Line of Duty Page #6

Neither of them breaks the physical proximity. It creates an

edgy Sapphic undercurrent.

LINDSAY:

What’s the worst thing you ever did

to anyone?

KATE:

(Beats.)

Have you done something, boss?

LINDSAY:

Yours first.

KATE:

(Beats.)

Someone told a lie to help a dead

man’s family, and I didn’t stand up

for the truth.

LINDSAY:

No. You’ve done worse than that.

Now Kate’s very uncomfortable. She’s not used to dealing with

someone better at mind-games. It’s a pregnant, uncomfortable

ending for her visit.

LINDSAY:

We’ll work well together only when

you can be completely honest with

me.

Lindsay breaks the physical proximity and opens the door for

Kate to leave. Kate has no choice but to go.

CUT TO:

Line of Duty #2.2 02/06/2013 CHERRY revisions 33.

225 INT. RICH AKERS’ HOUSE. LATER THAT NIGHT.

The front door opens, revealing Kate on the doorstep.

Rich stands in the hallway. He takes a couple of beats to

process her arrival then stands aside to let her in.

She walks into the hall and he shuts the door, blacking out

the shot.

CUT TO:

226 EXT. LINDSAY’S NEIGHBOUR’S HOUSE. LATER THAT NIGHT.

Music reverberates from inside. Lindsay raps on the door.

Eventually the neighbour answers.

LORNA:

You. I could sue your arse.

LINDSAY:

If we can try to get along like

grown-ups, maybe you could

understand that it’d help if you

didn’t play your music so loudly at

night.

LORNA:

My house.

LINDSAY:

Please let’s not fall out.

LORNA:

You threatening me?

LINDSAY:

I’m not.

LORNA:

If it “helps” you, how about you

“help” me?

Lindsay peers back at her, not very happy.

LORNA:

Hundred.

LINDSAY:

I’m not giving you money.

LORNA:

Hundred, and I keep it down.

Very tense beats. Lindsay reaches into her purse.

(CONTINUED)

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226 CONTINUED:

LINDSAY:

Ten.

LORNA:

(Beats.)

Fine.

Lindsay hands over the money. Lorna takes it and shuts the

door. Lindsay waits on the doorstep to see what happens --

and sure enough, the music goes quiet.

Satisfied, Lindsay returns home.

CUT TO:

227 INT. RICH AKERS’ HOUSE. LATER THAT NIGHT.

Kate dresses, to leave. Rich lies in bed.

RICH:

What d’you tell him? Working late?

KATE:

Something like that.

RICH:

He believes you?

She doesn’t answer, isn’t sure herself.

RICH:

Kate ... ?

(Off her discomfort.)

Are they any nearer finding out

what happened to Jayne?

KATE:

I think so.

RICH:

And?

KATE:

(Beats.)

There’s a prime suspect.

RICH:

Sounds like there’s a doubt.

KATE:

(Rock solid.)

There won’t be.

CUT TO:

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228

INT. LINDSAY’S HOUSE. LATER THAT NIGHT.

Lindsay sleeps. There’s complete silence.

Then the loud music starts up again, waking her.

Pressure builds on Lindsay, a pressure telling her that her

enemies will take the piss, given the chance. It pushes her

nearer and nearer the edge.

CUT TO:

228A

EXT./INT. LINDSAY’S NEIGHBOUR’S HOUSE. MOMENTS LATER.

Lindsay enters her neighbour’s back yard. She tries the back

door to the house -- it’s open.

Lindsay enters the house. The music plays loudly.

Lorna lies slumped unconscious on the sofa, with an empty gin

bottle in her hand.

Lindsay gazes at her with a look of pure hatred.

Her attention’s drawn to a chip pan simmering on the hob.

Lindsay looks between the unconscious Lorna and the chip pan.

Dark thoughts play in her mind. There are long, almost

unbearable beats in which the potential exists of Lindsay

pouring boiling oil over her neighbour.

Instead she opens Lorna’s hand bag, on the side, and takes

back her ten quid. She turns off the music.

She turns off the pan, wipes the knob to remove her prints.

She stares into the bubbling oil darkly.

CUT TO:

228B

INT. 4TH ST. STATION. LINDSAY’S OFFICE. NEXT DAY.

At her computer, Lindsay gazes intently at entries on the

Police Personnel Database, the pages giving biographical

information first on Hastings and second on Steve.

Her antagonism builds.

CUT TO:

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229

INT. 4TH ST STATION. SQUAD ROOM/MALLICK’S OFFICE. MOMENTS

LATER.

A couple of the Joe E-fits are conspicuously displayed.

Striding through the squad room, Lindsay wears the hard glint

in her eyes of a person pushed over the edge.

She taps on Mallick’s door and goes in, laying some papers on

his desk.

LINDSAY:

Phone and financial record

requests. Need your signature.

Mallick takes out a pen, glancing at the forms.

LINDSAY:

I haven’t heard anything more from

Professional Standards.

MALLICK:

(Shrugs.)

Probably turfed it to AC-12.

Lindsay’s question has distracted him so he signs without

reading the forms thoroughly. She lifts them away before he

changes his mind.

CUT TO:

230

INT. 4TH ST STATION. SQUAD ROOM. CONTINUOUS.

Lindsay carries the forms to a civvie administrator’s desk.

LINDSAY:

Phone and financial record

requests. Just got a tick from the

Chief Super. I’m the Case Officer --

returns for my eyes only.

All this is standard procedure and warrants no more than a

nod from the administrator.

Lindsay leaves, and only then does she show real fear and

anxiety in her eyes.

The administrator squares the papers by tapping their edges

on the desk. We glimpse the names of the people whose records

have been requested:

EDWARD HASTINGS:

STEVEN ARNOTT:

[NB THIS CUTAWAY MIGHT NOT BE IN THE FINAL EDIT, TO MAKE FOR

A BIGGER SURPRISE LATER.]

(CONTINUED)

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230 CONTINUED:

Then the administrator puts them in an envelope.

CUT TO:

231 EXT. INDUSTRIAL UNIT. LATER THAT DAY.

Steve approaches a unit with a heavily weathered sign that

reads A&B CARRIAGE REPAIRS. It’s sealed off by crime scene

tape and a couple of workers are busy boarding it up. A

uniformed PC sees Steve and beckons someone from inside the

garage.

Steve tenses up. Rogerson strolls out to meet him. She puts

out her hand.

ROGERSON:

We didn’t really meet properly

before. Nicky Rogerson.

(Off Steve not shaking her

hand.)

Sorry about my boss’s questioning.

He’s under a lot of pressure.

STEVE:

(Shakes hands.)

At least he spared me the strip

search.

(Indicating garage.)

What’s going on?

ROGERSON:

A&B Carriage Repairs was a legit

business that moved on over a year

ago. Unit’s been vacant ever since.

STEVE:

What became of the nurse’s car?

ROGERSON:

Found dumped. It’s being checked

over for forensics.

STEVE:

Found any?

ROGERSON:

Nothing. Nothing here either. We’re

locking it down and moving out.

STEVE:

Okay if I look around?

ROGERSON:

Knock yourself out.

Steve wanders in. Rogerson follows.

(CONTINUED)

Line of Duty #2.2 02/06/2013 CHERRY revisions 38.

231 CONTINUED:

STEVE:

Hargreaves calls you “Jolly”.

ROGERSON:

“Jolly” Rogerson.

STEVE:

He’s a laugh a minute.

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