A scene-by-scene breakdown of Jab We Met

Can we improve our fiction-writing skills by dissecting and analysing this Imtiaz Ali blockbuster? Let’s find out

A scene-by-scene breakdown of Jab We Met
Kareena Kapoor and Shahid Kapoor in Jab We Met.

It’s true that you can only become a better fiction writer by analysing various novels, movies, and TV shows, regardless of whether they’re good or bad, within your writing genre or outside of it, and then applying those learnings in your WIPs.


A technique I learned last year for studying films and TV episodes this way is by doing scene-by-scene breakdowns.


Not only does it help me easily identify plot points. I also learn how to write scenes better. I’m already benefiting from this technique for the detective mystery series I’m developing, and I’m sure it’ll also translate into brilliant results for PiKu & ViRu 2. (Buy/download, read, and review the first PiKu & ViRu book here—it’s FREE on Kindle Unlimited).


The first movie I chose for this exercise also turned out to be one of my favourites—Jab We Met. I must have seen this Imtiaz Ali blockbuster a thousand times easily! Almost to the point of knowing every dialogue by heart. Maybe that’s why I dissected this film first. It’s true that loving a film makes the process even more enjoyable :)


So, here’s a scene-by-scene breakdown of Jab We Met. I suggest you watch the full movie as well—it’s available for streaming on Netflix, Amazon Prime Video, or Zee5. If you need the script, too, to study the film better, you can download it from this link. And if you’d like me to dissect and analyse a movie of your choice, drop the title in the comments below.


**


1 – Young man, somewhere in his 20s. Noise all around. Boardroom. Arguments. He’s silent, brooding. Someone addresses him by the name ‘Addy’. Talk of a lawsuit. Addy looks as if he’s in the dumps. He can’t take it anymore. He gets up, leaves. Stares at a bathroom mirror. Looks at the chaos in the boardroom once again. Sad. Leaves. Goes out of office. (1.00–2.22; 1 min 22 sec)


2 – Addy drives away in a BMW. Wedding reception. Awkward eye exchanges with the bride. The groom greets him. All pose for a pic, Addy sombre all along. He leaves. (2.22–3.11; 49 sec)


3 – Outside, Addy ditches his belongings—BMW, phone. Wanders around the city listlessly, aimlessly. CREDITS BEGIN. He leaves more belongings—tie, cufflinks—as if renouncing the world, conceding defeat. Surrounded by a crowd moving in the opposite direction as him; he then moves with them. They’re boarding a BEST bus; so does he. Mumbai CST. (3.12–5.20; 2 min 8 sec)


4 – Inside CST. Outstation train leaving. Entrance beckoning to Addy. He gets in. CREDITS END. (5.21–5.58; 37 sec)


5 – Young woman (YW), early-to-mid-20s, tries to board a moving train. Porter, passengers help load her luggage. She makes it! Chats loudly with passengers. Brags about never missing a train in her life. Chatterbox keeps going. Reaches the same seat as Addy. Turns out he’s occupying her seat. He moves across. She keeps chattering with him. Life story, opinions. (“Mujhe kasam hai aaj ke baad main kabhi hostel mein nahin rahoongi.”) (Translation: “I swear I’ll never stay in a hostel again.”) Irritated, Addy gets up. (5.59–8.47; 2 min 48 sec)


6 – Addy opens the train door to attempt suicide. YW calls out from behind. He turns around, startled, frightened. TC arrives. Gets Addy in, closes the door. Assuming he’s mute, YW signals to Addy that the man with them is a TC asking for his ticket. Addy speaks for the first time: “Mere paas ticket nahin hai.” (Translation: “I don’t have a ticket.”) (8.48–10.07; 1 min 19 sec)


