Line of Duty Page #2

WALLIS:

(Into personal radio.)

Wallis to Denton -- straight on

here, ma’am.

CUT TO:

116 INT. LINDSAY’S VEHICLE. CONTINUOUS.

Lindsay answers.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 9.

116 CONTINUED:

LINDSAY:

(Into personal radio.)

I know the way to my own station.

CUT TO:

117 INT. AKERS’ VEHICLE. CONTINUOUS.

Wallis and Butler exchange puzzled looks.

WALLIS:

(Beat. Into personal

radio.)

Received.

Ahead, Lindsay takes the left turn. They follow.

CUT TO:

118 INT. LINDSAY’S VEHICLE. CONTINUOUS.

Lindsay looks in her rear-view mirror. She sees Akers’ car

follow her round the corner.

Suddenly bright lights glare through her windscreen. She’s

dazzled by headlights on full beam approaching rapidly.

CUT TO:

119 EXT. LONG LANE. CONTINUOUS.

A vehicle with a daunting front-grill modification speeds

towards them in the opposite direction.

CUT TO:

120 INT./EXT. LINDSAY’S VEHICLE/LONG LANE. CONTINUOUS.

Lights glaring through the windscreen, the ambush vehicle

speeds towards a head-on collision.

Lindsay swerves hard. The ambush vehicle clips her rear wing

and speeds on.

Lindsay brakes hard but strikes a tree, bringing her car to a

shuddering halt and setting off the air-bags.

Lindsay rubbernecks/looks in her mirror to see the ambush

vehicle smash head-on into Akers’ car behind.

(CONTINUED)

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120 CONTINUED:

Akers’ vehicle brakes just before the collision. Both

vehicles are left separate afterwards.

Lindsay is badly shaken by the impact and pressed against her

seat by the air-bag.

In her cracked wing mirror, Lindsay sees two men hop out of

the ambush vehicle. Both wear thick black jackets and

motorcycle helmets. The front-seat passengers of Akers’

vehicle are restrained by their air-bags. One gunman sprays

the windscreen of Akers’ vehicle with automatic fire, hitting

the front seat passengers. The second gunman aims pistol fire

through the rear windows at the backseat passengers. Lindsay

watches in horror as one gunman douses petrol onto the

outside of Akers’ vehicle and through the blown-out windows

into the interior; the other sets it alight using a long gas

cooker lighter. It goes up in flames instantly.

The gunmen vanish into the night.

Her air-bag deflated, Lindsay reaches for the car radio. Her

voice shakes with panic.

LINDSAY:

(Into car radio.)

Charlie Mike two-five, status zero,

status zero, Long Lane and Crown

Avenue!

CONTROLLER (O.S.)

(From radio.)

Charlie Mike two-five, confirm

message.

LINDSAY:

(Into car radio..)

Status zero, status zero!

Lindsay struggles out of the car.

An inferno engulfs Akers’ car only. The ambush vehicle isn’t

on fire.

She moves towards the car keeping low for cover but a sudden

inflation of the fire beats her back.

Suddenly a rear door pops open and two figures tumble out,

screaming, on fire. They hit the ground, rolling to put out

the flames.

One of the burning figures, the man, puts out the fire by

rolling, but the other (Akers) keeps burning. Lindsay hurries

forward and throws her coat over her to put out the fire.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 11.

120

CONTINUED:
(2)

Lindsay drops back, taking cover, searching the countryside

for a sight of the gunmen. Anguish and horror grip Lindsay’s

face. She wipes away tears. She hears many distant sirens.

SMASH CUT TO:

121

INT. THE GENERAL HOSPITAL. EMERGENCY DEPARTMENT. LATER THAT

NIGHT.

Lindsay sits in a cubicle, her legs dangling over the edge of

a trolley, her neck in a soft cervical collar. She’s dazed

and anguished. The sounds of the Emergency Department go on

all round her.

The curtain slides open, revealing CHIEF SUPT. RAY MALLICK

(40s). He begins sympathetically.

MALLICK:

How are you, Lindsay?

Lindsay remains dazed, searching for an answer to such a

simple question.

MALLICK:

Anything I can get you?

Eventually Lindsay answers.

LINDSAY:

No, thank you.

MALLICK:

Up to answering a couple of

questions?

LINDSAY:

I’m still trying to get my head

round what happened.

MALLICK:

Of course. But no one seems to know

what you were up to out there ...

LINDSAY:

I’m not sure I do either.

Tension simmers below the surface -- Mallick doesn’t trust

her.

(CONTINUED)

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121 CONTINUED:

MALLICK:

Wallis and Butler are dead. The

other two, they’re still trying to

save. Who are they?

LINDSAY:

I’m not clear yet on whether it’s

something I should be divulging.

MALLICK:

I’m your boss!

But she doesn’t answer and he knows why.

MALLICK:

I got your messages. Instead of

dropping me in it, if you’d given

me a minute to get back to you -

LINDSAY:

I gave you more than a minute. I

gave you twenty.

Glaring animosity, Mallick turns on his heel and exits.

Lindsay starts to tune back in to the sounds of the Emergency

Dept.

E.D. DOCTOR (O.S.)

(Remotely.)

BP unreadable, losing output.

Lindsay follows the voice, coming out of her cubicle, edging

towards a Resuscitation area. Various uniformed police hang

around nearby and in her line of sight.

LINDSAY’S POV:

Through slits in curtains/between partitions, she sees a

small medical team round one badly burned body (the Witness),

being ventilated, with tubes going in, and decent

haemodynamics on the monitor; round the next trolley, another

team make vain efforts to save the life of the other severely

burned patient (Akers).

Akers’ monitor flat-lines; an alarm kicks in.

E.D. DOCTOR

Everyone okay if we let her go?

The doctors all nod solemnly, knowing it’s a losing battle.

(CONTINUED)

Line of Duty #2.1 cherry revisions 25.6.13 13.

121 CONTINUED:
(2)

Lindsay’s eyes fill up; she’s anguished beyond belief.

CUT TO:

122 EXT. LONG LANE. LATER THAT NIGHT.

The area is now a crime scene, sealed off by barriers,

attended by police and a fire engine. Akers’ vehicle is burntout with two bodies inside, Lindsay’s car is still up against

a tree.

Officers crawl over the scene, taking pictures, directingevidence gathering. Others huddle to discuss the operation,

among them Mallick.

JO DWYER (30s, civilian) comes out of Mallick’s huddle and

leaves the scene behind, coming to a cluster of TV newsvehicles.

JO:

Evidence recovery’s ongoing, so,

guys, please respect the limits ofthe cordon at all times. Our

forensic scene investigators havework lights. Talk to me if you needany lighting changes for yourshots. Also some of the guys arehappy to restage any action if youmiss it first time round. Our

Critical Incident Response is ledby Chief Superintendent RayMallick, and I’m pushing foravailability on camera.

The TV news crews don’t need asking twice. There’s a race forthem to get into the best positions and set up theirequipment.

CUT TO:

123 EXT. LONG LANE. MOMENTS LATER.

A liveried squad car pulls up.

DEPUTY CHIEF CONSTABLE DRYDEN gets out.

*

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