(waves crashing) (suspenseful music) (engine revving)
(suspenseful music) (suspenseful music) (man whistles) (fingers snapping) (suspenseful music) (suspenseful music) (suspenseful music) - Stop police! (gun firing) (suspenseful music) Halt! (suspenseful music) (engine revving)
(yelling) (siren blaring)
(engine revving) (guns firing)
(engine revving) (siren blaring)
(engine revving) (gun firing) Stop it! (suspenseful music) (gun firing)
(cries out) (bag thuds) - He got shot. (suspenseful music)
- I'm so sorry, Inspector Kumar. So sorry. (smacks) - See this gets locked
in Drugs and Narcotics. (dramatic music) - Good afternoon, Sylvia. - Hello. - Now, where did I. - The plane tickets? - Of course. - Sam! - And the agency recommended a nanny? - Oh yes, her name's Amba and she'll be waiting
for you at the hotel. And there'll be a car at the airport just near the baggage claim you know, with one of them
signs, Dr. Richard Avery. Come on, Sammy, your snack's ready. - Amba's a nice name. - He
y, Dad! - Hey, buddy. How was school? - Good. - Really good? - Really good. - Come on. I want you to eat all this supper and I don't want any of
this milk left, all right? - So, Sam, are you excited
about Christmas in India? - Uh huh. - Okay? I've got Sam's bags all packed, so you won't have to worry about that. - Well I guess that is
everything then, isn't it? What would I do without you, Sylvia? - I really don't know. But I am glad you've decided
to take him with you. He needs some time with y
ou. - Yeah, I'm glad, too. (child whimpering) - Mommy? Mommy? - Sam? Sam, Sam, Sam wake up. - Mommy? Mommy? - No, no, no, no you just had a nightmare. You okay? - Mmhmm. - Yeah? Are you sure? - Mmhmm. - Okay. Are you looking for
anything in particular? - A grizzler. - Is that like a bear? - Mmhmm. - Well you're not gonna find any up here. Bears hate to walk upstairs. - Are you sure? - Trust me, I know my grizzlers. Let's get you back to sleep. We've got a long flight tomorrow okay? Here, put Cha
rlie in charge. You won't have more nightmares tonight. Okay? - Okay. - All right. - Night. - You ready? - Not all the way please. - How's that? - Good. - Goodnight Sam. - Goodnight. - [Pilot] Thank you
for choosing Flight 114 service to Bangkok,
continuing on to Delhi. - Dad? - Yes? - What happens if the plane
can't get off the ground? - Then we get our money back. - [Pilot] Flight attendants please prepare the cabin for take off. - Well here we go. (engine rumbles) - Dad? - Yes? - Is that what
it looks like when you die? Like you said, with Mom. - Oh no, Sam. No, it's much different. Okay? (engine rumbles) (chattering) - Hi. - Doctor? - No, I'm not Dr. Yevchenko. Are you going to the medical conference? - Your bags... - No, no, no, I'm not
the doctor on your sign. I'm looking for my driver. I'm Dr. Richard Avery. - I'm driver. - No, I understand that,
but, do you speak English? - Oh yes, I speak. - All right, terrific. Thank you. Thank you very much. (exotic music) (singing in foreig
n language) - Everything looks so old. - It is old. Some of these buildings
are even older than me. - No way! - Yeah. (exotic music) - Morning, sir. - Cool. - Come on, let's go see what's inside. - [Sam] Nice! - [Richard] Yeah, very nice. - How may I help you, sir? - I'm Dr. Richard Avery and I
believe I have a reservation. - Ah, Dr. Avery, we've
been expecting you, sir. - Great. - Did you have a pleasant journey? - Yes, pleasant but, uh, long. - Yes, sir, it's quite a distance. I hope now that
you're here
you'll be able to relax and enjoy a very pleasant stay with us. - Yeah, I don't suppose a
woman by the name of Amba has been looking for me? She's a nanny from the agency. - I'm sorry, sir, not that I know of. May I see your passport
and a credit card, please? - Yes, I understand that
but I don't feel comfortable leaving Sam with someone I've never met or seen references for. All right, eight a.m.