7 – Back to the train seat. YW convinces the TC to book Addy a ticket for the last station, Delhi. Addy seems hopelessly lost throughout. YW intrigued by Addy: “Drugs-shugs li hai kya?” (Translation: “Are you on drugs or something?”) She pesters him to open up to her. She gets to him. He blows up. She doesn’t mind his outburst, though. More chattering. She reveals she’s getting married to a non-Sikh guy her family may not approve of. Addy’s weirded out. (10.08–12.41; 2 min 33 sec)


8 – YW sleeping in her berth. Nightclothes with Mughal-e-Azam poster. Murmuring. She wakes up. Addy’s missing from his berth. She gets down. (12.42–13.14; 32 sec)


9 – YW sees Addy walking on the platform of a nondescript station. Night. She calls out to him. When he doesn’t hear her, she gets out of the moving train, despite a fellow passenger’s protestations. She runs to Addy. “Train’s leaving, let’s go.” He doesn’t care. She goes after the train. Bumps into a tomato seller; slips. Seller pulls her for reparations. YW misses her train. She’s worried. Angry. Storms out at Addy, who tells her to mind her own business. She orders him to take her home to Bhatinda, complete with her luggage. Addy runs. Because it’s the first out-of-the-ordinary action by him in the film, which he wouldn’t have taken under normal circumstances, its preceding stimulus, i.e. YW missing her train and ordering him to take her home, is the film’s INCITING INCIDENT. YW chases Addy. He climbs a set of stairs; she follows. FOB. Cop intervenes. Addy pushes him aside. YW rebukes the cop: “Nalayak, vardi utaarke phek de.” (Translation: “You useless man, throw your uniform away.”) (13.15–16.03; 2 min 48 sec)


10 – Addy and YW get into a taxi. The ride is too slow. “Aise train pakdenge hum?” YW asks. (Translation: “How are we supposed to catch the train at this speed?”) CAB DRIVER: “You won’t be able to reach the train anyway. Next station, Ratlam, is 100 km away.” Addy asks him to stop the taxi and gets into the driving seat. He races the car. Driver panics, cribs, cries at his taxi being hijacked and raced like this. YW, enthralled, tries to assuage the driver in her signature style. Cab soon level with the train. (16.04–18.08; 2 min 4 sec)


11 – Cab reaches Ratlam station. Addy and YW dash towards the platform; driver chases them for the fare. Male onlookers. (18.09–18.27; 18 sec)


12 – Addy and YW arrive at the platform. Panting. The train’s standing right there. Addy tells YW to not help him anymore; she agrees. He begins to pay the cab driver. YW asks for money to buy water. Addy hands her some cash before returning to the driver. (18.28–19.03; 35 sec)


13 – YW at a railway canteen. Buys water. Argues with the CANTEEN VENDOR about the overpriced bottle. Pays MRP. She doesn’t realise that, in the course of the argument, train started moving. She only realises while downing water from the bottle. She turns around, shocked. Runs after the train, leaves her change at the canteen itself. YW misses the train for the second time! Worried. Afraid. Vulnerable. (19.04–20.49; 1 min 45 sec)


14 – Male onlookers from #11. Lecherous, “thrilled”. They know YW’s alone. She walks around the station for help. (20.50–21.00; 10 sec)


15 – STATION MASTER’s (SM) office. He tells YW he’ll call the SM of the next station, Kota, and ask him to remove her luggage from the train and keep it. YW wonders how she’ll reach Kota. SM chides her for leaving the train. Spews sexist, graphic “life advice”—including “Akeli ladki khuli tijori ki tarah hoti hai.” (Translation: “A lone woman is like an open safe.”) After acting all curious and intrigued at the SM’s “muft ka gyan” (Translation: “free advice”), YW loses her cool. “CALL KOTA ASAP!” He gives in. All this while, lecherous goons are outside SM’s office, overhearing. Goons disperse as YW emerges from SM’s office. VO: SM calling the Kota SM. (21.01–22.48; 1 min 47 sec)


16 – YW sits on a bench. Canteen vendor and one of the goons harass her. Use the “akeli ladki” line. YW retorts while panicking from within. Leaves after a point. (22.49–24.27; 1 min 38 sec)


