Original subtitles

(upbeat synth music)

(gentle orchestral music)

(airplane engine rumbling)

(tense percussive music)

(tense percussive music continues)

(engines rewing)

(gentle orchestral music)

(gentle orchestral music continues)

(gentle orchestral music continues)

(all grunting)

- Do you have the men for the job?

- The best.

- Good.

- Each one is a specialist in his own respective art.

Sabashir is a former wrestling champion.

Butch is an expert with knives.

He's deadly with a fan knife.

He can hit a (indistinct) coin spinning in midair.

(knife thudding)

- Very good.

- This is Lito.

He's our martial arts instructor.

He's training our men in kung fu, karate,

and (speaking foreign language).

- I want to see how good he is.

(men grunting)

(both grunting)

(both grunting)

- In a fight,

never stop till your opponent is down.

That's a lesson I want all of you to remember.

Let's go to my office and plan the details

of Operation Stretch Vankez.

Or shall we call it Operations one Million?

(dramatic orchestral music)

- A car is coming down the street.

- Nobody's up inside the house.

(dramatic orchestral music continues)

Kelman, the party just pulled up by the gate.

- We are ready, sir.

(engine rewing)

(tense music) (punches thudding)

(all grunting)

(punches thudding)

(punches thudding)

(both grunting)

(engine rumbling)

Boots, patrol.

- Good evening sir.

Can you please get out?

You too, sir.

(officer groaning)

(engine rewing)

(tense music)

(engine rewing)

(officer groaning)

(engine rewing)

(dramatic orchestral music)

- I am sorry I kept you waiting.

- It's all right.

- Please sit down.

- Mrs. Sanjago, have you been contacted by the kidnapper?

- No.

That's why I'm worried.

- Mrs. Sanjago, the people

who kidnapped your daughter are professionals.

They wouldn't harm her unnecessarily.

- That's right.

Ma'am, do you mind if we go over some details once more?

- I want to cooperate in every ways.

How do you take your coffee, Mr. Reyes, with cream or sugar?

- Black please.

- The father of Trish,

Mr. Richard Vankez, died in the States

when Trish was only two years old.

My husband's business had recalled him

to the states suddenly.

He died the same month abroad before he could send for us.

I remarried,

and bore a second child.

Ricky.

His father also died only three years ago.

Why would anybody want to kidnap Trish?

He has decent boyfriends.

- What about relatives on her father's side, Ma'am?

- She has only one on relative

Dexter Vankez.

Her paternal grandfather.

He lives in Detroit, Michigan. He never writes us.

Trish hears from him only once each year, on Christmas

when he sends a card in a gift package.

- What do you know about him?

- Nothing much,

except that he must be a comfortable old man.

I cease to exist for him when his son died.

- Don't worry too much, Mrs. Sanjago.

Sooner or later the kidnappers will make contact with you.

By the way, how do you find your new gardeners,

driver, and a gatean, Ma'am?

- Great. Simply great.

They're unobtrusive,

except that I cannot use the telephone without

feeling self-conscious.

(dramatic orchestral music)

(dramatic orchestral music continues)

- Good morning.

How are you?

You come this way.

- This letter was mailed from the Philippines.

It's the work of a large international kidnapping syndicate

that specializes in the abduction of well-to-do heirs.

- How did they find out I cared about a granddaughter

whom I've never seen.

- Well, apparently they knew that she was

your only living relative.

I mean they have ways and means

of seeking out likely prospects, Mr. Vankez.

- These syndicate operate like big business

with worldwide organization intelligence

and combat networks.

- What are our chances

of recovering my granddaughter, Mr. Pennington?

It's been a week now the transfer of $1 million

to my bank in Manila, but they've not

yet given any instructions on how the payment

and exchange will be made.

- Now take it easy, sir.

It's part of their technique to drive you crazy.

They know you got the message.

Now, in the meantime, we're sending two of our best agents

to Manila to authorities, the Philippine NBI,

both their masters in the yard of empty-hand combat

Foler here is one.

The other is a Chinese Filipino

who's familiar with the country,

Peter Wong.

(punches thudding)

(audience applauding)

(audience applauding)

(punches thudding)

(audience applauding)

- Yes, Brother Wong.

