Sunday, August 14, 2005

The storyboard treatment - Dancing

A long time before Malaika Arora danced atop a train, Arbaaz Khan, in suspenders and a cowboy hat, danced on a bus and beneath a parked jumbo jet. 'O Priya' was the war cry. He played a violin, Juhi nodded with happiness and love. They visited a garden. He ran about, arms wide like a passionate jumbo jet, and she peered at him through a bush and then crashed into the plane she loved. They both nodded this time. At a casino they played roulette and won. But there was no synchronised nodding. Exhaling smoke he leaned forward to sweep in the chips, and she - bright-eyed innocence - left him for a discussion with a stranger who had the perfect pickup line. The hero's positive shade turned negative: A nearby bottle, empty, was smashed and all that remained was a deadly weapon. Without hesitation, he turned on the stricken predator, whose stricken countenance revealed he predicted danger.

O Priya caught Arbaaz's arm. The beast looked into her eyes as she nodded, and his temper faded away. He spoke of his madness for her eyes, his madness, his madness, his madness for her words, his madness, his madness, his madness for everything about her, his madness, his madness. And she replied, "I'm also mad, I'm also mad, I'm also mad, I'm also mad...for you." And she said to him what he said to her. By now his negative shade had reverted, and so he changed into happy casuals and they sang into the next day, dancing with undiminished energy on a bus.


Jabberwock said...

Brilliant! I think an entire comic novel can be written if you mute the sound on a Hindi film and just clinically describe exactly what's happening on the screen.

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