17 – YW emerges at Ratlam station’s entrance. Little over 12.30 AM on the clock. She calls for the cab driver, who’s parked outside the entrance. He drives away, reluctant to ride her again. She stands with a group of women outside. A man arrives on a motorcycle and propositions her. YW realises those women are sex workers and that the man has mistaken her for one. She tells him she’s isn’t one. Afraid, she starts to walk away. The biker comes after her. She can’t go to the station—there are goons at the entrance. And there are sex workers behind. Where to go? Just then, she spots a silhouette. A man wandering ahead. It’s Addy. YW runs after him. Biker chases her. She reaches Addy. Hugs him tightly. Prayer of thanks to “Babaji”. Addy, stunned, incredulously asks her while letting go of her, “Tumne phir train miss kar di?” (Translation: “You missed your train again?”) Biker goes away. YW and Addy introduce themselves to each other: she’s GEET, he’s ADITYA. Geet talks again. Reveals she’s seen Aditya’s loaded wallet. Suggests staying the night at a hotel, leaving for Kota the next day, picking up her bags, then “all the way to Bhatinda”. Aditya makes a WTF face. ACT 1 ENDS—Aditya realises he has no choice but to help Geet reach home. (24.28–27.14; 2 min 46 sec)


18 – ACT 2 BEGINS: Aditya has now commenced on his life-changing journey with Geet and has entered her world. The two walk along a deserted Ratlam lane at night. Geet blabbers; he’s annoyed. Aditya wonders how she’s so cheerful and talkative, despite the gravity of their situation. (27.15–28.35; 1 min 20 sec)


19 – Hotel Decent. Shady lodge. They enter. (28.36–28.48; 12 sec)


20 – HOTEL MANAGER. Smirks. Aditya wants to book a room on a per-night basis. But a frugal Geet chooses the “per-hour” plan, unaware of its implication, and books a room for 3 hours. Aditya, after unsuccessfully trying to explain the connotation to her, gives up. He pays the tariff. The manager and Aditya whisper about Geet; the former thinks she’s a “call girl”. Aditya plays along. (28.49–30.35; 1 min 46 sec)


21 – Really tacky hotel room. More banter b/w Geet and Aditya. Geet is suspicious about his “khusar-pusar” (Translation: “whispering”) with the hotel manager. Aditya dismisses her safety-related fears. In the process, she reveals her boyfriend’s name: Anshuman. Aditya shows his girlfriend’s photo. By his expression, she guesses he’s been “dumped”. He burns the photo and flushes it down the toilet at her behest, after dismissing the idea as “childish”. He feels better and beams for the first time. More conversation. (Geet remarks that it’s difficult for Aditya to become like her.) Knock on the door interrupts. (30.36–35.24; 4 min 48 min)


22 – Hotel manager frantic; running along the passage knocking on room doors. Raid. Everyone hurries out. All dodgy men with sex workers. Geet and Aditya run along with them. Geet has no clue why they’re running, though Aditya very well does. (35.24–36.29; 1 min 5 sec)


23 – State bus. Geet prays for a normal night. Aditya enters with the tickets. Banter continues. Geet fantasises aloud about hitching Aditya with her cousin Roop. (36.29–38.54; 2 min 25 sec)


24 – The bus starts. Aditya begins humming. Geet’s surprised; happy, too. Road trip. A new day dawns. SONG: Hum Jo Chalne Lage. The two enjoy the bus ride. Reach Kota. Withdraw cash from an ATM. Get their luggage. Change clothes. Hire a car. Car tyre punctures, so they walk, then hitch ride on a vegetable truck. Fall asleep in a restaurant after ordering. Aditya steals a local’s cycle, rides it with Geet, and, along with her, returns it to the owner w/ chocolates as an apology and token of thanks. Another car. SONG ENDS with G&A sitting on an elevation above a pond. (38.55–42.53; 3 min 58 sec)


