Line of Duty Page #15

But then she sees the vehicle turn sharply right

to enter the fly-over. Suddenly she sees one

last chance.

Kate shaken runs towards the first stairwell.

Out on Dot in the back of the 4x4.

CUT TO:

EXT. FIRST STAIRWELL. CONTINUOUS.

Kate struggles up the stairwell in a race

against time, gasping for breathing.

CUT TO:

EXT. FLY-OVER. CONTINUOUS.

Kate stumbles up on to the fly-over just as the

4x4 approaches --but her line of fire is

Music

11:
20:36

DUR:
1’59”.

Specially

composed by

Carly

Paradis.

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11:
21:29

11:
21:43

11:
21:58

blocked by a white van so she’s forced to let it |

go. She despairs. Dot looks round and sees Kate. |

She starts off wincing in pain to pursue the |

4x4. |

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CUT TO:
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INT. AC-12. OPEN-PLAN OFFICE. CONTINUOUS. |

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The AFO who was wounded earlier hasn’t made it |

and his body is covered up. The first aider is |

consoling a woman. |

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MANEET |

PC Bindra, AC-12. I am still |

awaiting the requested information. |

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Kate hasn’t answered Hastings’ call. He’s very |

concerned. |

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HASTINGS |

(Generally.)|

Keep on everybody. One of our own’s |

out there in harm’s way. I need to |

know what’s going on! |

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The staffers can’t help and Maneet is still on |

the phone.

MANEET:

(Into phone.)

Our officer’s at Moss Heath fly-

over. We need a location on those

armed units, sir.

EXT. FLY-OVER. CONTINUOUS.

Kate running after the 4 x 4. Then as the 4x4 |

goes down the slope, it turns a sharp left turn. |

Kate’s got one last chance. She sees it speed |

along a “pig run” down below, and then turn |

quickly away. |

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CUT TO:
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EXT. FLY-OVER/SECOND STAIRWELL. CONTINUOUS. |

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Kate scrambles into a sniper position, over the |

side of the fly-over, her gun aiming towards a |

park with rubbish containers. Kate selects |

single-fire on her G36 and sets herself, |

breathing hard, fighting to control her body |

movements. |

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CUT TO:
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11:
22:30

The vehicle appears in the distance between

houses, in front of the park, and she gets off a

shot. The front side window of the 4x4 explodes

and inside the 4x4 pulls left to right with Dot

bashing his head on the window. The car swerves

and crashes.

Kate moves off quickly, towards the second

stairwell.

CUT TO:

EXT. CRASH LOCATION. CONTINUOUS.

Kate runs to the location in front of the park.

The 4x4 is crashed against another vehicle/a

wall a distance on from where the shot struck.

BYSTANDER:

We need an ambulance.

KATE:

Armed Police. Get back.

The bystanders step away and Kate looks at the

vehicle. She can see one gunman dead from her

gunshot. The driver is unconscious and bleeding.

Almost fainting with pain and fatigue, Kate

limps slowly aproaches vehicle.

KATE (CONT’D)

(to bystanders)

Get back.

Dot clambers out, bleeding from a head wound

(from the crash, not a bullet) shaken and

disorientated, and starts to make his getaway,

stumbling and almost falling over.

KATE (CONT’D)

Dot, drop the gun. Put it down!

He stumbles towards Kate. Then from the corner

of his eye he sees a gunman in motorcycle gear

and helmet. His automatic firearm pointed at

Kate.

Kate raises her carbine.

The gunman reacts --raising his gun at her.

Dot sees what’s about to happen. He pushes Kate

aside.

DOT:

NO!

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X:

Music Ends

11:
22:35

Music

11:
22:52

DUR:
0’24”.

Specially

composed by

Carly

Paradis.

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--and he jumps in the line of fire, getting cut

down by the gunman’s bullets that are aimed at

Kate.

Kate opens fire on the gunman, killing him

instantly.

The first distant police sirens are heard. The

sirens get louder. The armed unit arrives.

