ek twist ending wali movie script di ja rahi hai — Hindi (Roman) mein likhi gayi full dialogue-heavy SCRIPT style mein. Yeh ek psychological thriller hai jismein aakhri scene mein sab ulat jaata hai.

🎬 TITLE: “Aakhri Darwaza – Sach Ki Dehleez Par”

Genre: Psychological Thriller, Mystery, Suspense
Language: Hindi (Roman)
Duration: Approx. 2 hours
Setting: Shimla ka ek sunsaan bungalow aur aas-paas ke jungle

🎬 Project Dossier: Aakhri Darwaza – Sach Ki Dehleez Par

1. Title

Aakhri Darwaza – Sach Ki Dehleez Par

2. Concept / Idea (Logline)

Shimla ke ek sunsaan bungalow mein apni biwi ke ghum mein dooba ek architect, Aarav, har raat Maya ki parchhaiyon ka peecha karta hai. Jaise-jaise uske hallucinations intense hote hain, sach aur paagalpan ke beech ka darwaza toot jaata hai — jahan se nikalta hai ek khaufnaak raaz.

3. Story Outline

· Aarav Mehra apni biwi Maya ki maut ke gham mein Shimla ke bungalow mein akela rehta hai.

· Usse Maya ki shadow aur awaaz har raat sunai deti hai.

· Psychiatrist Dr. Niyati usse hallucination bolti hai.

· Inspector Rajveer Maya ki death ko suspicious samajh kar case kholta hai.

· Aarav ko Maya ki diary milti hai jisme likha hai uska gussa dangerous tha.

· Dheere-dheere reveal hota hai ki Aarav DID (split personality) ka shikaar hai.

· Twist: Aarav hi Maya ban gaya hai.

· Final mein uski identity poori tarah Maya ban jaati hai — Aarav “andar hi mar jaata hai”.

4. Characters (Bio Cards)

· Aarav Mehra (32) – Architect, intelligent, disturbed, guilt-ridden.

· Maya Mehra (30) – Aarav ki biwi, alive sirf Aarav ke mind mein. Symbol of love, guilt, and madness.

· Dr. Niyati Shah (35) – Psychiatrist, rational, logical, Aarav ko cure karne ki koshish karti hai.

· Inspector Rajveer Rana (40) – Sharp, skeptical, truth-seeker.

· Ramlal (Watchman) (65) – Old loyal chowkidar, mysterious.

· Gauri (Maid) (28) – Afraid of Aarav, believes bungalow is haunted.

5. Plot Structure (3 Acts)

· Act 1 (Setup): Aarav ki zindagi, grief, Maya ki presence, hallucinations. (00:00 – 30:00)

· Act 2 (Confrontation): Investigation, Maya ka diary, Aarav ka split personality reveal. (30:00 – 90:00)

· Act 3 (Resolution): Aarav ka final breakdown, Maya ka transformation, asylum ending. (90:00 – 120:00)

6. Script (Screenplay Format)

Already likha gaya hai — dialogue-heavy screenplay with scene details.

7. Scene Breakdown

· Act 1: Scene 1–6 (Grief, hallucination, diary)

· Act 2: Scene 7–17 (Investigation, flashback, Aarav’s madness)

· Act 3: Scene 18–30 (Laash reveal, asylum, Aarav becomes Maya)

8. Dialogues, Subtext & Themes

· Themes: Grief, guilt, madness, dual identity, fragile reality.

· Subtext: Har dialogue mein guilt aur denial chhupa hai. Aarav ka “Main pagal nahi hoon” = acceptance ki fight.

· Dialogues: Symbolic and layered (e.g., “Main kabhi gayi hi nahi, Aarav…”).

9. Treatment / Synopsis

2-hour psychological thriller set in Shimla. Aarav apni wife Maya ke loss ko accept nahi karta. Slowly, guilt usse split personality disorder tak le aata hai. Police aur psychiatrist ko lagta hai woh criminal hai — par asli horror uske mind mein hai. Ending mein Aarav poori tarah Maya ban jaata hai.