tomorrow in the lobby, with references. Okay, thank you. - Ah, Sylvia didn't forget. -
Sylvia never forgets. - Dad, we don't need a nanny. - We can talk about that later. Come on, let's get you to bed. - But I'm not tired. - Yeah but we got a big day tomorrow and you gotta get an early start. Besides, it's um, it's
almost eight a.m. back home. - Dad, I'm always awake
at eight in the morning. - Oh, a funny guy, huh? - Yeah. - You know what happens to funny guys? - Take it and I'll know. (growls playfully) Hey you better watch it! I got you! - Will you excuse me just for a moment? -
Okay. (chattering) - Is she all right for you, sir? - I don't know Rago,
there's something about her. It's just, I don't really feel
good leaving Sam with her. - I understand perfectly, sir. I'll send her on her way. Would you like me to try to
find somebody else for you? - I don't know, I don't know. - Okay, okay. Nannia, I think you'll have to go. (speaking foreign language) - So, can I go with you? - I don't know, Sam. It's just for adults. Real boring. - You're gonna leave me again? Mommy w
ouldn't leave me. (speaking foreign language) - I don't get this. (speaking foreign language) - You promise to be good? - Yes. - Do everything I say? - Uh huh. - Put your hands on top of your head. Cross your heart. All right. But you gotta change that shirt. - Yes. - Pretty amazing, huh? - Yeah. - Okay Sam, you gotta sit tight and no wandering around when
the lights go down, okay? It's like a movie. - Okay. - And I'm gonna be right up there. I'm the first speaker. - What are you gonna say? - So
me really big words. (Sam sighs) Young man, what did I say? - I'm not bored, I'm not bored. - Okay, you sit tight,
I'll be back real soon. - Okay. - [Man] There goes Dr. Krouti. - Good to meet you doctor. - How do you do, sir? (mic whines) - Ladies and gentlemen,
esteemed colleagues, fellow doctors, I'd like to welcome you to the International Health Organization's Third Annual Biomedical Seminar. And now it's my great privilege and pleasure to introduce
Dr. Richard Avery who has come here all t
he
way from Hollings Institute in San Diego, the United States. Welcome, Dr. Richard Avery. (audience applauding) - Thank you. I am honored to have been asked to give my opinion here
today even if the topic is inherently terminal to your livelihoods. (audience laughing) As the 21st century begins
we in the medical community find ourselves on the verge
of a scientific revolution. While the last century
belonged to pharmaceuticals and to the technological gold rush the new millennium will be the e
ra of genetics and bioengineering. Now it's easy to become caught up in the excitement of this new frontier. When Celera broke the human genome code it was widely accepted that a wellspring of medical knowledge, (eerie music) medical knowledge, understanding and cures would spring forth. There is however a parad, excuse me. I'm sorry, just a moment. (eerie music) Excuse me, there was a
small boy sitting here, Sam? Excuse me. Did you see a small boy here just? - I'm sorry sir but no. - Thank you.
(eerie music) Excuse me, you were
sitting close to my son. Did you see him leave? - Your son?
- Yeah. Are these stairs to the bathroom? - Yes sir.
- Did a small boy go up to the bathroom? - No.
- You're sure nobody came by here? Sam?
- Dr. Avery? - Oh, hi. My son has
seemed to disappear. He was sitting in his seat and now I can't find him anywhere.
- I'll call security. - Would you, please?
