Line of Duty Page #10

Exit Danny. Kate is left very concerned.

CUT TO:

INT. SOUTH FERRY STATION. SQUAD ROOM. LATER THAT

DAY.

Music

10:
42:28

DUR:
0’42”.

Specially

composed by

Carly

Paradis.

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10:
42:36

10:
42:53

Kate works at a computer. She watches Rod go to

make himself a cup of tea. Jackie goes to join

him. He blanks her, and walks off. Jackie looks

momentarily dismayed, then acts normally again.

Out on Kate.

CUT TO:

EXT. SOUTH FERRY STATION. GARAGE. MOMENTS LATER.

Rod smokes a cigarette, looking troubled. Kate

comes out.

KATE:

Sorry.

ROD:

Don’t be. It’s a free country.

Kate takes out a cigarette. Rod hands her a

lighter.

ROD (CONT’D)

Here you are.

KATE:

(hands back the lighter)

There you go.

They both take drags on their cigarettes.

KATE (CONT’D)

Have you worked with Jackie long?

ROD:

Couple of years, on and off.

KATE:

And Danny?

ROD:

Bit less.

KATE:

I don’t get the impression there’s

much love lost.

ROD:

Sorry, Kate, sorry listen. I’m just

not feeling very sociable right

now.

KATE:

Yeah. No worries.

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X:

Music Ends

10:
43:10

Jackie comes out.

KATE (CONT’D)

(to Jackie)

All right.

Jackie nods. Instant tension. She eyes Kate.

KATE (CONT’D)

Right. I better get in.

Kate stubs out her cigarette and heads backinside.

Jackie crosses to Rod.

10:
43:50

10:
44:09

JACKIE:

Look. I’m sorry.

CUT TO:

INT./EXT. SOUTH FERRY. GARAGE. MOMENTS LATER.

Kate goes back into the garage, but pauses tosneak a look back. She sees Jackie whisper some

conciliatory words to Rod.

JACKIE:

What else can I say to you?

ROD:

What else can you say! How do you

think I feel right now?

JACKIE:

Just ignore him.

ROD:

Ignore him. Are you taking thepiss?

Rod heads back inside leaving Jackie looking

upset too. Kate looks very curious.

CUT TO:

INT. AC-12. OPEN-PLAN OFFICE. LATER THAT DAY.

A courier delivers a package to Steve.

STEVE:

(To courier)

Thanks.

Music

10:
43:47

DUR:
0’32”.

Speciallycomposed by

Carly

Paradis.

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10:
44:49

Exit courier.

STEVE (CONT’D)

Finally.

As Steve goes back to his desk.

Dot observes, and decides to poke his nose in.

DOT:

Is that the file on the suspect

shot by Waldron?

STEVE:

Yeah.

Steve opens the package. It’s the police file on

Ronan Murphy, with a mug-shot clipped to the

front.

Steve opens the file. Something alarms him

immediately.

DOT:

What?

Steve shows Dot the file. On virtually every

page dense black bars block out words, phrases

and even whole paragraphs. Dot shares Steve’s

alarm and frustration.

STEVE:

We need an unredacted file.

DOT:

(Heading back to his desk.)

Leave it to me. I’ll crack some

heads together.

Steve looks once again at the photo of Ronan

Murphy, and reflects.

CUT TO:

EXT. DANNY’S FLAT. THAT EVENING.

Danny jogs home. Steve gets out of his car,

revealing his presence to Danny.

DANNY:

You shouldn’t be here.

STEVE:

That only applies if we’re

investigating you. You’re off the

hook.

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X:

Music Ends

10:
44:19

Music

10:
44:26

DUR:
0’52”.

Specially

composed by

Carly

Paradis.

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DANNY:

What do you want?

STEVE:

You didn’t know the suspect?

DANNY:

No.

STEVE:

Not heard a rumour about him, heard

the name?

DANNY:

You need to caution me before you

can ask that.

STEVE:

Like this is on the record. I just

want to know the truth.