10. Storyboard / Shot Division

· Opening: Slow zoom, snowfall, empty bungalow.

· Flashbacks: Warm tones, sunlight.

· Hallucinations: Low light, silhouette shots, mirror shots.

· Investigation: Wide shots, dark tones.

· Final: Asylum mirror – Aarav vs Maya reflection.

11. Dialogue Drafts & Revisions

· Draft 1: Heavy dialogues for Aarav’s mental breakdown.

· Draft 2: Trimmed dialogues for suspense pacing.

· Final Draft: Symbolic lines, repetition for haunting effect.

12. Scene Pacing & Runtime

· Act 1: 30 min (Slow buildup, mystery)

· Act 2: 60 min (Fast-paced investigation + breakdown)

· Act 3: 30 min (Shocking reveal + asylum closure)

13. Character Arcs

· Aarav: Grief → Denial → Guilt → Transformation into Maya.

· Maya: From memory → hallucination → identity → Aarav ke andar ki final takeover.

· Dr. Niyati: Rational observer → horrified witness.

· Rajveer: Suspicious cop → truth-seeker → helpless spectator.

14. World-Building & Research

· Setting: Shimla ka isolated bungalow, snowy forests, old interiors.

· Psychology: Dissociative Identity Disorder (researched basis).

· Mood: Cold, haunting, psychological terror.

15. Tone & Genre Consistency

· Genre: Psychological thriller + mystery.

· Tone: Suspenseful, melancholic, eerie.

· Always balance between illusion vs reality.

16. Mini Checklist Before Writing

✔️ Clear 3-act structure
✔️ Strong visual motifs (mirror, doors, snow, diary)
✔️ Dialogue subtexted with guilt
✔️ Consistent eerie tone
✔️ Aarav’s transformation payoff in final act

👉 Ab aapke paas ek complete film project bible hai — screenplay ke saath development modules.

Aakhri Darwaza – Full Screenplay (acts 1–3)

AAKHRI DARWAZA – SACH KI DEHLEEZ PAR

Feature Screenplay (Hindi – Roman)
Genre: Psychological Thriller / Mystery
Setting: Shimla – Sunsaan bungalow & aas-paas ke jungle, thand, barf, purane furniture, mirrors, doors, attic, basement.
Duration: ~120 min

ACT 1 — SLOW BUILDUP & MYSTERY (~30 min)

SCENE 1 – INT. SHIMLA BUNGALOW – STUDY – SUBAH (DAY 1)

Camera: Snow pe tilt → colonial window → inside. Drawing table, crumpled sketches, cigarette smoke.
AARAV (V.O.): "Har darwaza khulta hai… ya to sach par… ya paagalpan par."

Aarav (32), thaka hua, aankhon ke neeche dark circles. Table par MAYA ki framed photo. Frame ke piche likha: “Tum mujhmein hamesha rahogi.”

AARAV (dheemi awaaz, photo ko): "Maya… aaj bhi barf padi hai. Tumhe thand pasand thi na?"

Doorframe ki halki karrahat. Kaghaz hilte hain. Darwaza apne aap adha sa khulta hai.

AARAV (khamosh muskura kar): "Phir se…?"

Cut.

SCENE 2 – EXT. SHIMLA PAHAD – FLASHBACK – DIN (2 SAAL PEHLE)

Garmahat bhare tones. Maya (30) pahadon ki dhup mein ghoom rahi, hans rahi. Aarav camera se tasveeren le raha.

MAYA: "Agar main kabhi chali gayi… toh mujhe mat dhoondhna. Main tumhare andar hi mil jaungi."

AARAV (halki hansi): "Aise mat bol, drama queen."

Thunder. Flashback cut.

SCENE 3 – INT. BEDROOM – RAAT (2:44 AM)

Clock pe 2:44. Pankhha band. Durr-e-durr hawaa ki seat.

SFX: Darwaza handle halkasa hiltā hai.

AARAV (uth kar): "Kaun… Maya?"

Darwaza dheere khulta. Corridor andhera. A faint female silhouette.