Thank you very much. Sam? - Dr. Avery? Perhaps he's just outside,
he couldn't be too far. - Thank you. (s
uspenseful music) (speaking foreign language) - Sir. - You on security, Steadman? - Yes sir. Excuse me, Dr. Avery. This is Senior Inspector Vijay Kumar. - How do you do, Doctor? - Hi. - I'm Julia Hyde. - You're American. - Yes, I am. I've been assigned here as
part of an anti-terrorist unit. - You think Sam was
kidnapped by terrorists? - Well, we cannot rule
that out at this moment but kidnapping for money
is very common in India. - Inspector Kumar works
in the Narcotics Division but we've both
had previous experience with situations like this. So I've asked for his help. - [Vijay] Where's the kidnapper's note? - [Julia] Have you called your wife? - No, I'm a widower. - I'm sorry to hear that. - I have your child. Answer your hotel phone
tonight for instructions. Call the authorities and he dies. Amateurs. - If they find out you're
here, they'll kill my son. As a general rule they all say that. It doesn't mean anything. - I don't care about general rules. - Listen-- - And you found the
note
under your son's seat? - Security did, yes. - Did anyone sitting
here see who left this? - It was dark. Guess they were all looking at me. - Did you and your son
meet anyone last night or was he talking to
anybody that you can recall? - No, no one who would
do something like this. - You cannot be sure about that, Doctor. - We'd like to be at your
hotel tonight when he calls, see if we can get a trace. - I can't risk that. - You're letting your emotions get the better of your judgment, doct
or. - It's your decision, but
you should hear the facts. - Which are? - When the police are not involved, most kidnap victims
are not returned alive. - And if I do decide to go alone? - It's police policy to respect
the wishes of the parent. If we were to intervene and something should happen to your son, well, that's something nobody wants. - You're not making this easy on me. - Unfortunately, there's
nothing easy about this. - Doctor, if I gave you medical advice, you would say leave it to the
experts. I think you should do the same. - It's your decision. (dramatic music) (suspenseful music) (phone ringing) - Wait. (phone ringing) One, two. - Hello? - [Kidnapper] You let me down, Doctor. - What do you mean? - [Kidnapper] You have
already disobeyed me. Please do not insult my
intelligence as well. - That's not my intention. - [Kidnapper] Do you play games, Doctor? - Games? - [Kidnapper] This one is called guess. Your room is full of wires
running across the floor and a police man is
l
istening to our conversation smoking a cigarette. Am I correct? Keep in mind if you lie to
me, I will kill your son. So tell me, doctor, am I correct? - Yes, yes, you're correct. - [Kidnapper] Very good. - I made a mistake. Just tell me what you want. - [Kidnapper] No more police. I'll call again later when we are alone. If I even think you are talking
to the police, it's over. - When? When will you call? - [Kidnapper] That's my decision. You just need to be ready. - I don't want to wait. - [Kid
napper] Be grateful you are being given a second chance. There will not be a third. - I understand. - [Kidnapper] One more thing, the policeman just
stamped out his cigarette. (phone clatters) - He wasn't bluffing. - Did you get a trace? - Not enough time. - What do you mean, not enough time? (speaking foreign language) And did anyone check to see
that no one saw us come in? (speaking foreign language) - Okay, okay, let's just settle down. Richard next time I want
you to work from a-- - No, you
had your shot. - I just need to keep-- - Forget it, okay? This is my son's life. I'm not gonna risk it. - Big mistake, trust me. - I did trust you. You can leave. - Listen, Doctor, this. Okay, come on, come on, let's
pack our things and leave. Come on. (speaking foreign language) - Here's my card if you need us. - [Vijay] Come on, come on. (door thuds) (eerie music) (exotic music) (electronic beeping) - Sleeping well? - Where's my son? - He's asleep now. He asked me to tell you hi. - How do I kn
