Line of Duty Page #11

HARI:

What did Danny have to say about

that?

MCANDREW:

He won’t be the problem. The

problem will be getting AFOs to

work with him.

HARI:

I know he’s not the easiest skipper

but he’s good at his job. I’m

learning loads from him. So I’d

rather keep at it.

MCANDREW:

Seriously?

HARI:

Yes. If you move us on now, ma’am,

then it looks like we messed up,

don’t it. And we didn’t.

McAndrew nods, given food for thought. Hari

exits. McAndrew reflects.

CUT TO:

EXT. GRAVEYARD. NEXT DAY.

In a bleak graveyard, a funeral takes place,

with only a handful of mourners.

The plaque on the coffin reads RONAN MURPHY with

dates.

MINISTER:

Man that is born of a woman hath

but a short time to live,

CUT TO:

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X:

Music Ends

10:
48:33

Music

10:
49:05

DUR:
0’45”.

Specially

composed by

Carly

Paradis.

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10:
49:17

10:
49:28

10:
49:32

10:
49:36

EXT. VANTAGE POINT. CONTINUOUS.

From a distance, on a high vantage point, Danny

watches. He raises binoculars to his eyes.

MINISTER (CONT’D)

...and is full of misery. He cometh

up, and is cut down, like a flower;

CUT TO:

EXT. GRAVEYARD. CONTINUOUS.

DANNY’S POV:
Scanning the handful of mourners

(all pretty seedy), his gaze settles on a seedy,

dishevelled man in his 60s/70s.

MINISTER (CONT’D)

He fleeth as it were a shadow, and

never continueth in one stay. Let

us pray.

CUT TO:

EXT. VANTAGE POINT. CONTINUOUS.

Danny lowers the binoculars, revealing the same

intense look he showed on first seeing the photo

of Ronan Murphy.

CUT TO:

INT. LINUS MURPHY’S HOME. THAT NIGHT.

The seedy old man (Linus Murphy) lives alone in

a rundown little terrace, with only a small dog

for company.

LINUS:

Here you are girl. Come on, there’s

a good dog.

He lays down the dog’s food bowl while his own

dinner turns in the microwave. The dog devours

the food, in its own world.

The microwave pings. Linus opens the door, takes

out the meal, turns -

--and faces Danny, levelling at him the gun he

stole from the First Drug House. Danny wears a

white forensic suit and gloves over running

gear. He is carrying a rucksack.

Linus drops the meal.

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X:

Music Ends

10:
49:50

10:
50:57

DANNY:

Don’t remember me?

Linus glares at Danny blankly.

LINUS:

No.

DANNY:

No? Nor did the man that you

buried.

Linus doesn’t quite know how to answer, just

shows an enormous sense of dread. The dog begins

barking at Danny. Danny pushes the dog’s head

down (not to hurt it, just to dominate it

physically).

DANNY (CONT’D)

Get down.

The dog whimpers and behaves submissively

thereafter.

Danny pulls a bare wooden chair from the kitchen

table and sets it in the middle of the room.

DANNY (CONT’D)

Sit.

Linus is too scared to move.

DANNY (CONT’D)

Every time you don’t do what I say,

it gets worse. You’ll sit, all

right, but first... you’ll take off

all your clothes.

Danny glares at Linus in a way that makes Linus

look enormously fearful.

CUT TO:

INT. LINUS MURPHY’ HOME. MOMENTS LATER.

Naked, Linus sits in the bare wooden chair, his

wrists and ankles bound to the frame.

DANNY:

I never knew his name. Not really.

We did have a name for him, though.

The name they had brings up painful memories for

Danny. He has to swallow them.

Music

10:
50:31

DUR:
2’30”.

Specially

composed by

Carly

Paradis.

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10:
52:58

DANNY (CONT’D)

So many years, I wondered what I’d

do if I ever saw him again. And

then I did, in a photo, in a

briefing room. And I was being sent

to meet him with a gun.

Danny takes a few beats to control his emotions.

He shows Linus the gun.

DANNY (CONT’D)

Before you ask, this isn’t the one.

Illegal, untraceable. No problem

with using it on you.

Linus just looks frightened.

DANNY (CONT’D)

So, who was he to you?

LINUS:

Nephew.

DANNY:

I never knew that there was a

family connection. We had a name

for you too. Do you want to know

what it was?

Linus just looks terrified.

Danny starts trembling. Starts crying.

DANNY (CONT’D)

(Breaking down.)

Do you want to know what it was?

Danny can’t contain himself any longer, kicks

Linus hard in the chest, throwing the chair

over.

Linus cries out, writhing in pain on the floor.

Danny leans in over Linus’s face.

DANNY (CONT’D)

The only thing with Ronan it was

over too fast. But I’ve got you to

make up for that.

CUT TO:

INT. DANNY’S FLAT. BATHROOM. EARLY NEXT MORNING.

Danny showers, scrubbing hard, but from his

expression there are some internal things that

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X:

Music Ends

10:
53:01

10:
53:09

won’t wash away.

CUT TO:

INT. DANNY’S FLAT. KITCHEN/BREAKFAST ROOM.

MOMENTS LATER.

Danny studies a sheet of notepaper. It’s got a

couple of bloodstains on it. On it is a list of

names:

RONAN MURPHY:

LINUS MURPHY:

DALE ROACH:

PATRICK FAIRBANK

(plus 14 other names)

Seeing the names, Danny is deeply haunted. It

takes a few beats to regain control. He slips

the note into an envelope and then hesitates. He

addresses the front of the envelope: DS STEVE

ARNOTT. Then he looks riven with conflicts.

A little whimper attracts his attention, and he

turns to look down at Linus’s dog, sitting to

beg for a treat. Danny gives it a morsel of his

toast.

His mobile vibrates --a text message --caller

ID “RACHEL”.

Danny opens the text. It’s a selfie of Rachel,

smiling, holding up a glass of wine, underneath

is the message:

Hi, Danny. Same again soon? Rachel x

Danny gazes at the photo and message. He smiles,

but the smile soon fades, turning to terrible

bitterness.

He deletes the message, anguished.

His landline rings. He answers it immediately.

DANNY:

(Into phone)

Sergeant Waldron.

(Listens)

CUT TO:

EXT. SOUTH FERRY STATION. ROAD. LATER THAT DAY.

A convoy of vans speeds out of the station on a

blue light and hits city streets.

Music

10:
53:34

DUR:
1’17”.

Specially

composed by

Carly

Paradis.

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X:

Music Ends

10:
54:51

Music

10:
54:45

DUR:
2’05”.

Specially

composed by

Carly

Paradis.

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10:
54:45

10:
54:54

10:
55:14

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CUT TO:
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INT. BACK-UP VAN. CONTINUOUS. |

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In the back of a van ride Kate, Danny, Rod, |

Jackie and Hari in the front. They are |

completely silent. The tension is palpable. Just |

the sound of the Police Radio in the background. |

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MCANDREW (OUT OF RADIO)|

Four Zero, radio check. |

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AFO (OUT OF RADIO)|

Seven Zero, radio check. |

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MCANDREW (OUT OF RADIO)|

All units, intel reports no egress |

from the premises this morning. |

Residents are believed to be in |

situ and should be considered armed |

and dangerous till proved |

otherwise. Five zero have been |

briefed and will enter and secure |

premises. Other units are to |

standby and await orders. Four one. |

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Danny gazes first at Rod then at Jackie. They |

look away edgily. |

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Danny throws a look to Hari. Hari is in his own |

world. |

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Danny throws a look to Kate, disapproval, |

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