Our Girl Page #2

Season #2 Episode #3
Synopsis: Our Girl is a British television drama, which starred Lacey Turner as Molly Dawes (in its first series) a young adult from a lower class background who joins the British Army after deciding her life is going nowhere. A one-off special was broadcast on 24 March 2013 on BBC One, which saw Dawes make the decision to join the army, despite the protests of her protective family.
 
IMDB:
7.5
Year:
2013
90 min
393 Views


GEORGIE:

Yeah well I am fine.

JAMES:

I rest my case.

GEORGIE:

What does that mean?

JAMES:

It means... don't go giving it all 'I'm fine' please tell them

everything.

GEORGIE:

You might end up with the psychiatrist in tears.

JAMES:

So be it.

James looks up and sees Elvis looking in through the door.

JAMES (CONT'D)

You want to talk to him?

GEORGIE:

No. Why him boss?

JAMES:

It wasn't my call, Lane.

GEORGIE:

Can you imagine how I felt?

JAMES:

Our first priority was to get you back safely.

GEORGIE:

Well the second priority, is to tell him to go. Seriously!

James nods and heads outside to tell Elvis to leave. We are left alone with Georgie. She shuts

her eyes. Overwhelmed.

James returns.

GEORGIE (CONT'D)

Did Abu escape? The British guy?

He nods, full of admiration for her.

IN:
10:05:47 EXT/INT. HOTEL/RECEPTION/BEACHSIDE. MOMBASA. DAY

The hotel sits thirty or so feet above the beach with the sea beyond.

Armoured military cars sweep into the forecourt of the hotel. We see 2 section and the paras

have gathered in the reception of the hotel and as Georgie alights from one of the vehicles and

enters they break into a cheer and a round of applause. This is the first time they've seen her

since her ordeal.

Georgie smiles before being whisked away by military intelligence to an annex of the hotel.

James escorting her.

JAMES:

(stepping in)

Lads.

They look at him briefly.

Music ‘3OG1’ out: 10:06:28

JAMES (CONT'D)

(firmly)

Come on.

They all get the message and hurry on.

BRAINS:

Missed you…

MONK:

Stop making it weird man…

IN:
10:06:37 EXT. HOTEL. DAY

James gestures the view and the sea.

JAMES:

Not too shabby, eh Lane.

They see some of the paras walking along the beach/lounging around. Still in kit albeit relaxed.

Georgie looks around at the various Kenyan security positioned every few yards along the

perimeter and also down on the beach. They appear to be surrounded by a Kenyan ring of steel.

JAMES (CONT'D)

It's a completely safe zone.

GEORGIE:

We expecting trouble?

JAMES:

Stay alert, stay alive. It's not just Al Shabaab

sympathisers... Pirates work this coast too.

GEORGIE:

Yeah right.

JAMES:

Not... eye patch pirates, Lane. They're just called

pirates. Basically making their living robbing ships on the

high seas. But some rob, kidnap and kill tourists too.

GEORGIE:

Everyone has to make a living, I guess Boss.

James gives her a look. Georgie looks out to sea.

Music ‘3OG2’ in: 10:07:01

GEORGIE (CONT'D)

There's always a price to pay for paradise.

James smiles.

IN:
10:07:12 EXT. HOTEL. DAY

James and Georgie walk into the bar reception, where two section are chilling, in casual uniform

but all still 'on duty'.

They see Georgie and cheer. She smiles and heads over, as they all leap up to greet her.

FINGERS:

Well look who it is…

JAMES:

After you.

GEORGIE:

Thank you.

FINGERS:

Come on then. Where have you been, hiding? You little

skiver!

MONK:

What d'you do, Lane... whine at the Al Shabaab like a

scouser till they let you go?

Music ‘3OG2’ out: 10:07:46

BRAINS:

She isn't a scouser, Monk.

GEORGIE:

I'm a Manc, Monk.

MONK:

Same difference. If you’re not on the tube you're all

northern to me.

DANGLES:

Monk could have been singing like a canary at the first

thumb screw.

MONK:

I did actually water board my mate with lager.

GEORGIE:

So your lager boarded him then.

BRAINS:

Brilliant to have you back.

GEORGIE:

Ah Thanks for that.

Brains gives her a hug, clearly enamored of her.

MONK:

Stiffy klaxon!

GEORGIE:

Aww Kingy… Hi.

