Line of Duty Page #11

Season #2 Episode #1
Synopsis: After a mistaken shooting during a counter-terrorist operation, Detective Sergeant Steve Arnott is transferred to AC-12, a police anti-corruption unit. Alongside Detective Constable Kate Fleming ,they are assigned to lead an investigation into the alleged corruption by a popular and successful officer, Detective Chief Inspector Tony Gates. While Gates cleverly manipulates his unit's figures, DS Arnott questions whether Gates is being made a scapegoat for a culture of institutionalized spin, or is guilty of darker corruption.
Genre: Crime, Drama, Mystery
  5 wins & 23 nominations.
 
IMDB:
8.5
NOT RATED
Year:
2012
60 min
1,281 Views


STEVE:

Best not.

GEORGIA:

Best not.

But they stay in an embrace.

STEVE:

Which was the false one by the way?

GEORGIA:

A girl never tells.

They snog.

CUT TO:

171 INT. AC-12. OPEN-PLAN OFFICE. NEXT DAY.

At his desk, Steve nurses a hangover. As she takes her seat

nearby, Georgia seems less affected. They glance at each

other, but a long awkward silence prevails, with neither

willing or able to address the events of the previous night.

Steve goes to the coffee machine. Georgia watches him go,

visibly regretting last night.

From the coffee machine, Steve glances towards Georgia, also

regretting last night.

Enter Hastings. Steve wanders back to join the conversation.

HASTINGS:

There’s word from the hospital. The

docs are going to try the Witness

off the ventilator later today --

he’s on the mend.

STEVE:

When do we get to interview him?

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 66.

171 CONTINUED:

HASTINGS:

Rest assured, our foot’s in the

door. If anyone’s got answers, it’s

him.

Hastings turns towards his office.

HASTINGS:

Good crack last night, you two.

Exit Hastings to his office, leaving Steve and Georgia to

return to their awkward morning-after situation.

CUT TO:

172 INT. POLICE LIMOUSINE. LATER THAT DAY.

Dryden rides in the back with Jo. They scan various

newspapers featuring photos of Dryden, under headlines that

range from “Senior Officer Pledges Results” to “Vengeance is

Mine”.

JO:

“Vengeance is mine.” The passage

actually means the opposite. To

forego revenge.

Dryden glances at her, decides to ignore the dig.

DRYDEN:

(Closing papers.)

This is so reductive.

Jo lets that one hang. She’s got Dryden’s number.

JO:

I’m concerned there’s a news

vacuum, and what’ll be used to fill

it.

DRYDEN:

The Chief Constable’s as concerned

as I am about any leak that a

police officer might’ve been an

accomplice. We’re looking at using

Anti-Terror legislation to keep a

lid on it.

JO:

You can’t invite them to dinner and

not serve pudding.

(MORE)

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 67.

172 CONTINUED:

JO (CONT'D)

(Off Dryden’s quizzical

look.)

Here’s some data.

(Passes document.)

In high-profile cases, the S.I.O.’s

relationship with the media is

crucial to the success of the

investigation. DCS Hargreaves may

be S.I.O. but you’re the media face

of the operation.

DRYDEN:

I need a breakthrough.

JO:

I didn’t say that.

Dryden gazes out of the side window, pensively.

JO:

We’ve got to keep the bastards

onside, that’s all.

As the car approaches Police HQ, Dryden puts on his media

face.

CUT TO:

173 EXT. POLICE HQ. CONTINUOUS.

Dryden gets out of the limousine, followed by Jo, into a

scrum of reporters, one of whom is NICK RONSON.

JO:

No questions. There’ll be a press

briefing later.

RONSON:

Are you any nearer finding those

responsible?

DRYDEN:

We’re pursuing several, productive

lines of inquiry. I’m pleased with

the progress of the investigation.

RONSON:

But do you have any suspects?

Dryden pauses and gets in position for the best soundbite

coverage.

DRYDEN:

A breakthrough is imminent.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 68.

173 CONTINUED:

He goes into the building. Jo follows, wearing a look of

concern.

CUT TO:

174

INT. 4TH ST STATION. LINDSAY’S OFFICE/SQUAD ROOM. LATER THAT

DAY.

From her office, Lindsay (in collar) sees officers grouped

round a TV showing rolling news. On screen, Dryden gives his

soundbite on the steps of Police HQ.

DRYDEN (ON TV)

A breakthrough is imminent.

