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the final twist to the final twist in the final twist of VAFAATHERI KEHIVERIYAA…

Today, 29th March of 2009, a day before the deadline, I have completed twisting  VAFAATHERI KEHIVERIYAA (FAITHFUL TRICKSTER) which was started writing under the title, THINESKAN LOABI (LOVE TRIANGLE). After more than a year of shelving, writing, shelving, writing and retitling, I have finally exorcised this curse off me. I may have finished writing a day early but I will be handing over the draft with spiral binding, of course, to SEEZAN on Tuesday. I just want a day, to go through the screenplay from beginning to end, see if it holds on its own or if the plot has left any unanswered questions since there’s lot of red herrings and twists and turns thrown at every possible corner. This has more twists than a pretzel, I must say. I have also given full attention to make it easier for the audience to understand the intricate plot and will once again examine that too. That’s all happening tomorrow. I hope I don’t get any impromptu ideas to add more twists.

Last Friday and Saturday I have worked from six in the morning till twelve in the afternoon. Then resumed writing from four in the evening till eight at night. I finished the screenplay today, before twelve.  I guess when I get in to the right groove, there’s no letting up. Probably, the third act was more fun than the first two acts since tables get turned unexpectedly with every passing minute. What I enjoyed writing most was the build up to the climax and the climax itself and the unexpected twists and the twist that comes after the final surprising twist. Okay, I am lost here! How are these twists arranged again?

How much tempted I am inclined to give a summary of the plot, doing that would definitely spoil the fun. It’s really hard to resist this urge to reveal the plotline, that’s why I am writing off this post for now. When this temptation subsides, I will return with SEEZAN’s feedback. I just hope he can get out of the entangled plot easily. If that happens, I believe I have achieved!

INGILI preproduction status…

The production team of R2, DV Productions and NQP have started preproduction of INGILI. The design of the set needed for the film has been drawn accordingly to the visual demands of director, RAVI. And he has approved it. However, the snaps of the different locations we have recieved so far from 4 different island, have failed to meet visual dynamics of the screenplay. The production team have requested for more snaps from three other islands.
 
Hopefully, on early week of April, one member of our production team will be flying to N. VELIDHOO where he will do some scouting himself. If he finds the right location, arrangements will be made to built the sets including the water system to create rain.
 
Director RAVI and his DOP have started work on the storyboard. His DOP seems to be more excited than we are and have decided to cut his fees down to nil. But the producers have disagreed to his decision. When the storyboards are done, we’ll have a sitting to bring important amendments.
 
Will give more updates as they happen.
 
 

DHUNFINI officially retitled…

It’s now official that the screenplay I am writing for SEEZAN will be called VAFAATHERI KEHIVERIYAA (FAITHFUL TRICKSTER) and not DHUNFINI (FOG). Alas! SEEZAN made this decision in an interview given to AAFATHIS daily today. He made this move after discussing with several talents working in Dhivehi film industry including his producer. Two days ago, he mentioned that his producer also liked the official title. It seems that that title has the ability to tease the moviegoers on checking out who a TRICKSTER is, who’s also FAITHFUL. Anyone in real life and not in reel life who is? Anyhow, I guess from a commercial point of view, they have a point there.

However, I am going to wrap up this screenplay under the working title, DHUNFINI. It’s more relevant to the storyline and gives me more depth visually when I am writing.

As for a status update on the screenplay, I have started writing on the new changed structure. And I must say that it’s going good. My deadline is end of this month. Hopefully, I will give SEEZAN a draft on 31st.

Referring back to that interview, SEEZAN promised that he’s going to give the moviegoers a BIG surprise on the casting of the second leading actress in the film. I wonder who she might be. Let me guess… I have no idea. I just hope she fits her character though. .

More news on the screenplay later.

INGILI status update…

Location scouting has begun for experimental film, INGILI which will be produced under the banners; R2, DV PRODUCTIONS and NQP.

The production team has been contacting several islands to find the one and only location that will be shown through out the entire duration of the film.

However, the production of INGILI has set of preferences for the location where the highest priority is enough space for the camera dynamics. If need be, a set will be designed on an existing location. There will be lots of water works as the film takes place on a very stormy night. Expect some lightning too. Thunderclaps can be added at post production. Therefore, the latter is not a problem.

The production team has received snaps of some of the locations available in F. NILANDHOO and N. KENDHIKOLHUDHOO. More are expected from other islands including AA. BODUFOLHADHOO who has shown a keen interest on having the production of INGILI there.

