Our Girl Page #4

Season #2 Episode #5
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
408 Views


(holding her hands out in front of her and

staring at them)

You know every day I look down and I can imagine it...

STELLA:

So sorry...

GEORGIE:

(with a growing anger)

My arms were chained, so high, the pain was so intense

that I wanted to give up. I had boots on my head, their

hands all over my body...

STELLA:

But they rescued you...

GEORGIE:

Yeah. But you know. I wonder if err Abu... Jason... If he

would of.... I wouldn't have these thought in my mind

you know....

Georgie stares at her.

Music ‘5OG06’ in: 10:18:05

STELLA:

Do you think he's evil... I mean do you think there's no

hope, that he's just pure evil?

Music ‘5OG05a’ out: 10:18:13

Georgie considers the question looking directly at Stella.

Music ‘5OG05a’ in: 10:18:27

GEORGIE:

(gently)

Yeah.

Silence. They both sit, almost exhausted by it all.

IN:
10:18:36 EXT. SAFEHOUSE. STREET. MANCHESTER.

The road is cordoned off and a cross section of Manchester society are being held back by the

considerable police presence. Everyone wants to catch a glimpse of the safehouse that the police

have just raided. At the back of the crowd we see Abu watching, from a safe distance, he turns

and walks away.

IN:
10:19:03 INT. POLICE STATION. MANCHESTER. DAY

Georgie sits at the desk. Elvis come in with two mugs of drink. Elvis sits on the desk.

Music ‘5OG05a’ in: 10:18:40

GEORGIE:

Thank you. Right so go on.

Music ‘5OG06’ out: 10:19:09

ELVIS:

Well… they're analysing every little flicker.

GEORGIE:

What upstairs?

ELVIS:

(nodding)

Psychologists working with Counter Terrorism.

GEORGIE:

Anything else

ELVIS:

They found a phone that Al-Shawadify has been using.

GEORGIE:

And?

ELVIS:

Photos of potential targets.

GEORGIE:

Including my wedding?

ELVIS:

No. You're about to be called in to see the Brig anyway

though.

GEORGIE:

Why?

ELVIS:

Wants to err on the side of caution. Get you to move

your wedding back a day or so.

GEORGIE:

Language 10:
19:35 Oh piss off.

ELVIS:

I'm being serious.

GEORGIE:

Yeah on the back of your recommendation?

ELVIS:

I'm only thinking about you.

Music ‘5OG07’ in: 10:19:40

GEORGIE:

Language 10:
19:41 No you're thinking of yourself, you’re a f***er.

IN:
10:19:44 INT. COLE'S APARTMENT. MANCHESTER. DAY

Georgie is on the laptop. Cole is talking to Faith on the phone.

COLE:

(into phone)

Look it's not a big deal mum. You're here all week we're

just pushing it back by a day.

Music ‘5OG07’ out: 10:19:49

Music ‘5OG07’ in: 10:19:52

GEORGIE:

(calling)

Tell her my mum's ringing round.

COLE:

(into phone)

Did you hear that mum? Grace is calling round to all the

guests... yes the honeymoon is booked... Look Georgie

say's it's for everyone's safety, yes. Mum, Mum, Mum

I've got to go... I love you. Bye.

He puts down phone and smiles at Georgie.

COLE (CONT'D)

How you doing?

GEORGIE:

Err yeah. Just about ready.

We see Georgie is on Facebook and searching someone out. We see she is studying Saira's

Khoury profile.

COLE:

Okay cool. We've got to go.

Georgie pings Saira a private message, the message reads "Hi Saira, My name is Georgie Lane

and I'd really like to talk to you about Jason Raynott. I hear from his mother that you knew him at

university:
I'm in Manchester and I'd love to meet you. Please contact me on 07700900882.I hope

to hear from you soon. Georgie."

IN:
10:20:17 INT. CAR/EXT. HOUSE. DAY

Cole is driving.

Music ‘5OG07’ out: 10:20:23

COLE:

Alright close your eyes.

GEORGIE:

No.

COLE:

Go on.

