Brishti and Souvik have lunch at Megh's place and Brishti leaves for sydney with a heavy heart. Megh realises how important Brishti is to him and goes to stop her when his parents motivate him, however in vain. He returns home only to find Brishti waiting for him. From here onwards the director's open end trick works. It is shown that Megh imagines himself having a conversation with Brishti after entering the room. She tells him that she was always confused if Megh was her father or her lover due to his fatherly nature, hinting of the void of the fatherly love that she had always craved for. Megh assures her that she is free to love him in whatever way. Brishti says she might not be a good mother to Potol Posto but can be a good friend to them. Megh tells her that every kind of love has an affection and she is free to mould their children in any way she wants. Megh and Brishti reconcile, a happy family scene is shown, hinting at their marriage and love filled life with a sense of freedom ahead. But the moment Megh is back and another Megh is portrayed imagining the entire thing with all the other cast ignoring Megh to be back signifies that Brishti didn't return. The imagination of what could have happened if Brishti returns is what shown in the end. Many will be mistaken on this perspective and would consider this as a happy ending which is rather unrequited. One can think of all realistic possibilities to support the fact that Brishti is back but that won't be a justified one both in reality and technically. This film's climax is much more than just a happy ending. This is why this film stands out in a different way altogether. When all the 90s romantic film incidents are proven wrong in one way or the other in reality, the ending also somehow breaks the stereotype of typical happy ending of romantic films.