काहे को नैन मिलाये नैन मिलाने वाले

The film's central duet, sung on screen and on record by Snehprabha Pradhan and Paresh Bannerjee themselves, and the second Din Raat number to resurface online, documented in March 2014. It belongs to the nain-milana family of Hindi film lyrics — songs organised around the exchanged glance — and works the convention from both sides at once: the meeting of eyes is treated as an accusation and an invitation in the same breath. It is also the only surviving Din Raat recording that lets the two leads' voices be heard together, which is what later made it usable as a control sample in the argument over the film's other credits.

Chandekar builds the song on a short, rocking melodic cell that returns after every phrase, the kind of construction a harmonium player writes: the instrument can hold the refrain while the singers trade lines over it. Tabla keeps a light medium cycle, the string group is used only to fill the turnarounds, and the two voices alternate rather than harmonise — the standard Bombay duet method of the mid-1940s, before layered vocal arrangement became common. The result is conversational rather than grand, and it moves at walking pace throughout.

Santokh Nadim takes the oldest gesture in the Hindustani love lyric — the meeting of eyes — and refuses to let it be innocent. The refrain asks why the other person met her eyes at all, then immediately admits that his face has pleased her heart, so the question is not a rebuke but a confession dressed as one. The verses widen the frame: moonlit nights have arrived and should be spent talking of love before youth slips past; sleep has abandoned the speaker and restless youth is no longer under her control; someone has plucked the veena of her heart and left it sounding. The last movement turns the complaint into dependence, admitting that living without him is now difficult and that memory alone is enough to torment. It is a conventional progression, executed cleanly and without a wasted image.

The song is one of the five Din Raat numbers that Hindi Film Geet Kosh credits to the film's own leads rather than to hired playback singers — an arrangement that placed Snehprabha Pradhan, who was a trained singer as well as an actress, and Paresh Bannerjee in front of the microphone themselves. Nothing is known about how the duet was staged; the film's plot has not survived in any accessible record, and the blogger who documented the recording in 2014 noted that only audio existed. He also noted that Paresh Bannerjee, Santokh Nadim and Dada Chandekar were all names entirely new to him, which is a fair measure of how far outside the remembered canon this production sits.

Because this is the only surviving Din Raat track in which both leads sing, it became the reference point in the dispute over the film's credits: it is by comparing the voices heard here with the recording of 'Rangraliyon Ka Zamana' that researchers concluded HFGK had misattributed that song, and that the voice on it is Rajkumari's. A minor 1945 duet from a lost film thus ended up doing forensic work on the standard catalogue of Hindi film music. Its own credits — Snehprabha Pradhan and Paresh Bannerjee, lyrics by Santokh Nadim, music by Dada Chandekar — have never been questioned.