Line of Duty

CUT TO BLACK:

SUPER CAPTION:
PREVIOUSLY

Danny with binoculars. Sees Linus.

DANNY (V.O)

So many years, I wondered what I’d

do if I ever saw him again.

With Linus.

DANNY:

And then I did.

Danny sees photo of Ronan Murphy.

DANNY (V.O)

In a photo, in a briefing room. And

I was being sent to meet him with a

gun.

Danny shoots Ronan Murphy.

CUT TO BLACK:

SUPER CAPTION:
MARTIN COMPSTON VICKY McCLURE

CUT TO:

Outside Danny’s Flat with Steve.

DANNY:

When this is all done, Steve, I’ll

suffer for my actions. I’m under no

illusions of a happy ending.

Gun shot. BANG.

Kate rushes upstairs.

KATE:

Shot fired!

Music

10:
00:00

DUR:
2’04”.

Specially

composed by

Carly

Paradis.

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

Kate leaning over Danny who’s trying to say |

something. |

|

ROD |

What’s he saying? |

|

Later in the mess. |

|

ROD |

He whispered something to you. What |

did he say? |

|

KATE |

I’m not sure what he meant. |

|

10:
00:25

CUT TO BLACK:
|

|

10:
00:25 SUPER CAPTION: ADRIAN DUNBAR CRAIG PARKINSON |

|

CUT TO:
|

|

See Lindsay Denton in a prison cell as she |

prepares to go to court. |

|

STEVE (V.O)|

My job is to find any and all |

evidence. |

|

DEFENCE COUNSEL |

And what was found in the case? |

|

LINDSAY |

A large number of banknotes. |

|

DEFENCE COUNSEL (O.S)|

How did Detective Sergeant Arnott |

react? |

|

LINDSAY |

He didn’t bat an eye. |

|

10:
00:37

CUT TO BLACK:
|

|

10:
00:37 SUPER CAPTION: AND KEELEY HAWES |

|

CUT TO:
|

|

Cottan discovers a gun and an envelope addressed |

to Steve Arnott at Danny’s House. |

|

STEVE (V.O)|

I don’t think we should close the |

investigation into Danny Waldron’s |

background. I’d like to keep |

digging. |

|

Cottan pockets the list of names addressed to |

Steve.

|

|

10:
00:45

CUT TO BLACK:
|

|

10:
00:45 SUPER CAPTION: LINE OF DUTY |

|

CUT TO:
|

|

At Linus’s House. |

|

STEVE |

There’s evidence of prolonged |

torture, cause of death isn’t |

clear. |

|

DOT |

Cutting his head off, can’t have |

helped. |

|

10:
00:52

CUT TO BLACK:
|

|

10:
00:53 SUPER CAPTION: POLLY WALKER ARSHER ALI |

|

CUT TO:
|

|

Steve calls up an image of Danny Waldron. |

|

STEVE |

This photograph shows Danny Waldron |

as a teenager. |

|

Steve blows up a section of the photo, a coach, |

dressed in a tracksuit. |

|

STEVE |

This man’s a young Ronan Murphy, |

the suspect shot by Danny Waldron |

during Operation Damson. |

|

HASTINGS |

What? They knew each other? |

|

A photo of a young Linus Murphy. |

|

STEVE |

And this person bears a strong |

resemblance to Linus Murphy’s |

severed head. Danny knew him too. |

|

10:
01:08

CUT TO BLACK:
|

|

10:
01:08 SUPER CAPTION: LEANNE BEST JONAS ARMSTRONG

|

|

CUT TO:
|

|

In Denton’s Cell she prepares for court. |

|

LINDSAY |

No prior information of the |

operation to move Tommy Hunter. |

|

Cottan burns the list. Tommy Hunter’s name is |

crossed out. |

|

LINDSAY (V.O)|

I had no prior knowledge. No prior |

knowledge at all. |

|

10:
01:18

CUT TO BLACK:
|

|

10:
01:19 SUPER CAPTION: SHAUN PARKES MAYA SONDHI |

|

CUT TO:
|

|

Rod with Hari. |

|

ROD |

Kate knows about me and Jackie and |

Danny ... I’ve got to come clean |

to AC-12. The longer I leave it, |

the worse it looks. |

|

South Ferry Briefing Room. |

|

REYNOLDS |

It is with deep regret that I |

inform you all of the death of PC |

Rod Kennedy. |

|

Insert Rod Kennedy hanging. Then return to |

briefing room. |

|

REYNOLDS |

Rod’s body was found hanged at an |

industrial unit. |

|

Jackie rushes out. |

|

10:
01:37

CUT TO BLACK:
|

|

10:
01:38 SUP CAPTION: WRITTEN AND CREATED BY JED MERCURIO |

|

CUT TO:
|

|

Jackie at Hari’s house. It’s late. |

|

JACKIE |

We need to talk.

|

|

10:
01:46 CUT TO BLACK:

|

10:
01:46

10:
01:57

10:
01:57

10:
01:59

SUPER CAPTION:
PRODUCED BY PETER NORRIS

CUT TO:

AC-12 Interview room.

