and Gurmukhi are
drawn and transliteration rules are discussed.
Finally, architecture and process of the PMT system
are discussed. When it is applied to Punjabi
Unicode encoded text especially designed for
testing, the results were complied and analyzed.
PMT system will provide basis for Cross-
Scriptural Information Retrieval (CSIR) and
Cross-Scriptural Application Development
(CSAD).
2 Punjabi Machine Transliteration
According to Paola (2003), “When writing a foreign
name in one’s native language, one tries to
preserve the way it sounds, i.e. one uses an orthographic
representation which, when read
aloud by the native speaker of the language,
sounds as it would when spoken by a speaker of
the foreign language – a process referred to as
Transliteration”. Usually, transliteration is referred
to phonetic translation of a word of some
1137
specific type (proper nouns, technical terms, etc)
across languages with different writing systems.
Native speakers may not understand the meaning
of transliterated word.
PMT is a special type of Machine Transliteration
in which a word is transliterated across two
different writing systems used for the same language.
It is independent of the type constraint of
the word. It preserves both the phonetics as well
as the meaning of transliterated word.
3 Scripts of Punjabi
3.1 Shahmukhi
Shahmukhi derives its character set form the
Arabic alphabet. It is a right-to-left script and the
shape assumed by a character in a word is context
sensitive, i.e. the shape of a character is different
depending whether the position of the
character is at the beginning, in the middle or at
the end of the word. Normally, it is written in
Nastalique, a highly complex writing system that
is cursive and context-sensitive. A sentence illustrating
Shahmukhi is given below:
X}Z Ìáââ y6– ÌÐâ< 6ڻ– ~@

‘Khayalon mein kisi ke is tarah aya nahin karte’  sung by Mukesh and Geeta Roy for film- ‘Bawre Nain’- starring Raj Kapoor and Geeta Bali- in the year 1950 is still alive in the head and heart of millions of nostalgic music lovers world over. As and when the unforgettable melody is played, the listener derives a different kind of soul throbbing experience, which somehow cannot be put to words.

The reason- singing at ease, simple lyrics and above all captivating and charming instrumentation of its music by an almost unheard of melody maker called- Roshan Lal Nagrath- more popularly known as Roshan.

After serving All India Radio, Delhi for ten years as a class dilruba player  besides a love affair and second marriage with his disciple-  Ira Moitra (a Bengali), Roshan reached Bombay in search of some  assignment as a music composer. The place to stay was a garage of Husnalal (of Husnalal Bhagatram- duo). It was in this garage,  where his fist son Rakesh was born.         

A coincidence !  At Dadar station, he came across Kidar Sharma, the doyen of Indian cinema and the renowned producer-director, who was planning his next film- ‘Neki Aur Badi’ (1949). He somehow reposed his trust in Roshan as composer  for the film by replacing Snehal Bhatkar.

The film proved a failure and the dejected and a highly sensitive Roshan, one day came to his mentor- Kidar Sharma fully charged with emotions, sobbing and in tears. He said- “Sharmaji mein khudkushi karna chahta hoon”  (Sharmaji, I want to commit suicide).

Later  while narrating this incident, Kidar Sharma revealed that after patiently listening to Roshan, he told him that as regard his intention of committing suicide, he had no objection. At the same time, he asked him whether  he would like to be drowned in Haji Ali or should he take him to Varsova, where the water was deeper. However, he assured him that  if he defer his decision he could give another chance  in his next film- ‘Bawre Nain’. 

Thus, the suicide attempt of Roshan was averted; but the fact remained that during such period of mental distress, the composer in  Roshan created a soul stirring- ‘Teri dunian mein dil lagta nahin, wapas bula le, main sazde mei’  -later on sung by Mukesh for film ‘Bawre Nain’.