ow he's all right? - [Kidnapper] Can you read this? - [Sam] Read what? - [Kidnapper] This, can you read it? - [Sam] An e. - [Kidnapper] An eye. - [Sam] For an e? - [Kidnapper] An eye. - In the battle against the terror. - [Kidnapper] Very good. He's a smart boy. - What do you want? I have money. I can do-- - No, we will discuss that later. - What is this? - A beeper. That is your son's lifeline. Do what it says and he
will come to no harm. I am good with the blade. I have no interest in killing
a small boy but I will do what is necessary. - If you harm my son in
any way, I swear to God-- - You will what? Hunt me down and kill me? You will not. You don't know who I
am and you never will. You think you can keep searching,
but this is India, doctor. One child's life, more
or less, is nothing. You will grieve and that is all. Tomorrow, I will send instructions. Follow them. - I will, I promise. (gun firing) - I hope you do for the sake of your son. (exotic music) (electronic beeping) (chat
tering)
(traffic blaring) - [Taxi Driver] This is the place, sir. - Wait here. (chattering in foreign language) - English? - Yes, yes. - English. Good, good book. This, good book. Good book. - Here. No, no, thank you. Thank you. (suspenseful music) (chattering in foreign language) - Sir? - Rings? (speaking foreign language) - Yes, this? (speaking foreign language) - 40%. (chattering in foreign language) (phone ringing) - Sorry, sorry. I gotta get that I'm a doctor. (speaking foreign language) he
re, here, here, I'll pay for it. Take it all. I gotta go. (speaking foreign language) - The jacket, you want the jacket? (speaking foreign language) (phone ringing) - No, no, no. I'm a doctor. It's an emergency! (speaking foreign language) - Here take the watch. Don't hang up! Hello? Hello? - [Kidnapper] This was a test. Next time you will be
instructed to bring the money. Pity about your jacket, it suited you. No use looking for me now. - Where's my son? - [Kidnapper] He's not
with me, but he i
s fine. - What have you done with him? Where is he? - [Kidnapper] I will call you tomorrow. - No, no, no not tomorrow. Let's do this now. - [Kidnapper] Tomorrow night. You will be contacted at midnight. Do as you did today and you
will have your son by midnight. - No, no, no, don't-- (phone clatters) The beeper. Oh my God! (dramatic music) (electronic beeping) (dramatic music) - Excuse me. That's mine. Please. I have nothing. I have, I'm sorry, I have. - Money, money, money no. Money. Money, mon
ey. - Please, I've lost my son. Please. I've lost my son. Please. Please. (dramatic music) (electronic beeping) - The train station is about
45 minutes from here by taxi. These other numbers, I
really don't know, sir. I wish I could be of some more help. - Thanks, thanks a lot. - [Man] There's the taxi, right on time. (camera clicking) What the hell's the doctor doing here? - [Man] I thought Kumar said Johnny is going to pick up the bag. - Quick, inform Lajesh on the train. (suspenseful music)
(
chattering) (singing in foreign language) (train clattering) (singing in foreign language) (suspenseful music) - 45. 45. Is this for me? - Money. - No one told me to bring any money. (horn blares) I never got a message about any money. - Zolo. - Yeah, Zolo, right. Is this for me? (suspenseful music) (horn blares) (suspenseful music) - He's got the bag with the goods. (suspenseful music) (speaking foreign language) (suspenseful music) And guess who comes out of the taxi? This American doctor. The
guy whose kid was kidnapped. And five minutes, he comes out with a bag. - Full of opium. - He's got guts man. Good morning, ma'am. (speaking foreign language) - Kumar? - What do you want? - Did you ordered
surveillance of Richard Avery? - That's none of your business. - No, it is my business,
and I want an answer. - Hyde, Hyde, just leave it alone. - Do you realize you're putting
that child's life in danger? - I've been on this force for 18 years-- - Well then you would know that you're acting
against police policy! - You aren't going to
tell me how to do my work! - No, you're up to something
and I'm going to figure it out! - Hyde, Hyde, don't fuck with me! - Kumar, Kumar! Kumar, Miss Hyde, I want to
see you both in my office. What's the problem? - This silly woman-- - Excuse me? - Kumar. - This, this Hyde woman is not
only interfering in my case she's also coming and
questioning me about my work. - He's tailing the American doctor, which happens to be my case. - The doctor, he asked
