Line of Duty Page #6

CUT TO:

EXT. HARI’S HOUSE. CONTINUOS.

Music

10:
26:57

DUR:
1’48”.

Specially

composed by

Carly

Paradis.

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10:
27:25

10:
28:05

10:
28:16

10:
28:22

Jackie leaves the house and heads towards her

car. Once inside she pulls out her phone. From

the contact list she chooses a name (to be

cleared) and in brackets it says “Helen FED

REP”.

JACKIE:

(Into phone)

Yeah, I’m sorry I know it’s late. I

need to go in and see AC-12. And

I’m gonna need a solicitor...

Jackie looks like she’s crossed the Rubicon.

From her vantage point established in Sc. 338,

Kate observes, pleased with the outcome.

CUT TO:

INT. PRISON CELL. NEXT DAY.

Lindsay, wide awake, her gaze intense, the full

force of her concentration on the task ahead of

her.

PRISON OFFICER (O.S)

Stand away from the door.

CUT TO:

INT. COURT LOBBY. LATER THAT DAY.

Hastings and Gill make their way to the court

through the bust lobby.

CUT TO:

INT. COURT ROOM. LATER THAT DAY.

In a packed court, Lindsay crosses from the dock

to the witness box. Now seated at the front of

the public gallery Hastings and Gill.

JUDGE:

Ms Denton, you remain under oath.

LINDSAY:

Thank you, My Lady.

PROSECUTOR:

Ms Denton, in your Examination in

Chief by your own counsel, you made

a number of references to an

undercover operation conducted by

Detective Sergeant Arnott of

Anticorruption Unit 12?

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X:

Music Ends

10:
28:45

LINDSAY:

Yes, I did.

PROSECUTOR:

Did any of these operations involve

Detective Sergeant Arnott being

present at your home?

LINDSAY:

Some did.

PROSECUTOR:

You were alone with Detective

Sergeant Arnott?

LINDSAY:

Sometimes.

PROSECUTOR:

And on all these occasions there

were no other police officers in

the vicinity?

LINDSAY:

There was a constable stationed

outside the house.

PROSECUTOR:

Where outside?

LINDSAY:

On the door-step.

PROSECUTOR:

And where did sexual relations take

place?

LINDSAY:

In the bedroom.

PROSECUTOR:

And how was the bedroom accessed?

LINDSAY:

Via the stairs.

PROSECUTOR:

And how far do the stairs lie from

the front door?

LINDSAY:

I don’t know. 3 or 4 metres from

the front door.

PROSECUTOR:

From the plans of your home

obtained by the Prosecution, the

distance is 2.7 metres.

LINDSAY:

If you say so.

PROSECUTOR:

I don’t “say” so. It’s a fact, and

if I’m inaccurate I’ll be

corrected. There are written

statements by all the officers

stationed outside the door in early

October, and not one recalls

hearing you and Detective Sergeant

Arnott go upstairs together.

LINDSAY:

Well. That doesn’t surprise me.

PROSECUTOR:

It doesn’t surprise you that

trained police officers, on guard

duty, in a high state of vigilance,

don’t hear the two of you go

upstairs for sex when he or she is

less than 3 metres away?

LINDSAY:

We were discreet.

PROSECUTOR:

You’ve told the Jury that this

intimacy with Detective Sergeant

Arnott won your trust, and

therefore you permitted him

unsupervised access to your home?

LINDSAY:

There were times when I was

napping, or in the bath or shower,

and he was free to roam the

premises. I trusted him completely.

PROSECUTOR:

And you’ve alleged that on one of

these occasions Detective Sergeant

Arnott planted a sum of money in

your late mother’s overnight case;

Did you witness Detective Sergeant

Arnott bringing the fifty thousand

pounds into your home?

Lindsay remains cool.

LINDSAY:

No.

PROSECUTOR:

Did you ever witness Detective

Sergeant Arnott having access to

tens of thousands of pounds in

cash?

LINDSAY:

He’d hardly do it openly. Corrupt

officers have access to criminal

contacts.

JUDGE:

Please answer the question you’ve

been asked.

PROSECUTOR:

Did you ever witness Detective

Sergeant Arnott with such an

enormous sum of cash?