25 – Pond. Geet compliments Aditya for his singing. Aditya confesses music was his passion at one point of time, not anymore. Geet wonders why; he doesn’t reply. Geet: “Insaan jo kuch really chahta hai, actual mein, use hamesha wohi milta hai.” (Translation: “Whatever a human truly wants is what they always get.”) She invites him to jump into the water with her. Aditya thinks she’s bonkers to suggest that. She jumps and drags him into the water anyway. Frolic. “You need a psychiatrist,” he teasingly tells her when out of the water. (42.54–44.55; 2 min 1 sec)


26 – Dhaba/Garage. Geet, Aditya changing. He reveals his true identity; he’s Aditya Kashyap, the son of a rich deceased industrialist. Geet’s stunned; she’s heard about him. She blurts out his mother’s infamous affair; apologises. Aditya doesn’t mind; he hates his mother for doing that. Geet encourages him to understand and empathise with his mother. He takes offence. She backs off, calls for peace, cracks a joke on his affluence. He lightens up. (44.56–47.11; 2 min 15 sec)


27 – Geet and Aditya reach the former’s palatial bungalow. Her cousin, AMRIK, sees her; goes into the house announcing her arrival. While still in the car, Geet asks Aditya about his plan. His reserved response alarms her; she concernedly drags him into her house. Her family greets them both. (47.11–48.17; 1 min 6 sec)


28 – Geet, Aditya, the family meet DAARJI, the eldest member of the house. He wonders if Aditya is Geet’s boyfriend. Geet replies that Aditya was a passenger who brought her home after she missed her train on a station at night. Daarji enquires about Aditya’s profession; Aditya says, “Music ka kaam.” (Translation: “Music work.”) Daarji welcomes him to stay with them for a few days so the family can “return the favour”. (48.18–50.01; 1 min 43 sec)


29 – Aditya is being overfed by Geet’s family. Geet joins the fun, too. GEET’S MOTHER whisks her away for a private conversation. (50.01–50.36; 35 sec)


30 – Aditya’s room is being readied. He’s stuffed to the gills. Geet takes him under the stairs for a hushed conversation. A girl enters the scene. Geet introduces Aditya to her—it’s ROOP, her cousin. Roop suspects Geet and Aditya of an affair. Esp. when Geet tells her to turn away and whispers Aditya to meet her in the field early morning. (50.36–52.12; 1 min 36 sec)


31 – Geet and Aditya convene at the field. There’s a problem. Geet is being betrothed to her childhood friend, Manjeet Maan. He’s arriving with his family to see her that day. G&A discuss solutions. Geet suggests running away; Aditya says it’s a “ghatiya”, risky thing to do. (52.12–55.11; 2 min 59 sec)


32 – Big party at Geet’s house. MANJEET MAAN and his family arrive. Geet acts all clingy with Aditya to disrupt the betrothal; he tells her to stay away. Roop becomes even more suspicious. Geet and Manjeet catch up. Aditya is introduced to all. Geet mentions his “singing talent”. Everyone, incl. Daarji, asks him to sing. He cannot refuse, but he’s nervous. Geet’s encouragement emboldens him. SONG: Nagada Nagada. Everyone’s dancing and celebrating while Aditya sings. In the antara, he hints at Geet’s relationship with Anshuman without mentioning him. Roop thinks he’s referring to himself, gets all the more suspicious. Celebration continues. SONG ENDS. (55.12–1.02.09; 6 min 57 sec)


33 – Geet and Manjeet are strolling along a path. Geet suddenly excuses herself and hugs Aditya, right in front of Manjeet, then denies having any “relationship” with Aditya, as if she’s been caught red-handed. Manjeet doesn’t buy Aditya’s explanation that Geet is bluffing, esp. because Aditya cannot mention Anshuman. (1.02.09–1.04.05; 1 min 56 sec)


34 – Aditya walking inside the house. Geet winks at him. He shakes his head, smiling. (1.04.06–1.04.14; 8 sec)