us not to interfere. - Yes, he did. And if the kidnapper sees us now-- - We have evidence that he
may be dealing in drugs. - What evidence? - He was seen picking up
three kilograms of opium. - [Julia] Whose opium? - [Vijay] It was a bait. It was a bait for Zolo and
the American doctor took it. - Okay, assuming it's true-- - It is true! We have photographs to prove that. - Well there must be some explanation. I mean maybe the kidnapper's using him. Avery is no trafficker. - Whatever, I cannot tak
e that chance. - Why is that? - Sir, Zolo and the
doctor are both Americans. We all know it, many parents
stage these kidnappings for their personal gains. - This is Avery's first time in India. He's a respected doctor,
he has no prior record, it just doesn't make sense. - I've been working on Zolo's
case for a very long time. I cannot let this go now. I request you sir we must
continue the surveillance. - I'm sorry, Miss Hyde. Kumar, you may carry on. But be careful. I don't want the kidnapper
and the doctor to know. - Thank you, sir. - All right. - It must be her time of the month. - Kumar. - Sorry, sir. (doorbell buzzing) - Can I come in? - I asked you not to come here. - No, you asked me to
stay off of the case. - So why are you here? - Because it's still my case and because I don't want to see anything bad happen to you or Sam. And if you try and do this alone, chances are something will. - I'm sorry, Julia, I've made my decision. - Look Richard, the police
do things differently h
ere, and it's not always-- - I understand. Does that include inspector Kumar? - I'll respect your decision. But you'll at least
need someone to talk to, someone who has more
experience in things like this. It's my personal number. You can call me anytime. Is Sam your only child? - Yeah, yeah. Do you have kids? - No. - Yeah, yeah, they really
do change your life. - Yeah, that's what I hear. Maybe I just haven't met the right guy. Well, that's what my mom says anyway. I work a lot. - Yeah, I under
stand. When we had Sam, I said well, maybe this will
make me a better person. - Has it? - No, not really. But I was hoping this trip
would make me a better father. - Well, maybe it has. - I'm gonna get Sam back. (electronic beeping) - You need to get that. - Yeah, it's probably
someone from the conference just calling to check on things. Oh I'm sorry. - Be careful. - Yeah, yeah I will. Julia, thanks. - [Concierge] There's a club called YIA. It belongs to a man called Zolo. - A club, what kind of
club? - I believe it's a disco sir. The true name is Youth In Asia, YIA. - How do I get there? - I'll get you a taxi. But sir please be careful. Some of the crowd out there
is not the most desirable. - All right. (singing in foreign language) - [Bartender] What can I do for you? - Gin and tonic. - [Bartender] Yes sir. - Buy you guys a drink? I'll take that as a no. Maybe you can help me out? I'm looking for somebody. - And what makes you think
that we can help you? - I got something he wants. -
Who? Who do you mean, man? - Zolo. - Zolo? - Who is he? - Zolo who? Who's Zolo? Zolo who man, who's Zolo? - He's gonna be really mad if
you guys don't help me out. - Now you are making me mad. You're making me crazy. - Don't make us mad, all right? - Now you are making me crazy. - I've got his beeper. - Yo! Where'd you get this? - Are you Zolo? - No, how did you get that? - I'm only talking to Zolo. - Are you stupid? - I got something he wants and I think you know
what I'm talking about. - No,
why don't you tell me? - I got his goddamn
opium, for Christ sakes. He paged me. - Come with me. Come. (locks clicking) - You have something for me. - Yes, let me explain. - Bring it to me. - I will but my son. - Bring it to me. Now. - Can I explain the circumstances? - This is very simple. - Do you have my merchandise? - Yes. - Then bring it to me. That's it. - That's not it. - You want to barter, with me? - No, no, I just want my beeper back. - Your what? - My beeper. Whoever you were paging h
as my beeper. I need it back. It's important. - It must be. It must be very important. And you're right. You have no choice. I'm not negotiating over a beeper. Get another one. - If I don't get it back,
