Line of Duty Page #3

Season #2 Episode #5
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
484 Views


PRASAD:

Please. Call the ambulance.

Lindsay contemplates the situation. She gets back in the car.

She stares through the windscreen at Prasad.

LINDSAY:

Don’t make me do this.

Prasad glares at her, defying her to have the courage. Tense

beats.

Lindsay jerks forward a few inches. Prasad screams the place

down.

Lindsay puts the vehicle in Park and gets out.

LINDSAY:

Let’s try again.

PRASAD:

If I talk, I’m a dead man.

LINDSAY:

Maybe you are anyway. So talk.

PRASAD:

Please. Call an ambulance.

LINDSAY:

Why’d they use you for the job?

PRASAD:

They had stuff on me and Cole.

(CONTINUED)

LINE OF DUTY #2.5 Tan Revisions 19/7/13 14.

506 CONTINUED:
(3)

LINDSAY:

(Indicates Cole.)

He’s Cole?

PRASAD:

Jez -- Jeremy -- Cole.

LINDSAY:

What kind of stuff?

PRASAD:

We’re Vice. Use your imagination.

LINDSAY:

And on Dryden?

PRASAD:

Him too.

LINDSAY:

So there’s the story: that’s why he

set up the ambush.

Lindsay opens the Voice Memo app.

PRASAD:

Whatever I say, it won’t stand up

in court.

LINDSAY:

You’re a DS? Should’ve studied

harder.

(Presses RECORD. Into

phone.)

The suspect has asked me to record

what he believes is his Dying

Declaration following his receiving

life-threatening injuries in a road

traffic collision and finding

himself in the hopeless expectation

of death. State your name.

Lindsay puts the phone close to Prasad.

PRASAD:

(Into phone.)

DS Manish Prasad. F*** you.

She stops the recording and deletes it.

LINDSAY:

This isn’t helping either of us.

Prasad doesn’t look at all well. Lindsay gazes at him

intently.

(CONTINUED)

LINE OF DUTY #2.5 Tan Revisions 19/7/13 15.

506 CONTINUED:
(4)

LINDSAY:

You need to tell the truth.

PRASAD:

You really think you’re going to

get out of this? Not going to

happen!

LINDSAY:

You think you will? You killed

Wallis and Butler! Your mate killed

Georgia Trotman! All police, all

innocent! F*** you.

She jumps in the car. She edges forward. There’s the crushing

of bones and Prasad screams to high heaven.

Lindsay gets out of the car again.

She stares at Prasad. Prasad sobs in agony.

PRASAD:

Please. Please.

LINDSAY:

Then. Talk.

Lindsay shoves the phone towards Prasad.

PRASAD:

(Into phone.)

DS Manish Prasad. In the hopeless

expectation of death, I record my

Dying Declaration. I carried out

the ambush with DC Jeremy Cole.

Under orders from Deputy Chief

Constable Dryden.

CUT TO:

507 INT. STEVE’S CAR. MOMENTS LATER.

Steve drives, Kate rides shotgun. A police radio gives

further information.

CONTROLLER (O.S.)

(Out of radio.)

Sighting of Lindsay Denton,

identifying cell of caller’s phone,

standby for location.

A call comes through via Steve’s Bluetooth. He takes it.

STEVE:

(Into Bluetooth.)

DS Arnott.

(CONTINUED)

LINE OF DUTY #2.5 Tan Revisions 19/7/13 16.

507 CONTINUED:

LINDSAY (O.S.)

(Out of Bluetooth.)

This is Lindsay Denton. I’ve

detained the two gunmen who carried

out the ambush. They’re in a bad

way so I’ve recorded a Dying

Declaration. Check your inbox for

the audio file.

Kate grabs Steve’s phone and goes into his e-mails.

STEVE:

(Into Bluetooth.)

Where are you?

INTERCUT:

508 EXT. DERELICT MULTI-STOREY CAR PARK. CONTINUOUS.

Lindsay is on Prasad’s phone in a part of the parking level

where we can’t see the car or Prasad.

LINDSAY:

(Into phone.)

Got the file?

INTERCUT:

509 INT. STEVE’S CAR. CONTINUOUS.

Kate checks Steve’s inbox. A new message pings in, from DS

MANISH PRASAD, with an audio file attachment.

KATE:

It’s here.

