Two middle-aged Asian ladies are talking. One of them is Azra Malek, the mother of the bride.
Mr. Malek and his son Saiyid, the father and brother of the bride are talking to someone we can't see.
An NGO worker Roshni is ushering Aisha, the bride, into a safe house, with a good deal of secrecy and urgency.
As these three parallel stories develop, we learn what has happened. Azra is telling her friend a tale of a dying father, a surprise wedding with a wonderful boy her daughter loves very much. From Saiyid we learn that, actually, Aisha has escaped an arranged marriage (he doesn't refer to it as forced, of course), with the help of the British embassy in Islamabad and that, by doing this, she has spat on the honour of her family. He wants to find her and 'bring her home'.
Meanwhile, we can see Aisha distressed and lost in the safe house, frightened and worried about her future, whilst Roshni, tries to give her some comfort, as well as arrange meetings with a solicitor and forced marriage unit representative, all trying to give her some future.
The drama of the film is created in the juxtaposition of the three stories – Aisha's distress, the seemingly chirpy mother, who is keeping up a charade for friends, and the brother and father who claim they want to find Aisha 'to make sure she is alright', but it's clear they're posing a very clear, physical threat to the young girl.
In the end, the police officer, who we now see is the man Saiyid and Mr. Malek have been talking to about 'izzat' and protecting their family name in the name of honour, has clearly had enough and asks the two men – where is the honour in co-ercion and violence against a young woman?
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