Hopefully, before director, RAVI returns from India, he will have enough locations to choose from.

The only two actors in the film, has started prepping on their roles.

More on INGILI later.

lost in TITLES…

I have recommenced working on the screenplay that I began writing more than a year ago, or is it more? Never mind, I have either developed amnesia or have lost track. Hello! What’s this blog I am writing?

In a strange way, writing this above mentioned screenplay have been obstructed by unforeseen circumstances not excluding the thrill to write even though it’s supposed to be a suspense thriller. How ironical is that?

Regardless of what curse I have fallen in to, here’s a brief recap on how writing this screenplay began. Actor/ director, SEEZAN and his producer, HASSAN approached me first. Isn’t that how I always start writing, someone approaches me first? Oh my, I really am amnesiac. Anyhow, SEEZAN and HASSAN wanted me to write a screenplay which was to be based on a concept by the former.

I began structuring the screenplay with a working title called THINESKAN LOABI (LOVE TRIANGLE) which demanded more time to structure since I had to convolve the storyline from start to finish holding the suspense until the climax. Few weeks later, tragedy struck. SEEZAN and HASSAN split leaving me at a crossroad. I was uncertain of who would be claiming the ownership of the screenplay. I was waiting either one of them to call and clear the air. Somehow, I never bothered to call neither. Days passed in to weeks, weeks in to months and finally a year had passed. No one called. So, I decided to shelve the screenplay until SEEZAN or HASSAN clarified my issue. Bet they never thought I was having a serious issue.

Finally, several days later, I think it was more than 365 days, SEEZAN met me and confirmed HASSAN and his split. When asked, he explained that he would be claiming the rights to the screenplay since it was his concept in the first place. Well, he had a good point there. HASSAN failed to call me, so I concluded that SEEZAN as the proprietor. He even confirmed to finance the screenplay. That’s when I was forced to take out the screenplay back from the shelf and had to wipe up all the dust that had gathered on it… atchoo! God bless me!

I restarted writing with a changed working title called KEHI (TRICK) However, few scenes later; I shelved it again to work on couple of other interesting screenplays since (a) I never had a deadline for KEHI and (b) SEEZAN was on a busy schedule with several projects that would eat up several months from the calendar. Since then, KEHI has been lying in the shelf for dust to gather on it once again. Well, not really. Am I stupid or what? KEHI was saved in to my laptop from day one. Looks like, my condition is beyond amnesia.

Fast forward to today. I am living a recluse with amnesia and insomnia? No, a month ago, SEEZAN wanted to fast track the project. He even time lined the production for a May start.

I retitled the screenplay from KEHI to KEHIVERIYAA (TRICKSTER). Unfortunately, SEEZAN was not happy. Neither was I. We had a quick brainstorming session to decide upon a relevant title. We did come up with interesting names like FARUDHAA (CURTAIN) and so forth. But all of them failed to win us over.

Then one day, still brooding over a title, we came up with DHUNFINI (FOG). It rang out mysterious and I found the title very meaningful. However, SEEZAN was less enthusiastic. He wanted something that would easily entice the general audience. He was opting for a title that was long, probably with two words or a sentence even. His choice was VAFAATHERI KEHIVERIYAA (FAITHFUL TRICKSTER). Now, I was contradicting his title. When I write, my working title should always sound and feel comfortable for me.

I decided to go with DHUNFINI for the time being. But he wants to confirm a title since he wanted to officially announce the production. Guess he could go with any name as films tend to change their names many times before their releasing.

Okay, enough with titles. A week ago, I gave SEEZAN the first hour of the screenplay which consisted of 35 scenes. He was largely happy, but wanted few changes from here and there. But above all, he wanted massive changes in the second half including broadening of characters that were made minor in the already written part. The biggest challenge was to hustle character development of the role that he was cast to play. Working on these changes have given me a migraine attack. Yes, even now! I have been restructuring the second half from scratch including making deliberate changes to the first half in order to accommodate the changes that were brought to the second half. Am I making sense, here?