So good to see you again.

- Yeah.

What's cooking?

- Looks like we're gonna work together in the Philippines.

(dramatic orchestral music)

(door creaking)

- Nice to see you.

Sit down.

- How are you getting along with the case?

- I'd check on all the Spanish and Mexican recent arrivals

before the kidnapping happened.

Narrow down our suspects to find them.

That one is the tobacco company executive from Madrid.

Mr. Marcus.

He came to Manila to close a big business deal

with built-in tobacco growers

for his companies multinational cigar factories.

The second suspect

is a Mexican (speaking foreign language).

We knock repeatedly on his door.

This one could be the kidnapper.

He would need that money to indulge his taste.

(flamenco music)

That one is a flamenco dancer. Dancing with him is his wife.

His movements are easily chronicled.

And that's the fourth suspect.

The flamenco dancer's guitarist.

We have a 24 hour tail on them.

Our fifth suspect is a businessman who comes

and goes at regular intervals.

His name is Raymond Cleaver Ayana,

who is known to have holdings in key cities

all over the the world.

- Thank you.

You covered quite a bit of ground.

- By the way,

there's a third NBI agent who's operating undercover

for possible infiltration of the gang.

(dramatic orchestral music)

(both chattering indistinctly)

(gentle orchestral music)

(doorbell ringing)

- Good day.

Is Mrs. Sanjago in?

- Yes, please come in.

(gentle orchestral music)

- My daughter?

- Yes, there's been some developments.

- Come in please.

- Yes sir.

- My key please.

Room 308.

- There was a young woman waiting for you

at the coffee shop.

- Oh?

- She's wearing a scarf.

- Thank you.

(tense percussive music)

(gentle music)

(all chattering)

- You got my message. Mr. Wong?

Please sit down.

Do you care for anything to drink?

- You have the advantage over me, Miss?

- Julian.

Rosa Julian.

I heard you were registered here.

- Not that I'm not pleased to meet such a beautiful lady.

- (sighing) I think this is the case of mistaken identity.

I thought you were the same Peter Wong I met

in Hong Kong last summer.

Your namesake, obviously,

- Obviously.

(tense percussive music)

Waiter, please bring us our check.

Let's go up to my room

for a couple of drinks and get better acquainted.

- Very well.

So even if you're another Peter Wong,

you might be the right Peter Wong after all.

Shall we?

(tense percussive music)

(suspenseful orchestral music)

- Make yourself comfortable?

What'll you have?

I'll have a scotch and water.

(suspenseful orchestral music)

(suspenseful orchestral music continues)

Where's your restroom?

- [Peter] Oh, to your right.

- Thank you.

(suspenseful orchestral music continues)

(door creaking)

(suspenseful orchestral music continues)

(explosion booming)

- What's wrong?

The plumbing here is charged

with high voltage electricity instead of water.

Luckily I dropped my fin by accident.

- Wait here.

It probably won't take me but a few minutes to fix it.

In the meantime you can start drinking.

- I'm sorry.

I don't feel like it anymore.

I guess I better go. Thanks.

(door clicking)

(dog barking)

- I really don't know what this is about.

Mistaking me for another Peter Wong

is just an excuse to leave me.

I have a feeling we'll meet again.

- These Americans, they always like to take a shower

in the evening and Peter Wong is no exception.

He'll sizzle to death.

- Good.

But there's still his teammate, Black, in the NBI too.

They might just come back here with a search warrant.

We cannot afford to stay here much longer.

We'll move our center of operations

to my summer place here in (indistinct)

Where Ms. Vankez can be well hidden.

From here, it'll be easy for us to go up

to Boggy if the need arises.

We'll leave you here with enough men as rear guards

just in case.

I'll call for you in a day or two to join us.

Alma, tell the others to get ready.

We're leaving immediately.

- Let's go.

(phone ringing)

- Hello?

Yes, Mr. Fernandez speaking.

- You have five hours

till 11 o'clock tonight, Mr. Fernandez.

Put the money inside two airtight bags

and bring them with you for the exchange of Ms. Vankez

at the capital monument rotunda.

Remember, be there exactly at 11 o'clock.

- Yes, I'll come alone in my car.

Be sure that Ms. Vankez will be there.

