You finished Brad's grave. This picks up at The last jobs and goes to the end.
~2 min read
The last jobs · 2013 · playing as Michael, Franklin and Trevor
Burn the files, take the gold
In this chapterThe crew infiltrates the FIB building and destroys records that Steve Haines can use against them, but Haines and Devin Weston remain threats.
The Bureau raid cuts one chain without ending the conflict. Michael repairs his family and reaches the legitimate creative success he claimed to want, while the Union Depository score gives all three men financial victory. Yet Haines and billionaire Devin Weston respond by ordering Franklin to kill one of his partners.
The Big Score is deliberately less final than its name. Money solves Franklin's material problem and validates the crew's skill, but it cannot make Haines accountable, make Weston respect them or make Trevor forgive Michael. The heist fantasy reaches perfection only to reveal that ownership and state power still decide whose violence is tolerated.
Michael's film premiere offers a quieter alternative ending for his arc: he can use collaboration to create rather than destroy. That possibility is fragile, and the game refuses to treat reconciliation as absolution. His family returns because he starts showing up differently, not because the past vanishes. Franklin's coming choice tests whether he has learned to manage consequences or simply learned to climb.
The Big Score gives the three men wealth at exactly the moment the story proves that wealth is not sovereignty. Their real vulnerability is who can still demand a betrayal from them.
What unfolds
Michael reconciles with his family and produces a film, briefly proving he can build something without staging another escape.
Michael, Franklin and Trevor execute the Union Depository heist and steal a massive gold reserve, completing the score that has driven their alliance.
Finale · 2013 · playing as Michael, Franklin and Trevor
Kill Trevor, kill Michael or risk everything
In this chapterSteve Haines orders Franklin to kill Trevor, while Devin Weston orders him to kill Michael, presenting betrayal as the price of advancement.
The ending belongs to Franklin because he is the only protagonist still choosing what kind of success he wants. Killing Trevor or Michael accepts the logic of Haines and Weston: survival requires sacrificing the inconvenient partner. Deathwish is dangerous precisely because it rejects that logic and forces the trio to face every creditor together.
Choice A and Choice B are not clean moral judgments on Trevor or Michael. Each man has committed acts that make condemnation easy, but Franklin is being asked to kill them for people worse than either target. The order transforms legitimate anger into service for power. Afterward, money remains, yet the surviving calls and broken contacts show how thoroughly Franklin has let another man author his future.
Deathwish does not magically restore the old friendship. Michael and Trevor cooperate, settle immediate enemies and then acknowledge that trust may never return. That restraint is the point: loyalty can mean refusing an imposed betrayal without pretending betrayal never happened. Franklin's victory is not becoming the richest criminal in Los Santos; it is finally making a decision that is not somebody else's ladder.
Deathwish matters because Franklin rejects a false choice authored by richer and more powerful men. It is not forgiveness; it is a decision to stop letting those men decide which relationship is expendable.
What unfolds
Franklin can kill either mentor, permanently breaking the surviving relationships and proving that the powerful can make the crew destroy itself.
In Deathwish, Franklin unites Michael and Trevor, eliminates their principal enemies and preserves all three protagonists, though Michael and Trevor's friendship remains damaged.