James gets ready for the day while his wife Katherine pleads with him not to go to another meeting, worried that he will get hurt. James insists it is his last meeting but leaves anyway. He walks nervously to meet his contact, a hooded figure in a dark stairwell. It is revealed that the hooded man used to work with James but no longer trusts him. When James asks for the envelope, the hooded man shoots him, echoing James' earlier words that things change.

1. The Meeting
Written by
Jon Champion

2. FADE IN:
INT. JAMES’ HOUSE - MORNING
An alarm clock emitting a sinister red light reads: 7.00. A
noise seems to blast from the clock for a few seconds before
a HAND emerges into view and shuts off the device.
The person sits up, dazed and tired. JAMES. He looks down to
his left to see his wife, KATHERINE still asleep despite the
earlier noise. He looks at her for a beat before slowly
getting up and exiting the room.
CUT TO:
INT. JAMES’ HOUSE - LIVING ROOM - SAME
James slips on a suit jacket which completes his very tidy
appearance. He grabs a briefcase and heads for the door.
Katherine slowly walks downstairs to see him dressed
smartly, a look of anxiety spreads across her face. A
realisation.
KATHERINE
(worried)
Oh no, James please don’t tell me
that you’re not doing this again.
JAMES
(lacking warmth)
I’m sorry Kate, this will be the
last time. Besides, nobody else was
available.
KATHERINE
Yes because they’re all in the
hospital with a gun shot wound.
He goes for the door.
KATHERINE (CONT’D)
(desperate)
Don’t go.
(beat)
Please?
JAMES
(beat)
I’m sorry.
(CONTINUED)

3. CONTINUED: 2.
Before she can finish, the door SLAMS shut and Katherine is
left alone. Saddened.
CUT TO:
EXT. STREET - DAY
James walks along, immersed in his own thoughts.
MEDIUM LONG SHOT: We peer behind some bushes as James
continues to walk (3-5 seconds)
BIG CLOSE UP: A side view of his face as he stops to wait
before he crosses the road. (3-5 seconds)
LONG SHOT: He walks across the road and reaches the other
side of the street, doing so with slight trepidation and
hesitation. (5-7 seconds)
(NOTE: We can experiment/use far more camera shots to
achieve our desired style. The ones listed above are just
some of the best ones to use.)
CUT TO:
INT. DARK STAIRWELL - DAY
We see a HOODED FIGURE awaiting James’ arrival. He has a
tight grasp on an envelope. We see parts of his face, his
eyes are almost completely visible.
We hear FOOTSTEPS off screen, they get closer, closer.
REVERSE ANGLE to see James who is now standing opposite the
hooded figure.
JAMES
Look, this has got to be the last
time, I’m sorry.
HOODED FIGURE
You disappoint me, James. You used
to be my best client...
Behind the hooded figure’s back, he is holding a pistol with
his index finger placed over the trigger.
HOODED FIGURE (CONT’D)
...We were a good team once upon a
time.
(CONTINUED)

4. CONTINUED: 3.
JAMES
Yeah, well things change don’t
they?
HOODED FIGURE
I see. Briefcase?
James slowly hands over the case and waits for the envelope
to be given to him.
JAMES
And the envelope?
HOODED FIGURE
I was always taught never to trust
anybody but myself...
He points the gun at James’ chest.
HOODED FIGURE (CONT’D)
...I guess that stands true today.
JAMES
(shaky voice)
Oh, come on -- don’t -- don’t do
this. This used to be a good
professional relationship, didn’t
it?
HODDED FIGURE
Yeah, well things change don’t
they?
We RISE UP so that we are looking at the ceiling. Beat.
BANG! The sound of a gunshot RIPPLES through the stairwell.
It is done.
FADE OUT.
END.