Before commenting on the grand success of ‘Bawre Nain’, I would like to narrate another incident, which occurred during the course of its making. Kidar Sharma in his interview to the brilliant Radio broadcaster Ameen Sayani once told- “One day Mr Dondh, a film distributer from Indore came to my office, when Roshan was already there. He put a bundle of  fifty thousand rupees on my table and told me that he would also give me another fifty thousand  for an additional territory of East Punjab for his forthcoming film ‘Bawre Nain’ on the condition, if I replace Roshan and instead engage- Husnalal Bhagatram for its music”.

“Roshan, who was sitting in the same room, on hearing  these words, immediately left”- added Kidar Sharma- “I too  left the room, leaving behind Mr Dondh and went to the adjacent room, where I saw Roshan sobbing with tears.  He (Roshan) told me- ‘Sharmji aap Husnalal Bhagatram ko le lijiye, jis-se aapka pachhees hazar bhi bach jayenge’”. (Sharmaji, you please engage Husnalal Bhagatram in my place, thus you will save twenty five thousand rupees).

“I came back to my room, where Mr. Dondh was sitting. Though in my life, at one given moment, I had never seen such big amount of money; I gave him back the bundle containing fifty thousand  and told him that his conditions were not acceptable to me and further said that it was like inducing  me to change my wife for a lucrative consideration”.

Inspite of his maiden failure in ‘Neki Aur Badi’ , as a visionary he could visualize a lot of hidden talent in Roshan. The episode of confidence imposed by Kidar Sharma inspite of all odds  deserves to be written in golden letters.

This is how the journey of music of Roshan commenced.

In ‘Bawre Nain’, in addition to ‘Teri duniyan mein dil lagta nahin’ & ‘Khayalon mein kisi ke is tarah aya nahin karte’  he composed some bewitching melodies.  ‘Muhabbat ke maron ka’- sung by Rafi; Ghir ghir ke aasman par’, Kyoun mere dil mein’ & ‘Sun bairi balam mat bol’ –sung by Rajkumari and ‘Mujhe sach sach batado, kya’-sung by Mukesh & Rajkumari.   

During the decade (1951-60) Indian film industry had a galaxy of music composers and each one of them wanted to give something better than the other.  Amongst  the front liners  were- Anil Biswas, Naushad, Husnalal Bhagatram, Shanker Jaikishan, Hemant Kumar, S.D. Burman,  C.Ramchandra, Vasant Desai, Ghulam Mohammad. O.P. Nayyar and Khaiyyam- just to name a few.  The  music of  those days was one of the prime factors for the success of a film. As such, for a new composer, it was extremely difficult to survive in the industry, if the songs composed for the film were  not to the expectations of its viewers. In view of such grand music of the said  decade, the phase  was named as the ‘Golden Era’ of Indian cinema. Distinctively, Roshan was not lacking, as he fairly proved his worth.   

Back to Roshan’s early days at Gujranwala (Punjab) where he was born on 14 July, 1917. He  had little interest in his studies, but could play harmonium at ease. He quit his schooling at an early stage and went to Shahjahanpur (near Lucknow) where his father was in service.  It was at this stage that he had an opportunity of learning  from the legend- Ustad Allaudin Khan, the doyen of Maihar gharana and father of renowned sarod maestro- Ali Akbar Khan and Annapurna Devi.  Such training though for a short while proved to be of an immense value and a blessing for his future course of music career.

Thereafter he studied at Marris College, Lucknow (later on known as Bhatkhande College of Music) and had an opportunity of learning music from Pt S.N. Ratanjankar. Subsequently Roshan came to Delhi, where he met the grand singer in offing- Mukesh.  They became very close friends and the amity resulted in creation of some of the finest songs ever sung by Mukesh.

In the film- ‘Malhar’ (1952) Roshan composed some alluring melodies- ‘Bade armanon se rakha hei sanam teri kasam’, ‘Ik baar agar tu keh de’ & ‘Kahan ho tum’- duets by Lata and Mukesh; ‘Hota rahaa yun hi agar’, ‘Tara toote duniyan dekhe’ & ‘Dil tujhe diya tha rakhne ko’ –three memorable solos of Mukesh; ‘Koyee to sune mere dil ka fasana’ & ‘Mohabbat ki kismet banane se pahle, diniyan ke maalik tu roya to hoga’ –solos  of Lata.  Added, there was a captivating classical title song of  Lata- ‘Garjat barest bheejat’.