For days now I have been stuck structuring and making adjustments to the written part. I am still moving plot points around adding new ones here and there. In spite of this, I must confess that working on these changes have opened up for new surprises. They have given a good build up for the third act and the climax. And the screenplay, it has a more noirish feel too. I am keeping my fingers crossed that SEEZAN, who is set to direct as well would give his translation the same feel and atmosphere:  It’s late on a full moon night. A bat flies over the lifeless trees with a haunting cry. An imageless shadow starts to form through the  static fog that has engulfed the garden area. The shadow begins to appear more distinctive forming a shape of a human. Slowly, through the fog comes a woman in her mid thirties. Her face beaten to a pulp…

I will be done structuring within a day or two. I am pushed to speed up writing. I have to hand over a draft at the end of this month. Besides, I really need to wrap this up as I have set my eyes on a news article about a chilling true incident. I was so fascinated with this article that I have already gathered all the information related to this incident from all the online dailies. I think I can work on an awesome nonlinear screenplay.

But that’s not going to happen any time soon until I am done writing DHUNFINI? Or is it FARUDHAA? Or is it KEHIVERIYAA? Or is it KEHI? Only time will tell what name to call this screenplay which I have been writing oh so long time ago. It’s a personal record, even considering the titles…

alternate ending for INGILI…

I have written an alternate ending for INGILI, thanks to my wife who gave very constructive comments after reading the screenplay. Not only did she feel an alternate ending was necessary, she also highlighted crucial loopholes. Luckily there were few. Immediately after her comments, I patched all the loopholes and now the screenplay looks more richer.
 
RAVI liked everything about the screenplay. He just can’t wait to start the production. However, he will be fully involved once he returns from India. He will be leaving on Sunday with his family for his son’s medical check-up. He will be gone for a week.
 
Once he returns, RAVI and I will sit for storyboarding as planned.
 
The two actors cast to play for the only two characters of the entire screenplay will get their copies with in few days. Once they finish reading and along with their comments, I will finalize the screenplay before RAVI returns.
 
More news on casting later…
 

about INGILI…

Yesterday I have completed writing INGILI, an experimental  feature film to be produced by RAVI, MUA and myself. Surprise! Surprise! This will be marked as my first gig as a producer.

The screenplay is based on a three page short story written by a student at the 2007 national short story competition. He was only 14 years then. Recently we, the producers bought the story from him including all the rights for an amount I choose not to disclose.

It was I who first came across this story two years ago, while I was judging the short stories of age group 13-16 years of the aforementioned competition. No sooner narrating this story had started, each story was narrated for the judges by a narrator, from the opening paragraph I started visually seeing everything like a complete film with all the camera movements and music. The story felt unique and above all, original. I felt strongly that it should be told in a film. After the judging session, on my way home, I couldn’t think of anything else but that story. It was deeply registered inside my head.

That night, instead of sleeping, I kept thinking about it. I just counldn’t concentrate on anything else. I knew I had to do something. Next day, I started writing it as a screenplay. It was unbelievable that I wrote a prologue of 7 pages without ever having to touch the events that take place in the actual story.

This was when I realized I could extend my screenplay from 45 minutes to a feature length of 90 minutes. However, after the seventh page, I decided not to continue without getting an approval from the writer first. Instead, for some odd reason, I shelved the whole project until around November last year, I once again read the 7 pages and the concept started knocking my head constantly only this time harder. I called up a friend of mine who conducted the competition and retrieved all the information about the writer and how I could buy the rights to his story.

Two years, several screenplays and uncountable coffee sessions later, I narrated the whole story to RAVI and MUA. We meet almost every evening at coffee. They were blown away completely. With in few days, we contacted the writer and his father. They agreed to our terms and so did we to theirs. We sealed the deal on a late Friday afternoon of 27th February 2009 at a coffee house called Palm Deck. Or was it a coffee house or an open air restaurant?

I resumed writing the very next day. Since the screenplay had only one scene, one location and two characters, I structured the whole screenplay like several scenes with in one scene. I planned writing a bit each day. It deals with two extreme characters, who start off the story routinely but as the story progresses, their inner selves are peeled off layer by layer, the tension mounts by the minute and reaches it’s peak at the climax. Consider this film a part psychological and a part suspense thriller.

Eight days later, I completed the screenplay. I must say that during these few days, I turned insomniac. I found myself wide awake, constructing the screenplay in my head and then transferring what I had constructed in to my little black book. During the four holidays that came inside that week, I was up at 0530 in the morning to write.

Now that I am done writing, I have given the draft to RAVI, who is set to direct. And I have asked my dear wife to have a read which she will do with in next two days. Once she and RAVI give their comments, I will do a rewrite. Once that is done, I will hand over a copy each to the two actors playing the only two characters of the film respectively. They will not only comment, but will adjust their dialogues to their liking. After that, I will go back to rewriting and will finalize the screenplay. Afterwards, I will sit with RAVI for storyboarding. We have already done casting and will reveal them once we plan the production.

