Line of Duty Page #11

JACKIE:

I’ll be fine.

KATE:

Here...

Jackie’s hands are trembling too much. Kate

lights the cigarette for her.

KATE (CONT’D)

Did you have any idea he’d do

something like that?

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X:

Music Ends

10:
51:36

Did you?

JACKIE:

Kate is unexpectedly hurt by the question. Ittakes her a moment to recover.

10:
52:11

10:
52:28

KATE:

This has gone too far.

Jackie nods, broken.

CUT TO:

INT/EXT. HARI BAINS’S HOUSE. NIGHT

On HARI. Doorbell rings.

Hari answers the door. It’s Jackie.

JACKIE:

We need to talk.

HARI:

Jackie it’s late.

JACKIE:

I’m not leaving.

He shuts the front door.

CUT TO:

EXT. SUBWAY. LATER THAT NIGHT.

Kate trudges along a gloomy subway towards a

figure in the shadows --Steve.

KATE:

Everything all right?

Music

10:
52:06

DUR:
0’26”.

Speciallycomposed by

CarlyParadis.

||||||||||||||||||||||

X:

Music Ends

10:
52:32

STEVE:

I was going to ask you the same

thing. Kate, I read your report.

You had nothing on Rod Kennedy.

KATE:

The last thing that Danny said to

me before he died was, “Listen”...

that was all he could get out.

STEVE:

You weren’t to know how bad he’d

fall for the bluff. That’s why I’masking if you’re okay.

10:
53:07

10:
53:28

KATE:

I’m just doing my job, mate.

Steve nods.

CUT TO:

INT. AC-12. LOBBY/VANTAGE POINT. NEXT DAY.

Kate leads Hari and Jackie into the building.

Hari and Jackie look terrified.

From a vantage window, Steve and Dot look down

at the trio signing in with their reps.

DOT:

Well done, Kate.

They head off to the interview room.

CUT TO:

INT. AC-12. INTERVIEW ROOM. MOMENTS LATER.

Jackie plus rep plus solicitor face Steve, Dot

and Hastings.

JACKIE:

Rod and I were involved.

HASTINGS:

An affair between two armed

officers serving side by side. That

is a serious lack of

professionalism, constable.

JACKIE:

Yes, sir. We had to keep the

relationship hidden or we’d have

both been disciplined.

DOT:

And were you still involved with

Rod Kennedy at the time of his

death?

JACKIE:

No. We’d broken up a couple of

months before.

STEVE:

Why?

JACKIE:

Something happened between me and

Danny.

Music

10:
53:04

DUR:
0’33”.

Specially

composed by

Carly

Paradis.

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X:

Music Ends

10:
53:37

10:
54:31

10:
55:18

STEVE:

What happened between you and

Danny?

JACKIE:

It was a one-night thing. Rod found

out about it. Him and Danny had a

bust-up. Danny was... Danny was in

the habit of making remarks,

undermining Rod. Rod was really

jealous. He couldn’t handle it.

Jackie hangs her head in shame and anguish.

STEVE (V.O)

Why did Danny Waldron draw his

firearm?

CUT TO:

INT. AC-12. INTERVIEW ROOM. INTERCUT.

Hari’s Interview

HARI:

I don’t know. We didn’t do anything

and there was nothing to suggest he

was in any kind of danger. So I can

only imagine he was spooked by

something.

HASTINGS:

Go on.

HARI:

And that’s when Rod went for him.

Rod grabbed Danny’s gun and the two

of them started wrestling with it.

And me and Victor Charlie Five

Three. We tried to get it off them

both, and that’s when it went off.

HASTINGS:

So let’s be perfectly clear,

Constable. You are now declaring

that PC Rod Kennedy killed Sergeant

Daniel Waldron?

CUT TO:

INT. AC-12. INTERVIEW ROOM. INTERCUT.

JACKIE:

Yes, sir. Rod killed Danny.

Music

10:
54:53

DUR:
1’22”.

Specially

composed by

Carly

Paradis.

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10:
55:25

10:
55:35

10:
56:15

CUT TO:

INT. AC-12. INTERVIEW ROOM. INTERCUT.

HARI:

Rod killed Danny.

