LOVE OR REVENGE'.

LOVE OR REVENGE

EPISODE 01 — SCENE 01

EXT. MANDVI HALL, MUMBAI — EVENING

NEWS REPORTER (V.O.):

"While Mumbai is known for its fast-paced lifestyle and beautiful evenings, tonight is a little different.

Today marks the wedding of the daughter of one of Mumbai's most renowned film directors. She has recently returned from abroad after completing her studies.

And there's another reason why this wedding has caught everyone's attention. She is all set to marry Ritesh Radhi, one of Mumbai's well-known IPS officers.

We are currently standing outside one of Mumbai's most grand wedding venues, Mandvi Hall.

As you can see, the entire venue has been decorated like a bride. Several prominent personalities from the city are expected to attend this grand celebration."

CAMERA MOVEMENT:

The camera slowly moves away from the reporter and pans towards the magnificent exterior of Mandvi Hall.

The entire venue is illuminated with lights and decorated with flowers. From the main entrance to the elaborate exterior decorations, every detail reflects the grandeur of the wedding.

The camera holds on the grand exterior of the hall for a few moments.

FADE TO NEXT SHOT.---

SCENE 02

INT. MANDVI HALL, MUMBAI — EVENING

The camera moves inside the magnificent wedding hall.

The entire hall is decorated with beautiful flowers and elegant lighting. Guests are seated around the wedding mandap, waiting for the wedding ceremony to begin.

PALAK stands near the balcony, looking down at the mandap.

Her eyes move towards JAY.

Jay looks extremely weak and unwell. His face is pale, dark circles are visible beneath his eyes, and his body language suggests that he is struggling to remain steady.

Despite the grand wedding preparations, Jay looks completely disconnected from everything happening around him.

The groom arrives at the venue.

The guests turn towards the entrance.

A few moments later, the bride makes her entrance.

Everyone's attention shifts towards the wedding ceremony.

PALAK continues watching everything from a distance.

A television screen is visible inside the hall.

A remote control is used to switch on the television.

The screen lights up.

A recording is about to be revealed.

---

SCENE 03

INT. MANDVI HALL, MUMBAI — CONTINUOUS

The recording begins playing on the television screen.

An audio conversation between a politician and his associates starts playing.

The conversation reveals discussions about goods, materials, paperwork, and arrangements connected to the politician's election and political opposition.

The audio continues.

The screen then displays disturbing footage involving a young woman from Mumbai.

The footage reveals that the woman was sexually assaulted and murdered.

The politician's voice can be heard instructing his secretary to dispose of the woman's body.

The guests are left horrified.

The entire atmosphere inside the hall changes.

Several members of the Indian Crime Division enter the venue.

They arrest the politician along with his associates.

The guests and media personnel are moved aside as the authorities take control of the situation.

Meanwhile, PALAK'S FATHER approaches PALAK.

He is furious about the public humiliation and confronts her.

PALAK remains cold and composed. She does not give him the reaction he expects.

OFFICER RITESH RADHI ARRIVES

OFFICER RITESH RADHI enters the hall.

PALAK speaks to him and requests that he leave two female constables at the venue.

OFFICER RITESH RADHI agrees to her request and leaves two lady constables there.

ASHMIKA ARRIVES

ASHMIKA, PALAK'S friend and a news reporter and anchor, enters the hall.

PALAK'S FATHER continues protesting against what has happened.

PALAK remains firm in her position.

YASHI ARRIVES

YASHI enters the hall.

She is one of JAY'S close friends.

PALAK moves towards JAY.

JAY looks weak, confused, and visibly disturbed by the events unfolding around him.

---

SCENE 04

INT. MANDVI HALL — WEDDING MANDAP — EVENING

YASHI approaches JAY carrying a sehra and a varmala.

She brings them towards him.

JAY looks at the wedding accessories. His expression reflects confusion and disbelief.

YASHI places the sehra on JAY'S head.

PALAK reminds JAY that his eight-year-old niece is involved in this situation. She uses the child's safety to make him cooperate.

JAY is left with no choice.

He takes the varmala and places it around PALAK'S neck.

Nearby, PALAK'S FATHER watches the situation.

YASHI and the others continue with the wedding preparations.

The wedding rituals begin.

THE SEVEN PHERAS

JAY and PALAK complete the seven pheras around the sacred fire.

The remaining wedding rituals are performed.

JAY applies sindoor to PALAK'S forehead.

The mangalsutra is placed around PALAK'S neck.

The PANDIT announces that the marriage is complete.

For a moment, everyone remains silent.

Suddenly, PALAK'S FATHER loses his temper and slaps PALAK.

JAY is stunned.

He is already physically weak, and everything happening around him has left him overwhelmed.

JAY'S MOTHER attempts to undo the gathbandhan.

YASHI intervenes and stops her.

PALAK turns towards her stepmother.

PALAK:

"Congratulations, Mummy Ji. You should congratulate me."

