police detective Shabor Dasgupta, Saswata Chatterjee, is entrusted with the daunting task of solving the murder of Mitali Ghosh, Swastika Mukherjee, a woman with a messy past who was killed on the night she threw a party for friends and family. The case immediately feels sprawling because the guest list at that party reads like a tangled web of relationships, each person harboring secrets that might have motive enough to kill.
As the investigation unfolds, Shabor learns about Mitali’s complicated love life. She was once married to Mithu Mitra, Abir Chatterjee, whom she divorced before he settled overseas. Yet a wave of regret hits Mithu when he realizes how deeply he still cares for her, a realization that complicates his present life. Meanwhile, Mitali’s cousin Joyeeta, Payel Sarkar, becomes entangled in a new bond—she begins a relationship with Mithu, which fractures trust within the family. Adding another layer is Mitali’s childhood friend and secret admirer, Samiran, Rahul Banerjee, who quietly moves through a chorus of relationships with several women, including a schoolteacher named Julekha Sharma. The dynamics grow murkier as Shabor’s inquiries reveal that many people at the party have something to hide.
Shabor’s trusted assistant, Nandalal—portrayed in this tale as Nando by Subhrajit Dutta—joins the detective in this meticulous probe. The detective uncovers a long history of vendetta and ruin within the Ghosh family. One shocking thread points to Mitali’s past where she eloped with Pantu Haldar, Ritwick Chakraborty. The fallout for Pantu is brutal: he is beaten by police officers paid by Mitali’s father, a savage punishment that wreaks lasting damage—nerve injury and erectile dysfunction—and ruins his career. The chain of damage doesn’t stop there; another figure, Doyel, enters the frame, along with the revelation that Mitali’s father’s actions reverberate through generations of pain. A family servant, Haren da, helps Doyel sneak in to steal money, while Khonika, who confides in Mitali about Mithu and Joyeeta’s affair, adds another layer of betrayed trust.
The tale widens further with revelations from Mitali’s time in Pondicherry, where her father began a sexual relationship with Doyel, producing a son together. Doyel later tries to compel a marriage that never comes to pass, and she uses this truth to blackmail for a stake in the father’s property after his death, only to be cast aside. The web tightens as Julekha—a woman drawn into prostitution—begins to pursue money from men like Pantu, and the situation deteriorates further when Mitali’s father’s wealth and status tempt others to act. In one fateful evening just before the party, Doyel, aided by the family servant, enters with a plan to steal money, and the chaos surrounding money, power, and desire spirals toward violence.
The culmination comes when Pantu, overwhelmed by a lifetime of grievance and the wreckage his own choices have caused, confronts Mitali. In a brutal act of retribution, he stabs her six times—three stabs from him and three from Mithu, a chilling confession of the intertwined grudges and broken loyalties that permeate the Ghosh family. The murder exposes a cascade of secrets—the past elopement, the entangled affairs, and the families’ desperate attempts to protect or destroy one another—leaving Shabor to piece together what happened from a maze of motives, lies, and long-held grievances.
Throughout the investigation, the narrative threads together a portrait of a family rattled by the consequences of choices made long ago, and a detective who must sift through motive, memory, and malice to uncover the truth behind Mitali’s death. The story moves deliberately, balancing intimate, personal vendettas with the larger, darker undercurrents of a family history that refuses to stay buried.