CUT TO:

INT. AC-12. LOBBY/VANTAGE POINT. LATER THAT DAY.

Kate, Hari and Jackie leave with their reps.

Hari and Jackie appear downbeat.

From a vantage point, Hastings, Steve and Dot

look down.

STEVE:

Oldest trick in the book --blame

the dead bloke.

DOT:

He killed himself, though. Fits

with him being the guilty party.

STEVE:

First there were three of them

sticking together, now there’s

two...

HASTINGS:

I’ve said it before and I’ll say it

again. Catching criminals is tough

enough but catching coppers --God

give me strength. We keep going

fellas. We keep going.

STEVE:

(Keen)

Sir.

DOT:

(Not so keen)

Sir.

Frustrated, they watch their quarry go. Dot is

uneasy.

CUT TO:

EXT. HARI’S HOME. LATER THAT NIGHT.

A kid on the BMX drops a package and rings the

bell, then rides off.

Hari comes to the door, sees the package. He

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X:

Music Ends

10:
56:15

Music

10:
56:10

DUR:
1’03”.

Specially

composed by

Carly

Paradis.

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looks very uneasy. |

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Sound of a phone ringing. |

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CUT TO:
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10:
56:29 INT. HARI’S HOME. GARAGE. MOMENTS LATER. |

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Hari takes a call on a new unregistered phone. |

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HARI |

Hello. |

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MYSTERY MAN (O.S.)|

Bin the previous phone. Use this |

one for now. You’ll have a new one |

in a couple of days. |

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Hari is silent, brow beaten. |

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HARI |

(Into phone)|

I made one mistake. One mistake. |

And you keep making me pay. |

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MYSTERY MAN (O.S.)|

AC-12 went for it? |

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HARI |

(Into phone)|

Yeah. |

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MYSTERY MAN (O.S.)|

Oh, don’t be modest --|

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CUT TO:
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10:
56:56 EXT. PAY PHONE. CONTINUOUS. |

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The caller answers in his London/SE accent. |

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MYSTERY MAN |

(Into phone.)|

--I heard you played them like X

Music Ends

violins.

10:
57:13

Music

He hangs up, and in doing so we see the watch

10:
57:00

with the leather strap.

DUR:
1’34”.

Specially

composed by

CUT TO:

Carly

Paradis.

10:
57:02

INT. HARI’S HOME. GARAGE. MOMENTS LATER. |

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Hari reacts. Is this nightmare ever going to |

end? |

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10:
57:05

10:
57:16

10:
57:27

LINDSAY (V.O)

I had no prior...

INT. PRISON CELL. LATER THAT NIGHT.

Lindsay starts her rehearsal for tomorrow. |

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LINDSAY |

... information of the operation... |

No prior information of the |

operation to move Tommy Hunter. No |

prior information. No prior... No |

prior knowledge... I had no prior |

knowledge.

INT. COTTAN’S HOUSE. NIGHT.

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CUT TO:
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Dot studies the list he found in Danny’ flat. |

His eyes scroll down the list of names until his |

gaze settles on:
TOMMY HUNTER which has been |

crossed out. |

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LINDSAY (V.O)|

I had no prior knowledge of the |

operation to move Tommy Hunter.|

Every day I wish it had been... |

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CUT TO:
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INT. PRISON CELL. LATER THAT NIGHT. |

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She simulates looking tried and drawn. She mimes |

taking a sip of water, her hand shaking. |

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Then she composes herself and starts again. |

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LINDSAY (CONT’D)|

... somebody else who’d taken that |

call, somebody else who’d had to |

stand by and watch as their fellow |

officers were gunned were down and |

set alight... |

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Lindsay’s voice cracks, tears flow. But are they |

real? |

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CUT TO:
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INT. COTTAN’S HOUSE. NIGHT. |

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Dot sets the list alight. |

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CUT TO:
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10:
57:52

CUT TO:

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10:
58:01 INT. PRISON CELL. LATER THAT NIGHT. |

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Lindsay is crying, sobbing. |

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Then she composes herself and starts again. |

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LINDSAY |

I had no prior knowledge of the |

operation... No prior knowledge at |

all. |

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CUT TO:
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X:

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