I might as well be dead. - All right. What so important? (clattering) - You had no business
seeing that doctor today. - I don't work for you. - You work for the department. - Don't worry, I didn't tell
him you were following him. - So you stopped by for some chai? Or something else? - The mans so
n is missing. - My damn drugs are missing! And he has them. And you know that very well. Maybe too damn well. - If you have something
to say, then say it. Otherwise, I have work to do. - Yes, I have something to say. Next time you want to play
doctor doctor just call me. - That is some story. - Yes, I just have to get
that beeper back by midnight, which gives me less than five hours. - We're talking about
half a million opium. - We're talking about my son. - I can't afford to care. - You better
care about my son. - Look, let's get one thing straight, blackmailing me isn't the
smartest move you could make. - I don't have many moves left. - All right, tell you what. Bring me the bag and I'll see what I can do. - I can't do that. - I don't see that you
have many options left. - Half a million ought to buy me at least a couple of options. - What do you suggest? - You and I go get the
beeper from that guy, and then we get the bag. - Is that fair? - You got balls, Doc. That's the only reason
you're still alive. Okay, let's go. (exotic music)
(chattering) (speaking foreign language) - No one knows where Johnny is? - No. - No. - I know you wouldn't
hold out on me, right? - No, uncle we haven't seen. - [Zolo] One more stop. - Hello, Miss Hyde. You still here? - Yes, I am. - What's your excuse? - Oh ma'am, I have to
finish up this paperwork. - Yeah well you guys are big on it. Amazes me You get anything done with all your forms and signatures, are those the Zolo files? - Oh yes ma'am,
they are a mess. - Yeah I can see that. - And with the opium it's even worse. 10 pieces of paper and six signatures. And if you miss anything, you've had it. - Is there paper work missing or drugs? - Oh both, it's a mess
ma'am, it's a big mess. - Yeah well, I'm sure if
anyone can sort it out, it's you, Ganesh, goodnight. - Thank you, ma'am, goodnight. Sir. - What did Miss Hyde want? - Nothing sir. - Nothing? What was she looking at? - Zolo case files, sir. - What's this place? - A place you'd ne
ver come. Wait here. Unless you see something you like. - Very funny. - Hi. - I'm here with Zolo. - I am here to. Would you like to play with me? - No, no, thank you very much. - Are you from America? - Yes, yes. - What's your. - Is she coming with you? - Oh yes. - No, no. - What was that all about? - Now I'm angry. Something's not right,
Johnny has just disappeared. No one's seen him. This whole thing has a bad taste. - Maybe it's your opium backing up. - You're joking? I don't do opium, it's a
ddictive. You're a doctor you should know that. - I can't believe I'm
giving it back to you. Not after seeing who
you sell it to in there. - Save the morality lesson,
I get enough from my mother. - That girl was just a teenager. - Not anymore. You think you're better than me? We all deal something doctor, some lie or injustice, some
vice to get what we want. Trying to save your son
with a bag of opium. We all got our reasons. (door thuds) (suspenseful music) - So where is he? - I don't know. - W
hat time is it? - Almost nine. Look, Doc, I've done all I can. So lets get my stuff and say goodbye. - That is not our agreement. - The only agreement we have
is I will kill you right here, right now if we don't
get my shit this minute. I don't care about the half a million doc. I will not be made a fool of. - We still have a couple of hours. - Wrong answer. - My son is just--
(phone ringing) - Fuck you. (speaking foreign language) - Johnny's at home. - It's your night, Doc. You're a lucky man,
get in. (suspenseful music) (door creaking) (suspenseful music) - Sorry, Miss. Sorry, Madam. Sorry. Sorry, madam. Sorry, Miss. Sorry, sorry. - Johnny's got someplace huh? - Why didn't we come
here in the first place? - Because he's never here, wiseass. You want a drink? - No, thank you. - Well I do. Here, we celebrate. Here's to you still being alive. Here's to your son. - Thanks. - You know, seeing you makes
me maybe want to have a son. - I think you might be
in the wrong business. - You don't