Equally well, here were some fascinating compositions for film ‘Humlog’ (1952)- ‘Chhun chhun chhun baaje payal mori’ & ‘Chalee ja chalee ja chhod ke duniyan’ –solos by Lata,  ‘Apni nazar se unki nazr tak’ & ‘Dil ki pareshanian ishq ki veeraniyan’ –sung by Mukesh and ‘Gaaye chalaa ja gaaye chalaa ja’ –duet by Lata and Durrani.

In film- ‘Naubahaar’ (1952),  there were four everlasting melodies of Lata- ‘Aree mein to prem diwani mora dard na jaane koye’, ‘Dekho ji mora jiya churaye liye jaye’, ‘Wo paas nahin majboor hei dil’ & ‘Unke bhulane pe bole mera dil’. These songs are still fresh in the head and heart of ardent music lovers. The charm of the throat of Rajkumari was very much visible in her number- ‘Kajrari matwari madbhari akhiyan’.  Added, a ghazal of Talat Mehmood,  in his silken voice- ‘Kisi soorat lagi dil ki’  made the film, a mile stone in career memoirs of the maestro.  In ‘Raag Rang’ (1952) Roshan composed yet another classic ‘Aye ree aalee piya bin’ –sung by Lata.

Kidar Sharma produced and directed a film ‘Rangeen Ratein’ (1956) starring Shammi Kapoor and his charming wife Geeta Bali and  Roshan provided its music. A duet of Mohd Rafi and Lata Mangeshkar –‘Bahut assaan hei chilman se laga kar muskura dena’ became an instant hit.  In film ‘Aji Bas Shukriya’ (1958), Lata sang –‘Saari saari raat teri yaad sataye’  which, of course,  is  one of her finest numbers.

In the career of  Roshan, 1960 was perhaps the most successful year. It was certainly  in view of his all time great- ‘Barsaat Ki Raat’.  The cine goers went to cinema halls time and again not merely to see the film, but to enjoy and listen to its all time great qawwallies. How can one forget these charismatic qawwallies- ‘Naa to karwan ki talash hei__ye ishq ishq hei ishq’- sung by Manna Dey, Asha, Sudha Malhotra, Shiv Dayal Batish and others which was recorded in on both sides of two 78 rpm records. The composition proved to be the most popular qawwally in the history of Indian cine music- in view of its captivating rhythm, lyrics, instrumentation and above all  the total effect.  Besides this number,  there were other two-  ‘Nigahein naaz ke’ -sung by Shanker Shambhu, Asha, Sudha Malhotra & others  and ‘Jee chataa hei jee’ –sung by Balbir,  Asha,  Sudha Malhotra  &  Bande Hasan.  In addition to these qawwallies, there were few other fascinating melodies, which made the film a perfect musical hit for all the times to come.  The music lover just cannot forget- ‘Zindagi bhar nahin bhoolegi wo barsaar ki raat’ –sung by Lata and Rafi; and ‘Maine shaayad tumhein, pelhe bhee kahin dekha hei’ – Rafi.  Above all, there was classical classic title music- ‘Garjat barsat saawan ayo re, laayo na humre’ – sung by Kamal Barot and Suman Kalyanpur. The orchestrisation for this number was simply superb. Experience the enjoyment of listening to the captivating jaltarang, sarangi and all other instruments deployed. Undoubtedly, in this immortal number, Roshan was at his best.

The musical journey continued and in the film ‘Aartee’ (1962), there was a appealing  solo  of  Lata- ‘Aapne yaad dilaya to hamein’ and  ‘Ab kya misaal doon’  - of Rafi and a duet -‘Baar baar tohey kya samjhay’.

