Possessive
The scene is set with Natalie, a 20-year-old college student, lying low in her modest apartment's bed. She's been trying to shut out the man banging on her door for a while now. After the pounding finally ceases, Natalie counts a few breaths before daring to creep to her window.
She parts the curtain just enough to spot him outside, before swiftly retreating and taking refuge behind the door. The hammering on the door recommences, louder and more aggressive this time, triggering a wave of panic in Natalie. The man on the other side hollers for her to unlock the door, insisting he isn't leaving.
Biting her nails in anxiety, Natalie is torn about what to do next before finally heaving a sigh and opening the door to confront him. An imposing figure, with bulging muscles, is clutching two empty duffel bags. He seems highly annoyed, muttering obscenities under his breath before launching into a pre-arranged monologue.
He introduces himself as Tony, an agent from Flexline Repossessions, there to seize her belongings as compensation for her defaulted student loan, something he assumes she's well aware of. A look of despair washes over Natalie's face. She tries to reason with him, explaining that she's about to start a new job and should be able to resume payments by the end of the month.
Tony listens attentively and responds with a sympathetic grin. 'Good, this means it'll be the last time I have to do this,' he affirms, barging past the entrance and invading her space. The camera lingers on Natalie's face as she slowly swivels around and shuts the door behind him.
CUT TO TITLE PLATE He scrutinizes certain items meticulously, while hurling others straight into his duffel bags. The belongings he leaves behind are tossed back carelessly, leaving a chaotic trail in his wake. Natalie attempts to interrupt occasionally -- particularly when he handles a present from her boyfriend or a family keepsake -- but he largely dismisses her objections.
As Tony continues his task, he starts to pause more often to leer at Natalie and provoke reactions. It becomes evident to her that he's devoting less time to his task and more to making her squirm. From his perspective, we see him eyeing Natalie's body while mocking her predicament; inquiring about the sentimental worth of certain items; and making crude, vulgar gestures to try and shock her.
He smells her lingerie as he packs it; comments on a picture of her mother; and questions whether her boyfriend satisfies her after finding a sex toy in her drawer. Throughout the ordeal, Natalie strives to stay composed and courteous. She just wants to get it over with, even when he invades her personal space to intimidate her.
When he finally wraps up, he takes inventory of the contents of his bags and then comments that it won't be enough to settle her debt. She breaks down in tears. Casting a glance out the window, he spots the car in her driveway.
'Is that your car, the red one?' He queries. Desperation fills Natalie's eyes as she feebly tries to prevent Tony from proceeding. 'Please, don't take my car,' she pleads with him.
'I need it for my new job. If you take it, I'll never be able to repay the rest of the loan. PLEASE! You've already taken everything else!' Tony remains unmoved, clearly deriving pleasure from her meltdown.
'Well,' he drawls. 'There is one other item I could seize instead. '.
She parts the curtain just enough to spot him outside, before swiftly retreating and taking refuge behind the door. The hammering on the door recommences, louder and more aggressive this time, triggering a wave of panic in Natalie. The man on the other side hollers for her to unlock the door, insisting he isn't leaving.
Biting her nails in anxiety, Natalie is torn about what to do next before finally heaving a sigh and opening the door to confront him. An imposing figure, with bulging muscles, is clutching two empty duffel bags. He seems highly annoyed, muttering obscenities under his breath before launching into a pre-arranged monologue.
He introduces himself as Tony, an agent from Flexline Repossessions, there to seize her belongings as compensation for her defaulted student loan, something he assumes she's well aware of. A look of despair washes over Natalie's face. She tries to reason with him, explaining that she's about to start a new job and should be able to resume payments by the end of the month.
Tony listens attentively and responds with a sympathetic grin. 'Good, this means it'll be the last time I have to do this,' he affirms, barging past the entrance and invading her space. The camera lingers on Natalie's face as she slowly swivels around and shuts the door behind him.
CUT TO TITLE PLATE He scrutinizes certain items meticulously, while hurling others straight into his duffel bags. The belongings he leaves behind are tossed back carelessly, leaving a chaotic trail in his wake. Natalie attempts to interrupt occasionally -- particularly when he handles a present from her boyfriend or a family keepsake -- but he largely dismisses her objections.
As Tony continues his task, he starts to pause more often to leer at Natalie and provoke reactions. It becomes evident to her that he's devoting less time to his task and more to making her squirm. From his perspective, we see him eyeing Natalie's body while mocking her predicament; inquiring about the sentimental worth of certain items; and making crude, vulgar gestures to try and shock her.
He smells her lingerie as he packs it; comments on a picture of her mother; and questions whether her boyfriend satisfies her after finding a sex toy in her drawer. Throughout the ordeal, Natalie strives to stay composed and courteous. She just wants to get it over with, even when he invades her personal space to intimidate her.
When he finally wraps up, he takes inventory of the contents of his bags and then comments that it won't be enough to settle her debt. She breaks down in tears. Casting a glance out the window, he spots the car in her driveway.
'Is that your car, the red one?' He queries. Desperation fills Natalie's eyes as she feebly tries to prevent Tony from proceeding. 'Please, don't take my car,' she pleads with him.
'I need it for my new job. If you take it, I'll never be able to repay the rest of the loan. PLEASE! You've already taken everything else!' Tony remains unmoved, clearly deriving pleasure from her meltdown.
'Well,' he drawls. 'There is one other item I could seize instead. '.
Actors:
