The brief was the everyday Indian railway journey, and the cleverest translation was the most honest one: in Gond grammar a long body curving across water is a serpent, so the train simply becomes one. The carriages wind in a deliberate S — the same line the painting uses for both snakes and rivers — from the top of the frame down to the crimson-nosed engine at the lower-right, drivers in the cab, headlamps lit. Each window is a little dot-row arch with a passenger's face, the carriages scale-rowed like a snake's skin. Below, a real river runs in beaded S-curl bands with fish and a boat of two, so the modern train and the old water-creature share one current. No logos, no signage; kept medium-light, the maroon ground holding the curve.