35 – Night. Geet sneaks into Aditya’s room; wakes him up. She’s running away. She has no other option left, as Manjeet still wants to give her another chance. Aditya tells her she cannot afford to leave him behind, lest the family should butcher him. She suggests he run along with her. How does it matter what the family thinks of them if they run away together? He gets ready to leave with her. (1.04.14–1.05.36; 1 min 22 sec)


36 – G&A begin to sneak out. Roop sees them; goes snitching, despite Geet’s exhortation. Geet is about to hit the road when Aditya drags her inside the house and they hide on the terrace, biding their time until it’s safe to get out. Geet’s family searches for her. Rage, tears, tension. (1.05.37–1.08.45; 3 min 8 sec)


37 – Aditya learns that Anshuman is in Manali and that he’s unaware about Geet running away from home for him. Aditya doesn’t like this. Geet assures him she’s willing to take the risk and assume full responsibility for it—that she’s simply following her heart. Aditya reflects on her philosophy. (1.08.45–1.11.30; 2 min 45 sec)


38 – Geet and Aditya leave. Last look at the house. Geet promises him she’ll be back the next day after her wedding and beg for her family’s forgiveness. Aditya admits to being able to understand his mother now, thanks to Geet and her love for Anshuman. (1.11.31–1.12.43; 1 min 12 sec)


39 – SONG: Yeh Ishq Hai. G&A in Manali. Geet is ecstatic about her impending union with Anshuman. She’s singing, dancing, rejoicing with the locals. Lots of colourful costumes around. Initially, Aditya is happy. But soon, he’s gripped by a sombre realisation: it’s the last time he’s seeing Geet. SONG ENDS. Geet spots Anshuman. She asks Aditya to come along. But Aditya cannot—he’s in love with her. He bids adieu and goes in the opposite direction as her. (1.12.44–1.18.07; 5 min 23 sec)


40 – Aditya as if conversing with the mountains around, understands what he has to do next. (1.18.08–1.18.47; 39 sec)


INTERMISSION


41 – Corporate conference. Aditya, in formals, takes the podium. He addresses his company’s angry associates and stakeholders in the audience, but not as his old, usual self. He talks to them exactly like Geet. Enthusiastic, passionate, optimistic, lively, energetic. Adds Geet’s line about getting what one truly wants. Everyone applauds at his comeback. (1.18.47–1.20.56; 2 min 9 sec)


42 – Aditya patches up with his mother, agrees to sign on her claims, reinstates her prior position in the company. She’s stunned at this change in him. Aditya also takes the lawyer’s case, Geet-style. (1.20.56–1.22.53; 1 min 57 sec)


43 – Aditya dictates next steps to his secretary, Meher, incl. a new “product idea”. Aditya’s friend, RAGHAV, wonders how he has changed so much. Aditya leaves for a “very important work”. (1.22.53–1.23.48; 55 sec)


44 – Aditya heads to his cabin. Pulls out a guitar. Plays it. (1.23.49–1.24.14; 25 sec)


45 – SONG: Tumse Hi. Aditya keeps Geet alive in his heart. Sees her everywhere. Credits her for his success and newfound attitude. Consults her imaginary version for his problems. Everything is going great! Happy employees, happy him. (1.24.14–1.28.23; 4 min 9 sec)


46 – SONG ENDS w/ Aditya launches a long-distance calling card in Geet’s name. (1.28.23–1.28.39; 15 sec)


47 – Amrik chances upon the news of Aditya’s product launch on TV. (1.28.40–1.28.51; 11 sec)


48 – Geet’s family at Aditya’s office; rough him up. Aditya is shocked to learn that Geet hasn’t contacted them in 9 months. He promises to get her to them in 10 days, despite being unsure about where or how she is—or whether she’s even alive.This is the film’s MIDPOINT, as it introduces stakes and urgency for Aditya, places a ticking time bomb of 10 days, and makes the viewer go “WTF!” (1.28.51–1.31.48; 2 min 57 sec)


