1) Chris is an undercover police officer infiltrating a criminal gang planning a jewelry store heist. 2) Chris befriends one of the gang members, Michael, but cannot reveal that he is an undercover cop. 3) On the day of the heist, things go wrong and Chris is shot. Michael helps him but later discovers that Chris is a cop. 4) Seeking revenge, Michael ties up Chris but cannot go through with killing him. The police then shoot Michael as they rescue Chris.

1. SCENE ONE
INT. WAREHOUSE - DAY
We open with a close-up of CHRIS, a young man with a
bloodied and bruised face.
CHRIS (V.O.)
How the hell did I end up here?
The camera pulls out and we see that CHRIS is tied to a
chair, with MICHAEL, shown in an over-the-shoulder shot,
standing over him and brandishing a lighter.
CHRIS (V.O.)
You know when your best friend ties you to a chair,
covers you in gasoline and threatens to blow you into
another dimension? That’s happening to me right now.
The camera cuts to a freeze-frame of MICHAEL, a slightly
older man with a bloodied face
CHRIS (V.O.)
That’s him, Michael Hall. Or so he told me. He could have
just as easily been Marcus Hammond, or Matthew Hamilton,
or even Mason Harris. The important part is, he's my best
friend. And I betrayed him.
The frame un-freezes and MICHAEL smiles at CHRIS
MICHAEL
Any last words?
CHRIS (V.O.)
And now he’s going to kill me.
FADE TO BLACK
SCENE TWO
FADE IN
INT. MARK’S OFFICE - DAY
We see MARK sitting at his desk, on the phone.
MARK
Look, I told you, don’t worry about it. You had a few bad
months, it happens. I know that you’re loyal to me and I
trust you.
There is a knock on the office door
MARK
(Covering the receiver) Come in.
One of Mark’s workers, DAVID, opens the door and steps
inside
DAVID
The new guy’s here to see you
MARK
Who?

2. DAVID
Chris Dimmick, the new guy?
MARK
Oh, send him in.
MARK hastily yet smoothly apologises to the caller,
hanging up the phone as DAVID leaves and CHRIS enters the
room with an easy smile on his face, he greets MARK like
an old friend and despite his tough exterior, MARK cannot
help but return the gesture. The moment is over quickly
and MARK motions for CHRIS to sit down
MARK
So, let’s get down to business. I don’t usually like to
use new guys on these jobs, especially when it’s so last
minute, but one of our guys pulled out and I’m in a tough
spot so I’m willing to make an exception.
CHRIS
Well sir, I really appreciate it.
MARK
I know you do, and you can cut the formalities right now,
you’re not going to get far in this business if you keep
acting like Mr Gratitude all the time. Call me Mark
CHRIS smirks and nods, clearly amused at MARK’S blunt
nature.
MARK
Now I’ve spoken to your contact and he says you've done a
couple of smaller jobs before but nothing like this. I’ve
been lead to believe that you've been given minimal
information on the plans so far?
CHRIS
Yeah, I haven't been told much, just that its a job
that’s going to pay well.
MARK
Wow, they really do only tell you boys the bare minimum
He lights up a cigarette and offers one to CHRIS, who
politely declines
MARK
It's a six-man job, busting in and out of a jewellery
shop. The exposure time is only about three minutes but
it's a tough three minutes- all the cases are alarmed so
we can't mess with those, but my intelligence tells me
that there's a shipment coming in on this particular day
that they're keeping in a vault in the back, from what
I've been told the score amounts to at least fifty grand.
CHRIS whistles in disbelief

3. MARK (cont.)
Obviously I'll go over more of the details with you and
the other guys all at once- I don't like to repeat
myself. So, are you in?
CHRIS looks contemplative however MARK’S question goes
unanswered as the screen FADES TO BLACK
SCENE THREE
INT. WAREHOUSE - DAY
The scene opens with a close-up of CHRIS, sitting down
surrounded by other men in chairs amongst these men is
MICHAEL, looking slightly more happy and put together
than he did in SCENE ONE, with MARK at the front of the
room in front of a chalkboard, covered in text. The room
has the air of a classroom although it is in fact an
abandoned warehouse. CHRIS and the other men seem bored,
as though they have been there for hours (which they
have).
MARK
So, are we all clear on that part of the plan?
MICHAEL
Christ Mark, yes! We’ve been going over this for three
hours; we’re clear on the plan okay?
CHRIS, along with several others, react to this in a
variety of ways; ranging from amusement in CHRIS’ case,
to horror in the case of the youngest, most nervous
looking man, who had been earlier introduced to CHRIS as
RYAN.
MARK
You’d better learn your place Michael. That kind of
attitude won’t get you very far in this business
The men all laugh at this, some even going as far as to
jokingly heckle MICHAEL
MARK
Alright, alright, calm down. We’re trying to plan a heist
here and you guys are treating it like it’s happy hour.
The men reluctantly quieten down, some of them murmuring
quietly to each other about the unfairness of the
situation
MARK
So, what are your jobs and responsibilities during the
heist? Michael?