It pulls up sharply and four AFOs leap out, led

by Sgt Briggs, carbines aimed at Dot and Kate.

AFO SGT BRIGGS:

ARMED POLICE! DROP YOUR WEAPON! ON

THE GROUND, HANDS BEHIND YOUR HEAD!

KATE:

(Complying.)

I’m AC-12!

AFO SGT BRIGGS:

(To bystanders.)

EVERYONE BACK!

KATE:

AC-12!

AFO SGT BRIGGS:

(To bystanders.)

EVERYONE GET BACK NOW!

Kate sees Dot’s still barely alive. She bends

close to him.

AFO SGT BRIGGS (CONT’D)

GET AWAY FROM HIM!

Kate hears Dot’s dying murmur.

KATE:

I’m taking his Dying Declaration

now Sergeant you will stand down!

Kate pulls out her phone. AFO Sgt Briggs signals

for the AFOs to keep calm and let her. Kate

opens the voice memos app and puts it close to

Dot’s lips.

KATE (CONT’D)

Come on, Dot. Say it... Come on,

Dot.

DOT:

(Barely audible.)

Fairbank...

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X:

Music Ends

11:
23:16

Music

11:
23:28

DUR:
0’50”.

Specially

composed by

Carly

Paradis.

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11:
24:12

11:
25:01

Dot continues to murmur with his dying breaths,

as Kate holds the phone to his lips, the AFOs

stand guard, and squad cars and ambulances

arrive on blue lights to surround Dot’s dying

tableau...

The camera pulls back. A wide shot of Dot’s

dying tableau as bystanders are led away and the

area is cordoned off.

Pull further and further back

CUT TO BLACK:

INT. CUSTODY CELL. LATER THAT DAY.

The door opens, letting in light. On the bunk,

half asleep, Steve orientates himself. The

Custody Sgt faces him.

CUSTODY SGT:

You’re free to go.

Steve is stunned. The Custody Sgt steps away,

revealing Kate.

STEVE:

Kate?

KATE:

Who else would it be?

Steve realises she’s the only one who’s believed

in him. He’s deeply touched. He stands up and

they hug.

STEVE:

Thanks, mate.

Kate steps back.

KATE:

Come on, let’s get you home...

CUT TO:

EXT. BOWLING GREEN. A FEW DAYS LATER.

Fairbank enjoys a game of bowls with his Masonic

cronies, having a great laugh when his shot

knocks his opponent’s winning position away from

the jack.

A liveried squad car pulls up in the car park.

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X:

Music Ends

11:
24:18

Music

11:
24:27

DUR:
2’37”.

Specially

composed by

Carly

Paradis.

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11:
25:08

11:
25:28

11:
25:41

11:
25:45

11:
25:52

11:
25:54

CAPTION:
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Matthew Cottan’s Dying Declaration provided |

crucial evidence in AC-12’s case against Patrick |

Fairbank. |

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MASONIC CRONIES |

Good shot, sir. Well done. |

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Fairbank turns to see Hastings and Steve get |

out. Hastings looks triumphant, and the colour |

drains from Fairbank’s face. |

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He is cuffed. |

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CAPTION:
|

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Patrick Fairbank’s application to discontinue |

legal proceedings was rejected by the Crown |

Prosecutor.

And led away.

EXT. BIG GARDEN. A FEW DAYS LATER.

Morton mows the lawn of a nice looking domestic |

garden. |

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CAPTION:
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Detective Constable Nigel Morton retired on a |

full pension and remains in receipt of |

disability benefits. |

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CUT TO:
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EXT. GRAVEYARD. A FEW DAYS LATER. |

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Pan down a wooden cross marking the grave. |

LINDSAY DENTON 12.04.1976 – 17.07.2015 |

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CAPTION:
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The Coroner praised Lindsay Denton’s|

“significant contribution” to inquiries into the |

Caddy and Sands View Boys’ Home. |

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Wider angle. |

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Lindsay Denton’s grave lies beside her mother’s |

in a lonely unvisited spot. |

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CAPTION:
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