Line of Duty Page #10

Season #2 Episode #6
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
1,039 Views


LINDSAY:

I’d like to find her, to know she

was okay.

KATE:

I think you were here that evening.

I think you can help us find her.

(Off Lindsay hesitation.)

Who else was here?

LINDSAY:

I wouldn’t know.

KATE:

Alex Campbell, aka Tommy Hunter.

The protected witness.

(MORE)

(CONTINUED)

LINE OF DUTY #2.6 Tan revisions 19/07/13 60.

656D CONTINUED:

KATE (CONT'D)

He didn’t see you, of course, but

you saw him.

LINDSAY:

No.

KATE:

What did he do that made you fear

for Carly’s life?

LINDSAY:

I wish I could help you, Kate.

KATE:

Carly’s in terrible danger. Every

day you hold out is another day she

may be facing a horrible ordeal.

This really starts to work on Lindsay.

KATE:

What happened here, Lindsay? You’ve

kept it inside all this time. That

can’t have been easy. Why not let

it out?

Lindsay visibly wavers. She’s struggling with long-suppressed

emotions and it’s starting to unravel her. Tears run down her

cheeks.

LINDSAY:

I’m sorry, Kate. I wasn’t here.

KATE:

(Still very gentle.)

Three police officers died on the

night of the ambush. I can’t

believe you meant it to happen. It

must be awful for you, to carry

that.

Lindsay wipes back the tears.

KATE:

Let the truth out, Lindsay. Free

yourself.

Tears roll down Lindsay’s cheeks.

Kate is on tenterhooks, expecting a revelation.

Lindsay composes herself.

LINDSAY:

I want to go home now.

(CONTINUED)

LINE OF DUTY #2.6 Tan revisions 19/07/13 61.

656D CONTINUED:
(2)

KATE:

(Toughening up again.)

It’s going to be a very long time

before you get to go home, unless

you give the Judge a chance to be

lenient with your sentence. Tell me

the truth.

LINDSAY:

(Toughening up too.)

You’re convinced I’m guilty, Kate,

or trying to be. Was that something

you decided before I found out you

were f***ing Jayne Akers’ husband,

or was it only after?

KATE:

I betrayed Jayne? You betrayed

those two officers you took out to

the ambush.

LINDSAY:

I didn’t know the ambush was going

to happen. If I had, I’d never have

taken those men. But you knew what

you were doing. You knew and it

didn’t stop you.

KATE:

Two innocent coppers killed, two

wives widowed, two kids orphaned. I

know which is worse.

LINDSAY:

I don’t think you do.

KATE:

I’m going to keep going over every

detail, every crumb of evidence.

You’ll go to bed night after night

asking yourself the same question:

did AC-12 get the evidence today,

are they coming to pick me up in

the morning? You can save yourself

a lot of pain.

LINDSAY:

So can you.

KATE:

Give in.

LINDSAY:

Never.

(CONTINUED)

LINE OF DUTY #2.6 Tan revisions 19/07/13 62.

656D CONTINUED:
(3)

Lindsay has toughed it out, and Kate’s got nothing left.

Apparently.

CUT TO:

656E INT. KATE’S CAR. MOMENTS LATER.

Kate drives in bitter silence. Lindsay rides in the back,

gazing out of the window, very troubled.

Lindsay’s guilt and anguish bring up memories she can’t

suppress.

The city glides by the window.

MATCH CUT TO:

656EA FLASHBACK. INT. LINDSAY’S CAR. 16TH AUGUST. EVENING.

Now driving, Lindsay proceeds with the city gliding by her

window. She goes into the City Hall car park.

CUT TO:

656F FLASHBACK. INT. CITY HALL. FUNCTION ROOM. MOMENTS LATER.

From a door by the bar area, Lindsay observes a drinks

reception in a large function room featuring various police

and city dignitaries.

Her gaze fixes on Dryden, sharing a joke with Prasad. They’re

whispering some pretty ribald stuff and Prasad appears to

guide Dryden’s attention towards a particular waitress as she

moves round the room. Prasad moves away.

