Line of Duty Page #8

STEVE:

No. I was undercover. If she

sneaked a look at it, she would

have found out what I was up to.

Lindsey reacts.

DEFENCE COUNSEL:

What were you doing with the

Defendant until three or four in

the morning?

STEVE:

Talking. My undercover operation

was designed to win the Defendant’s

trust.

DEFENCE COUNSEL:

You were endeavouring to create a

close personal relationship with

the Defendant?

STEVE:

No, only to create the appearance

of a close relationship. I was

working.

DEFENCE COUNSEL:

Are there any specific operational

rules associated with an undercover

operation with respect to the

closeness of such a relationship?

Steve reacts.

STEVE:

Yes.

DEFENCE COUNSEL:

Would a sexual relationship be

acceptable during an undercover

operation?

STEVE:

Under current guidelines, no.

Sam reacts.

DEFENCE COUNSEL:

Was that the reason you didn’t seek

authorisation for your undercover

operation?

PROSECUTOR:

My Lady, we’ve already established

that the operation was authorised

retrospectively.

JUDGE:

Move on, Ms Hepburn.

DEFENCE COUNSEL:

How many times were you alone with

the Defendant in her home?

STEVE:

About a dozen.

DEFENCE COUNSEL:

At this time, was the case against

the Defendant going well?

STEVE:

It was work in progress.

DEFENCE COUNSEL:

But you needed a key piece of

evidence to crack the case?

STEVE:

My job is to find any and all

evidence.

DEFENCE COUNSEL:

Would you please remind the court

who found the cash?

STEVE:

A forensic search team.

DEFENCE COUNSEL:

Led by whom?

Beat.

10:
33:54

STEVE:

Me.

DEFENCE COUNSEL:

No further questions.

The Defence Counsel sits. Steve frowns, worried,

feeling somehow he’s been played into a corner.

Hastings, Gill and Sam look worried too.

CUT TO:

INT. STEVE’S CAR. LATER THAT DAY.

Steve drives Sam. There’s an uncomfortable

silence.

SAM:

Is it true?

STEVE:

What?

SAM:

Don’t.

STEVE:

(Beat)

No.

The silence makes him grow increasingly uneasy.

STEVE (CONT’D)

I didn’t have sex with her.

SAM:

But?

STEVE:

But nothing.

SAM:

Nothing?

STEVE:

No.

SAM:

(Unconvinced)

Right.

STEVE:

We’ve both had relationships, you

just as much as me. And I don’t

dredge up your old boyfriends.

Music

10:
33:38

DUR:
0’26”.

Specially

composed by

Carly

Paradis.

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X:

Music Ends

10:
34:04

10:
34:51

SAM:

None of them were suspects.

STEVE:

It was before we met.

SAM:

You’re protesting a lot for someone

that didn’t shag her.

STEVE:

Because I did stuff back then. I’m

different now. I only want to be

with you.

He hopes that will do the trick but she’s not

going to make it easy for him. He keeps driving.

STEVE (CONT’D)

We good?

SAM:

Yeah.

But they ride on in uneasy silence.

CUT TO:

INT. AC-12. LOBBY. MOMENTS LATER.

Hastings walks with Gill down the stairway.

Hastings is still wound up.

HASTINGS:

I can guarantee you one-hundredand-

ten-percent, none of my people

would plant evidence. They know I

would throw the book at them.

Followed by the bookshelf.

GILL:

I know you would, Ted. Maybe

this’ll cheer you up?

Gill passes Hastings a folder.

GILL (CONT’D)

Peace offering.

It’s an unredacted file on Ronan Murphy.

GILL (CONT’D)

An unredacted file on Ronan Murphy,

the suspect shot dead by Danny

Waldron.

HASTINGS:

I have been shifting heaven and

earth...

GILL:

Now you don’t have to.

HASTINGS:

(Not fully forthcoming)

Thank you, Gill. Thank you very,

very much.

GILL:

Ted, people are gunning for AC-12.