- And Mr. Fernandez, no tricks please.

A word to the police and she'll be dead.

(dramatic orchestral music)

- Mr. Reyes.

It's set for 11 tonight

(dramatic orchestral music)

(dramatic orchestral music continues)

(dramatic orchestral music continues)

(alarm beeping)

- There are intruders.

We'll use the rear gate.

(indistinct)

(dramatic orchestral music)

- You don't have to be rough with her.

(dramatic orchestral music continues)

(dramatic orchestral music continues)

(engines rewing)

(tires screeching)

(dramatic orchestral music)

(suspenseful music)

(punches and kicks thudding)

(body thudding)

(punches and kicks thudding)

(punches and kicks thudding)

(punches and kicks thudding) (all grunting)

(punches and kicks thudding)

(man groaning)

(man groaning)

(suspenseful orchestral music)

(suspenseful orchestral music continues)

(suspenseful orchestral music continues)

(phone dial clicking)

- Hello, Mr. Reyes?

This is Peter Wong.

We're at the Ayana estate.

What?

They want to make an exchange at 11 tonight?

Why don't you pick us up on the way over here?

Good.

We'll be waiting.

Okay, goodbye.

(suspenseful orchestral music)

- It's almost 12 o'clock.

I don't think the kidnappers will show up.

- Very unlikely.

I don't think he intended to in the first place.

- It's the usual take of the kidnappers

to get victims nervous and eager to pay.

I think we better call it today

and wait for the next one then.

- Okay.

(suspenseful orchestral music)

- Hello, this is Black Camera.

- Hello Black Camera.

This is .3 reporting negative, negative.

- I don't see anybody around here either.

(suspenseful orchestral music)

(siren wailing)

(tense percussive music)

- This is (indistinct).

(man shouting indistinctly)

(all chattering)

- Thank you.

(engine rewing)

(man whistling)

(dog barking)

- Good day. - Good day.

- Morning sir.

May I interest you with some magazines?

- Absolutely.

Please come inside.

- It's okay sir.

It's cooler outside.

Well, you see we're promoting health in the home.

I have some companions,

an American girl and some men.

Have you by any chance seen them?

- (indistinct) but I will try to remember.

If you come inside-

- Not now sir, but the next time I come over,

I'll bring you exercise magazines for aging men

to regain your dignity.

Thank you sir.

Morning ma'am.

May I offer you some books about baby care at home

and first aid?

- What I need are books for family.

- Oh, I'm sorry ma'am.

That's not my department,

but I'll send somebody over.

Okay, good day.

(engine rumbling)

(engine rewing)

(engine rewing)

(tires screeching)

(tires screeching)

(suspenseful orchestral music)

(gentle orchestral music)

(door clicking)

(gentle orchestral music continues)

(gentle orchestral music continues)

(indistinct)

(gentle orchestral music continues)

- Ah.

(gentle orchestral music continues)

- Are you okay?

- I'm fine.

(gentle orchestral music continues)

(gentle orchestral music continues)

(gentle orchestral music)

(suspenseful orchestral music)

(suspenseful orchestral music continues)

(suspenseful orchestral music continues)

(suspenseful orchestral music continues)

(gentle orchestral music)

- What the hell are you doing here?

How'd you got past the guard?

- Wait, don't be so angry.

- Get outta my way.

I want to teach these guys a lesson.

- That can wait.

I have something to tell you.

I want to help you.

- You're a fool.

- Wrong.

I know what I want.

Also what you want.

You think I want my grandfather's million?

You're welcome to it.

In the first place,

when my father died, he could have helped my mother.

Instead he only offered to send for me.

- Perhaps he wanted to test your mother.

The proof of his affection

is his willingness to pay your ransom.

- You're risking your life.

Let me help you.

- I don't need your help.

I can take care of myself.

Get back to your room.

- When you get paid, will you please take me with you?

Please?

(gentle orchestral music)

(gentle orchestral music)

(gentle orchestral music continues)

(gentle orchestral music)

(suspenseful orchestral music)

(engine rewing)

(suspenseful orchestral music continues)

(suspenseful orchestral music continues)

(suspenseful orchestral music continues)

(knuckles rapping)

- What is it?

