With the secret aid of his patronizing superior AIG Satam, Sanjay takes up the arduous process of tracking the murderer without any legal assistance.

Sanjay takes the help of his informer Ghanshu who tells him about Mohammed, a cab driver operating only at midnight, whom everyone on the streets is starting to suspect as being the stoneman.

He researches and realizes the killer himself is a policeman, from Kusumi Tribe, performing tantric rituals to cure impotency that calls for human sacrifices.

In the climax, it is shown that Mohammed was only an ex-convict deployed by Kedar as a decoy to roam the streets at the latter's orders, and Kamble turns out to be the killer Stoneman when Sanjay arranges to meet him.

In the end, a tantric is shown in Kamble's village performing a ritual, asking a man to make nine human sacrifices and this time to kill people in Calcutta.

The research that went into the scripting of The Stoneman Murders involved an intensive search for newspaper articles dating to 1983 (when the killings took place).

Before the shooting of the film, the director and his team visited nearly all the known murder sites, like the area surrounding Tilak Hospital in Sion, the Gandhi Market near King's Circle, the area outside Matunga police station, Rafi Ahmed Kidwai Road in Wadala and one small street in Lalbaug.

The pavements where the murders took place were made of black tar unlike the multi-colored jigsaw shaped tiles of today.

Nikhat Kazmi of Times of India gave The Stoneman Murders a 3-star rating out of 5 and praised it for its gripping story and taut performances.

Once again, Mumbai and its alleys which turn sinister by night, tower prominently as the perfect backdrop of a film which boasts of some high-tension moments.

"[1] Nithya Ramani of Rediff.com praises TSM, writing, "Writer-director Manish Gupta does a wonderful job in telling the story, which has a very realistic touch.

"[2] Noyon Jyoti Parasara of AOL India gave the film a 2.5 out of 5 and wrote, "Overall, The Stoneman Murders is an honest portrayal of 'what could have been'.