Bhool Bhulaiyaa 2 2022

Varanasi’s ancient royal palace, once the seat of a proud lineage, now trembles with whispers about Manjulika, a restless spirit bound to the third floor where legends say a powerful curse was laid to rest long ago. In the present, Badrinarayan “Badri” Chaturvedi leads a family that clings to its faded glory, even as odd occurrences creep into the halls and the old stories feel unexpectedly close to home.

Manjulika [Tabu] is introduced not just as a rumor but as a living memory that refuses to fade. Centuries earlier, Maharaja Vibhuti Narayan, smitten with Manjulika, watched his court dancer prefer another, Shashidhar. Enraged and desperate, the king had Shashidhar beheaded in a cruel display and then imprisoned Manjulika in the palace, hoping to force a marriage she did not want. Her heart broken, Manjulika swore vengeance against a future royal line before taking her own life, a promise that echoes through the walls. As the old spell begins to weaken, the spirit’s restraint shatters, and unsettling signs multiply, manifesting as a spectral figure that unsettles everyone inside the house.

Into this fragile tension returns Siddharth, Badri’s elder-niece or nephew’s son?—the heir to the family’s legacy—along with his archeologist wife Avni, who arrive from abroad after a whirlwind romance. The reunion rekindles Radha’s heartbreak, a childhood friend who has long harbored feelings for Siddharth, and whose own loyalties are now tested by the strange happenings. Avni grows fascinated with the legend of Manjulika, drawn to its tragic history and the idea that the past might hold a key to their present troubles.

As the mystery deepens, Avni’s fascination collides with the palace’s fragile balance. A crucial turn comes when Avni gains a duplicate key from Batukshankar’s daughter, Nandini, and opens the notoriously sealed third floor. The door’s unlocking breaches an ancient confinement, and the eerie presence of Manjulika leaks relentlessly into the everyday life of the family. Ghostly footsteps, whispers, and a dread-filled sense of being watched begin to color even ordinary moments, and Radha finds herself repeatedly in the wrong place at the wrong time, fueling suspicion that she might be slipping into something unhinged or supernatural.

To contend with the growing danger, Siddharth calls in a psychiatrist, Aditya Shrivastava, whose unconventional approaches ruffle the household. An early crisis—an attempted poisoning—tests Aditya’s instincts, and he proves capable of averting tragedy when a tainted cup is sensed just in time. The strange cadence of Manjulika’s presence intensifies: one night, Aditya overhears a ghungroo’s chime and a Bengali song echoing from Manjulika’s room. In effect, Aditya encounters a voice from the past, and his conversations with Manjulika reveal a vow of vengeance aimed at the next Durgashtami, a festival that will sharpen the line between history and superstition.

As the engagement of Nandini’s intended partner, Sharad Pradhan, draws near, Avni’s behavior sinks further into confusion. She accuses Sharad of sexual harassment, a claim Sharad denies with equal passion, while Aditya explains the subtleties of the situation to Siddharth. Beneath the surface, however, Avni’s experiences are explained differently: she lives with dissociative identity disorder (DID), a condition in which her identity can fuse with or assume the persona of Manjulika. Aditya, who once trained under exorcist Yagyaprakash Bharti, now seeks to merge psychiatric care with a careful ritual that might appease the restless spirit. The breakthrough realization is that DID is a lasting condition, and any cure must satisfy Manjulika’s purpose for existing: to end the King’s dark lineage by destroying the king’s power, even if that means violence.

Badri brings in the renowned exorcist Yagyaprakash Bharti to guide the team through more than medicine. Aditya, whose past as Yagyaprakash’s disciple complicates his authority, pursues a controversial path: a blend of psychiatry and ritual that aims to restore balance rather than simply banish a presence. The family watches with a mix of skepticism and relief as Aditya’s methods begin to win Radha’s trust and slowly ease Avni’s shift between identities. The implication becomes clear: Manjulika’s hunger for retribution can only be satisfied in a way that frees Avni and the household from her lingering hold.

On Durgashtami, the tension reaches its apex. Avni embodies Manjulika in full regalia—dancing to the fateful tune, wearing the same colors that once marked a king’s obsession. The exorcist and Aditya orchestrate a ruse: Manjulika promises to leave if she honors her grievance by killing the King, but the team uses a dummy to misdirect the ritual and prevent real harm. The elaborate ruse succeeds in convincing Manjulika that her revenge has been achieved, and Avni’s psyche begins to stabilize as a result. With the crisis averted, the family breathes a collective sigh of relief, and the bonds forged in crisis begin to strengthen.

In the quiet aftermath, the household expresses gratitude toward Aditya for his help—and toward the possibility of continuing to build a life beyond fear. As the palace resumes its slow, cautious rhythm, Aditya hints at a future beyond medicine and sorcery, telling Radha—whose presence has become a quiet anchor—that he would welcome a future if she is open to it. The story closes with a sense of cautious optimism: the ghosts may temper their demands, the living may learn to coexist with what cannot be banished, and a fragile romance may find space to grow amid the palace’s enduring legends.