2. 2
FADE IN:
SCENE 1 – SERIES OF SHOTS.
A) MICHAEL, a male in his early 20s and a trained martial
artist and attends classes every week. Decent social
class as well. MICHAEL appears just out of the house
and then starts to walk over to the pub to meet up
with his best friend THEO. MICHAEL makes sure that he
hasn’t forgotten his wallet and valuables before he
closes the door.
B) MICHAEL is seen walking past his local shops on his
way to the pub.
C) MICHAEL is waiting by a main road stop and then
advances across the road safely once he has looked
both ways.
D) MICHAEL is seen walking into the pub to meet his
friend THEO.
SCENE 2 - INT. LOCAL PUB. DAY.
MICHAEL walks into the pub, the pub is old-fashioned, 17th
century to be precise, with low hanging ceilings that only
mean that his head can just fit in without him having to
duck. He enters through the main entrance and then sees the
bar, with a wide selection of ales and bitters that he can
choose from. MICHAEL walks through the main entrance and
straight ahead is THEO.
THEO, a male in his 20s and quite well kept with nice
clothes and is of a decent social class.
MICHAEL walks up to the bar and takes a seat next to THEO.
MICHAEL
(Sits down)
You just finished work?
THEO
Yeah. Got busy today. Couldn’t sit on my
arse all day.
(To the Bartender)
Can I get another pint? One for Michael.
3. 3
BARTENDER
Sure.
MICHAEL
Cheers.
THEO
(Sips his drink)
How’s the martial arts going?
MICHAEL
Alright. I just feel like they’re teaching
me the same things over and over.
THEO (CONFUSED)
Why don’t you just go to another dojo?
The bartender places the pint on the bar.
MICHAEL
No good ones near. I’d have to drive about
40 minutes in order to get to a decent
one. I’m nearly black belt, and I haven’t
learnt anything of use since I was a
yellow belt… just enhancing my old skills.
THEO
Yeah don’t bother transferring to a new
one. You have basically got all the skills
you need.
MICHAEL
True.
They hear the faint sounds of police sirens in the
background and see the red and blue light faintly in the
window.
THEO
Wait, why is there police in the car park?
And there is a lot of them as well.
4. 4
MICHAEL
I’m confused too, they can’t be here for
us.
(Comically)
Unless you’ve robbed a bank or something.
(laughs)
THEO
Shut up. This could be serious.
MICHAEL
Alright way to ruin the mood.
Police storm through the door of the pub.
POLICEMAN (SHOUTING)
Put your hands up in the air where I can
see them!
Michael, Theo and the Bartender all put their hands in the
air, confused as to what is going on.
MICHAEL (WORRIED)
Who are you speaking to?
POLICEMAN (SHOUTING)
You. Now keep your hands in the air!
MICHAEL
I haven’t done anything wrong, so what’s
the point of me putting my hands in the
air.
POLICEMAN
Right then. Looks like we are going to
have to do it the hard way.
MICHAEL and the group of policemen start to have a fight,
fending off a group of four policeman. They start throwing
punches at him. MICHAEL uses his reflexes and what he has
learnt in martial arts to defend himself. MICHAEL manages
to get one guy into a headlock and bang his head against
5. 5
the bar, knocking him out. MICHAEL starts to get tired but
the adrenaline kicks in. The thought that he doesn’t want
to go to jail for something he didn’t do races through his
mind. MICHAEL manages to knock out another police officer
with a swift punch and then in a split-second, ducks
another hook. MICHAEL then uppercuts the police officer
attempting the hook and kicks him relentlessly until he
goes unconscious. Staggering back, MICHAEL shouts as he
charges into the final policeman, shoving him against the
wall. MICHAEL runs out of the door worried just in case
something happens. THEO looks at all of the policeman
knocked out and lying on the floor shocked and perplexed.
THEO
(Looking at the bodies)
Well that was interesting.
BARTENDER
Just another day at the office.
THEO
So, a load of people knocked out on your
pub floor is a normal thing?
BARTENDER
Oh, you won’t believe the number of drunks
we get.
SCENE 3 - SERIES OF SHOTS:
A) MICHAEL starts running back home and there is a series
of shots of him running back to his home after the
incident with the police.
B) MICHAEL is starting to get really exhausted after all
the fighting that has just occurred and we can see
that with his facial expression.
C) MICHAEL continues to run across the road not paying
attention to any of the cars. Luckily it ends up being
safe.
D) Then MICHAEL takes the more secret route back to his
home through a private estate so that he doesn’t get
caught by extra police that could have been sent out.
6. 6
E) MICHAEL storms down his house road and then puts the
keys in his lock as quick as possible.
SCENE 4 - INT. MICHAEL’S LOUNGE. DAY.
MICHAEL rushes into the house then to see his parents sat
on the couch worried to why he has come back so abruptly.
MOTHER, a woman of her mid-40s wearing typically
comfortable clothes and dressing gowns since she always
likes to stay cozy.
FATHER, also in his 40s and is of a high social class and
is the typical dad. He usually wears a shirt with jumper
over it, boots and then a pair of boot-cut jeans.