‘Dil Hi To Hai’ (1963) was another splendid attempt.  Manna Dey sang one of his apex classical favorites- ‘Lagaa chunri mein daag, chhupaaun kaise’ and Lata sang- ‘Dil jo hi kahega maneige, Mukesh-  ‘Tum agar mujhko na chaho to koi baat nahin’ & ‘Bhoole se muhabbat kar baithe nadan tha bechara’. Besides there was a qawwalli sung by Asha and others- ‘Nigahein milanein ko jee chahta hai’  and another by Manna Dey, Asha and others- ‘Parda uthe salaam ho jaye’.

The film ‘Tajmahal’ (1963) was another landmark in the professional career graph of  Roshan.  We just cannot forget, the most popular duet of Lata and Rafi- ‘Jo wadaa kiya wo nibhana padega’ ?  It  was rated as the year’s top song for  Bianca Geetmala in  its  annual programme. Also, there were two solo numbers of  Lata and Rafi- ‘Julmein ulfat pe hamein log’ & ‘Jo baat tujhmein hai teri tasveer mein nahin’ and a qawwalli – ‘Chandi ka badan sone ki nazar’- sung by Lata, Rafi, Manna Dey and Mahender Kappor. The maestro was conferred the prestigious ‘Filmfare’ award for the music of this film.     

The passion of Kidar Sharma for portraying  mental conflict motivated him to produce yet another version of the film ‘Chitralekha’ based on the novel of Hindi laureate- Bhagwati Charan Verma.  The earlier ‘Chitrlekha’ was produced by him in the year 1941 and music was composed by Jhande Khan. One of its successful songs- ‘Tum jao jao’ is invariably placed in the list of songs of  ‘Sentimental Era’.

This time the composer was Roshan. Though an established composer, it was a challenge for Roshan; as he was working for his mentor’s paramount conviction and his utmost trust imposed on him.

The music once again was enthralling. The deep rooted lyrics of Sahir Ludhianvi- matching with the mental conflict was remarkably captivating. Two solo songs of Lata and Rafi- ‘Sansaar se bhage phirtey ho’ and ‘Man re tu kahey na dheer dahrey’ respectively proved somewhat unique. And  a classic- ‘Kahe tarsaye jihra’ sung by Usha Mangeshkar and Asha and another of Lata- ‘Aali ree roko na koi’.   Thus making the music for the film- a magnum opus!

Manna Day’s characteristic style of singing was once agian visible in ‘Dooj Ka Chaand’ (1964) when he sang- ‘Phul gendwa na maaro, lagat karejwa pe chot’. In ‘Bheegi Raat’ (1965) as well, Lata and Rafi individually sang an instant hit - ‘Dil jo na keh sakaa, wohi raze dil kehne ki’.

The stage-poet Neeraj offered some of his trendy lyrics for the film- ‘Nai Umar Nai Fasal’  (1965) and Roshan provided the music.  Rafi sang.-‘Karwaaan gujar gaya’ & ‘Aaj ki raat badi natkhat hei’.   Mukesh sang- ‘Dekhtee hi na raho aaj darpan na tum’.  For film Dadi Maa (1966) Manna Dey and Mahender Kapoor sang –‘Usko nahin dekha hamnein magar’  which, as well proved some successful numbers.

Mamta (1966) was  another  signpost in the musical journey of Roshan. In this film; he provided some of his well acclaimed melodies. Lata once again sang some of the stirring classics-‘Rahein na rahein hum’, ‘’Rehte the kabhi unke dil mein’, ‘Sakal ban magan pawan chalat’  & ‘Vikal mora manwa un bin haye’.  Also there was a  poignant duet of  Hemant and Lata –‘Chhupa lo yun dil mein pyar mera, jaise mandir mein lau diye ki’ which made somewhat emotive  impact on the listeners.

In film ‘Bahu Begum’ (1967) the composer provided some popular melodies- ‘Parh gaye jhoole sawan rut aayee re’ – sung by Lata and Asha. Whereas Rafi sang- ‘Ham Intzaar karenge kayamat tak’ and in ‘Noorjehan’ (1967) Suman Kalyanpur sang –‘Sharabee sharabee’ which were well admired.