4. MICHAEL
I’m the getaway driver, I park across the street until I
receive the signal, then I pull up in front of the shop
MARK
Ryan?
RYAN
Um… I’m the, uh, crowd control? Which means I handle the
customers and employees during the heist?
MARK
Good, James?
JAMES
Crowd control, same as Ryan.
MARK
Chris?
CHRIS
(as if reading it) I’m the lookout, I stand outside and
guard the door. I don’t let anyone go in or out.
MARK
John? Daniel?
JOHN AND DANIEL (IN UNISON)
We take the manager into the back and make him give us
the shipment. Since no displays are being tampered with,
no alarms should go off. We’re in and out in two minutes.
MARK
Very good gentlemen. Now I’m going to pair you up based
on your responsibilities during the heist. You are to
discuss your strategies for the heist with this person,
however you are prohibited from sharing any personal
information. It’s bad enough we aren’t using aliases on
this job.
MARK pauses for a moment, then continues
John and Daniel, I want you to work together. James,
you’re partnered with Ryan.
MICHAEL
(jokingly) What about me?
MARK
I didn’t forget about you, since you both have jobs that
involve the outside of the shop, you’ll be partnered with
our new boy Chris.
The men all start exchanging greetings with their
respective partners, and CHRIS looks surprised when
MICHAEL smiles at him and holds out his hand for CHRIS to
shake.
MICHAEL
Nice to meet you Chris

5. CHRIS smiles and hesitantly shakes MICHAEL’S hand, s
miling back at him
MARK
Alright gentlemen, let’s get back to work.
They resume their repetition of the plans as it FADES TO
BLACK
SCENE FOUR
INT. MICHAEL’S CAR (PARKED) - DAY
We see CHRIS and MICHAEL in a car, parked a short
distance away from the jewellery shop that the heist will
take place at. For a short while they discuss heist
plans, then the conversation switches to topics not
involved with the heist.
MICHAEL
Can we quit the heist talk now? I told Mark that I know
it all a thousand times over and I’m pretty sure that you
do too
CHRIS
Alright, fine, but if it’s my head getting blown off
because you don’t know what you’re doing during the
heist, I’ll never forgive you.
MICHAEL
(LAUGHING)That’s better, I was beginning to think that
you didn’t have a sense of humour
CHRIS
Sorry, its just… I’m nervous about the job
MICHAEL
First big job huh? Well I won’t bore you with all that
“you’ll be fine” stuff. All I can say is, the first one’s
the hardest.
CHRIS
(DRYLY) You really know how to reassure a guy
MICHAEL
It’s best not to dwell on it
CHRIS
Let’s talk about something else then!
MICHAEL
(PLAYFULLY) You heard Mark, we aren’t allowed to talk
about anything except the job.
CHRIS
(SIGHING) You’re right
MICHAEL
You know, what Mark doesn’t know won’t hurt him…

6. We cut away as we hear MICHAEL relaying an anecdote to
CHRIS that contains personal information and eventually
there is a FADE TO BLACK
SCENE FIVE
INT. A BAR - NIGHT
We see MICHAEL and CHRIS at a bar, talking. They seem to
be talking about the heist, however they go off on
tangents as the conversation continues, bursting into
raucous laughter on several occasions.
While this is happening, we hear CHRIS in voiceover:
CHRIS (V.O.)
From there it just got harder, Michael was willing to
share his entire life with me but there was one thing I
just couldn't tell him, even though it killed me…
At this point, we see Chris enter his apartment alone and
sit down, putting his head in hands in defeat, after a
pause he proceeds to pull out a folder full of mugshots
CHRIS (V.O.)
…I was an undercover police officer, assigned to
infiltrate the gang and bring the criminals to justice
after the heist.
CHRIS begins to look through this folder full of
mugshots, finally falling on one bearing the name
“Michael Hall” that contains a picture of a slightly
younger MICHAEL. CHRIS stares at this picture for a few
moments, before picking up the phone to call his
superiors. After a minute, during which the moral dilemma
and mental anguish that CHRIS is facing is clear on his
face, he slowly lowers the receiver as he decides not to
call this in and the scene FADES TO BLACK
SCENE SIX
INT. MICHAEL’S CAR - DAY
The scene opens to chaos- MICHAEL is holding CHRIS’ hand
and shouting words of encouragement as CHRIS cries out in
pain and writhes in the passenger seat of the car. His
face is bloody and bruised, suggesting some kind of