I’m just trying to make sure they

get as little ammunition as

possible.

Hastings studies her: perhaps she protests too

much?

HASTINGS:

(Not fully forthcoming)

I appreciate your efforts. Of

course.

Awkward beat. They continue to the reception

area. Gill tries to change the atmosphere.

GILL:

I’ve got a table booked across

town, a girlfriend’s cancelled on

me, if you want to take the edge

off?

HASTINGS:

Uh, no ... I think I better go home

to the wife.

GILL:

(Lightly)

Okay.

HASTINGS:

Thanks for the file.

Gill heads out through the revolving door. Her

light expression drops, and she looks

embarrassed.

Hastings, looks very troubled by the whole

exchange.

CUT TO:

Music

10:
35:43

DUR:
0’38”.

Specially

composed by

Carly

Paradis.

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10:
35:50

10:
36:16

INT. HASTINGS’ FLAT. THAT NIGHT.

Hasting gets home. He’s alone in an empty little

flat. He makes himself a cup of tea.

CUT TO:

INT. SOUTH FERRY POLICE STATION. GARAGE. MOMENTS

LATER.

Kate is waiting for Rod as he enters.

KATE:

Is this really the way you want it

go? Hari and Jackie are leading you

up the garden path.

ROD:

Nobody’s doing nothing.

Rod moves to go past her.

KATE:

This was a new posting for me, and

look what I’ve walked into. It’s

doing my head in, mate.

ROD:

How do you think I’m feeling?

KATE:

It must be ten times worse for you.

You’d think better of Jackie,

wouldn’t you?

Rod holds, knows she’s onto something, but

doesn’t give her anything.

KATE (CONT’D)

The little looks. The water works.

If I can see there’s something

going on between you two, I can’t

be the only one.

ROD:

(Very freaked, not convincing)

You know you’re just putting two

and two together and you’re coming

up with four hundred.

KATE:

First one to come clean to AC-12,

they always get off the lightest. If

it isn't gonna be you then maybe

it'll be me

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X:

Music Ends

10:
36:21

ROD:

What did he say before he died?

KATE:

I don’t know I couldn’t work it

out.

Bollocks.

ROD:

10:
37:35

10:
37:47

KATE:

Let’s just say, I know what’s going

on.

Suddenly Rod looks like the roof is going tofall in on him.

KATE (CONT’D)

This won’t just be your career up

the spout. This will be a long

stint inside. Plenty of time to

wonder if covering for Hari and

Jackie was your smartest move. And

prison’s such a lovely place for acopper.

Exit Kate. Rod is totally wound up.

CUT TO:

INT. SOUTH FERRY POLICE STATION. SQUAD ROOM.

NEXT DAY.

Rod is at his desk. He looks haunted. He waits

for Hari to leave his desk and then follows.

CUT TO:

INT. SOUTH FERRY POLICE STATION. CORRIDOR.

CONTINUOUS.

Rod catches up to Hari as Hari is about to gointo the Gents’.

ROD:

Hari.

HARI:

All right bud. Give a bloke some

peace, will you?

ROD:

This is getting out of hand. We

need to talk...

Music

10:
37:11

DUR:
1’15”.

Speciallycomposed by

CarlyParadis.

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10:
38:10

10:
38:21

Hari looks almost as edgy as Rod.

ROD (CONT’D)

Yeah?... Yeah?

Reluctantly, Hari nods.

ROD (CONT’D)

Not here, though right. I’ll...

I’ll figure out a place and a time.

(as he exits)

Yeah?

Exit Rod, leaving Hari looking worried.

CUT TO:

INT. AC-12. OPEN-PLAN OFFICE/HASTINGS’ OFFICE.

NEXT DAY.

At his desk, Steve hears an email ping into his

inbox. He checks his inbox and it’s from MEDICAL

EXAMINER. Quickly Steve enters the necessary

security code to open the file. The file is

headed:
POST-MORTEM EXAMINATION: Linus Murphy.

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