O’NEILL

Knob.

The officers disperse.

Lindsay wears a maudlin, browbeaten air. She exits. Kate

intercepts her.

KATE:

Anything I can do, gaffer?

LINDSAY:

Just got an errand to run. Back in

half an hour.

KATE:

Drive you?

LINDSAY:

No need.

Exit Lindsay. Kate watches her go, curious.

CUT TO:

174A INT./EXT. 4TH ST STATION. MAIN ENTRANCE. CONTINUOUS.

Kate hurries downstairs and out.

CUT TO:

174B EXT. 4TH ST STATION. CAR PARK. MOMENTS LATER.

As Lindsay’s car leaves the car park, Kate jumps into hers.

She follows at a discreet distance.

CUT TO:

Line of Duty #2.1 cherry revisions 25.6.13 68A.

175 INT. AC-12. OPEN-PLAN OFFICE. MOMENTS LATER.

Steve’s phone rings.

STEVE:

(Into phone.)

DS Arnott.

INTERCUT:

175A INT. KATE’S CAR. CONTINUOUS.

Driving in pursuit of Lindsay, Kate talks via Bluetooth.

KATE:

(Into phone.)

Steve, Denton’s acting weird, not

sure where she’s going. Are you

able to pick her up?

STEVE (O.S.)

Not for at least ten minutes. We’re

at the office -

KATE:

(Into phone.)

I’ll call you back.

She hangs up.

INTERCUT:

Line of Duty #2.1 cherry revisions 25.6.13 69.

176 OMITTED

177 INT. AC-12. OPEN-PLAN OFFICE. CONTINUOUS.

Steve waves Georgia to get moving.

STEVE:

(Into phone.)

Not for at least ten minutes. We’re

at the office -

KATE:

(Into phone.)

I’ll call you back.

He hears her hang up, and reacts.

INTERCUT:

178 OMITTED

179 OMITTED

180 INT./EXT. KATE’S CAR/CITY STREET. MOMENTS LATER.

From a distance, Kate watches Lindsay pull up at a kerb, take

off her cervical collar, get out of her car and go into a

payphone.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 70.

180 CONTINUED:

KATE:

(Keys phone. Into phone.)

DC Fleming, requesting urgent

identification of last number

dialled from payphone on the corner

of Ridgeway Street and -

(Looks.)

Sandhurst Lane.

(Listens.)

Thanks. Call me the moment you’ve

got it.

She hangs up.

Lindsay finishes her call, gets in her car and drives away.

Kate follows at a discreet distance.

CUT TO:

181 INT. STEVE’S CAR. MOMENTS LATER.

Steve drives, Georgia sits in the passenger seat. The phone

rings. He picks up the call via Bluetooth.

STEVE:

(Into Bluetooth.)

DS Ar-

INTERCUT:

182 INT. KATE’S CAR. CONTINUOUS.

Kate drives, still following Lindsay’s car.

KATE:

(Into Bluetooth.)

She phoned the hospital.

Steve’s mortified.

KATE:

(Into Bluetooth.)

I can’t make a move without blowing

my cover.

STEVE:

(Into phone.)

On our way.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 71.

182

CONTINUED:

Steve hangs up, turns on the blue lights and accelerates.

CUT TO:

183 EXT. CITY STREETS. MOMENTS LATER.

On a blue light, Steve and Georgia race through city streets.

CUT TO:

184 INT. STEVE’S CAR. CONTINUOUS.

Steve talks on Bluetooth.

STEVE:

(Into phone.)

ETA five minutes.

INTERCUT:

185

INT. AC-12. OPEN-PLAN OFFICE. CONTINUOUS.

Hastings is on the other end of the line. Staffers are

supporting the operation.

HASTINGS:

(Into phone.)

Received. We’re onto the Guard

Unit.

Hastings throws a hassling look to one of his staff who’s

trying to get through on the phone.

CUT TO:

186 EXT. GENERAL HOSPITAL. MOMENTS LATER.

Steve’s car pulls up and he and Georgia run into the

hospital, pulling on their stab vests.

CUT TO:

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Jed Mercurio

Jed Mercurio (born 1966) is a British television writer, producer, director and novelist. He is reported to be one of the few British script-writers to work as a U.S.-style showrunner. A former hospital physician and RAF officer, Mercurio has been ranked among UK television's leading writers by TV-industry magazine Broadcast. more…

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