A heart patient for almost twenty years and a hypersensitive, the maestro died in Bombay on 16 November, 1967 leaving behind his first name-‘Roshan’, as surname for his sons- Rakesh and Rajesh and thereafter for his grandson- Hrithik.

This was  perhaps in extension to the tradition of gaining recognition at the  initial stage by using their father’s first name- as being adopted by Amitabh Bachchan, who as well adopted his father’s pen-name ‘Bachchan’ as his surname.

Mukesh Chand Mathur’s son and grandson -Nitin Mukesh and Neel Nitan Mukesh respectively, also adopted ‘Mukesh’ as their surname.     

What an irony!

This was the same Roshan Lal Nagrath, who had determined to commit suicide after his maiden failure of the film ‘Neki Aur Badi’ in the year 1949.

When he died,  his last released film ‘Anokhi Raat’ starring Sanjeev Kumar was in making, wherein Mukesh sang the philosophy of life- ‘Oh re taal mile nadee ke jal mein, nadi mile sagar mein, sagar mile kaun se jal mein koi janey na’.

no problem jii

it today  u didnt see New York August 8

i know desi

Chandigarh August 8:
            Punjab Chief Minister Parkash Singh Badal sanctioned Rupees 128.97 crore for the execution of various development works in all the assembly constituencies of Patiala and Sangrur districts.
Presiding over the separate meetings of the MLAs of all the constituencies in these two districts held here at Chief Minister's residence to review the progress of the on-going development works, Mr Badal approved Rs 51.70 crore for the assembly constituencies of Patiala and Rs 47.70 crore for those in Sangrur district.
A sum of Rs 37.66 crore and Rs 43 crore would be spent on the construction and repair of link roads, latrines and civil works in the government schools in the rural areas of Patiala and Sangrur districts respectively. Out of Rs 24.35 crore earmarked for the upgradation of health infrastructure, Rs 7.80 crore Rs 16.55 crore would be spent in Patiala and Sangrur districts respectively.
The Chief Minister directed the Deputy Commissioners of Patiala and Sangrur to immediatley undertake the survey to assess the damage caused to the tubewells in the region due to floods so that the farmers could be compensated adequately. He also asked the Secretary Mandi Board to construct a link road from village Faganmajra to Lang, to be named after the Kargil martyr Shaheed Dharam Pal Singh.
The Chief Minister also convened a special meeting of senior officers of PUDA, Local Government and district administration for the overall development of Patiala city on August 22 at Chandigarh.

New York August 8:
            Despite concerns raised from some earlier research, a new study suggests that a prenatal test done to screen for genetic abnormalities does not raise a woman's risk of developing pregnancy-related high blood pressure.
The test, known as chorionic villus sampling (CVS), is an invasive procedure done to detect Down syndrome and other genetic disorders in some women considered to be at elevated risk -- such as those age 35 and older, and women with a family history of a specific genetic disorder.
CVS involves taking a tiny tissue sample from the placenta, and is typically performed between the 10th and 12th week of pregnancy. Doctors consider it an advantage to perform such tests earlier, instead of performing a test such as amniocentesis later in the pregnancy for the same purpose.
Some past studies have found that women who underwent CVS were more likely than other pregnant women to eventually develop pregnancy-related high blood pressure or preeclampsia -- a syndrome marked by a sudden increase in blood pressure after the 20th week of pregnancy and a buildup of protein in the urine due to stress on the kidneys.
Preeclampsia can develop into a life-threatening condition called eclampsia, which can cause seizures or coma. It can also slow the growth of the foetus and increase the risks of certain complications, such as preterm birth. However, a number of studies have failed to find a connection between CVS and pregnancy-related blood pressure problems. One of the larger ones, which included 9,000 pregnant women, found that those who underwent CVS went on to have a lower rate of preeclampsia than women who did not have the prenatal test.
In this latest study, published in the journal Obstetrics & Gynecology, UK researchers followed more than 31,000 pregnant women, of whom 2,278 underwent CVS. Of the entire group, 3 percent developed pregnancy-related high blood pressure and 2 percent developed preeclampsia. There was no difference in the rates of either condition between women who underwent CVS and those who did not, according to Dr Kypros Nicolaides and colleagues at King's College Hospital in London.
According to the researchers, earlier studies suggesting a connection between CVS and blood pressure problems suffered from a number of limitations -- including small study populations and an inability to account for other factors that could explain the link. In one study, for example, women undergoing CVS tended to be heavier than those who did not have the test -- and women who are overweight before pregnancy are more likely than normal-weight women to develop preeclampsia.
However, the researchers on that study did not account for weight when they calculated the risk of preeclampsia associated with CVS, according to Nicolaides' team. In their study, the researchers accounted for factors like weight, smoking and women's family history of preeclampsia. It's thought that abnormalities in the placenta underlie the development of preeclampsia, and researchers have speculated that CVS might contribute to the syndrome by disrupting the placenta. However, the researchers found no evidence of that.
CVS does have certain risks, including a small chance of miscarriage; recent studies suggest the risk is about one in 200. There is also a small risk of infection of the uterus. The current study was funded by the Fetal Medicine Foundation, a UK charity.