think I know that? You think I do what I do out of choice? - Well, we all make tough choices. - If I stopped tomorrow,
I'd be dead by sunset. And I don't wanna die, you understand? - Yeah, but living isn't
just about surviving. (hand taps) - Hey, hey, now it's your turn to survive. - Come here, hand it over. - When you give me my opium. You'll hear it if it goes off. (suspenseful music) - [Man] Good evening, sir. (phone beeping)
(camera clicking) - Jesus. This is your work, isn't it? - A man's g
otta do what a man's gotta do. So where is it? - Son of a bitch. - Don't take it personally. Call housekeeping, they'll
clean it up for you. Oh, man. This is beautiful. - Police! Police! Police! (speaking foreign language) - Make one move, Mr. Zolo, and
I will be eternally grateful. - Bad move. - Hey Kumar, what the hell? This guy here invited me up for a drink. - Salim. Show me. Put it inside that wall. - You know my son is in trouble. - Just bring the drugs out. - Drugs? I had no idea... - Shu
t up! Let's go. Show me the drugs. - I want to speak to Julia Hyde. - Fuck Julia! I'm in charge here. (clatters) (suspenseful music) What the hell is going on here? - No booze? - Where's the opium? Where is the drugs? Arrest these men! Come on! - On what charge? - You do live in a sheltered world, doc. - Move! (speaking foreign language) - We agree you picked up the
drugs from the train station. And then? - I've told you 10 times. I went to the hotel. Look, my son will be dead if I don't get out
of here right now! - You tell me the truth and we
can both help each other out. - I've told you the truth. You don't want it. Look, let me talk to my
consulate or something. I've got to get out of here! Dammit! - Where is the opium? - I don't know! My sons life is at risk you bastard! - A thousand children's lives
are at risk because of Zolo and his drugs and you bastard
you work for drug dealer! and you work for him! - You know I don't, no I don't, no I dont! (yelling) - Kumar! (yelling) Kumar
! Outside. (door bangs) - You can go for now. And join your other friends. (speaking foreign language) (upbeat music) - Let's go backwards, each
one of us see what we find. (yelling) - I didn't set you up. I didn't set you up. - No shit. You had me cold. So who saved my ass? - I don't know. - Then I don't owe you. Everybody out. All right, let him go. - I want my beeper. - I want my goods. - It's 11 o'clock for Christ sake. - The tension's high, isn't it? (whacks) What the fuck? - I'm not fuckin
g around this time. - Oh, you even know how to use it? - I think so. Now empty your pockets. - You've been watching
too many movies, doc. Here, now get the fuck outta here. It's not the right one. - It's the only one I got. - I want the one Johnny had! - Johnny's dead! My boys found him a couple of hours ago with a bullet in his head. That's the one Tiger got from his house. If that's not the one, then I don't know where the fuck it is! Why don't you put that gun down? I've done what I could for
you. One of my owns dead. Yours may still have a chance. (whacks)
(cries out) You little fuck. Who you think you are? (whacks)
(cries out) Jerking me all over town for
that shitty little beeper. - It's not Johnny. - What? What the fuck you talking about? That's Johnny. That's the man we've been
looking for all night. - That's not the guy I
ran into in the market. - Then how'd you get his beeper? - I don't know. - I think we're both
being jerked around here. We gotta do something about it. (susp
enseful music) - Sleeping on the job, are you? - I lost the beeper. - [Kidnapper] You're not
a very responsible parent. - I figured you'd come for the ransom. - Well at least you're
a clever man doctor. Or are you? - I think so. You have the opium, don't you? What? No witty comeback? Come on, you've been watching me. You're the only one who
could've seen me hide it. So tell me am I correct? - Sit down. - I don't think so. - Drop the gun. Drop the gun, now! - Now where's my son? - He will be dead
if I
don't get back in time. - Who the fuck are you? (action music) (gun firing) - Watch the window. (action music) (woman screams) (action music) (whacks)
(cries out) (action music) (man thuds) (action music) - Get out of the car. (action music) (traffic blaring) Here. Take it! Go for the tires. (tires squealing) Forget the tires. Shoot the guy! - I don't want to kill him. - Oh yeah. (tires squealing) When I get my hands on
