Script for 'Procure'

INT. DAWN TOM’S BEDROOM (SHOT ONE)

TOM can be seen sleeping in his bed.

     CUT TO.

EXT. DAY OUTSIDE STREET (SHOT TWO)

TOM and JESS are seen unloading boxes whilst smiling at the camera.

TOM

I, TOM, take you JESS, to be my wife, to have and to hold from this day forward, for better or for worse, for richer, for poorer, in sickness and in health, to love and to cherish; from this day forward until death do us part.

Then camera is then turned to reveal JACK who is also smiling into the camera.

CUT TO.

EXT. DAY EXTERIOR HOUSE (SHOT THREE)

TOM and JESS are stood together with TOM’S arm around JESS as they laugh and smile at the camera.

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT FOUR)

TOM’S hand can be seen reaching over and pressing snooze on the alarm clock.

CUT TO.

INT. DAY TOM’S HOUSE (SHOT FIVE)

TOM and JESS are seen decorating the hall and playing with paint, putting their dirty hands over each other.

JESS

I, JESS, take you TOM, to be my husband, to have and to hold from this day forward, for better or for worse, for richer, for poorer, in sickness and in health, to love and to cherish; from this day forward until death do us part.

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT SIX)

TOM’S hand can be seen again reaching over and pressing the alarm off.

CUT TO.

INT. DAY TOM’S BATHROOM (SHOT SEVEN)

The shower can be seen turning on.

CUT TO.

INT. DAY TOM’S SHOWER (SHOT EIGHT)

TOM’S head is seen hung in the shower as the water drips over him, he looks very depressed/upset.

A dial tone can be heard.

OPERATOR

                    999, what’s your emergency?

TOM

                    Police please, it’s my wife, she’s                         been taken.

CUT TO.

INT. NIGHT JACK’S CAR (SHOT NINE)

JACK and JESS can be seen looking at each other in the car.

CUT TO.

INT. NIGHT JACK’S CAR (SHOT TEN)

JACK (inaudible)

                         I’m so sorry.

CUT TO.

INT. NIGHT JACK’S CAR (SHOT ELEVEN)

JESS looked horrified as the car door opens.

CUT TO.

EXT. NIGHT JACK’S CAR ON ROAD (SHOT TWELVE)

JESS is pulled from the car by her stomach as he lifts her into the air away from the car, by a man in a hoodie.

JESS screams and struggles.

CUT TO.

INT. DAY TOM’S SHOWER (SHOT THIRTEEN)

TOM’S hand can be seen reaching for a towel off the rail.

     CUT TO.

EXT. NIGHT OUTSIDE STREET (SHOT FOURTEEN)

TOM can be seen with his back to the camera and as the camera approaches his head turns to the right to look behind him at the camera.

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT FIFTEEN)

TOM is looking down into the drawers with a serious expression on his face as his rummages through the drawer.

TOM

                       If you’re not going to do                                      anything about it,

CUT TO.

INT. DAWN TOM’S BEDROOM (SHOT SIXTEEN)

TOM is seen pushing a tie up.

TOM (cont.)

then I will.

CUT TO.

INT. EVENING DARK ROOM (SHOT SEVENTEEN)

JACK’s hands can be seen unravelling duct tape whilst walking.

CUT TO.

INT. EVENING DARK ROOM (SHOT EIGHTEEN)

JESS'S hands can be seen tied to a chair with the kidnapper in the background but out of focus.

                                                          CUT TO.

EXT. NIGHT STREET (SHOT NINETEEN)

TOM can be seen running through the street with a very serious/determined look on his face.

                         TOM
               I don't know what you think you're                        playing at.

                                                          CUT TO.

EXT. NIGHT STREET (SHOT TWENTY)

The camera pans to TOM who is pressed up against the wall lurking around the corner with a gun held close to his chest.

                         JACK (cont.)
               Me? I'm not playing at anything.

                                                          CUT TO.

EXT. NIGHT STREET (SHOT TWENTY ONE)

A gun can be seen with a very busy street in the background.

                                                          CUT TO.

                         FADE TO BLACK.

EXT. NIGHT STREET (SHOT TWENTY TWO)

TOM’S hand is holding a gun.

                                                          CUT TO.

EXT. NIGHT STREET (SHOT TWENTY THREE)

TOM’S hand is still holding the gun whilst the hammer goes back.

                                                          CUT TO.

INT. NIGHT TOM’S CAR (SHOT TWENRY FOUR)

JESS can be seen through the car wing mirror running away in fear of TOM in the car.

                                                          CUT TO.

INT. EVENING DARK ROOM (SHOT TWENTY FIVE)

JACK strikes a match and brings it towards his face in a very dark room, as he stares at the match intently.

                                                          CUT TO.

INT. EVENING TOM’S BATHROOM (SHOT TWENTY SIX)

TOM is submerged under water in a bathtub holding his breath as he looks directly into the camera.

                                                          CUT TO.

INT. EVENING JACK’S CAR (SHOT TWENTY SEVEN)

JACK is driving the car looking out onto the road with an angry expression on his face.

                                                          CUT TO.

INT. EVENING JACK’S CAR (SHOT TWENTY EIGHT)

TOM is already tied up and is switching his focus from the road to JACK and then down towards the car door.

                                                          CUT TO.

INT. EVENING JACK’S CAR (SHOT TWENTY NINE)

TOM’S hand can be seen rooting for the door handle as he pulls it open hard.

                                                          CUT TO.

EXT. EVENING STREET (SHOT THRITY)

The passenger door opens and TOM can be seen rolling out of the car from a side on angle.

                                                          CUT TO.

EXT. EVENING STREET (SHOT THIRTY ONE)

JACK’S car can be seen driving by as TOM rolls out of it on the other side.

                                                          CUT TO.

EXT. EVENING STREET (SHOT THIRTY TWO)

JESS is seen looking distressed, as she looks left across the road.

                                                          CUT TO.

INT. TOM’S CAR (SHOT THIRTY THREE)

The camera doesn’t show TOM driving towards JESS at high speed. JESS is still looking left at this point.

     CUT TO.

EXT. EVENING STREET (SHOT THIRTY FOUR)

JESS then turns right and notices the car approaching at speed and her face shows a panicked expression.

     CUT TO.

INT. TOM’S CAR (SHOT THIRTY FIVE)

TOM is still driving towards JESS with speed. JESS is now looking directly at the car in fear.

     CUT TO.

EXT. EVENING STREET (SHOT THIRTY SIX)

TOM’S car then collides with JESS at speed.

     CUT TO.

INT. EVENING TOM’S CAR (SHOT THIRTY SEVEN)

JESS’S body can be seen rolling onto the windscreen and then off onto the body from the perspective of TOM.

FADE TO BLACK.