Turbaned musicians played shehnai in the courtyard as the ceremonies took place inside the mansion. While the bride was having her mehndi applied, the groom had his Janev ceremony. Randhir was dressed in a saffron robe as he sat before a yagya or sacred fire accompanied by a priest. The idea behind the Janev ceremony is that faced with two choices, that is either renouncing the world by becoming an ascetic or taking on the responsibilities of a husband, the groom pretends to opt for renunciation while his relatives persuade him to get married instead. He then complies and agrees to don the Janev or sacred thread in preparation for marital life.

Anokhi performed the Palla Dastoor for Sanyukta by formally gifting her bridal trousseau including her poshak and jewellery with a God-bharai ritual. She placed the articles on Sanyukta's lap and fed her sweets. Soon the Tel Baan or the Pithi Dastoor began where a paste of ground turmeric and sandalwood was ceremonially applied first on Randhir's body and then the same bowl was sent for the bride who arrived in the designated room wearing an orange poshak, under a silken canopy held over swords carried by four ladies.

As the women applied the turmeric paste onto the bride's face, arms and feet, a group of singing women sang traditional songs accompanied by the beat of the dholak. Anokhi lovingly anointed Sanyukta with the haldi giving her another mouthful of mithai. "You are glowing like a proper bride now that your groom's haldi has found a way to caress your skin. This is only a precursor to the wedding night when your bodies and minds will unite." She whispered in her ear. Later the bride was given a ritual bath just like Randhir was given one earlier. She changed into a fresh set of clothes and put on jewellery.

A Rajputana wedding would be incomplete without a Mehfil where folk singers entertain the groom and the bridal party with their singing and music. A troupe of dancers performed the Ghoomar dance and another group of Kalbeliya dancers captivated the audience with their acrobatic movements while dancing. Saffron and cardamom flavoured liquor, unique to the Thikana of the host, was offered to the men along with hukka or smoking pipe. The women could watch the dance performances from veiled balconies as they sipped sherbet. The singing and dancing continued and the artists were given their baksheesh.

A lavish dinner was served to the guests, including dishes like maas ke sooley or roasted meat on skewers, laal maas made from goat, bater or partridge pickle, and khargosh ki mokal made of rabbit. As meat and liquor would be absent for the wedding day feast which happened to fall on Akshaya Tritiya many courses of the meal were based on poultry and game. Other dishes included govind gattey, dahi aloo, stuffed bhindi and panchmel ki daal with shahi pulao, apart from the sweetmeats.

Because Sanyukta was vegetarian Anokhi personally supervised the making of papad mangodi ki subzi, ker sangri ki subzi, gattey ki kadhi and bajra roti for her bachelorette meal, wanting to give her a taste of the rustic cuisine of the desert state. She insisted on feeding her few morsels of her dinner. Both the bride and the groom were fed from a platter of five sweets which included kheer, mogar (moong) dal halwa, ghevar, churma laddoo and jalebi. The excited bride was asked to go to bed early so that she could get adequate rest before her wedding.

Just before the wedding Sanyukta was bathed and dabbed with perfume. Anokhi, who was herself dressed in a pink lehenga, helped Sanyukta put on the ethnic red and gold poshak.  Rajputana women always wear bright colours like red, pink, orange, parrot green or yellow, in striking contrast to the bare terrain of the desert. The rakhdi or forehead ornament was secured on the bride's head with a silken string. The heavy choker necklace called Aad was placed around her delicate neck. Kundan jhumkas went in her earlobes, while the baajuband were tied to her upper arms. The chooda of several gold and ivory bangles went on her wrist, along with gold bracelets called paunchis and haathphool for the palms. The stone-studded nath or nose ring was slipped on; along with bicchiya or toe rings and anklets on her feet.

Anokhi put kajal in Sanyukta's eyes; adding a dot of it behind her ear as a protection from the evil eye. Not any less regal in his turnout, Randhir put on an Achkan or a long golden coat paired with Jodhpur riding tights. A stylish turban was tied on his head with a diamond and emerald Sarpech ornament. He wore a cummerbund around his waist. Strands of emeralds set with uncut diamonds were strung around his neck. Embroidered jootis or shoes on his feet and a sword in his hand completed his look. The groom then mounted a decorated mare and was taken around for a token baraat before arriving at the entrance of the mansion, accompanied by turbaned Rajputs carrying swords.