MOTHER (WORRIED)
Is everything okay?
MICHAEL
No, it’s not Mum, the police just tried to
arrest me.
FATHER
For what? What did you do?
MICHAEL
Nothing!
MOTHER
Something must be wrong. Come and sit
down. You are safe here.
MICHAEL, the MOTHER and the FATHER start to watch the news
and then they notice that the story that comes on is based
of the town that they live in, so they continue to watch.
The TV is focused on in the shot and then there is a zoom
in to a cut of the new studio.
SCENE 5 - INT. NEWS STUDIO. DAY.
NEWS SPOKESPERSON
News just in about a recent bank robbery
and a criminal on the run, here we have
some footage of the man from the police
just as he ran away from the bank to a
7. 7
local pub only to fight policemen and run
away. Other police have reported to stay
aware of the criminal out there before he
does anything else and if you see him be
sure to report his whereabouts.
SCENE 6 - INT. MICHAEL’S HOUSE. DAY.
Cut to MICHAEL’s house where he appears to be shocked and
surprised about how he has been mistaken for a criminal and
the police have got something wrong for once all along.
MICHAEL (SHOCKED)
No way.
(pauses)
They have mistaken me for someone else.
And now I’m going to jail.
MOTHER
You are not going to go to jail. They
won’t get you!
MICHAEL
Well what if they do find me? They are not
going to consider that they have got the
wrong guy. Police are always right in
their eyes.
MOTHER
Just relax in your room with the blinds
closed and chill out. We’ll look out.
He walks up the stairs to his bedroom.
SCENE 7 - INT. BEDROOM. DAY.
MICHAEL enters his bedroom, he immediately shuts the door.
MICHAEL’s room is relatively big, with a matching colour
desk and wardrobe to the right when opening the door.
MICHAEL’s bed is placed to the left wall directly next to
his window and he has a TV directly in front of it along
with his chest of drawers and his light. MICHAEL then also
has a bedside table as well off to the right of his bed.
MICHAEL immediately goes over and closes his blinds.
8. 8
SCENE 8 - INT. POLICE STATION. DAY.
Inside the police meeting room, they bring in one of their
criminals, a kidnapper that has been imprisoned for
kidnapping over 30 people throughout his life time. The
CRIMINAL has learnt that what he has done is wrong and want
to escape as soon as possible. The MAIN POLICE OFFICER sits
CRIMINAL down with his handcuffs on and then try to make an
agreement with him.
MAIN POLICE OFFICER
You know why I have bought you here today?
CRIMINAL (AGGRESSIVELY)
I don’t know. You tell me.
MAIN POLICE OFFICER
We seriously need your help.
CRIMINAL
Fuck off, not helping you. Nothing is init
for me.
MAIN POLICE OFFICER
How about you let us explain it first
before you get aggy.
CRIMINAL
What then?
MAIN POLICE OFFICER
We are looking for a criminal. Someone who
escaped and knocked out four of our best
officers and we can’t see to track him
down. We lack the skills.
CRIMINAL
And you are asking a criminal about this.
SECOND POLICE OFFICER
He’s not going to listen to us. He’ll just
try to bribe us.
9. 9
CRIMINAL (ANGRILY)
Course I will, I’m not fucking stupid.
MAIN POLICE OFFICER (SHOUTING)
Enough!
Silence falls across the room for a few seconds.
(Quietly)
Right. I’ll cut you a deal. You bring our
guys, we’ll set you free. Doesn’t matter
how you do it, just bring him back in one
piece. Deal?
CRIMINAL
Fine!
MAIN POLICE OFFICER
You can leave now.
He is freed from his handcuffs and escorted out of the
room.
SCENE 9 - EXT. THEO’S HOUSE. NIGHT.
Outside THEO’s house. CRIMINAL looks around for some keys
to see if he can get into the door. CRIMINAL checks all of
the crevices and secret areas of the drive to find that
THEO has left the key placed in the lavender plant. As
quiet as possible, CRIMINAL places the key in the lock and
then turns the lock. CRIMINAL then quietly opens the door
trying not to make a noise and then steps inside.
SCENE 10 - INT. THEO’S HOUSE. NIGHT.
SERIES OF SHOTS:
A) CRIMINAL walks through the front entrance and then
checks around all of the places that THEO could be.
CRIMINAL checks the bathroom by the front entrance
first and then checks the room to the left.
B) THEO is stood in the bathroom getting ready for bed
doing his nightly routine. THEO is dressed in his
nightwear and he is brushing his teeth.
C) CRIMINAL walks through to the kitchen and checks
around there and then proceeds to walk to the stairs.
10. 10
D) CRIMINAL takes his first step up the stairs and then
the stairs creak loudly meaning that he could be heard
throughout the house.
E) THEO hears this gets confused and stops brushing his
teeth. THEO then exits the bathroom and walks down the
stairs.
F) THEO reaches the bottom of the stairs to be greeted by
the CRIMINAL who knocks him out and then ties him up
in a black bag.