49 – Aditya informs a puzzled Raghav that he’s going to Manali. (1.31.48–1.32.06; 18 sec)


50 – Manali. Aditya arrives at ANSHUMAN’s travel-agency office. He’s shocked to learn that Anshuman has rejected Geet. Anshuman explains he turned down Geet because he couldn’t stand her dreamy, childish nature. He blurts out that Geet is in Shimla. Aditya chides him, esp. because she hasn’t been to her house in 9 months out of disgrace. (1.32.06–1.36.35; 4 min 29 sec)


51 – SONG: Aaoge Jab Tum. FLASHBACK (FB): Geet is rejected by Anshuman immediately after Aditya leaves. Heartbroken. Pleads with him again at his home the next day but is shown the door. Bus. Shimla. Nun from Geet’s boarding school sees her, takes her back to the hostel. Geet teaches at the school. Is now depressed, melancholic. Keeps calling Anshuman; keeps getting rejected. FB ENDS. Aditya finally spots her on a road. Follows her around. He’s pained to see her as a gaunt ghost of her former bubbly, cheerful, vivacious self. SONG ENDS with him sitting at her hostel steps while she approaches them from the gate. (1.36.36–1.41.23; 4 min 47 sec)


52 – Aditya tells Geet to come with him. Geet refuses; even gets aggressive. “Can’t take another favour from you,” she tearfully adds. Aditya rebukingly reminds her he’s alive and successful because of her. Touched, she agrees to go with him. (1.41.24–1.44.23; 2 min 59 sec)


53 – Geet and Aditya drive to the hotel. (1.44.23–1.44.40; 17 sec)


54 – Hotel suite. G&A reminisce the night they first met. Aditya informs her about her goof-up at Hotel Decent. She breaks down over her heartbreak and blames her naïveté for it. Aditya exhorts her to forget Anshuman. Reminded of what Geet made him do to his ex-GF’s photo, he urges Geet to abuse Anshuman on the phone. Initially hesitant, Geet blows off full steam at Anshuman over the phone. Anshuman’s stunned. Intimate moment between G&A, but they recover in time. Aditya very cheerful, positive and upbeat, despite the awkwardness. He amusingly chides Geet for having a boring dinner instead of “paneer-shaneer de tikke”, “chhole de bhature” and orders her to show him around Shimla. (1.44.41–1.51.30; 6 min 49 sec)


55 – Next morning. G&A playfully ditch the car to board a moving toy train. Aditya admits to liking Geet but is okay being platonic with her. He’s fun & cheery here, too. Geet begins to smile again. (1.51.31–1.53.13; 1 min 42 sec)


56 – Anshuman at the hotel. G&A arrive; see him. Anshuman wants Geet to take him back. Geet seeks Aditya’s counsel. Aditya advises her to give Anshuman another chancehe, thus, decides to “lose the battle”. Geet reluctantly agrees, esp. because she knows about Aditya’s feelings for her. Aditya anyway takes her to Anshuman and “loses the battle”. (1.53.14–1.58.17; 5 min 3 sec)


57 – Aditya weeps beside a stream. This is Aditya at his SADDEST, mourning after losing the battle and giving up his fight for his love, so this scene is his BLACKEST MOMENT and kick-starts the end of ACT 2. Steeling himself, he dials a number on his phone. (1.58.18–1.58.35; 17 sec)


58 – Geet’s father on the phone with Aditya. Geet and Aditya are returning home that evening. (1.58.36–1.58.50; 14 sec)


59 – Geet, Aditya, Anshuman drive from Shimla towards her home in Punjab. (1.58.51–1.59.03; 12 sec)


60 – Geet’s home is decked up. Hugs, welcomes. Aditya is garlanded by Roop. The reason: the family thinks Geet is married to Aditya! He’s shocked. The two are now treated as a couple. Anshuman, who’s mistaken as Aditya’s friend, looks as if someone’s slapped him. G&A try to tell the truth to the family, but in vain. Because this misunderstanding is an opportunity sent by the Universe to Aditya to win over Geet’s love, it constitutes a REWARD and, thus, marks the end of ACT 2 and the beginning of ACT 3 and the CLIMAX. (1.59.03–2.02.12; 3 min 9 sec)