KING:

(heading over)

Welcome back to the fold, Lance Corporal.

GEORGIE:

Oww… Thank you!

FINGERS:

(to James)

Come on then Boss, what do you say can we start

drinking or what?

JAMES:

No, still on duty. R and R doesn't begin until Lane

finishes her debriefing. Then we R and R together.

MONK:

One in all in, yeah.

Throws the ball at James, who returns it with meaning.

JAMES:

That's correct Monk!

FINGERS:

(to James)

Easy…

IN:
10:08:17 INT. HOTEL ANNEX. DAY

Payne, Hare, Wray and James with Georgie. Payne is showing her images of white converts.

Georgie staring at the screen.

She shakes her head.

GEORGIE:

No. No. No.

MAJOR HARE:

Kenyan security forces are monitoring borders...

GEORGIE:

So he's still in Kenya?

CAPTAIN PAYNE:

Almost certainly.

BRIGADIER WRAY:

Lying low in a safe house somewhere, not knowing who

to trust.

MAJOR HARE:

Well he'll be aware that we have covert agents

embedded in Al Shabaab cells...

GEORGIE:

We know where he is? Or where he might be? How

many white converts have we got floating around...

MAJOR HARE:

We are aware of how urgent the current situation is...

Georgie nods, clearly anxious.

CAPTAIN PAYNE:

You hold the most significant of all intel. You can identify

the entire cell. Not just Abu but his superiors in their

chain of command.

Georgie nods knowing how key her evidence is. James looks at her and nods reassuringly.

GEORGIE:

I didn't have much time in their ops room... But enough

time to see detailed plans of this shopping mall... after

what happened in Nairobi at the Westgate Mall...

She senses them all studying her, clearly anxious as to the accuracy of her memory. Or whether

she is still in a state of trauma.

MAJOR HARE:

Well that's why you need to be as precise as you can be,

so we can identify the target.

She studies another potential Abu and shakes her head.

GEORGIE:

I saw photo's of a erm, a, a bird I think... Poppies..

CAPTAIN PAYNE:

Y, you think a bird?

GEORGIE:

Yes Sir. A statue. But I'm not a hundred percent sure! I

saw erm, Google images... aerial photographs printed

from an internet type of thing.

They look at her briefly before carrying on studying the faces. Shaking her head each time. She

flashes a look to James

BRIGADIER WRAY:

You'd definitely recognise him?

Georgie nods. More images.

MAJOR HARE:

Intelligence suggesting he's from London.

GEORGIE:

Yes sir. It's London.

MAJOR HARE:

All video surveillance, from Kenya and across the Somali

border is being scrutinised for white insurgents.

BRIGADIER WRAY:

He will be found. It's just a matter of time.

GEORGIE:

Exactly. Time. We need to get him before he gets us.

James nods at another face. Georgie gives a little shake of the head.

GEORGIE (CONT'D)

I'd recognise him, sir. Without a doubt. Never forget

those eyes.

A face comes on the screen. Georgie stands to get a closer look. The others all look at Georgie. It

looks like Abu but western, clean shaven, about 18, his 'leavers' photo from school. Quite quite

different.

Music ‘3OG3’ in: 10:10:03

GEORGIE (CONT'D)

Stop

JAMES:

Is it him?

GEORGIE:

Obviously he looked... different... he, he had a beard.

MAJOR HARE:

Are you sure?

GEORGIE:

Yeah. Yeah it's him, sir.

Rate this script:0.0 / 0 votes

Tony Grounds

Tony Grounds is a British writer of television scripts. He was born in 1957 in East London. Described by The Independent (11 October 2002) as "the best TV writer of his generation", Grounds has written for all four of Britain's main channels. He started writing for the theatre, winning the Verity Bargate Award for Made in Spain, which was subsequently performed in London and published by Methuen. It was then filmed for ITV and transmitted in their Screenplay slot. There then followed stints on EastEnders and The Bill before he penned episodes of 'Chancer', which starred Clive Owen. more…

All Tony Grounds scripts | Tony Grounds Scripts

1 fan

Submitted by aviv on December 15, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Our Girl" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/our_girl_791>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Our Girl

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "on the nose" dialogue?
    A Dialogue that is poetic and abstract
    B Dialogue that is humorous and witty
    C Dialogue that states the obvious or tells what can be shown
    D Dialogue that is subtle and nuanced