FADE TO BLACK:
FADE IN:
SCENE 11 - INT. THEO’S GARAGE. DAY.
THEO has been tied up in his own garage and is worried and
scared about what is going to happen to him. The CRIMINAL
is about to interrogate him.
The garage is quite messy and unorganized with things lying
around everywhere, however it is quite spacious so you are
able to be productive in the space that there is.
CRIMINAL
Where is he?
THEO
Where is who?
CRIMINAL
You know who…
THEO
No I seriously don’t.
CRIMINAL
Your little friend. Sounds like he has
been up to no good, hasn’t he.
THEO
What Michael? He didn’t do anything.
11. 11
CRIMINAL
Well the police think differently clearly.
I’ve been sent out to find him and I
thought the best way to do it, was through
you… his best friend through thick and
thin. Because, you will know where he is.
Won’t you.
THEO
I’m not going to tell you anything.
CRIMINAL
Maybe you will when I show you this.
CRIMINAL pulls out a knife and threatens THEO with it.
THEO
Right. I’ll bring him to you. Let me
message him real quick.
CRIMINAL
Good.
THEO messages him to tell him to come to his house.
THEO
He will be here in about 5 seconds.
CRIMINAL
Don’t you think that is a bit too –
MICHAEL storms through the door of the garage.
Jesus, how did you get here so quick.
THEO
Not important.
MICHAEL (ANNOYED)
Cause I care about my friend that’s why.
Why have you tied him up?
12. 12
CRIMINAL
Because I wanted you… so I thought of the
best way… to kidnap your best friend you
wouldn’t want anything to happen to.
MICHAEL (ANNOYED)
But why do you want me? I don’t
understand.
CRIMINAL
The police are after you. You robbed a
bank so I’m taking you to the prison. If I
do, I’ll be free from prison.
MICHAEL (SHOUTING)
I didn’t fucking rob the bank. I was
mistaken for someone else.
CRIMINAL
Maybe you will if it means your friend
stays alive.
CRIMINAL gets closer with the knife to THEO.
MICHAEL (SHOUTING)
No.
THEO
Just go Michael, we have lost either way.
CRIMINAL
Well, if you don’t go then your little
friend will have his brain get blown out,
his life gone in the flash of an eye and
no one will know what is going o-
MICHAEL knocks the knife on the floor and then MICHAEL and
the CRIMINAL have a fight. First, MICHAEL lands a few
punches swiftly and then proceed to knock the CRIMINAL down
for a couple of seconds. The CRIMINAL manages to dodge a
punch aimed at him on the floor and then MICHAEL injures
his hand. The CRIMINAL then lands a few hits and dazes
MICHAEL in the process, meaning that he is growing weaker
and weaker. MICHAEL is clearly losing in the fight, but
13. 13
THEO in the process is trying to escape the chair to which
goes unnoticed by the CRIMINAL. The CRIMINAL has MICHAEL up
in the corner now ready to finish him off.
CRIMINAL
You are coming with me.
THEO finally escapes and then hits the CRIMINAL round the
back of the head with a metal item and then knocks him
unconscious. MICHAEL and THEO both get up and dust
themselves off.
MICHAEL
Thanks. For covering me.
THEO
No problem. You helped me out, so I’ll
help you.
They open the garage door by the switch and then walks out.
SCENE 12 - EXT. OUTSIDE THEO’S HOUSE. DAY.
MICHAEL and THEO exit the garage and then they walk down
the driveway talking. As MICHAEL and THEO walk out of the
driveway, they notice someone like MICHAEL walking down the
opposite side of the pavement. MICHAEL and THEO take a
minute and examine.
THEO
Do you think that he is the actual
criminal?
The ominous man turns his head to find that it is the
criminal that was in the news report for robbing the bank.
MICHAEL
Holy shit. That’s the guy.
THEO
Well then… lets catch him and take him to
the police.
14. 14
MICHAEL and THEO go up behind him and then ambush the
actual criminal so that he gets injured and taken to the
police station.
FADE OUT:
FADE IN:
SCENE 14 - INT. POLICE STATION. DAY.
MICHAEL and THEO walk into the station escorting the
injured criminal and they take him to the main police
officer.
MAIN POLICE OFFICER (ANNOYED)
What, how did you escape our best
criminal?
MICHAEL
I fought him. Besides, this is the guy you
were looking for not me.
He shoves the actual criminal over to the police officer.
The MAIN POLICE OFFICER goes over to his computer to
compare him to the database and then walks back up to
MICHAEL.
MAIN POLICE OFFICER
Well, I do apologise, we seem to have
messed up. Well you are in the clear now,
go off and continue whatever you were
doing and then we will take care of the
rest.
MICHAEL AND THEO
Alright, cheers.
SCENE 15 - EXT. OUTSIDE POLICE STATION. DAY.
MICHAEL and THEO both proceed out of the door and walk away
from the police station.
THEO
Fancy another pint?
15. 15
MICHAEL
Alright. Go on then.
MICHAEL and THEO continue to walk down to the pub and the
police stop bothering them as they live their normal lives.
FADE OUT:
THE END
