Line of Duty
Season #2 Episode #1- NOT RATED
- Year:
- 2012
- 60 min
- 1,276 Views
Line of Duty #2.1 cherry revisions 25.6.13 2.
103 CONTINUED:
CAST CREDIT:
INTERCUT:
104 INT. 4TH ST STATION. DUTY DESK. MOMENTS LATER.
Lindsay listens to a female voice on the other end of the
phone, talking rapidly.
AKERS (O.S.)
(From phone.)
request for urgent assistance,
immediate and credible threat to
life -
Lindsay immediately looks concerned.
SMASH CUT TO:
105 INT. 4TH ST STATION. SQUAD ROOM. MOMENTS LATER.
Lindsay marches through the squad room, putting on a stab
vest, O’Neill following. She points to a couple of uniforms,
SGT ALEX WALLIS (30s) and PC VINCENT BUTLER (20s), both male,
both burly.
LINDSAY:
Wallis, Butler, we’re going out.
(To O’Neill.)
Need Gold to sign off.
O’NEILL
The Chief Super’s gone home.
LINDSAY:
Then call him at home.
INTERCUT:
CAST CREDIT:
INTERCUT:
106 INT. 4TH ST STATION. SQUAD ROOM. MOMENTS LATER.
O’Neill hangs on a telephone, hearing a ring tone that cuts
to a voicemail message.
(CONTINUED)
Line of Duty #2.1 cherry revisions 25.6.13 3.
106 CONTINUED:
MALLICK (O.S.)
(Voicemail message.)
Chief Superintendent Mallick:
please leave your name and number -
O’NEILL
Not picking up his mobile either.
Lindsay’s anxiety level jumps up a notch.
O’NEILL
Really ought to give him another
five minutes.
She thinks about it for a fraction of a second, then moves
off sharply.
O’NEILL
Ma’am -
She darts towards her office. O’Neill knows exactly what
she’ll be doing.
O’NEILL
(Disgusted.)
There she goes.
INTERCUT:
LINE OF DUTY:
INTERCUT:
107 INT. 4TH ST STATION. LINDSAY’S OFFICE. MOMENTS LATER.
Holding the receiver, Lindsay hears the ring tone. She waits
anxiously for her call to be answered. The rest of the
station watches her through her office window.
DRYDEN (O.S.)
(From phone.)
Mike Dryden.
LINDSAY:
(Into phone.)
Sir, this is DI Lindsay Denton.
CUT TO:
Line of Duty #2.1 cherry revisions 25.6.13 4.
108 INT. DRYDEN’S HOUSE. CONTINUOUS.
DEPUTY CHIEF CONSTABLE MICHAEL DRYDEN (late 40s/early 50s)
takes the call in his large suburban home. HELEN DRYDEN, his
wife, hovers in the background.
DRYDEN:
(Beat. Into phone.)
How can I help you, Linda?
INTERCUT:
CAST CREDIT:
INTERCUT:
109 EXT. 4TH ST STATION. CAR PARK. MOMENTS LATER.
Lindsay, Wallis and Butler race out of the station into the
car park, pulling on their coats.
WALLIS:
We allowed to know where we’re
going?
LINDSAY:
Suspect in a missing persons
enquiry, need him in for
questioning.
Lindsay fails to convince them.
Wallis and Butler head towards a liveried squad car.
LINDSAY:
No. We’re taking my car.
BUTLER:
What?
LINDSAY:
Come on!
They run to Lindsay’s car.
INTERCUT:
WRITER CREDIT:
INTERCUT:
Line of Duty #2.1 cherry revisions 25.6.13 5.
109A INT. LINDSAY’S VEHICLE. CONTINUOUS.
Lindsay gets into her car. She starts the engine and puts on
her seat belt. Wallis in the passenger seat and Butler in the
back do the same.
WALLIS:
Ma’am ... what’s really going on?
LINDSAY:
(Tempted to confide.
Beat.)
Told you.
Lindsay looks daunted. She pulls out.
CUT TO:
110 EXT. 4TH ST STATION. CAR PARK. MOMENTS LATER.
Lindsay’s car races out of the station. She turns on the blue
lights, speeding off into the night.
CUT TO:
110A EXT. FLY-OVER. MOMENTS LATER.