SILHOUETTE (MAYA Jaisi) (faint): "Main kabhi gayi hi nahi, Aarav…"

Aarav aankhein rub karta. Silhouette gayab. Cold breath.
AARAV (faint whisper): "Phir se wahi… yaad… ya sach?"

SCENE 4 – INT. KITCHEN – SUBAH

Ramlal (65), purana chowkidar, chai garam karta. Gauri (28), maid, plates lagati.

RAMLAL: "Sahab raat ko ghoomte rehte hain verandah pe. Suna tumne?"

GAURI (nervous): "Suna… gaane bhi… hawa se… Maya madam wala gaana."

Aarav aata hai, sunnar.

AARAV: "Maya ko Raag Bhairavi pasand tha. Tum logon ne sun liya hoga TV se."

GAURI (sekha hua jhoot): "Haan, TV se hi…"

SCENE 5 – INT. DR. NIYATI SHAH’S CLINIC – DIN

Clinic minimal. Dr. Niyati (35) notes leti. Aarav saamne.

DR. NIYATI: "Maya ke jaane ke baad se aap isolated ho. Hallucinations ho sakte hain."

AARAV: "Hallucination nahi. Uski smell… uska touch… sab feel hota hai."

DR. NIYATI: "Brain guilt ko reality bana leta hai. Therapy try karein?"

AARAV (kat-ta): "Main uski maut ka zimmedar nahi hoon."

DR. NIYATI (soft): "Kabhi kabhi zimmedari sach nahi… ehsaas hota hai."

SCENE 6 – EXT. POLICE STATION – DIN

Inspector Rajveer (40), sharp. Cold file rack se ek file nikaalta: “Maya Mehra – Missing/Death (Cold)”

RAJVEER (constable se): "Case dobara kholte hain. Pahadon pe hawa tez hai, par sach ki smell aur tez."

SCENE 7 – EXT. BUNGALOW GARDEN – SHAAM

Rajveer aur Gauri.

RAJVEER: "Kitne din se kaam pe ho?"

GAURI: "Chaar mahine, sir. Raat ko gaane… bina kisi ke bajte hain."

RAJVEER: "Tape recorder?"

GAURI: "Nahi… hawa mein."

Rajveer gate, grills, wind-chimes ko notice karta.

SCENE 8 – INT. STUDY – SHAAM

Aarav desk par. Purane blueprints. Ek chhoti key milti hai lamp ke neeche.

AARAV (photo se): "Maya, tum chahti thi basement band rahe. Kyun?"

Key ko pakad kar nikalta hai.

SCENE 9 – INT. BASEMENT – RAAT

Dust, trunks, mirror on wall, kapdon ka box. Ek locked door. Key lagti hai. Click.

Andar: Maya ki diary, dupatta, lipstick, sketchbook.
Aarav diary kholta.

MAYA (V.O. – diary): "Aarav ka gussa badh raha hai. Main darr rahi hoon."

AARAV (toda): "Jhooth! Main… aisa nahi tha."

Mirror corner mein Maya ki chhaya.
MAYA (whisper): "Yaad karo…"

Bulb flicker. Cut.

SCENE 10 – INT. DR. NIYATI’S CLINIC – RAAT (THERAPY)

Light low. Metronome tick.

DR. NIYATI: "Close your eyes. Jo dikhe… bolo."

AARAV (eyes shut): "Darwaza… hawa… Maya ka dupatta… mera haath… uski kalai…"

DR. NIYATI: "Aage?"

AARAV (tezi se saans): "Main… dhakka… nahi… main… Ruka tha…"

Metronome rukta.
DR. NIYATI (andar se hilli par calm): "Kafi hai aaj ke liye."

Aarav akela hota hai, seedha camera ki taraf dekhta:
AARAV (faint): "Main uski maut ka zimmedar nahi hoon."

CUT TO BLACK.

ACT 2 — INVESTIGATION & BREAKDOWN (~60 min)

SCENE 11 – EXT. SHIMLA BAZAAR – DIN

Rajveer local dukandaron se pooch-taach. Phone videos, gossip.