HASTINGS:

You are now declaring that PC Rod

Kennedy killed Sergeant Daniel

Waldron?

JACKIE:

Yes, sir.

HARI:

Rod killed Danny.

CUT TO BLACK:

SUPER CAPTION:
DIRECTED BY MICHAEL KEILLOR

CUT TO:

EXT. RIVERSIDE. NEXT DAY.

Jackie cycles along a towpath.

A distance away, Kate tracks her movements.

Jackie comes to a halt and waits.

Kate watches.

After a few beats, Hari appears.

Kate reacts with curiosity. She observes through

a pair of binoculars.

JACKIE:

Look. I’m sorry about this. It’s

just that... I’ve got no one else

to talk to right now.

HARI:

It’s fine.

JACKIE:

Look mate. I don’t think I can keep

going into the station. All the

stuff that’s going on behind our

backs. All the stuff that’s going

on to our faces.

On Hari.

|

|

|

|

|

|

|

|

|

|

|

|

|

X:

Music Ends

10:
02:04

Music

10:
01:56

DUR:
0’27”.

Specially

composed by

Carly

Paradis.

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

|

X:

Music Ends

10:
02:23

10:
03:27

10:
03:31

HARI:

Yeah, well Rod was a good bloke,

weren’t he? People can’t get their

heads ‘round it.

JACKIE:

Yeah. I can see why.

Through binoculars Kate observes.

HARI:

Look Jackie don’t do this to

yourself. My hands were on that

gun and I felt Rod force the

trigger. He killed Danny. You know

it was right to stick together. You

know when he was here but now he's

gone... We’ve got to move on.

Jackie looks very upset.

HARI (CONT’D)

Ah, come here.

Hari gives Jackie a hug; with his face hidden

from Jackie, a very troubled expression is

suddenly revealed --a man who’s lying, a man’s

desperate to cover the truth. And Kate sees it.

Kate picks up her mobile and makes a call.

CUT TO:

INT. AC-12. HASTINGS’ OFFICE. MOMENTS LATER.

Hastings’ internal phone rings. He answers it.

HASTINGS:

(Into phone)

Superintendent Hastings.

KATE (O.S)

(Into handset)

Hi. Sorry to bother you, sir.

CUT TO:

INT. KATE’S CAR. CONTINUOUS.

As before.

KATE:

(Into handset)

I just followed Jackie Brickford to

a meeting. With Hari Bains.

10:
03:34

10:
03:36

10:
04:08

CUT TO:

INT. AC-12. HASTINGS’ OFFICE. MOMENTS LATER.

Hastings ponders.

KATE (O.S)

(via handset)

He seems pretty bloody shifty to

me.

CUT TO:

INT. AC-12. OPEN-PLAN OFFICE. MOMENTS LATER.

Hastings wanders out of his office and walks

past Dot’s desk.

HASTINGS:

Dot. Just so you know, I’ve

authorised Kate to adopt direct

surveillance on Hari Bains.

DOT:

Nice one, gaffer.

HASTINGS:

Yeah. And I want Steve in on it

too.

DOT:

Absolutely.

Hastings moves on to Steve’s desk, observed by

Dot.

HASTINGS:

Steve... Get yourself over to South

Ferry when Hari Bains comes on

shift. Be visible.

STEVE:

Sir.

Dot looks ashen.

CUT TO:

INT. SOUTH FERRY STATION. SQUAD ROOM.

CONTINUOUS.

Hari’s phone beeps for the text. Nervously he

glances at the message:

Sit tight. Act normal.

Music

10:
04:02

DUR:
0’30”.

Specially

composed by

Carly

Paradis.

|

|

|

|

|

|

Hari looks deeply concerned

Hari sees Steve enter and immediately tension

racks up. He watches Steve tap on the door of

McAndrew’s office.

Rate this script:0.0 / 0 votes