Line of Duty

Line of Duty #2.1 cherry revisions 25.6.13 2.

103 CONTINUED:

CAST CREDIT:

INTERCUT:

104 INT. 4TH ST STATION. DUTY DESK. MOMENTS LATER.

Lindsay listens to a female voice on the other end of the

phone, talking rapidly.

AKERS (O.S.)

(From phone.)

DS Jayne Akers, calling with

request for urgent assistance,

immediate and credible threat to

life -

Lindsay immediately looks concerned.

SMASH CUT TO:

105 INT. 4TH ST STATION. SQUAD ROOM. MOMENTS LATER.

Lindsay marches through the squad room, putting on a stab

vest, O’Neill following. She points to a couple of uniforms,

SGT ALEX WALLIS (30s) and PC VINCENT BUTLER (20s), both male,

both burly.

LINDSAY:

Wallis, Butler, we’re going out.

(To O’Neill.)

Need Gold to sign off.

O’NEILL

The Chief Super’s gone home.

LINDSAY:

Then call him at home.

INTERCUT:

CAST CREDIT:

INTERCUT:

106 INT. 4TH ST STATION. SQUAD ROOM. MOMENTS LATER.

O’Neill hangs on a telephone, hearing a ring tone that cuts

to a voicemail message.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 3.

106 CONTINUED:

MALLICK (O.S.)

(Voicemail message.)

Chief Superintendent Mallick:

please leave your name and number -

O’NEILL

Not picking up his mobile either.

Lindsay’s anxiety level jumps up a notch.

O’NEILL

Really ought to give him another

five minutes.

She thinks about it for a fraction of a second, then moves

off sharply.

O’NEILL

Ma’am -

She darts towards her office. O’Neill knows exactly what

she’ll be doing.

O’NEILL

(Disgusted.)

There she goes.

INTERCUT:

LINE OF DUTY:

INTERCUT:

107 INT. 4TH ST STATION. LINDSAY’S OFFICE. MOMENTS LATER.

Holding the receiver, Lindsay hears the ring tone. She waits

anxiously for her call to be answered. The rest of the

station watches her through her office window.

DRYDEN (O.S.)

(From phone.)

Mike Dryden.

LINDSAY:

(Into phone.)

Sir, this is DI Lindsay Denton.

CUT TO:

Line of Duty #2.1 cherry revisions 25.6.13 4.

108 INT. DRYDEN’S HOUSE. CONTINUOUS.

DEPUTY CHIEF CONSTABLE MICHAEL DRYDEN (late 40s/early 50s)

takes the call in his large suburban home. HELEN DRYDEN, his

wife, hovers in the background.

DRYDEN:

(Beat. Into phone.)

How can I help you, Linda?

INTERCUT:

CAST CREDIT:

INTERCUT:

109 EXT. 4TH ST STATION. CAR PARK. MOMENTS LATER.

Lindsay, Wallis and Butler race out of the station into the

car park, pulling on their coats.

WALLIS:

We allowed to know where we’re

going?

LINDSAY:

Suspect in a missing persons

enquiry, need him in for

questioning.

Lindsay fails to convince them.

Wallis and Butler head towards a liveried squad car.

LINDSAY:

No. We’re taking my car.

BUTLER:

What?

LINDSAY:

Come on!

They run to Lindsay’s car.

INTERCUT:

WRITER CREDIT:

INTERCUT:

Line of Duty #2.1 cherry revisions 25.6.13 5.

109A INT. LINDSAY’S VEHICLE. CONTINUOUS.

Lindsay gets into her car. She starts the engine and puts on

her seat belt. Wallis in the passenger seat and Butler in the

back do the same.

WALLIS:

Ma’am ... what’s really going on?

LINDSAY:

(Tempted to confide.

Beat.)

Told you.

Lindsay looks daunted. She pulls out.

CUT TO:

110 EXT. 4TH ST STATION. CAR PARK. MOMENTS LATER.

Lindsay’s car races out of the station. She turns on the blue

lights, speeding off into the night.

