The film opens with various disclaimers and a meaning of fever as an inclination fed by enthusiasm. As such none of the primary characters is running a high temperature despite the fact that Khandelwal’s character is recuperating in healing center after a pile up and experiencing memory misfortune.
All he reviews is that his name is Armin, he’s from Paris and that a lady called Rhea is imperative to his biography. With flashes of recollections of a killed lady and the repeating appearance of another lady who presents herself as "Kavya"(Gauhar Khan), Armin starts to sort out his past.
Turns out Armin plays an agreement executioner with a propensity for scarves and ensembles. He’s a bit Bond-like – smooth with the women, brisk with the firearm. But he’s a procured hand, an agreement executioner, a professional killer. This is disclosed to us ordinarily, in the event that it was not clear the first run through.
Kavya’s part stays dim, however we do in the long run discover why she’s hiding around Armin. At the danger of giving endlessly a lot of the plot, suffice to say there’s an author and there’s perplexity amongst reality and fiction.
Murino’s nearness is so constrained she barely has an effect while Atkinson is shockingly stilted and ungainly. Khandelwal spends the majority of the film acting and being thoughtful, talking with agonizingly long stops and taking part in various scenes of temptation where the ladies appear as though they are frantically sitting tight for the executive to call’cut’. Khan tries her best and demonstrates some radiance, not slightest in view of a diverting diamante "Monroe"(magnificence mark) over her lip.