Lindsay’s car on a blue light speeds through traffic on an
urban fly-over.
INTERCUT:
PRODUCER CREDIT:
INTERCUT:
111 INT. AC-12. CORRIDOR. MOMENTS LATER.
Kate hunkers in a gloomy corridor, her thumb hanging over
RICHARD AKERS’ missed call. Suddenly the phone rings, the
same name coming up on caller ID. She takes the call.
RICH (O.S.)
Kate?
She doesn’t answer.
RICH (O.S.)
Kate -- you there? -- Kate?
(CONTINUED)
Line of Duty #2.1 cherry revisions 25.6.13 6.
111 CONTINUED:
She hangs up. She looks highly conflicted.
INTERCUT:
DIRECTOR CREDIT:
END OF TITLE:
SEQUENCE; CUT
TO:
112 EXT. ST. JAMES’S CLOSE. LATER THAT NIGHT.
Lindsay’s car (blue lights off now) pulls up in a quiet,
middle-class neighbourhood.
Lindsay, Wallis and Butler get out. An unmarked vehicle is
parked on the drive of a detached new-build house -- all the
house lights are out, it looks deserted.
They exchange looks. Lindsay is puzzled, not sure what to
make of the deserted house.
From the shadows, suddenly DET SGT JAYNE AKERS (early 30s)
advances towards Lindsay.
AKERS:
DS Akers. Thanks for stepping in,
ma’am. Let’s keep this between us
for now.
Akers throws a look to Wallis and Butler. Lindsay moves into
the shadows with Akers, leaving them behind. They talk in
murmurs. Wallis and Butler take a keen interest.
AKERS:
I need a safe and available
destination asap.
LINDSAY:
4th Street Station’s 15 minutes. We
can move him there till you receive
further orders.
AKERS:
Straight into town?
LINDSAY:
I’d take the back roads.
AKERS:
(Beat. Nods.)
You lead.
(MORE)
(CONTINUED)
Line of Duty #2.1 cherry revisions 25.6.13 7.
112 CONTINUED:
AKERS (CONT'D)
(Gives car keys and
radio.)
Have your men in my car, engine
running, ready to go.
LINDSAY:
I’m taking the rest of your team?
AKERS:
It’s just me.
LINDSAY:
What?
AKERS:
Ma’am, please -
LINDSAY:
Okay.
Akers hurries into the house.
Lindsay runs to Wallis and Butler, handing them the keys and
radio.
LINDSAY:
Start her up, follow me when
loaded, leave the car radio on
Channel 1 but personal radios backto-
back on 2.
BUTLER:
Who’s in the house?
LINDSAY:
I don’t know. Now move. Please.
They go to the unmarked car on the drive.
Lindsay runs to her car and starts the engine. She picks up
her personal radio and dials it to Channel 2.
At the same time, Butler starts the engine of the car on the
drive. A second later Akers hurries out of the house, not
even shutting the front door behind, accompanied by a figure
with a blanket over his head.
Lindsay watches, shocked and daunted.
Akers pushes the blanketed figure onto the back seat and gets
in beside him.
(CONTINUED)
Line of Duty #2.1 cherry revisions 25.6.13 8.
112 CONTINUED:
(2)AKERS:
Go, go!
Lindsay accelerates out of the cul-de-sac. The other car
follows quickly.
CUT TO:
113 INT. LINDSAY’S VEHICLE. MOMENTS LATER.
The vehicle winds along back roads. A sat-nav system sits on
the dashboard.
In the mirrors, Lindsay glances at Akers’ vehicle following
behind.
She keeps going fast, peering ahead at a deserted, unlit
country road.
CUT TO:
114 EXT. CROWN AVENUE JUNCTION. MOMENTS LATER.
Lindsay’s car and Akers’ approach a junction; the road goes
straight ahead or there’s a sharp left turn. Lindsay
indicates to turn left.
CUT TO:
115 INT. AKERS’ VEHICLE. CONTINUOUS.
Akers sits in the back with the blanketed figure. Wallis and
Butler, in the front, see Lindsay indicate.
BUTLER:
What’s she playing at?
Wallis keys his personal radio.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Line of Duty" Scripts.com. STANDS4 LLC, 2024. Web. 14 Oct. 2024. <https://www.scripts.com/script/line_of_duty_772>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In