The movie opens on a deceptively lighthearted morning after a night of drinking, with the characters waking up in a messy seaside campsite. Dave and Mark joke about hangovers while teasing each other about surfing plans and their mutual friend Amy, who is still sleeping off the night before. At first, everything seems normal — casual banter, mild teasing, and playful jabs about growing up and responsibility. But beneath the light mood simmers a secret that threatens to tear this trio apart.

As the morning unfolds, cracks in the carefree veneer begin to show. Dave hesitates, increasingly distracted, his mind elsewhere. The night before hangs over him like a shadow. Did something happen? Did he cross a line? When he finally broaches the subject with Mark, the truth spills out: Dave, drunk but not too drunk to remember, slept with Amy’s boyfriend — Mark himself. The revelation is a bombshell. Dave is wracked with guilt and confusion; Mark, though initially defensive, is pragmatic. He insists they keep the secret from Amy, but makes one condition clear — Dave must end his relationship with her. Mark, with biting sarcasm, even suggests Dave’s interest in him is proof that he’s gay. Dave angrily protests, claiming he fancies women, but the tension between them betrays a messy, blurred line of attraction and betrayal.

Their conversation, snatched in hurried whispers between camp chores, reveals an undercurrent of long-simmering issues. Mark frames Dave’s actions as inevitable, saying “it only goes one way,” implying Dave’s sexuality is not as clear-cut as he wants to believe. The dialogue is sharp and uncomfortable, setting up a love triangle of deception, confusion, and simmering resentment. Dave is torn between his guilt, his desire to protect Amy, and his denial of his own feelings. The scene captures the claustrophobia of secrets — two men bound by a single act, forced into proximity, trying to pretend nothing’s changed.

Then disaster strikes. A sudden warning — a woman shouting “Look out!” — breaks the tense conversation. Mark and Dave race to Amy’s tent as chaos erupts. A freak accident leaves Amy screaming in pain, her leg badly injured. Mark and Dave’s rival roles collide: Mark, Amy’s boyfriend, and Dave, her brother, both rush to help but can’t disguise the tension between them. The emergency draws in bystanders and paramedics, and the film shifts gears from interpersonal drama to high-stakes crisis. The visual of Amy trapped and hurt, with two men who’ve betrayed her standing over her, is the emotional fulcrum of the story.

As medics treat Amy’s injury — a non-displaced fracture of the fibula, which will require plaster but not surgery — the interpersonal drama intensifies behind the scenes. Amy, unaware of the betrayal, jokes about Dave carrying her around during her recovery. Meanwhile, Mark and Dave clash over what’s next. Mark is adamant Dave shouldn’t pursue a deeper relationship with Amy out of guilt, warning him not to hurt her further. Dave, defensive and angry, throws back accusations of hypocrisy, reminding Mark that he too crossed a line. Their dialogue bristles with subtext — Mark’s smugness, Dave’s denial, both men using Amy as a shield for their own conflicted feelings.

The hospital scenes deepen the stakes. Amy flirts lightly with staff, trying to maintain normalcy despite her injury, while Mark and Dave’s arguments spill into the open. Observers misinterpret their bickering as a lovers’ quarrel — a running gag that underscores the taboo at the center of the plot. One nurse even mistakes Mark for Dave’s boyfriend, a moment that stings with irony and forces both men to confront the public face of their secret. Amy, for her part, remains blissfully unaware but increasingly suspicious of their tension.

Amid X-rays, bandages, and offers to “move in” temporarily so Dave can help Amy with her stairs at home, the emotional drama crests. Dave’s offer to let Amy live with him is meant as support but reeks of guilt, prompting Mark to intervene. Mark warns Dave that moving Amy in will give her false hope about their relationship, which Dave seems unwilling to end. Their whispered confrontation in a hospital corridor is one of the film’s most powerful scenes: Mark accusing Dave of still being drawn to him, Dave lashing out at Mark’s smugness, both men desperately trying to impose control over a situation already spiraling.

When Amy’s injury is confirmed as non-serious but recovery-intensive, her jokes about being carried everywhere land like barbed wire between the two men. Mark, desperate to extricate himself, hints at leaving town — going to London to “see his queens,” a coded farewell to both his closeted life with Dave and his crumbling relationship with Amy. Dave, meanwhile, begins to break under the weight of his choices, lashing out and then retreating, torn between his sister and the man he slept with.

The climax comes when the misunderstanding about their relationship bursts into the open. Another character casually refers to Mark and Dave as a couple within earshot of Amy. Though she initially laughs it off, the moment plants a seed of doubt. The film doesn’t spell out whether Amy ultimately uncovers the truth, but her interactions shift subtly: teasing Dave about his “softer side,” testing his reactions, and finally snapping at him to “just forget it” when he stumbles over an explanation. The ambiguity leaves viewers unsettled — has she guessed? Will she forgive? Does she even want the truth?

By the final act, everyone is forced into painful self-recognition. Dave, no longer able to hide behind drunkenness or denial, haltingly admits he might be bisexual, echoing Mark’s earlier jibe: “Bi now, gay later.” Mark, for his part, drops the smugness and shows regret, apologizing to Dave for the chaos they’ve unleashed. Amy, cast as the unwitting victim for much of the film, quietly reclaims agency, choosing humor and distance rather than confrontation — at least for now.

The closing scenes mirror the opening but with everything changed. The trio is still at the beach, but the carefree vibe is gone. Amy’s leg is in plaster, her trust in both men shaken but unspoken. Dave, stripped of excuses, faces his feelings in silence. Mark heads for London, a symbolic escape from his double life. The camera lingers on Amy’s expression as she watches them leave — a look that blends sadness, suspicion, and resilience. The upbeat surf-trip atmosphere has curdled into something heavier, but also more honest.

The movie functions as a relationship drama disguised as a weekend getaway film. It uses the setting of a seaside camping trip and a freak accident to strip away the characters’ defenses, exposing hidden desires, betrayals, and the consequences of secrecy. By blending humor (running jokes about surfing, Borg boyfriends, Star Trek references) with tension (the injury, the hospital, the love triangle), the film crafts a story that feels real, messy, and unpredictable.

In the end, nothing explodes — there’s no melodramatic confession or violent confrontation. Instead, the film opts for the quiet devastation of damaged trust and unresolved longing. Amy is left to heal, physically and perhaps emotionally. Dave, who begins the film insisting he “fancies girls,” ends it staring at a future uncertain in love and identity. Mark, who spent the weekend trying to control the fallout, leaves having lost both his girlfriend and his secret fling. The viewer is left with a poignant sense of how a single impulsive decision can ripple through relationships, reshaping them in ways that can’t be undone.

This spoiler reveals the core of the movie: a seemingly light surf weekend unravels into a tangled web of betrayal, sexual identity, and family loyalty, with an accident serving as the catalyst that brings everything to the surface. It’s part romantic drama, part coming-of-age story, part cautionary tale about secrecy and self-denial — and it leaves its characters (and viewers) changed.