I guess I have not said much about the plot. That was deliberate. This screenplay is kept tight-lipped and under wraps. However, I will be revealing as much as I can about the pre-production, production and post production. And soon, we will be creating a facebook group on INGILI. Until then, I remain suppressed.

AHAREN made in to a TVM serial…

AHAREN a film I co-wrote with MOHAMED HILMY and directed by BAARU SHAREE which was proclaimed a flop at the box office has made its debut on TVM last night, as a 5 part mini-series. AHAREN will fill the TVM Monday night slot vacated by HINITHUNVELAASHEY KALAA which ended on 11th November 2008.

AHAREN literally translated ‘I’ was co-produced by UNFPA as part of a gender sensitization project that tackles the issue of violence against women. The film also has a subplot concerning drug addiction. Take note that it was not released with any intention of raising a profit. Does that mean whatever this film did at the box office doesn’t make it a flop? I don’t know, I am not the judge here. I am just stating the facts. Who am I rebutting, anyway? Me, I or myself? Guess the title has gotten in to my nerves.

Apart from AHAREN being a flop, it will also be remembered when most of its cast and crew raised their disappointment when the film was not submitted for the 5th National Film Awards. The cast and crew are yet to know from the producer why it was not submitted. I haven’t the slightest clue. Did the producer forget?

Anyway, lets see how AHAREN fares on small screen. Is the audience paying to watch this film on TV as well? Thought this was a non-profit project.

remembering HINTHUNVELAASHEY KALAA…

The final episode of HINITHUNVELAASHEY KALAA was aired last night. It was rescheduled from Monday night to an 11th November slot as a special airing to mark the Republic Day. Its sheer coincidence that a series which started during last regime bid farewell on the day a new president had just sworn in. Only this series didn’t step down because it grew unpopular or anything as such. Democratically speaking, HINITHUNVELAASHEY KALAA was loved by majority of the people and had a nation wide following. It’s just that this series had a 52 episodes stint. And when its time was up, the serial bowed down gracefully. Too bad there wasn’t a new series elected to take its place in entertaining the people of this nation.

Episode 52 resolved many key issues, but not after breaking few hearts. ASLAM realized that INA for whom he had developed an infatuation, in the end wasn’t to be the woman of his dreams. INA realized that despite the narrow chance ZAMEEL, her lawyer had in winning SHIZAN; he stood up for her and fought all the way even though he lost the case. Guess there’s nothing more romantic than a man who stands by a woman at a time when the world around her was falling apart. She thought it was the best thing anyone ever did for her or would do. In her own words to ZAMEEL, it was not winning that mattered, it was the fight that meant everything for her. However, I had a constructive comment from my wife that I was not able to develop the relationship of INA and ZAMEEL too convincingly for them to fall in love at the end. She had a point there but no matter how hard I have tried to explain her that due to over length FATTHAAH had to cut an important scene of INA and ZAMEEL, she just wouldn’t agree. I am still searching for a way to convince her…

SHIZAN’S grandfather, WAHEED finally realizes that he cannot buy or give a mother’s love for SHIZAN. After the court hearing ends in his favor, he gives back SHIZAN to INA. And INA decides to stay with WAHEED and ZUBEIDA. They welcome her to their family thus completing their family circle.

FAZU disheartened over thinking that ASLAM was going to marry INA as soon as INA gets SHIZAN, believes that dreams were not meant to come true, not at all for her. So she decides to leave for KELAI. But her mother, DHALEYKA is forced to disclose FAZU a helpful information on her unending search for her father, ZUBAIR.

FAZU visits ZUBAIR’S house only to learn that he was someone she had met twice before, not knowing each other’s blood relation. She first met him in a clothing shop. That day, on his request she chose a shirt for him. She also learns that he is living a happy life and has two daughters from whom the eldest is the jealous type who would not give an inch of her father’s love to someone else.

FAZU, on her way to the airport sees ZUBAIR and decides to meet him. But she hesitantly chooses not be a part of his family. FAZU only leaves after shaking the hand of his father that he never knew was his daughter or would ever know unless FATTHAAH decides to make a sequel.

And oh, yes! FAZU gets her man in the end. Actually it was ASLAM who comes to her. And his realization to the fact that FAZU has loved him since childhood comes from an unlikely source. It was none other than MURAD who reveals him the truth. And it was also MURAD who assigns ZAMEEL to SHIZAN’S case. All in all, the final episode was all about realization, sacrifice, redemption and forgiving.