Georgie closes her eyes. Cole swings the car onto the drive of a house. A pleasant if somewhat

suburban modern detached house.

COLE (CONT'D)

Open. What do you reckon?

GEORGIE:

This is Wayne Rooney's house?

COLE:

I know, but it could be ours.

GEORGIE:

What?

Georgie, in amazement, gets out and follows Cole to the door. Cole turns as waves to the

protection officers who have pulled up over the road.

IN:
10:20:51 INT. HOUSE. DAY

The door opens.

VENDOR:

Hello

GEORGIE:

Hi. Hiyah.

(Putting out her hand)

Hi

VENDOR:

(shake hands)

Nice to meet you

GEORGIE:

Nice to meet you.

COLE:

Nice to see you again.

VENDOR:

Lovely to see you again... erm shall I just leave you to it

then?

COLE:

Yeah thanks. We'll have a look round.

GEORGIE:

Thank you.

Georgie thrilled, surprised

GEORGIE:

(whispers)

Oh. It's so much bigger than on the internet!

COLE:

This was the one you picked right?

GEORGIE:

Yeah

COLE:

Dream house! Yeah?

GEORGIE:

Wow. It's frigging massive.

COLE:

We need 'frigging massive' with all the kids we're gonna

have.

Looking out towards the huge garden.

COLE (CONT'D)

(laughs)

See all they need now is a goal in the garden.

We see Cole's excitement. We sense Georgie's anxiety.

GEORGIE:

I just err, can't imagine myself living in a place like this

y’know….

COLE:

I know, it's amazing isn't it?

GEORGIE:

Yeah, it is beautiful. Wow the gardens huge.

COLE:

Well we'll get a gardener.

GEORGIE:

What am I gonna… be a lady who lunches?

Music ‘5OG09’ in: 10:21:35

COLE:

(half beat)

It is what you wanted, isn't it?

GEORGIE:

Yeah.

COLE:

Yeah

GEORGIE:

Yeah, of course it is. Just think... I'll have to do

something else... you know, for me.

The lady vendor appears.

LADY VENDOR:

Would you like a coffee?

COLE:

Yes… Lovely, thanks!

She disappears inside. Georgie's phone rings.

GEORGIE:

Oh sorry I just need to get this, yeah.

COLE:

Yeah.

Cole nods and heads into the house. Georgie takes the call as she heads upstairs.

Music ‘5OG09’ in: 10:22:23

Music ‘5OG09’ out: 10:22:28

GEORGIE:

Hello? Hi yeah this is Georgie, Oh… hi Saira, thanks for

getting back to me. Yeah, yeah it be great to meet…

erm, yeah yeah I'm sure it'll be possible.

She turns and looks at the protection officers sitting outside.

IN:
10:22:42 INT. DINGY TEA DRINKING PLACE. DAY

Abu and Al Shwadify are on prayer mats, light breaking in through the window.

IN:
10:22:56 INT. DINGY TEA DRINKING PLACE. DAY

Abu is standing in a small dingy kitchenette making tea. He stares out of the window.

Music ‘5OG09b’ in: 10:23:20

IN:
10:23:27 INT. COLE'S APARTMENT. MANCHESTER. DAY

Georgie is out on the balcony looking at the close protection officers nearby. Cole is at the

computer oblivious. She heads back inside.

GEORGIE:

Right I'm off. See you later.

COLE:

See you.

Music ‘5OG09’ out: 10:23:40

IN:
10:23:39 EXT. COLE'S APARTMENT/ MANCHESTER. DAY

Georgie is emerging through the back entrance to the block and heading off down a cutting taking

her the other way to the main entrance and close protection. We follow Georgie as she makes

her way to meet Saira. She takes out her phone and makes a call.

Music ‘5OG09’ out: 10:24:09

Music ‘5OG09a’ in: 10:24:18

GEORGIE:

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. 5 Jul 2024. <https://www.scripts.com/script/our_girl_793>.

    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?

    »
    In screenwriting, what is a "logline"?
    A The first line of dialogue
    B A character description
    C The title of the screenplay
    D A brief summary of the story