Bathinda August 8:
At least four women and a one-and-a-half-year-old girl were killed and several others injured after a blast took place at a house located in the Choorianwali Gali in Jogi Nagar here late this evening. The National Disaster Response Force (NDRF) has been called in to ascertain the cause of the blast.
Several others are suspected to be buried under the debris as rescue operations were on till the filing of this report around 8 pm. The blast was so powerful that the house was completely blown apart and a number of nearby located buildings also got damaged. The blast was heard even at a distance of hundreds of metres away. Within a few moments, hundreds of people gathered at the spot and launched rescue operations.
According to residents of the locality, the blast was so powerful that two women were thrown out of the house and rescue volunteers found them lying dead. Later, three more bodies were recovered from the debris. As per information, three families were living in the house, of whom two were tenants. The house belonged to Nachchatar Singh, who also sustained severe injuries.
Before the police, fire brigade and medical team officials could reach the spot, volunteers of the Sahara Jan Seva and Noujwan Welfare Society rushed them to the Civil Hospital, where doctors confirmed their death. Later, rescue volunteers recovered two legs and an operation was on to locate the dismembered bodies.

Bathinda August 7:
            A youth, who had allegedly fled from police custody a few days, today surrendered before the district courts and charged the Rampura (Sadar) police with torturing him brutally during detention.
Showing burn marks over his body, Deepak Kumar of Rampura, the youth in question, complained before CJM AS Virk that some cops of Bathinda police wanted to push him in the trade of drug pedalling, which he had shun a long time back.
In a statement in the court, he said cops of Rampura (Sadar) police station intercepted him near Gill Kalan village, when he was riding his motorcycle along with a pillion rider, Binder Singh, on last Sunday. “They took us to the police station and after some time, they released Binder Singh but asked me to carry on drug pedalling for them on a commission basis, which I refused. Irked, they took me to a quarter and beat me up with lathis and belts. They crushed my finger and then branded me with hot iron rods,” he alleged.
He claimed, “Getting a chance, I fled from the illegal detention of the police on Monday night and reported the incident to my kin, who hid me in a secluded place. Meanwhile, the police slapped another case of fleeing from police custody on me.”Seeing the injuries on his body, the CJM directed the cops to get him medically examined to ascertain the injuries. The CJM said if doctors found it necessary, they could hospitalise him.
Meanwhile, the CJM ordered that after the medico-legal examination, the accused would be sent to jail and would remain in judicial custody till August 20. On the other hand, the SHO, Rampura police station, Harwinder Singh, refuted the allegations. He termed the statement of Deepak as a cooked up story to avoid criminal proceedings initiated against him for selling drugs and fleeing from police custody.
“He was intercepted on a tip-off. During the search, we found about 2,400 habit- forming capsules from him and lodged a case under the NDPS Act. Before we could produce him in the court, he fled from custody.” The SHO said the accused had earlier been facing charges under the NDPS Act in Moga.