Danny’s had enough. He heads inside.

STEVE (CONT’D)

The file on Ronan Murphy... the

suspect’s name. Large sections were

redacted.

Danny reacts with unease --and a beat of

curiosity.

STEVE (CONT’D)

If there’s something bigger here,

Danny, you don’t want to be the one

left carrying the can.

DANNY:

Do you run, Steve?

STEVE:

I don’t have to. No one’s chasing

me.

DANNY:

I do. Miles, some nights, tens of

miles. It gets so every part of me

hurts. But the one thing I know is,

you keep going through the pain,

because if you stop, it’s gonna

hurt a whole lot more to get

started again. When this is all

done, Steve, I’ll suffer for my

actions. I’m under no illusions of

a happy ending. But I ain’t gonna

stop.

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X:

Music Ends

10:
45:18

Music

10:
46:09

DUR:
0’45”.

Specially

composed by

Carly

Paradis.

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10:
46:50

10:
46:54

10:
47:10

10:
47:46

Steve has no idea what to make of what Danny’s

just said. Danny takes out his keys and heads

for his front door.

STEVE:

Danny. One thing we both know -easiest

way to get away with

killing someone --be a police

officer.

Danny pauses as Steve heads back to his car.

Doorbell rings.

CUT TO:

INT. HARI BAINS’S HOUSE. THAT NIGHT.

Laila and Hari watch TV. Laila is half asleep.

Hari goes to answer it.

CUT TO:

EXT. HARI BAINS’S HOUSE. CONTINUOUS.

Hari opens the door. There’s no one there. Then

he sees a package on the doorstep, a small jiffy

bag. He looks up and down the street but there’s

no sign of anyone. He looks worried.

CUT TO:

INT. HARI BAINS’S HOUSE. GARAGE. MOMENTS LATER.

Alone in the garage, Hari breaks open the jiffy

bag. Inside is a mobile phone. He looks even

more worried.

The phone is on. An icon indicates there’s a

text message in the inbox. Hari opens text

messages. The single message reads:

It’s time.

Hari looks anguished.

CUT TO:

EXT. HARI BAINS’S HOUSE. MOMENTS LATER.

Hari steps out of the front door.

Watching, Danny tenses. He unzips his top to

reveal the gun he stole from the drug house.

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X:

Music Ends

10:
46:54

Music

10:
46:50

DUR:
0’04”.

Spanish Bull

/ ANW

1158/11.

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X:

Music Ends

10:
46:54

Music

10:
46:56

DUR:
1’37”.

Specially

composed by

Carly

Paradis.

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10:
48:22

Laila steps out to kiss Hari goodbye, holding |

their child. |

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HARI |

(to Laila)|

See you.|

(to their child)|

Come on. Do you want to have a go |

with the light? |

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Hari holds the child aloft. Takes out his car |

keys. |

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HARI (CONT’D)|

Press the button. Press the button |

for Daddy. |

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Danny watches, looks touched, closes his top, |

and strides away. |

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HARI (CONT’D)|

Won’t be long before your driving |

yourself. Will it. |

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Laila laughs. Hari hands back the child. |

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LAILA |

It’ll be a few years yet. Have a |

good day. |

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HARI |

See you. |

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LAILA |

See you later. |

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And she heads inside. |

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Just as Hari gets in his car, he glimpses Danny |

who breaks into a jog and then vanishes round a |

corner. Hari looks sh*t scared. He gets into the |

car. |

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CUT TO:
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INT. SOUTH FERRY. GARAGE. LATER THAT DAY. |

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McAndrew is talking with a colleague. |

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She sees Hari wander by. |

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MCANDREW |

Hari. |

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COLLEAGUE |

Ma’am. |

10:
49:12

The colleague exits.

MCANDREW:

Are you all right, Hari?

HARI:

Yes I’m fine, thanks, guv.

MCANDREW:

I’m concerned about the

interpersonal dynamics on the unit.

So I’m going to disband Danny’s

squad.

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