DUKANDAR 1: "Ek hafta pehle sahab ek aurat ke saath the… Maya jaisi thi."

RAJVEER: "Face clear?"

DUKANDAR 1: "Dupatta se dhaka. Par chalna, baat karna… Maya madam jaisa."

SCENE 12 – INT. BUNGALOW – NIGHT VISION SETUP

Hidden micro-cams. Rajveer Ramlal ko instructions deta.

RAJVEER: "Bas natural rakhna. Agar awaaz aaye, record chalta rahe."

RAMLAL: "Sahab, yeh ghar bolta hai raat ko."

SCENE 13 – INT. LIVING ROOM – RAAT

Night-vision feed: Aarav akela. Maya ka dupatta gale mein. Uski awaaz badalti.

AARAV (as MAYA – soft): "Kya mujhe dard mein dekh kar sukoon milta hai, Aarav?"

AARAV (apni awaaz): "Nahi… main tumse pyaar karta hoon."

AARAV (as MAYA): "Toh phir… zameen kyun khodi thi?"

Camera mein sirf Aarav. Do alag tones.

SCENE 14 – INT. DR. NIYATI’S OFFICE – DIN

Niyati audio mix sunti: ek hi track par do tonal signatures.

DR. NIYATI (dictation): "Subject Aarav Mehra – probable DID. Trigger: grief + guilt. Secondary identity: ‘Maya’."

SCENE 15 – EXT. WOODS BEHIND BUNGALOW – SHAAM

Rajveer, constables, Gauri. Mitti mein freshly disturbed soil. Ek grave nikalta.

CONSTABLE: "Sir… yahan se kapda… aur…"

RAJVEER: "Forensics bulao. Abhi."

Gauri dupatta muh pe rakh kar ro padti.

SCENE 16 – INT. BASEMENT – RAAT

Aarav box se lipstick nikal kar mirror ke saamne lagata hai. Halki si sukoon.

AARAV (as MAYA): "Ab main tum hoon… aur tum main."

Darwaza par Gauri. Shock.

GAURI: "Sahab… yeh kya…?"

AARAV (seedha): "Kitchen saaf ho gaya? Maya ko safai pasand thi."

Gauri peeche hat-ti hai.

SCENE 17 – FLASHBACK – INT. BALCONY – RAAT (SAAL PEHLE)

Teez behas.

MAYA: "Tumhara control… tumhara gussa… mujhe maar raha hai!"

AARAV (chillata): "Chup raho! Mujhe mat chhodo!"

Maya peeche jhatakti, railing se fisl kar neeche andhera.
Aarav ke haath hawa mein reh jaate.

AARAV (toot kar): "Maaaayaaa!"

Flash of guilt. Cut.

SCENE 18 – INT. POLICE LAB – DIN

Forensic officer report deta.

FORENSIC: "Body female, mid-30s. Death around 7 days."

RAJVEER (sokk): "Par Maya ki death file do saal purani hai."

FORENSIC: "Yeh body purani nahi lagti. Fresh burial."

SCENE 19 – INT. DR. NIYATI’S OFFICE – RAAT

Video call. Aarav Maya ke kapde pehne.

AARAV (as MAYA): "Hello, doctor. Aarav ab yahan nahi hai."

DR. NIYATI (compose hote hue): "Tum kaun ho?"

AARAV (smile): "Main? Maya."

SCENE 20 – INT. BUNGALOW – RAAT – BREAKDOWN

Mirror ke saamne Aarav. Do aada roop: ek normal shirt, ek Maya ka dupatta.

AARAV (apni awaaz): "Main pagal nahi hoon."

AARAV (as MAYA): "Nahi. Tum sach se bhaag rahe ho. Tumne mujhe maara."

AARAV: "Woh accident tha!"

AARAV (as MAYA): "Toh zameen kyun khodi?"

Mirror mein ek pal ke liye Maya ka chehra clearly. Real frame mein sirf Aarav. Glass par saans ki fog se likha sa lagta: “YAAD KARO”

SCENE 21 – EXT. CLIFF – FLASHBACK – SHAAM (EK HAFTA PEHLE)

Maya (real) tez kadam, thakki, aankhon mein aansu. Aarav peeche.