STEVE:

(Into Bluetooth.)

Got it.

LINDSAY (O.S.)

(Out of Bluetooth.)

The old Highpoint Building.

I’m keeping this phone on. They can

triangulate to this position.

STEVE:

(Into Bluetooth.)

Lindsay? Lindsay?

They can’t hear anything on the line at all. Steve turns on

the siren and blue lights.

(CONTINUED)

LINE OF DUTY #2.5 Tan Revisions 19/7/13 17.

509 CONTINUED:

KATE:

Highpoint’s over in Moss Heath. You

need to make a U-

Steve makes a sharp U-turn before Kate can get the word out.

CUT TO:

510 EXT. DERELICT MULTI-STOREY CAR PARK. CONTINUOUS.

Lindsay lays the phone on the ground and walks back to the

car and Prasad.

Prasad is collapsed over the bonnet, his life ebbing away.

EITHER:
She puts her watch-face to Prasad’s. It mists.

OR:
She feels his carotid pulse. He’s still got one.

LINDSAY:

Sh*t.

A couple of beats of her facing up to what she’s got to do.

She picks up the towel that was used to water-board her.

She wads it into a ball and puts it towards his face.

Lindsay tries to find the will but she can’t.

She starts to weep as she realises how low she’s sunk, how

immoral she’s become.

Then she gets a grip on herself and pushes it against his

face.

CUT TO:

511 EXT. DERELICT MULTI-STOREY CAR PARK. MOMENTS LATER.

Prasad’s mobile phone lies where it was left, the call to AC12

still open, the duration ticking on past 10 minutes.

A police vehicle arrives at high speed.

From the vehicle, four firearms officers jump out and

survey/secure the scene. They see Cole’s body on the ground

and Prasad’s still pinned against the wall, now collapsed

over the bonnet of the car.

One officer pats down Cole, another pats down Prasad. Both

signal to the lead officer (a Sgt) that the bodies are clear.

(CONTINUED)

LINE OF DUTY #2.5 Tan Revisions 19/7/13 18.

511 CONTINUED:

FIREARMS SGT:

(Into radio.)

Two bodies. Clear to approach.

Up the ramp speeds an ambulance followed by Cottan’s car and

Steve’s car and another patrol car.

Paramedics go to the bodies.

Cottan and Hastings, Steve and Kate alight their vehicles.

All wear stab vests. Uniforms get out of the patrol car.

NB THIS IS A CRIME SCENE. NONE OF THESE OFFICERS MUST

CONTAMINATE THE SCENE EXCEPT IN ORDER TO PRESERVE LIFE.

HASTINGS:

Secure the scene. Inner and outer

cordons. Full forensic response.

Right now evidence and secure that

phone till Forensics recover it. On

my authority, paramedics are clear

to enter crime scene in order to

preserve life.

One officer goes to the phone and puts a traffic cone over it

(taken from the boot of a car). Meanwhile the paramedics

examine Cole.

HASTINGS:

Dead?

PARAMEDIC:

Yeah.

The police still all hang back from Prasad.

HASTINGS:

(To paramedics.)

Check the other body. On my

authority.

The paramedics start examining Prasad.

COTTAN:

Denton’s on foot. Can’t have got

far.

Steve starts thinking.

HASTINGS:

Put out obs.

KATE:

Sir.

Kate keys her phone, waits for it to be answered.

(CONTINUED)

LINE OF DUTY #2.5 Tan Revisions 19/7/13 19.

511 CONTINUED:
(2)

KATE:

(Into phone.)

DC Fleming, AC-12. Put me through

to the Controller please.

STEVE:

Got a thought -- okay if I check it

out, boss?

HASTINGS:

Go ahead.

Steve goes to his car.

KATE:

(Into phone.)

All patrols, obs on Lindsay Denton,

last known location the old

Highpoint Building.

Rate this script:0.0 / 0 votes

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…

All Jed Mercurio scripts | Jed Mercurio Scripts

0 fans

Submitted by aviv on December 15, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Line of Duty" Scripts.com. STANDS4 LLC, 2024. Web. 8 Jul 2024. <https://www.scripts.com/script/line_of_duty_776>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Line of Duty

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "exposition" in screenwriting?
    A The introduction of background information
    B The ending of the story
    C The dialogue between characters
    D The climax of the story