61 – Daarji welcomes G&A. (2.02.12–2.03.26; 1 min 14 sec)


62 – Geet, Aditya, Anshuman convene outside. Amrik and other kids interrupt their discussion and turn Anshuman into a family photographer. Photo done. Geet’s father takes Aditya with him. Geet drags her mother along. Geet’s mother, midway, arranges for Anshuman’s accommodation. (2.03.27–2.04.33; 1 min 6 sec)


63 – Geet tries to tell her mother about Anshuman but ends up unwittingly praising Aditya. (2.04.34–2.05.12; 38 sec)


64 – Roop and a bunch of other girls tease Aditya. He hints at Geet, sitting across him, to tell someone; she takes her mother inside. Geet’s father and uncle excuse the girls to ask Aditya about his readiness for a traditional wedding ceremony. Aditya diplomatically replies to ask Geet first. The men take his response as his go-ahead. (2.05.12–2.06.35; 1 min 23 sec)


65 – Anshuman furious with being sidelined. “Geet should have told her family about us at the outset.” Aditya tries to calm him down. Anshuman expresses his anger over the boys dragging him to see “ganne ke khet”; Aditya assuages him further. (2.06.35–2.07.59; 1 min 24 sec)


66 – Geet in her room. Tries to tell her mother but fails. (2.08.00–2.09.14; 1 min 14 sec)


67 – Wedding ceremony fixed for 2 days later. Celebratory family dance. Aditya happily participates; Anshuman grumpy and moody while being dragged by two lads with sugarcane sticks. Geet observes this difference b/w the two men from a window. Because this is Aditya’s way of addressing the problem using the “growth” and lessons he has received, it marks the RESURRECTION part of the climax. (2.09.15–2.10.14; 59 sec)


68 – Corridor, night. Geet walking. Reaches Aditya and Anshuman’s room. Informs him about her inability to tell her family, despite several opportunities. She feels something’s off—“Jaise koi train chhoot rahi hai”. (Translation: “As if a train’s leaving.") Aditya cheers her up; continues with the RESURRECTION. Geet remarks he’s become just like her. Roop and the girls arrive. Tease. Take Geet away. Anshuman wakes up and wonders what the matter is. Aditya tells him Geet had come to see him. Anshuman goes back to sleep. Geet worried by the window. (2.10.15–2.12.58; 2 min 43 sec)


69 – Morning. Same field where Geet told Aditya about Manjeet. Geet heads to where Aditya and Anshuman are waiting. Aditya takes their leave. Sorrowed. Anshuman explains to Geet how to go about the revelation. Train passes, hoots. Drowns out Anshuman’s voice. Geet gets flashes of Aditya and her. Geet’s VO: “Jaise koi train chhoot rahi hai,” w/ Geet running after the train at Ratlam station. Geet races across the field, as if catching a metaphorical train. Anshuman runs after her. She hugs Aditya in the same way as she did with Manjeet. They kiss—their union is Universe’s ULTIMATE REWARD to Aditya for his courage to do the right thing. He, thus, wins the war after losing the battle. Anshuman deflated. (2.12.58–2.18.36; 5 min 38 sec)


70 – SONG: Mauja Hi Mauja. Marks the film’s RESOLUTION / RETURN WITH ELIXIR. Wedding preparations. Aditya’s mother, Raghav, and Meher arrive, bless Geet, pitch in for the preps. G&A duet dance. EPILOGUE: Few years later, G&A before a bedridden Daarji with their two little daughters. Daarji boasts about his impressions reg. G&A proving to be true. G&A simply nod while grinning. They’re the only two on Earth who know what happened on the night they met. END CREDITS. (2.18.36–2.23.38; 5 min 2 sec)