Flip-flop

Act 1: In the cricket-field

Balaji always wanted to spend time playing cricket with his apartment friends on the road. Balaji is fielding near what is supposed to be the boundary line and is anxiously hoping to contribute something for his team by taking couple of wickets or score a massive six, but those are out-of-his-zone thanks to the skill-level. So, being a safe fielder, he is hoping to pull of some reasonable saves or catches if at all the ball comes near him.

Balaji could hear someone shouting for him and turns around in one of those "don't disturb me now.. not now" looks and finds his grand-mother calling him.
Balaji dismisses her in one of those polite gestures, but on repeated calls he tells his buddies "sorry guys, i have to go.. my grand-mother is calling for me" and leaves politely ignoring any adverse reaction from his cricket-mates.

Act 2: In the house

Balaji enters the house and before he even thinks of shouting at his grand-mother on disturbing him on what was a key match of his life.
His grand-mother in an amazingly pleasant tone pleads to her favourite grand-son "Please get this wheat grounded from the mill shop close-by".
Balaji knew he is one sucker for such pleads and knows he could never ever say 'no way' to such pleads, atleast not to his grand-mother.

Act 3: On the road

Balaji walked fast towards the 'mill shop' to get the wheat grounded and at times did those quick jog followed by the fast walks when he wanted catch his breath.

Act 4: The machine

On receipt of the wheat content, the shop-keeper got his apparatus ready i.e he turned-on the heavy noise-making motor and slowly started turning the gears of the mill-machine. It's tough to appreciate the science behind how such a massive machine works, but it doesn't take much long for anyone to appreciate the noise which comes out of this gigantic apparatus.
Balaji liked this machine, not for the science behind it, but for the noise it makes. The noise will scare most of the mortals but not Balaji, he will stand close to this machine and will sit on the stool close to that.
Now, having got used to the high-decibel level from this machine, he will use his index fingers to close his ears.
Any person would perceive this act as being scared of the noise, but what Balaji will do is just use his fingers to close his ears and then open it subsequently.
And this open-close goes on and on until the shop-keeper asks him to pay-up for 'grinding the wheat'.

Act 5: On return

When Balaji enters the apartment, he finds a small crowd before his apartment-block, but ignores the crowd and slowly he finds his way back home.
When Balaji is about to enter his house, he could only hear cries which grew much higher when the folks in the house saw him.
Balaji had seen most of these folks in one of those marriage-functions but never at his house.
Balaji finds his father over a huge ice-block which was surrounded by saw-dust, in sleeping posture with his head seeing the ceiling and his foot-toes tied together and cotton stuck on the nose and ear. Balaji is a trifle too amused and could hardly understand why all this fuss. He could hear his grandma crying 'Raju.. Raju.. ' repeatedly. Balaji could not locate his grandma, but walked towards her den.

Act 6: In the kitchen

His Grand-mother's den had way too many people than the den can hold. As long as Balaji can remember, it has always been his grandma's domain.
The moment his grandma set her eyes on Balaji, her cry seemed to have hit a crescendo. Though she held him close to her like never before, but still only one name seemed to come out of her mouth 'Raju .. Raju.. '.

Act 7: The chant

Balaji had to change his dress i.e from his shirt-trouser to just dhoti.
And had to sit before the homam (or sacred fire) and the priests started chanting mantra (or the sacred lines chanted before a dead person is carried to the graveyard), even though the cries grew louder and louder.
Balaji sat still and used his index fingers to open and close his ears.