Deejay calls Sidth to find out what went wrong. Sidth explains, and Deejay tells them to leave the city if they want to stay alive. Sidth and Richie decide to take the next train to Mumbai. Dr Roy gets fired from his job, as the hospital has had enough of his distractions at work. Dr Roy who has lost his job, and has no successful real estate deals, now faces Franko's thugs who take his car away. While waiting for the train, Richie comes with one last crazy idea to sell their motorbike before they leave to Mumbai. Sidth calls him a fool, but gets a better idea. He borrows the bike and rides to the hotel where a film producer offered to cast him earlier. He lashes all his anger out on the producer by beating him up and steals all his money. He reaches the train station just in time as the train they have bought tickets to was leaving the station. They both run and hop on the speeding train. They leave to Mumbai, smiling. "Karma Code" was the first short film in the Vinod Bharathan's 'Karma series' with forgiveness as its theme. It was followed by Karma Currency, a 16-minute short film on the theme corruption. It was while he was working on Karma Currency that he realized that it was time he made his first feature concluding the Karma series. Karma Cartel is the last film in Karma series by Vinod Bharathan. Vinod constructed the plot structure inspired by the production styles of "Pusher", "Gang Tapes" and "Clerks". Armed with HDV camera, he headed to India to make his first feature. No one in India initially believed that his minimal and radical method of filmmaking was good enough to make a feature film. But his persistence gave the main actors little hope, and the project started rolling. But it was already too late as Vinod had only 10 days left to complete filming before he flew back to his family in Denmark for Christmas. Shooting as much as six scenes a day, Vinod juggled the ensemble of 25 actors using Microsoft Excel charts he had earlier prepared in anticipation. Dialogues for the scenes were often improvised in front of the rolling camera, and fewer times did they have the luxury to develop it an hour before the take. Vinod shot the entire scenes in long takes, and the longest single take with the indie filmmaker (Jinu Joseph) telling the story to the actor lasts 7 minutes, which was later taken out of the festival version edit as Vinod thought it would be hard for the foreign audience to follow.