A wedding tradition requires the groom to tap the Toran at the entrance with a neem stick as a good luck charm, Randhir used his sword instead. He was then welcomed with aarti and tilak on his forehead by married Rajput ladies who led him to the wedding altar. The women escorted the heavily veiled and bejewelled Sanyukta to him and they exchanged garlands or Jai Mala. She was then seated with the groom who nudged her with his elbow when no one was looking, eliciting a muffled giggle from her in an otherwise solemn ceremony. She longed to see him dressed as a groom but dared not unveil herself.

The wedding rituals began around the sacred yagya fire with the priest chanting Sanskrit wedding mantras. The bride's chunari was tied at one end to the groom's uttariya, this gath-joda symbolising the auspicious bridal knot. To honour the bride's wishes her Kanyadaan was to be done by Parth and Anokhi. In the Panigrahan ritual Randhir and Sanyukta joined their right hand palms and water was poured over these symbolically. They walked around the sacred fire seven times during the Saat-phere, under a canopy formed by four swords held over their heads by Rajput warriors, accompanied by the chanting of the sacred Hindu wedding vows.

The rituals culminated with Randhir putting vermilion in Sanyukta's maang or hair-parting, declaring them a married couple. Sanyukta was given a bag filled with money by Parth in a token ceremony called Aanjhala-bharaai. The bridal couple took blessings from Parth and Anokhi as well as other elders present there. Some more rituals took place after which the guests were treated to a sumptuous wedding feast with daal-baati-churma, pithode ki subzi, panchmel subzi, aam ki launji, shahi kachori, saffron pulao and delectable sweets like dil kushal, malpua, ghevar rabdi and laddoo, followed by beeda or betel leaf paan.

The bridal chamber had been beautifully decorated with flowers and lamps for the much anticipated wedding night. The women led the nervous bride into the room and seated her on the bed. As the groom tried to enter the chamber he was blocked by them and they only relented after getting cash gifts from him. They cracked naughty jokes and laughed out loudly, advising Randhir to emerge victoriously from the battle of his nuptial bed.

Finally Anokhi evicted everyone, giving a warm hug and whispering words of assurance to Sanyukta. "Jija, you mean the world to me, you are my mother, my sister, my only friend and my guide besides being my co-sister. I am feeling uneasy about this woman who is to be present during our consummation." Sanyukta voiced her anxiety to Anokhi. "Mhaari laado, when the man whom you trust above everyone else will be there with you for every moment why are you scared?" She said reassuringly.

"Will it hurt, and will I bleed a lot? I don't want the bed messed up!" Sanyukta whispered. "It may hurt a bit, and you may bleed little. But don't be afraid, face it like a brave girl! Now, I must leave, your husband cannot be kept waiting anymore!" She left the chamber after exchanging a few words with Randhir, who walked in, shut the door and lifted Sanyukta's ghoonghat as required by tradition. "You look more beautiful than I had imagined!"He told his blushing bride, handing her a large jewel case. "A Raani haar! It is so exquisite!" She squealed in delight. "It is your Mooh-dikhai present!" He smiled to see her enthusiasm.

He proceeded to unfasten her heavy jewellery and placed it in their cases. Next, he made her lie down with her hips close to the edge of the bed. "Trust me; I can do you no harm!" He told her softly and kissed her on her forehead. Leaving her on the bed he unlocked the room and let the Dai or the midwife in, bolting the door behind him. He lifted the bridal ghaghra above Sanyukta's waist and spread her legs apart. The Dai examined her maidenhead and found it intact. Randhir folded a piece of white cloth into a thick pad and placed it just beneath Sanyukta's hips.

Asking her to relax, he gently inserted a sanitised finger inside her, wiggling it till he achieved what he was after, and a trickle of blood flowed as he breached her. The midwife then dabbed the flow completely till it stopped. Randhir escorted her out of the bed chamber where she showed the stained cloth to Parth and Anokhi and was rewarded for her services. In a few minutes Randhir was back in the chamber with his wife. "Did I hurt you too much?" He asked hugging her. "Not really, I was just uneasy about the woman being present with us. But I thought that you would..." She was interrupted before she could finish.

"It was Bhabhi sa's suggestion; she didn't want things to be more awkward than necessary." He confessed. "Randhir, it is quite late, are you not going to undress me?" She asked him. "Are you sure? I thought you may want to recover for a bit!" He was surprised to hear her words. "Don't be silly; women are strong enough to push babies out of their wombs. Now, don't keep me waiting, I have been patient long enough!" She drew his attention to her nath or nose-ring that he was supposed to unclasp symbolically before their bodies united. "Somebody seems quite eager to start married life!" He smirked as he began undressing her.