- [Man] You have a visitor.

- Perhaps you led him here.

- No.

- Get the cars ready.

Get dressed.

(suspenseful orchestral music)

(punches thudding)

(punches thudding)

(suspenseful orchestral music continues)

(punches and kicks thudding)

(punches and kicks thudding)

(punches thudding)

(suspenseful orchestral music continues)

- Come on.

(suspenseful orchestral music continues)

(engine rewing)

(punches thudding)

(punches thudding)

(suspenseful orchestral music continues)

(engine rewing)

- Attention car number two, attention car number two.

A Jeep is following us.

Intercept and mislead.

Repeat, intercept and mislead.

Over.

(suspenseful orchestral music continues)

(engine rewing)

(gun firing)

(engine rewing)

(suspenseful orchestral music continues)

(engine rewing)

(vocalist singing in foreign language)

(engine rumbling)

(tense percussive music)

(man shouting)

(man groaning)

(all singing in foreign language)

(both grunting)

(man grunting)

(all singing in foreign language)

(both grunting)

(all singing in foreign language)

(both grunting)

(all singing in foreign language)

(punches thudding)

(all singing in foreign language)

- Hello.

Good morning.

May I speak to Mr. Fernandez please?

The boss would like to talk to him.

0h, Mr. Fernandez.

The boss.

- [Ayana] You bring the money to the same place tonight.

The capital monument rotunda at 11 o'clock.

There will be an exchange of Ms. Vankez

and the ransom money there.

Just take my word that she will be returned

safe at a later date.

Otherwise, without the payment tonight,

Ms. Vankez will be found dead someplace tomorrow.

This is because Vankez has called in the police

and several of my men have been killed.

Be at the capital monument rotunda

at 11 o'clock tonight, alone,

if you still want to see the girl alive.

- Well what do you think?

- We better act fast.

We just can't wait

because whether Fernandez comes up with the money or not,

Trish's life is in danger.

- That's what I also fear.

Ayana might not even be in Manila.

What Fernandez heard could have been a tape recorder.

Remember Ayana asked not to be interrupted.

- That's right.

Had Ayana suspected a trap,

they would've killed Trish immediately.

- Why can't we set up a bamboo trap?

Fragile yet deceiving.

- Where do you think can we find Trish?

- [Peter] Find Ayana, and we'll find Trish.

(percussive music)

(percussive music continues)

(percussive music continues)

(percussive music continues)

- Hello. - Hello.

(percussive music continues)

Would you like to sit down?

(percussive music continues)

(vocalist singing in foreign language)

(percussive music continues)

(percussive music continues)

(percussive music continues)

So you're a tour guide, Miss Trenton.

Perhaps you could show me the fabled

(speaking foreign language) after lunch.

I could only do it today.

Tomorrow I leave for other points.

Please?

- Sure. - Good.

(percussive music continues)

(all shouting)

(vocalist singing in foreign language)

(percussive music continues)

(door clicking)

(door clicking)

(engine rewing)

(door creaking)

(door clicking)

(knuckles rapping)

- Could you please take this to the desk

and tell the clerk to hand this to Mr. Reyes

who may come looking for me?

- Yes ma'am.

- Okay, thank you.

(doorbell ringing)

- Hello, Peter.

- Hi.

So we meet again.

- Mm-hmm.

- This is my partner, Mateo.

- Hello. How do you do?

Come in. - Thank you.

- Sit down.

(indistinct)

The other one's already in Manila

making the big fish fight.

- I know.

I read her note with Reyes downstairs at the reception desk.

- Where's Mr. Reyes?

- He's now contacting the local authorities

for possible (indistinct).

- I see.

(doorbell ringing)

- Oh, that must be him.

Excuse me.

- Hi Peter. - Hi.

- Peter, he'll send us a standby force to back up our terms.

But one thing.

We cannot attack Mr. Ayana full force immediately

because there's a strong possibility

that he might kill Miss Vankez once he sees us.

- I'll go with you.

I might be able to cover up your approach.

- By the way, Peter, your friend Dennis

is figuring out a suitable disguise for himself.

(indistinct)

I think my friend Mateo over there

should also masquerade himself

so that people who try to chase him

won't be able to do so.

Okay, let's go.

