Sato stabs Sugai’s hand, and a gunfight breaks out among the lackeys. The score kicks in when Sato, pursued by Nick, discovers some „Bikes“ – and the action-packed culmination of the film’s opening motorcycle scene is brought to bear. (The cue used in the film is actually the percussion-only alternate presented on disc two.) Zimmer supplies a badass heartbeat for the chase, here colored with wild electric guitar and fragments of the Sugai theme. When Nick trips up Sato’s bike in the mud, a fist „Fight“ ensures, and Zimmer brings back his rhythmic trademark within a tangle of synth racket. Nick gets the upper hand, twisting his opponent’s pinky stub and head-butting him, and an action-hero take on his theme surges on guitar. Witness here the very root of the Zimmer action sound that dominated the 1990s and changed an entire genre of movie music. The cue slows to a pregnant metrical pause, teasing out the question of whether Nick will impale a helpless Sato… and we jump cut to „Nick and Masa“ leading their prisoner into police headquarters. Nick’s theme surfaces, victorious, as the scene segues to a ceremony honoring the two cops. A galvanized version of the Osaka theme returns in this grand musical finale that is equal parts epic, 80s, and essential Zimmer. A throbbing interlude underscores Nick and Joyce’s wrap-up conversation and consummating kiss. At the airport Nick and Masa realize it’s time to say goodbye, and a friendship of percussion and Japanese instrumentation plays out as they give each other gifts. They shake hands like „good friends“ in Japan do, and the score climaxes with a salutary statement of the Osaka theme – and finishes off with a powerful electric guitar performance of Nick’s theme.