The waitress -- CARLY KIRK (15, looks 20, dolled up) --

serves Dryden a drink. Dryden starts talking to her,

appearing to be charm personified. Carly laughs at his joke,

brushing her hand on his arm as she moves on. He ogles her as

she goes.

Lindsay looks disturbed and disgusted.

Lindsay moves off.

CUT TO:

656G FLASHBACK. INT. CITY HALL. TOILETS. MOMENTS LATER.

Lindsay has the toilets to herself. They’re quite swish. She

washes her hands intently, trying to control her feelings of

outrage.

(CONTINUED)

LINE OF DUTY #2.6 Tan revisions 19/07/13 63.

656G CONTINUED:

Enter Carly.

Lindsay is taken aback but keeps quiet.

Carly approaches the mirror over a sink neighbouring Lindsay.

Hi.

CARLY:

Hi.

LINDSAY:

Carly freshens up her lipsticks etc.

Lindsay studies her with all kinds of mixed feelings.

CARLY:

Like your necklace.

Sorry?

LINDSAY:

CARLY:

(Points.)

Your necklace. It’s really pretty.

LINDSAY:

Thank you. My mum gave it to me.

CARLY:

Lucky you.

LINDSAY:

It’s nothing special. I think shepicked it up for only a few pounds.

CARLY:

I meant that you’ve got a mum thatgives you nice things.

Carly smiles -- the fragile smile of a young girl who’s beenthrough a tough and tragic childhood, encapsulated by herlast line -- and exits.

Lindsay is left with unexpected sympathy for Carly.

CUT TO:

656H FLASHBACK. EXT. CITY HALL CAR PARK. MOMENTS LATER. *

From her car, Lindsay watches Dryden show Carly into his car;

he walks round quickly to the driver’s side, head down toavoid being seen, and drives away.

*

*

*

(CONTINUED)

LINE OF DUTY #2.6 Tan revisions 19/07/13 64.

656H CONTINUED:

Lindsay decides to follow him. She pulls away.

CUT TO:

*

*

657 FLASHBACK. EXT. RAILWAY STATION. 16TH AUGUST. LATER THAT

EVENING.

From a vantage point eg a walkway, Lindsay observes Dryden in

the car with Carly.

Dryden chats to her briefly.

Carly drops her head straight into Dryden’s lap.

Lindsay is disgusted.

Lindsay moves forwards to confront Dryden.

Dryden spots movement, sees Lindsay.

Shocked, Dryden shoves Carly out of the car.

DRYDEN:

GET OUT!

Dryden speeds away

Carly lingers in the car park.

A car speeds up to Carly. Tommy leaps out of the back. Heslaps Carly to the ground and kicks her hard.

Lindsay is shocked. She starts to move to help.

Prasad jumps out of the car.

PRASAD:

Christ, Tom, let’s just get her inthe car.

Tommy drags Carly across the ground towards the car.

TOMMY:

Stupid b*tch. In! IN!

Carly wrestles free.

Carly runs for it.

TOMMY:

Fucksake!

Tommy gets back in the car and it speeds out of the car park.

(CONTINUED)

LINE OF DUTY #2.6 Tan revisions 19/07/13 65.

657 CONTINUED:

Lindsay quickly notes its registration number.

SMASH CUT TO:

658

FLASHBACK. INT. LINDSAY’S HOUSE. THAT NIGHT.

Lindsay’s mobile phone rings. She sees the caller ID is “MIKE

DRYDEN”. She doesn’t want to answer but it’s a fight and she

can’t help herself.

LINDSAY:

(Into phone.)

Hello ... ?

DRYDEN (O.S.)

(Out of phone.)

Why were you following me?

LINDSAY:

(Into phone.)

Mike, listen -

DRYDEN (O.S.)

(Out of phone.)

I was just giving that girl a lift.

LINDSAY:

(Into phone.)

Mike -

DRYDEN (O.S.)

(Out of phone.)

Move on, Lindsay. Goodbye.

He hangs up. Lindsay is anguished.

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. 2 Aug. 2024. <https://www.scripts.com/script/line_of_duty_777>.

    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 does the term "beat" refer to in screenwriting?
    A A brief pause in dialogue
    B The end of a scene
    C A musical cue
    D A type of camera shot