this guy, I'm gonna, (cars smashing) (tires squealing)
(horns blaring)
(cars smashing) (tires squealing) (car smashes) (dramatic music) Let me guess. That's the guy from the market. Sorry. (whooshing)
(people crying out) Hey, hey. That car's gonna blow. That's gonna blow. Come on! (booming) (dramatic music) - Hey. - Thanks for coming. I need your help. - Sure, what's going on? - Well I think I know who kidnapped Sam. - What? - Yeah, it's someone with the police and I'm pretty sure Kumar's involved. - Okay, but how? - It's all about the opium. I think Kumar kidnapp
ed my son, got me to steal the
opium, stole it from me and now is trying to collect the ransom. - Do you have any proof? - It's the only way all the pieces fit. - All right look, I want
you to go back to the hotel. - [Richard] Julia! - Richard please, let
me help you with this. Look there's some things about
Kumar that haven't set right. I can get Sam back. - [Richard] All right. - I want you to go back to the hotel and I will call you in an hour I promise. Okay? - Yeah. Julia? Thanks. (engine r
umbles) - So? - So she thinks it's Kumar, too. She wants us to go wait
for her at the hotel. (electronic beeping) Give me your phone. - [Julia] Sanjay? Sanjay, is that you? (dramatic chord) - It's Julia. - The lady cop? You're shittin' me. - He just pulled out, quite fast. We are in pursuit. - Let's go? - Let's go. (suspenseful music) - There she is. Right there. (suspenseful music) (locks clattering) - Dad? Where's my dad? Where's my dad? - Sam! Sam, I need you to go and sit down. - But where i
s he? - Sit down. Sit back down. (lock rattling) (engine rumbles) Stay there. Sam, I need you to be very quiet. Can you do that? (suspenseful music) - Dad! - Drop it! - Don't! - Drop it! - Please! - Stop it! - I'm not fucking around! Drop it!
(Sam cries out) - Drop it! - Don't be an asshole, Zolo! Drop it! Drop the gun! Drop it! Drop it! (Sam crying)
- Please. - Now your car keys. All right, now I want both
of you to move over there. Move it! Richard, move it! - Just leave Sam. - I'm sorry, I ca
n't do that. - Julia, please. - Just do what I say and
I'll call you at the hotel and I'll let you know
where you can find him. - Julia, why? Is it all about the money? - Isn't it always? (suspenseful music) - Police! Stop! - It's Agent Hyde. I just rescued the boy from Zolo. - [Richard] Stop her! - Hold it! - She's got the drugs in the bag! - Arrest them! We'll sort it out at the station. - Don't move! - She kidnapped Sam. - He's right. She is lying. - Shut up. - Come on. - No, I'm not going, I
'm not. - That's far enough, Miss Hyde. Your game's over. Hand me over the child. Vasu, arrest her and get the gun from her. - Give me the gun! The gun! - Salim, get the child. (whacks) (suspenseful music)
(yelling) - Stop or I'll drop him! I swear I will. - Dad, help! - I said stop! I swear to God, take one
more step and he's dead. - Dad, dad help! - Give me back my son. - Okay, I want everyone to get
in their cars and drive away. I want safe passage out of here. - Agreed. Give me the boy. - Do
n't fuck with me, Kumar. - I'm not leaving without the boy. - Dad, help! Dad! - Stop it! - Dad, help! - Julia, I know you. I know you wouldn't hurt Sam. - You trust me Richard? - [Sam] Dad help! - Julia, enough. It's over. There's no way out of
this and you know that. Please, let Sam go. - I'm gonna count to three. Either you do what I say or he dies. - One. - Dad! - Two. - Okay. Okay. You will get what you ask for. We are leaving now. Everybody out now. Doctor, leave. (suspenseful music) Salim,
get a car ready for her. (suspenseful music) - Dad! - Sam! (wood snaps) (Julia screaming) (body thuds) - Is the boy okay? - Yeah, I think so. It's okay, buddy. It's all over. - [Sam] I knew you'd come. I knew you would. - You're getting soft in your middle age. - You're just getting soft, in the middle. - Come on, boys. (speaking foreign language) - Nice looking boy. Your daddy loves you. You be a good boy. (exotic music) - Look for the bag. - Can we go home now? - Yes, Sam. That's a great idea
. (exotic music) (dramatic music)
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