CUT TO:

110A EXT. FLY-OVER. MOMENTS LATER.

Lindsay’s car on a blue light speeds through traffic on an

urban fly-over.

INTERCUT:

PRODUCER CREDIT:

INTERCUT:

111 INT. AC-12. CORRIDOR. MOMENTS LATER.

Kate hunkers in a gloomy corridor, her thumb hanging over

RICHARD AKERS’ missed call. Suddenly the phone rings, the

same name coming up on caller ID. She takes the call.

RICH (O.S.)

Kate?

She doesn’t answer.

RICH (O.S.)

Kate -- you there? -- Kate?

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 6.

111 CONTINUED:

She hangs up. She looks highly conflicted.

INTERCUT:

DIRECTOR CREDIT:

END OF TITLE:

SEQUENCE; CUT

TO:

112 EXT. ST. JAMES’S CLOSE. LATER THAT NIGHT.

Lindsay’s car (blue lights off now) pulls up in a quiet,

middle-class neighbourhood.

Lindsay, Wallis and Butler get out. An unmarked vehicle is

parked on the drive of a detached new-build house -- all the

house lights are out, it looks deserted.

They exchange looks. Lindsay is puzzled, not sure what to

make of the deserted house.

From the shadows, suddenly DET SGT JAYNE AKERS (early 30s)

advances towards Lindsay.

AKERS:

DS Akers. Thanks for stepping in,

ma’am. Let’s keep this between us

for now.

Akers throws a look to Wallis and Butler. Lindsay moves into

the shadows with Akers, leaving them behind. They talk in

murmurs. Wallis and Butler take a keen interest.

AKERS:

I need a safe and available

destination asap.

LINDSAY:

4th Street Station’s 15 minutes. We

can move him there till you receive

further orders.

AKERS:

Straight into town?

LINDSAY:

I’d take the back roads.

AKERS:

(Beat. Nods.)

You lead.

(MORE)

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 7.

112 CONTINUED:

AKERS (CONT'D)

(Gives car keys and

radio.)

Have your men in my car, engine

running, ready to go.

LINDSAY:

I’m taking the rest of your team?

AKERS:

It’s just me.

LINDSAY:

What?

AKERS:

Ma’am, please -

LINDSAY:

Okay.

Akers hurries into the house.

Lindsay runs to Wallis and Butler, handing them the keys and

radio.

LINDSAY:

Start her up, follow me when

loaded, leave the car radio on

Channel 1 but personal radios backto-

back on 2.

BUTLER:

Who’s in the house?

LINDSAY:

I don’t know. Now move. Please.

They go to the unmarked car on the drive.

Lindsay runs to her car and starts the engine. She picks up

her personal radio and dials it to Channel 2.

At the same time, Butler starts the engine of the car on the

drive. A second later Akers hurries out of the house, not

even shutting the front door behind, accompanied by a figure

with a blanket over his head.

Lindsay watches, shocked and daunted.

Akers pushes the blanketed figure onto the back seat and gets

in beside him.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 8.

112 CONTINUED:
(2)

AKERS:

Go, go!

Lindsay accelerates out of the cul-de-sac. The other car

follows quickly.

CUT TO:

113 INT. LINDSAY’S VEHICLE. MOMENTS LATER.

The vehicle winds along back roads. A sat-nav system sits on

the dashboard.

In the mirrors, Lindsay glances at Akers’ vehicle following

behind.

She keeps going fast, peering ahead at a deserted, unlit

country road.

CUT TO:

114 EXT. CROWN AVENUE JUNCTION. MOMENTS LATER.

Lindsay’s car and Akers’ approach a junction; the road goes

straight ahead or there’s a sharp left turn. Lindsay

indicates to turn left.

CUT TO:

115 INT. AKERS’ VEHICLE. CONTINUOUS.

Akers sits in the back with the blanketed figure. Wallis and

Butler, in the front, see Lindsay indicate.

BUTLER:

What’s she playing at?

Wallis keys his personal radio.

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