AARAV: "Mujhe mat chhodo, Maya! Tumhi ho meri zindagi."

MAYA (ruk kar): "Tumhare saath jeena… apne aap ko maarna hai."

Aarav ek kadam aage, haath badhata — push nahi karta. Maya pitth kar ke fisl jaati. Cheekh. Silence.
Aarav ke ghutne toot-te, woh neeche dekh-ta.

AARAV (V.O.): "Har baar yaad badal jaati hai. Shayad yaad nahi… main badal deta hoon."

SCENE 22 – INT. BUNGALOW – SUBAH

Police ghanti bajati. Ramlal darwaza kholta. Rajveer andar.

RAJVEER: "Mr. Mehra, aapko kuch sawalon ka jawab dena hoga."

AARAV (thanda): "Kis baare mein? Maya to yahin hai."

RAJVEER (teekhi nazar): "Kahan?"

Hawaa se Maya ka gaana badi halki si sunai deta hai. Sab chup.

SCENE 23 – INT. NIYATI’S THERAPY ROOM – DIN (HYPNOSIS)

Niyati cautious hypnosis try karti.

DR. NIYATI: "Jo aakhri baar tumne Maya ko dekha… wahi jagah… wahi awaaz…"

AARAV (trance): "Barf… dupatta… darwaza… mera chehra… Maya ka chehra… ek hi…"

Heartbeat SFX. Aarav ka body freeze — aankhon mein aansu. Niyati ruk jaati.

DR. NIYATI (faint): "Stop. Aaj ke liye bas."

SCENE 24 – EXT. WOODS – DIN

Crime scene tape. Media nahi. Rajveer mitti se dupatta ka kona nikalta.

RAJVEER: "Yeh dupatta… ghar ke andar se match karega."

SCENE 25 – INT. STUDY – SHAAM

Aarav diary phir padhta.

MAYA (V.O.): "Aarav ke andar koi aur hai. Jo mujhe Aarav se bhi zyada chahta hai… par mujhe khatam karke rakhta hai."

AARAV (sar pakad kar): "Main aadha tum… tum aadhi main… ya…"

Bulb phoot-ta hai. Cut.

ACT 3 — SHOCKING REVEAL & ASYLUM CLOSURE (~30 min)

SCENE 26 – INT. POLICE STATION – REPORT ROOM – DIN

Rajveer Dr. Niyati ko final lab results deta.

RAJVEER: "Forensics confirm: laash 7 din purani. Matlab Aarav ne ya toh Maya ko dubara dhoonda… ya kisi aur ko… par usne identity… le li."

DR. NIYATI (halki si khud se): "Ya Maya ne khud ko Aarav ke dimaag mein chhupa liya."

SCENE 27 – INT. BUNGALOW – NIGHT – SHOWDOWN

Blizzard bahar. Andar low warm lamp. Aarav mirror ke saamne.

AARAV: "Kya tum wapas aa gayi ho?"

MAYA (mirror se awaaz): "Nahi, Aarav… main kabhi gayi hi nahi. Main toh tum thi… tum ho… aur tum rahoge."

Aarav ka chehra dheere-dheere Maya ke expressions adopt karta. Shoulder drop, nazar narmi, aadat ke andaaz.

AARAV (as MAYA) (dheeme, sukoon bhare): "Ab theek hai."

Darwaza tez awaaz se band. Ramlal aur Gauri door pe.

GAURI (haalat kharab): "Sahab… Mat…"

AARAV (as MAYA) (seedhi nazar): "Kitchen saaf rakhna. Mujhe safai pasand hai."

SCENE 28 – INT. POLICE + BUNGALOW – EARLY MORNING RAID

Police break in. Aarav shant. Hathkari lagti hai. Gauri roti.

RAJVEER: "Aarav Mehra, aapko arrest kiya jaata hai."

AARAV (as MAYA) (muskurahat): "Aarav… us raat hi mar gaya tha."