LINDSAY:

I don’t know how Steve Arnott got

hold of the money and then got it

into my house.

PROSECUTOR:

Yes Ms. Denton, you’ve answered.

LINDSAY:

And I’m still answering. If I’m

inaccurate, I’ll be corrected.

HASTINGS:

The nerve of that one.

LINDSAY:

(To the Jury.)

Steve Arnott had my complete trust

and the trust of the officers on

guard duty. He could easily have

picked his moment to plant the

money and I firmly believe that

that is the best explanation for

how it came to be there, because I

had never seen that money before.

Lindsay gazes imploringly at the Jury, and the

Jury look sympathetic. The Prosecutor goes on

the offensive.

PROSECUTOR:

Were you aware that you were under

investigation by Anticorruption

Unit 12?

LINDSAY:

Yes, I was.

PROSECUTOR:

And were you co-operating with that

investigation?

LINDSAY:

Yes, I was.

PROSECUTOR:

You were being completely honest,

to the best of your knowledge, in

assisting with their enquiries?

LINDSAY:

Yes, I was.

PROSECUTOR:

And had you always been completely

honest with Anticorruption Unit 12?

Off Lindsay’s hesitation.

JUDGE:

Please answer, Ms Denton.

LINDSAY:

It was a complex case and there

were many details that were elusive

and at times required further

thought and examination before I

could give a definitive answer.

PROSECUTOR:

Did you lie in relation to matters

surrounding the Conspiracy to

Murder Tommy Hunter?

JUDGE:

Ms Denton.

Lindsay looks at the Judge who is getting

impatient.

LINDSAY:

As I said, it was a complex case.

And many details were difficult to

define or recollect.

PROSECUTOR:

Did you lie about having prior

knowledge of Hunter?

LINDSAY:

No.

Music

10:
32:21

DUR:
0’52”.

Specially

composed by

Carly

Paradis.

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PROSECUTOR |

You lied about having prior |

knowledge of Hunter, didn’t you? |

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LINDSAY |

No. |

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PROSECUTOR |

You told the investigators lie |

after lie, to confound them, and to |

pervert the course of justice, |

didn’t you? |

|

LINDSAY |

It wasn’t like that. |

|

PROSECUTOR |

It was like that. You wove a web of |

deceit to confound the |

investigators and to protect |

yourself. And you’ve the effrontery |

to attempt to deceive this Jury. |

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LINDSAY |

No. |

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PROSECUTOR |

Did you fabricate the improper |

relations between you and Detective |

Sergeant Arnott? |

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LINDSAY |

No. |

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PROSECUTOR |

Did you fabricate the planting of |

evidence against you? |

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LINDSAY |

No. |

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PROSECUTOR |

Lindsay Denton, aren’t you an |

artful, devious person who has |

betrayed the trust placed in her as |

a police officer? |

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LINDSAY |

No. |

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PROSECUTOR |

And haven’t you repeatedly and |

shamelessly connived to obstruct |

those who would bring you to |

justice? |

10:
33:09

LINDSAY:

No, I haven’t.

The Prosecutor eyes Lindsay.

In the public gallery, Hastings looks on.

Lindsay looks frazzled and unsure of herself,

under the questioning looks of the Jury.

CUT TO:

INT. CAFE. LATER THAT DAY.

Hastings and Gill sit at a table in a quietcorner.

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X:

Music Ends

10:
33:13

HASTINGS:

Watching that circus really turned

my stomach.

Beat.

HASTINGS (CONT’D)

Listen. I owe you an apology for

the other night.

(Off her blank look)

Your dinner invitation.

GILL:

You’re a married man.

HASTINGS:

This is it.

10:
33:40

GILL:

But here we are, two colleagues,

having a drink. And the sky hasn’tfallen in yet.

She looks at him over her coffee cup, somethingmischievous playing in her eyes, and it makeshim smile.

HASTINGS:

Yes... Yes...

CUT TO:

INT. AC-12. LOBBY. NEXT DAY.

Jackie enters the lobby with her solicitor and

rep in tow.

CUT TO:

Music

10:
33:33

DUR:
0’34”.

Speciallycomposed by

CarlyParadis.

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