Line of Duty Page #6

Sam moves to exit with her DC.

STEVE:

We’ve got an on-going interest...

SAM:

It’s ours now but we’ll keep you in

the loop as best we can.

10:
24:33

Exit Sam and her DC sharply.

Steve looks embarrassed in front of Kate, that

his personal tensions with Sam have affected

their work.

KATE:

(Sarcastic.)

Seems like you’re in everybody’s

good books.

Exit Kate, leaving Steve to look low and

embarrassed.

CUT TO:

INT. OFFENDER MANAGEMENT UNIT. NEXT DAY.

This is a tatty version of a job centre, filled

with a bunch of dodgy characters. New arrivals

take a ticket from a dispenser and a computer

voice instructs them where to go.

Lindsay clutches her ticket, number 41.

PA:

Ticket number 41, Booth 15.

Lindsay approaches the booth. In the booth next

door an angry man is arguing with the officer.

Lindsay trudges into the booth. Behind a desk

sits an Offender Management Officer, Tammy

Blakefield.

TAMMY:

(Looking at computer.)

Lindsay?

LINDSAY:

Yes.

TAMMY:

(Still looking at computer.)

My name’s Tammy. I’m one of the

Multidisciplinary Offender

Management Team.

(Sighs, weary.)

Is this is your first appointment.

LINDSAY:

Yep. I’m ready to restart my life.

TAMMY:

Lovely.

Music

10:
24:28

DUR:
0’22”.

Specially

composed by

Carly

Paradis.

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X:

Music Ends

10:
24:50

LINDSAY:

By re-joining the Police Service.

Nest door the argument gets heated.

Tammy is nonplussed.

TAMMY:

Uh.

She reads Lindsay’s file for a few seconds.

TAMMY (CONT’D)

It says here that you were

acquitted of Conspiracy to Murder,

you found guilty of Perverting the

Course of Justice.

LINDSAY:

Yes. I’m appealing against the

conviction. I’m going to clear my

name.

TAMMY:

You won’t be able to re-join the

Police with a criminal conviction.

LINDSAY:

I told you, I’m appealing. Have you

actually checked to see that I can

re-join?

TAMMY:

No, I haven’t “checked”.

LINDSAY:

Well then I would like to apply to

re-join the Police Service.

Lindsay fixes Tammy with a determined look.

Tammy returns a look that is pitying and

irritated. Lindsay reacts.

LINDSAY (CONT’D)

I’m sorry. Why are you looking at

me like that?

TAMMY:

Lindsay, I don’t know you, I’ve got

nothing against you, but I can’t

help you if you’re going to be in

denial. You’re an Offender, which

means there’s no chance you’ll be

able to re-join the Police.

10:
26:00

10:
26:16

LINDSAY:

Yet I’m not a criminal!

Lindsay looks miserable and bitter. Tammy

changes the subject.

TAMMY:

Let’s look on the bright side and

try getting you into work.

Everything follows from that.

LINDSAY:

Okay. Well I was a Detective

Inspector. I’ve got a valuable

skill-set.

CUT TO:

INT. SUPERMARKET. LATER THAT DAY.

Later in her shift, Lindsay mops the floor of an

aisle.

A chavvie family traipse through leaving muddy

footprints. Sniggering as they pass.

CUT TO:

INT. AC-12. MANEET’S DESK. CONTINUOUS

DOT:

So. Any news on them forensics?

MANEET:

Yes, sir.

(Nervous beat)

There were notable findings on the

inside the envelope recovered from

Danny Waldron’s flat.

She calls up evidence images of the envelope

found at Danny Waldron’s flat, and then the

forensic images of stains found on the inside;

all the time she talks in a low whisper.

MANEET (CONT’D)

They found a number of tiny stains,

less than a millimetre across. Ink.

Standard biro could have belonged

to anyone.

(Nervous beat)

And blood.

DOT:

And that’d be Danny’s, right?

Music

10:
25:59

DUR:
0’24”.

Specially

composed by

Carly

Paradis.

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X:

Music Ends

10:
26:23

10:
27:21

10:
27:35

MANEET:

No, sir. It matched to Linus

Murphy’s.

(Knows that’s significant)

The final report states that these

findings are consistent with a

blood stained note written during

or shortly after Danny Waldron’s

torture-murder of Linus Murphy.

Dot takes all this in with growing unease.

MANEET (CONT’D)

Should I send a copy to DS Arnott,

sir?

DOT:

No. No I’ll handle it for now. And

this is just between us for now?

Maneet nods, nervous of him.

DOT (CONT’D)

Nice one.

Exit Dot. Maneet continues to look nervous.

CUT TO:

INT. AC-12. LOBBY/VANTAGE POINT. MOMENTS LATER.

Steve leaves the building. Dot, from a hidden

vantage point, watches him go with a dark

expression.

CUT TO:

INT. APPROVED PREMISES. LINDSAY’S ROOM.

CONTINUOUS.

Lindsay slumps into the single bed and cradles

her head in her hands. She weeps uncontrollably.

There’s a knock at the door.

Lindsay pulls herself together rapidly and goes

to the door.

LINDSAY:

Who is it?

ROBIN (O.S)

Robin, from the Offender Management

Team.

Lindsay unlocks the door and opens it. Robin

looks like a regular 30-something bloke.

Music

10:
26:46

DUR:
0’54”.

Specially

composed by

Carly

Paradis.

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X:

Music Ends

10:
27:40

LINDSAY:

Come in.

Robin enters and Lindsay shuts the door.

ROBIN:

Were you issued with the

information leaflet?

Lindsay picks it up and waves it for him.

ROBIN (CONT’D)

Good. This is difficult for you.

And we’re here to help you pick up

the pieces.

LINDSAY:

How long do I have to stay here?

ROBIN:

You served half your sentence and

now you’re out on licence. You

understand all this, of course. We

want to help you move on but it’s

not gonna be easy. You’re gonna

need money for rent, for living

expenses.

Lindsay looks low.

ROBIN (CONT’D)

I can help you now, if you want.

Ten quid.

Robin gives her nothing in his manner or look,

so it takes Lindsay a few beats to figure out

what he means. She challenges him.

LINDSAY:

What are you saying?

ROBIN:

I was just going through the role

of the M.O.M.T. in your adjustment

to life after prison.

He continues to gaze at her with no

incriminating gestures or postures for a couple

of beats. Lindsay doesn’t react.

Lindsay opens the door for him to leave.

ROBIN (CONT’D)

Nice meeting you, Lindsay.

Music

10:
29:00

DUR:
0’44”.

Specially

composed by

Carly

Paradis.

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10:
29:40

Exit Robin. Lindsay moves after him to the door

and locks it hurriedly. She isn’t 100% sure what

just happened.

CUT TO:

INT. RESTAURANT. THAT NIGHT.

Hastings and Gill have dinner together. She

drinks white wine eagerly, while he’s more

cautious.

GILL:

We both have such busy schedules. I

don’t think the taxpayer will mind.

He laughs nervously.

GILL (CONT’D)

Shame I’m going to ruin the

evening.

HASTINGS:

Right. Well you know you can speak

freely.

GILL:

I can’t tell you how to run your

department, but I want you to move

Steve Arnott on, make him some

other department’s problem.

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