7. struggle and it appears that he has been shot in the back
of the leg and as a result he is bleeding profusely.
CHRIS
(rambling and babbling nonsensically) I’m dead Michael,
they’ve killed me, I’m going to die, there’s nothing I
can do, I don't want to die, why is this happening?!
MICHAEL
(obviously distressed) I’m going to need you to cut that
out right now, you're going to be fine, do you hear me?
CHRIS
I’m going to die I know it!
MICHAEL
Shut up! You’re going to be okay.
CHRIS continues his writhing and groaning
MICHAEL
Say it! Tell me that you’re going to be okay!
CHRIS’ moaning stops momentarily as he attempts to get
his breathing under control, and with much effort he
manages to choke out:
CHRIS
I’m okay Michael, I’m okay.
MICHAEL
(visibly calmer) That’s right… you’re fine… and
everything is going to be okay
Both of them fall silent, the only sound that can be
heard is CHRIS’ shallow breathing, and it appears that he
has lost consciousness due to blood loss
FADE TO BLACK
SCENE SEVEN
INT- WAREHOUSE- DAY
We open on CHRIS, tied to a chair in the middle of the
grimy warehouse we saw briefly at the beginning- CHRIS is
still unconscious, and we can see MICHAEL moving around
the warehouse, holding a gasoline can. His movements are
hazy and erratic, almost as though he has no plan as to
where he is going. CHRIS begins to regain consciousness
and blearily looks around, his eyes finally focusing on
MICHAEL. He adopts a calm expression at first, until he
realizes that he is has been tied up and it changes to
one of panic.
CHRIS

8. (Stammering)M-Michael? What’s g-going on?
MICHAEL
(Murmuring, more to himself than to Chris)Oh Chris, why.
Why did you do it Chris. I trusted you.
CHRIS
Michael what’re you talking about? Untie me Michael for
the love of God the police could be here any minute!
MICHAEL
Shut up! Just shut up for once in your life.
MICHAEL takes a moment to breathe and regain his
composure. Then he continues.
I know Chris. You’re a police officer.
CHRIS turns white, then slumps forward into the chair,
defeated.
Mark was the one who figured it out. Apparently your
contact wasn’t as rock solid as you might have thought,
we questioned him about you and he crumbled. I refused to
believe him at first. God, I was loyal to you! But I
believe it now Chris. Mark told everyone else a new
rendezvous point, but he knew you’d trust me, so he asked
me to come here with you and kill you instead.
CHRIS
No Michael please! I’m sorry, I wanted to tell you but I
just… couldn’t. I never meant to hurt you.
MICHAEL
It’s a little too late for sorry
MICHAEL proceeds to pour the contents of the gasoline can
over CHRIS, who is moaning and crying at this point. When
the can is empty he throws it aside and gets a lighter
out of his pocket, holding it menacingly above the pool
of gasoline on the floor. We are now back to where the
film began.
MICHAEL
Any last words?
CHRIS
(Crying)I just… I’m sorry Michael, I’m so sorry.
MICHAEL’S smile falters as CHRIS closes his eyes. He is
clearly going through an internal struggle, before he
throws the lighter aside, well out of the way of the pool
of gasoline
MICHAEL
(Sobbing) Goddamn it Chris! I can’t do it…
He sinks to the floor, breathing heavily
CHRIS
It’s okay Michael, It’s all oka-

9. There is chaos as the police enter the warehouse and
immediately shoot MICHAEL as CHRIS looks on in shock.
CHRIS’ superior officer, DETECTIVE NEWANDYKE runs over to
him and unties him. CHRIS screams in pain as he tries to
stand and he is lowered back onto the chair.
DETECTIVE NEWANDYKE
It’s okay Chris, you’re okay. The other criminals are in
custody and we’ve got an ambulance waiting for you. It’s
all going to be okay, I promise.
CHRIS looks at MICHAEL’S body as he tries to process this
information and after a long pause he begins to scream;
in pain, in relief, and for the friend he betrayed.

10. There is chaos as the police enter the warehouse and
immediately shoot MICHAEL as CHRIS looks on in shock.
CHRIS’ superior officer, DETECTIVE NEWANDYKE runs over to
him and unties him. CHRIS screams in pain as he tries to
stand and he is lowered back onto the chair.
DETECTIVE NEWANDYKE
It’s okay Chris, you’re okay. The other criminals are in
custody and we’ve got an ambulance waiting for you. It’s
all going to be okay, I promise.
CHRIS looks at MICHAEL’S body as he tries to process this
information and after a long pause he begins to scream;
in pain, in relief, and for the friend he betrayed.