Rajveer aur Niyati ek dusre ko dekhte hain.

SCENE 29 – INT. MENTAL ASYLUM – OBSERVATION ROOM – 1 WEEK LATER

Aarav large one-way mirror ke saamne. Subah ki roshni.

ATTENDANT: "Kabhi Maya ban kar baat karta, kabhi Aarav… par ab zyada der Maya hi rehti hai."

DR. NIYATI: "Usne identity tyag di hai. Yeh paagalpan nahi… survival hai."

SCENE 30 – INT. ASYLUM CELL – RAAT

Aarav/Maya diary likh raha.

AARAV (as MAYA – V.O.): "Log samajhte hain main pagal hoon. Shayad hoon. Par main hi sach hoon. Aarav sirf dard tha… jo khatam ho gaya."

Diary page: “Maya – 3rd July, Aarav ki maut ka din.”

SCENE 31 – INT. GROUP THERAPY – DIN

Round of chairs. Therapist naam puchta.

THERAPIST: "Aap apna naam batayenge?"

AARAV (as MAYA) (soft, seedhi aankhon mein): "Maya. Maya Mehra."

SCENE 32 – INT. DR. NIYATI’S OFFICE – PRIVATE VIDEO LOG – SHAAM

DR. NIYATI (to camera): "Case 221: Aarav Mehra. Subject ne guilt se bachne ke liye Maya ki identity adopt ki. Illusion nahi — ek zinda mechanism."

Woh camera band karti.

SCENE 33 – EXT. SHIMLA BUNGALOW – SUNSET – ONE LAST TIME

Bungalow band. Gate pe lock. Andar se ek photo frame giri hui — Maya muskurati. Camera frame pe slow push.
Peeche se female laughter ki faint tail.

Hawaa, wind-chimes. Lock halkasa hiltā — jaise darwaza chaahe khulna.

SCENE 34 – INT. ASYLUM – MIRROR ROOM – NIGHT

Aarav phir mirror ke saamne. Mirror mein Maya clearly dikh rahi — uske peeche khadi.

MAYA (mirror se): "Tum mujhmein chhup gaye ho, Aarav. Tumhe chain chahiye tha, maine de diya."

AARAV (smile, whisper): "Shukriya."

Mirror blink — Maya vanish. Aarav ka chehra ek mask of sukoon.

SCENE 35 – INT. ASYLUM CORRIDOR – NEXT MORNING

Nurse files le kar.

NURSE: "Doctor, woh patient… Maya Mehra… uska agla session kab hai?"

DR. NIYATI (chhota sa pause, halka muskurahat): "Har din. Har din woh apne sach se ladti hai."

SCENE 36 – FINAL BLACK – TITLE CARD

MAYA (V.O.): "Kabhi kabhi… sach itna gehra hota hai, ki jeene ke liye dimaag use jhooth bana deta hai. Main jhooth nahi hoon… main sirf ek zinda darwaza hoon."

TITLE: Aakhri Darwaza – Sach Ki Dehleez Par
TAG: "Aapka dimaag aapko bachata bhi hai… aur maar bhi deta hai."

DIALOGUE NOTES (CONSISTENCY & SUBTEXT)

· Aarav → Maya shift: Pronouns, cadence, neck/shoulder posture, softening eyes. Lines shorter, breathy.

· Motifs: Darwaze (thresholds), mirrors (split), barf/saans (cold reality), diary (frozen memory), dupatta (presence).

· Repetition: "Main kabhi gayi hi nahi" ko teen alag contexts me use — comfort, accusation, closure.

PACING MARKERS (Rough)

· Act 1: Scenes 1–10 (~30 min)

· Act 2: Scenes 11–25 (~60 min)

· Act 3: Scenes 26–36 (~30 min)

END OF SCREENPLAY

Done! I’ve put the full dialogue-by-dialogue screenplay for Acts 1–3 on the canvas so you can read, copy, or print it easily.

Ticker

Ad Code

🎬 Twist Ending Stories - Title : Aakhri Darwaza – - Complete Blueprint for Writing a Movie Script & Screenplay