- One, two, three,

four, five.

Ready?

(all grunting)

(man grunting)

(both grunting)

(both grunting)

(lock clicking)

- Cando.

Bring her to the house.

Who are you really?

- I told you, my name is Rosa Julian.

Amateur dancer and licensed tourist guide.

- You entered the ulig on purpose.

You were really looking for the girl, weren't you?

- I wasn't looking for any particular girl.

I saw you enter the ulig so I followed you

then I thought you might be hiding a girl inside

or something, so I went and I looked.

Who is she anyway?

Why keep her all tied up?

Is your charm failing you?

- Oh, come on, Rosa.

Cut out the bullshit

and tell me who you really are.

- Okay.

I'll lay it on the line.

I like adventure, especially adventure with profit.

- What kind of a profit?

- Money.

Is there money in what you're doing with her?

- Yes, there is.

And if you agree to go away with me, I'll give you a share.

- Okay.

Now we know each other better.

- [Man] Good morning.

I have some bibles here that are translated

into your native language.

(man speaking foreign language)

- Would you like to take a look sir?

(punches and kicks thudding)

(man grunting)

(punches and kicks thudding)

(suspenseful music)

(man groaning)

- So, you were able to follow me here.

Tell me who else knows we are here?

Did you come here with anybody?

Take him to the basement.

I'll let you go

after our operations are through.

Huh?

Come on, man.

Speak up.

I'm sure you cannot take this torture much longer.

- Go to hell.

- Chris, give our friend another splinter.

He'll talk.

Water.

(water splashing)

- Sir, vehicles are coming.

- How many?

- Two or three?

- Let's go check.

(engine rewing)

(suspenseful music)

- Johnny, go back inside and kill the Black bastard

and tell Rosa to get (indistinct).

(suspenseful orchestral music)

We will execute plan number two.

- Okay.

(suspenseful orchestral music)

(guns firing)

(suspenseful orchestral music continues)

(guns firing)

(suspenseful orchestral music continues)

(punches thudding)

(man groaning)

(suspenseful orchestral music continues)

- [Man] Hey.

(punches thudding)

(punches and kicks thudding)

(all grunting)

(suspenseful orchestral music continues)

(punch thudding)

(punch thudding)

(both grunting)

(suspenseful orchestral music continues)

(both grunting)

(gun firing)

(punches and kicks thudding)

(punches and kicks thudding)

(both grunting)

(guns firing)

(man groaning)

(punches and kicks thudding)

(punches and kicks thudding)

(punches and kicks thudding)

(suspenseful orchestral music continues)

(punches thudding)

(both grunting)

(punches and kicks thudding)

- Nigger.

I think your fight's over here.

I'm gonna put my foot up your Black ass.

- Talk is cheap.

You better bring your lunch.

Come on.

- Nothing between us but air. (spitting)

And I got that.

(suspenseful orchestral music continues)

(both grunting)

(both grunting)

(both grunting)

(both grunting)

(punches and kicks thudding)

(all grunting)

(man groaning)

(suspenseful orchestral music continues)

(punches and kicks thudding)

(suspenseful orchestral music continues)

(punches and kicks thudding)

(punches and kicks thudding)

(both grunting)

(both grunting)

(punches and kicks thudding)

(kick thudding)

(punches and kicks thudding)

(suspenseful orchestral music continues)

(water splashing)

(water splashing)

(suspenseful orchestral music continues)

(water splashing)

(water splashing)

(both grunting) (punches and kicks thudding)

(both grunting)

(water running)

(water splashing)

(punches thudding)

(wind whooshing)

(both grunting)

(water splashing)

(suspenseful orchestral music continues)

(suspenseful orchestral music continues)

(water running)

(wind whooshing)

(punches and kicks thudding)

(wind whooshing)

(punches and kicks thudding)

(punches and kicks thudding)

(tree crashing)

(dramatic music)

- I don't think you wanna look at it.

(dramatic orchestral music)

(suspenseful orchestral music)

- [Man] Ha! (speaking foreign language)

You are not alone.

Raise your hands unless you want to be killed right now.

(dramatic orchestral music)

(dramatic orchestral music continues)

(dramatic orchestral music continues)

(dramatic orchestral music continues)