The translation problem here was joy without longing: the Kangra Baramasa-Sawan scene is built for viraha, a woman pining for an absent lord as the rains fall, and the brief was to keep all that monsoon staging but make it contented instead of aching. So the marble balcony, the storm hills, the lightning and the dancing peacock are all kept from the classical mood, and the only change is that the awaited lover has arrived — the couple is together, watching the rain over a plate of pakoras and a pot of chai. The modern props are simplified to flat folk shapes so they belong to the painting and never read like a photograph dropped in: a green teapot, golden pakoras, two cups on a low carved table. We kept the cast to two and let the storm outside do the drama, so the inside reads as ease.