Her stepmother is unable to accept what has happened.

PALAK then turns towards the two lady constables.

PALAK:

"You may leave now. But make sure that nothing that happened inside this hall gets leaked outside."

The lady constables leave.

PALAK'S STEPMOTHER grabs YASHI and questions her about what is happening.

YASHI:

"I'll take care of the remaining work."

Meanwhile, JAY begins losing his balance.

PALAK notices his condition.

PALAK:

"Take him upstairs. Let him rest."

YASHI and JAY'S other companion help him move away from the mandap.

JAY'S MOTHER objects to the marriage.

PALAK turns towards her stepmother.

PALAK:

"You got married eight years ago. Now you'll understand what it feels like to lose the person who means the most to you."

PALAK looks at her coldly.

PALAK:

"It's his wedding night. Make sure the room is decorated properly, Mummy Ji."

---

SCENE 05

INT. MANDVI HALL — SIDE AREA — EVENING

YASHI and ASHMIKA step away from the main wedding hall.

They discuss the recordings and the importance of keeping the marriage away from the media.

YASHI hands over the marriage registration file.

The file contains the details related to the marriage registration.

YASHI explains that she has changed certain details, including the age and date information, as much as she could.

She tells them that she will handle whatever remains possible from her side.

The situation is serious, and everyone understands the risks involved.

ASHMIKA approaches them.

She looks towards YASHI and makes a teasing remark.

ASHMIKA:

"Best of luck for the wedding night."

YASHI does not find the situation amusing.

She turns towards PALAK.

YASHI:

"Jay is innocent. He doesn't know anything about what's happening. Please don't hurt him more than necessary."

PALAK listens quietly.

PALAK:

"He's going to get hurt either way."

YASHI looks at her.

YASHI:

"He's still a child in many ways, Palak. He doesn't understand any of this."

PALAK remains firm.

---

SCENE 06

INT. MANDVI HALL — SECOND FLOOR — NIGHT

PALAK returns to the main hall.

She approaches one of the staff members.

PALAK:

"Which room has Jay been taken to?"

The staff member tells her the room number.

PALAK heads towards the second floor.

INT. JAY'S ROOM — NIGHT

JAY is lying on the bed.

He looks unwell.

His face is pale, and sweat is visible on his forehead.

YASHI and ASHMIKA are inside the room with him.

PALAK enters.

YASHI and ASHMIKA turn towards her.

YASHI:

"Where were you? What happened downstairs?"

PALAK looks at them.

PALAK:

"What did his sister tell you?"

YASHI and ASHMIKA explain that JAY'S sister had specifically told them not to let PALAK enter the room and to stay with JAY.

PALAK listens.

PALAK:

"You both can go to your room now."

YASHI and ASHMIKA hesitate for a moment.

PALAK repeats her instruction.

They finally leave the room.

PALAK closes the door.

The room becomes quiet.

JAY is lying on the bed with his eyes closed.

He appears to be asleep.

PALAK looks at him.

A slight movement catches her attention.

JAY'S hand tightens into a fist.

PALAK realizes that he is not actually asleep.

He is pretending.

She slowly approaches the bed.

PALAK:

"I know you're awake."

---

SCENE 07

INT. JAY'S ROOM — NIGHT

PALAK stands beside JAY'S bed.

JAY continues pretending to sleep.

PALAK looks at him for a few moments.

She slowly moves closer.

She leans towards him and gently pulls him closer to her.

Then, without saying anything, PALAK places a soft kiss on JAY'S lips.

The kiss is slow and deliberate.

PALAK stays close to him.

She moves towards his ear and whispers romantically.

PALAK:

"Let's start..."

The room falls silent.

PALAK remains close to JAY.

FADE OUT.

END OF EPISODE 01.

[ NOW IT'S TIME TO AUTHOR'S NOTES. ]

AUTHOR'S NOTE

Before you step into the dark and twisted world of "Love or Revenge," remember that behind every grand smile and glittering light lies a dangerous, calculated trap. This chapter sets the stage for a game where the lines between love, obsession, and vengeance blur completely, driven by five key souls:

Palak: The mastermind. At 19, she has orchestrated a chilling wedding trap to avenge her mother's destruction, turning her own life and everyone else's into a chessboard.

Jay: The unwitting pawn. Deeply in love and unaware of why his former girlfriend suddenly vanished, he finds himself trapped in a nightmare he never saw coming.

Yashi & Ashmika: Palak's loyal pillars. While Yashi quietly maneuvers legal and strategic moves from behind the scenes, Ashmika wields the power of media to shake the world outside.

IPS Officer Ritesh Radhi: The sharp-minded law enforcer whose presence in the high-profile venue anchors the legal storm accompanying Palak's revenge.

This isn't just a wedding; it’s a reckoning. The night has just begun, and the real game is about to unfold.

Novel By—( QueenDracoJ9 )"