People have praised HINITHUNVELAASHEY KALAA. They were thoroughly enjoyed. Writing all 52 episodes of this series which gained nation wide popularity has been a wonderful experience for me, an experience worth treasuring forever, if not for a very long, long time. Looking back, it all began some 2 years ago… FADE OUT.

FADE IN. February 21, 2006 was a Tuesday. Late morning of that day, I met director ABDUL FATTHAAH at West Park to discuss a new 52 episode serial that he was going to produce and direct for TVM. We sat at a table close to the seaside. I remember the waves kept crashing constantly against the tetra pods since it was a tad windy that day. I had with me my worn out, dog eared monitor book with a flowery cover to take notes. As usual, I had a fresh papaya juice with a sprinkle of lime juice. He had a milk coffee of which brand I am not sure. Was it ALFREDO?

FATHHAAH already had a title and a vague concept of the serial at his disposal. It was to be called HINITHUNVELAASHEY KALAA and the concept was about the ups and downs of two childhood friends (girls) in an island.

FATTHAAH wanted to set the first 32 episodes in his island of birth, HA. KELAI. When we sat down, he had three principal actors in mind to cast. They were AFEE who was then new to showbiz, HAJJA who was already doing well in showbiz and renowned actor and FATTAAH’s favorite, MANIK who was an old hand in showbiz.

My first contention was that having to focus on three principal actors for 32 episodes would limit my creativity in storytelling. I needed supporting roles as much as I can. So we listed down all the available actors at that time would fit the shooting schedule. Only a handful of actors came up including FAUZIYYA, JIMMY, SAEED and NEENA. However, veteran actor KOYYA HASSAN and dancing sensation SIYADHA would make way for at least 2 to 3 episodes if it was being shot in an island. So we decided to cast the latter two for the last 3 episodes of the 32 episodes.

Following few days, I structured the storyline and developed the characters based on the available actors. FATTHAAH provided as much information as he possibly could about KELAI starting from the topography of the island to what people usually do, especially women. And KELAI being an agricultural island came in handy for my storyline and for some of the characters.

The latter information gave me the idea of developing INA, the character HAJJA played as a hard working farmer. She started farming at a very early age. When her mother passed away, she spent most of the day helping her father in the field. As she spent most of the day outside, she wore a cap. Working in the field was hard labor and she acquired mannish qualities as she grew up. Thus the character of INA was developed as a tomboy.

FAZU, the character AFEE plays was developed as a teacher. She started to like teaching since childhood while giving tuition for INA. Since INA was an extrovert, FAZU was made an opposite, an automatic introvert.

NEENA provided comic relief for the serial with her over the top one-liners.

JIMMY carried the anti-drug theme. He was made a drug addict whose life he sees passing by every minute even after he’s on a noble cause to rehabilitate himself.

Violence against women which was an ever growing concern in our society was a key issue we wanted to add thus making SAEED carry the torch of a wife beater.

HA. Atoll had a rich Maldivian history. National hero MOHAMED THAKURUFAANU came from UTHEEMU and we had this idea of making use of the historical places in these islands as well. Thus, a retelling of MOHAMED THAKURUFAANU’S love story was incorporated in one of the episodes.

It took me a week or so to finish the entire structure of the 32 episodes. I began writing a day or two later. Just after I finished writing up to the 10th episode, FATTHAAH, his cast and crew sailed off to KELAI to begin shooting.

Following days, without taking a single break, I kept writing day and night feverishly. Sometimes I woke up in the middle of the night and at other times; I woke up early in the morning and stay glued at my laptop till all afternoon. I was completing an episode per day. I was unable to stop writing. My mind was flowing with so many ideas. And at the end of the day, my skull would feel scorching hot. Yet, I never felt tired. I was looking forward for the next day to begin writing the next episode.

It took me 32 consecutive days to complete all 32 episodes which covered the storyline in KELAI. Only then I took a breather. I sent the remaining episodes to FATTHAAH through actors who were leaving to KELAI to start their shooting. FATTHAAH kept updating me on the shooting which was going smoothly and with gusto. The actors were having a field day with their scenes especially NEENA whose role as RAZIYYA was witty and her dialogues hilarious.

FATTHAAH had spent about 3 months in KELAI. When editing began the material of each episode ran over to the next episode. Even though I originally wrote 32 episodes, when edited ran over to 40 episodes. However, this came as a blessing in disguise since I was left with 12 episodes remaining to write, which was to be set in MALE’. Surprisingly, FATTHAAH also felt relieved.

However, tragedy struck with episode 32, I think, when HASSAN MANIK who was to appear in episode 33 the following week was embroiled in a bounce check episode of his own and was house arrested. TVM had a strict rule at halting any material of any actors who have any issues with the law. So HINITHUNVELAASHEY KALAA was stopped indefinitely.

Then the whole series was restarted end of last year. When it reached episode 32, I was still not writing the remaining 12 episodes. However, I sat down with FATTHAAH for the final episodes during mid July. We had to change the original concept we first developed. Back then, we thought of FAZU returning to Male’, get married to SAMAD, father-in-law of ASLAM in her quest to win SHIZAN for INA and win ASLAM for herself. But when we re-sat to discuss that storyline, it sounded too preposterous and unoriginal. So we changed the whole setup to as it was later shown.

As usual, I finished writing while FATTHAAH was still shooting episode 45, I think. Now that it’s all over, writing, shooting and airing, this is where I return from memory lane and end this blog before whoever is reading this starts snoring off. If anyone is, this is where you wake up and I say to you, HINTHUNVELAASHEY KALAA instead.

Cheers!

au revoir RAANIYA…

At around 1549 hours, I typed the following words at the end of the 151st page of RAANIYA screenplay. THE END. Yes, the first draft of RAANIYA has been completed. And what I feel right now is simply indescribable. But most of all, I feel sad about the trials and tribulations of the protagonist, RAANIYA. But eventually, it’s these very trials and tribulations that test the undying love she has for ISHAAN. Can she forever suppress this love? Why is she trying to push him away? Why did she disappear without an explanation? What has she done?

To reflect on the original screenplay written by AISHATH NEENA, I borrowed a few key plot points and revamped the whole concept in a non-linear manner with several changes in characters and their development. The entire structure of the story has been reimagined for the screen while adding several new plot points. And the twist is non-existent in the original. But I was inspired by NEENA. It’s magical to work on her stories. I must say that RAANIYA is a cut above the rest manifold than her VAALOABI ENGEYNAMA…

Love, friendship, betrayal, sin, vow, sacrifice and redemption are the very themes I have explored in RAANIYA, which is made up of 105 contrived scenes. The screenplay shifts from past and present to reveal the true self of RAANIYA. As promised, it starts with a bloody hook, then fast forwards to three years later to show the present life of all the characters. Then at act two, the story once again rewinds to three years earlier to explore the past of all the characters. After that at act three, the screenplay once again moves forward to the present day showing how past comes haunting RAANIYA leading to another unexpected tragedy. But it’s the final twist that explains the crucial decision of RAANIYA. But here’s the beauty of that twist. RAANIYA and the audience only will share it. Writing more on the plot would spoil the story. So I guess I better avoid a possible lawsuit from the producers.

RAANIYA is a mix of DRAMA and ROMANCE with a twist that would put the audience in splits. But it’s going to be a good one for most. The good thing is that the audience will have to wait until the last scene for it to unravel. A bloody hook at the start, an engaging romantic drama in the middle and a twist at the end should make up for an engaging film if done correctly. So, how good my screenplay is translated to the screen depends on how good FATTHAAH is with his direction. I have faith in him.

This film may also be regarded as a musical since RAANIYA is a good guitar player, and so is ISHAAN who is portrayed as a guitar-playing budding musician with a band called UNFREEZE. Does that name sound familiar? And the romance between RAANIYA and ISHAAN is built on a song started composing by RAANIYA who manages to complete it when ISHAAN and she fall in love. Sounds corny?

I think I have said enough. And if I stay writing, I am going to end up revealing the whole story and thus a possible lawsuit. I want neither. I am going to bind the first draft hopefully tomorrow and will hand over to FATTHAAH. In the meantime, my wife will have a read as usual and will sit down with her for some substantial and constructive criticism. She always gives that much-needed touch to patch up all the loopholes in all of my screenplays. I will sit down for rewrites after both of them are done the reading. For now, I am free, and my wife feels that she’s the happiest woman in the world. For over a month, she has been betrayed by RAANIYA with whom I have been in love. But to think about it, she knew all along that I was falling for RAANIYA, yet it couldn’t be considered betrayal or being unfaithful.

And oh one more thing, she has already given me the usual bear hug that she always gives me every time I finish writing.

More on the re-writes and production news later…