Ashes to Ashes, series one, episode two.
Writer: Ashley Pharoah
Director: Jonny Campbell

xxxx

Full screen BBC 1 clock c.1981; it's almost nine o'clock.

CONTINUITY ANNOUNCER:
First, the news with John Humphreys.

News jingle plays. Nine O'clock News intro. ALEX is reclining in her dressing gown on the sofa in her flat, TV remote in hand.

JOHN HUMPHREYS on TV:
Egypt has made another move against Islamic fundamentalists, this time taking control of the country's 40,000 private mosques. It's apparently to make...

ALEX presses the remote to switch channels. Panorama music plays.

ALEX:
Note to psyche - a little less irony, a little more Dynasty, please.

DAVID DIMBLEBY on TV:
Good evening. In Panorama tonight, we look at the chances of international agreement to limit trading wars between...

ALEX presses the remote to switch channels again.

ANGELA RIPPON on TV:
The eyes of the world will be on Lady Diana Spencer as she becomes the wife of the heir to the throne and takes the prince's...

Footage of Charles and Di. ALEX sighs and switches channels again. CAROLINE is making a statement; a young black man, presumably her client, standing at her elbow.

CAROLINE on TV:
It's been a long, hard struggle for justice, but today a jury found my client not guilty of assaulting a police officer.

ALEX gets up and moves on her knees much closer to the TV.

CAROLINE on TV:
Up until today there has been no recognition from the Metropolitan Police that there had been anything wrong with the way this investigation had been carried out.

ALEX puts her hand on the TV screen, touching her mother.

CAROLINE on TV:
Today, finally, up against the wire, confronted by their own...

ALEX:
Mum.

CAROLINE on TV:
... lies and evasions, it has been admitted.

REPORTER OFF SCREEN on TV:
Ms Price, can you clarify that statement...?

ALEX:
Mummy...

Abruptly the TV channel changes to DAVID DIMBLEBY shaking his finger in admonishment.

DAVID DIMBLEBY on TV:
You do what your mother says.

The channel changes again to CAROLINE standing in a school hall:

CAROLINE on TV:
Everyone else has gone home to watch the...

Pictures of Charles and DI superimposed on one of St Paul's Cathedral on the TV.

CAROLINE on TV:
...royal wedding with their parents.

Little girl in red school uniform sitting cross-legged on the floor of the hall, all alone.

CAROLINE on TV:
But you're staying here on your own, Alex.

ALEX's hand goes back to the TV screen, first touching her own image as a little girl, then CAROLINE's.

CAROLINE on TV: (to unseen person)
Make sure she concentrates. She's easily distracted. Goodbye, Alex.

ALEX: (to the TV)
It's not real. I will not get upset.

MEMORY
Child's laughter.
A red balloon disappearing up out of shot; CAROLINE leaning out of the window from the passenger seat of a blue Ford Escort.

CAROLINE in memory:
Alex!

MEMORY
Car exploding.

ALEX: (to the TV)
I'm here to see them die before they die, aren't I?

Opening credits:

ALEX voiceover:
My name is Alex Drake. I've just been shot and that bullet has taken me back to 1981. I may be one second away from life, or one second away from death. All I know is that I have to keep fighting. Fight to live, fight to see my daughter. Fight to get home.



CID. Shaz is busy typing; Chris comes over to talk to her under the guise of getting a document.

CHRIS:
You still on for tonight, Shaz?

SHAZ:
Might be, might not be.

CHRIS walks back to his desk. ALEX enters, very perky.

ALEX:
Good morning, imaginary constructs.

CHRIS:
Morning, ma'am.

ALEX:
It actually looks quite busy in here, what's going on?

CHRIS:
Oh, the guv's like a dog on a hot tin roof. Special Branch are all over him about the royal wedding.

On cue, GENE's office door opens and out steps the man himself.

GENE:
In case some of you hadn't noticed, we are about to witness the joyous union of Prince Charles and Lady Diana Spencer. In the meantime, we've got a bunch of jessies on the Isle of Dogs about to stage a protest.



MUSIC: 'Swords of A Thousand Men' Tenpole Tudor

The Quattro speeds round a corner and into a tunnel. ALEX in the passenger seat looks concerned and reaches for her seatbelt.

ALEX:
Why the rush?

GENE:
Gotta stamp on this before the press get wind of it.

GENE realises what ALEX is doing.

GENE:
Take that seatbelt off, you're a police officer, not a bloody vicar!

ALEX considers this and lets go of the seatbelt. The Quattro races on, newspaper dancing in its wake, into another tunnel. At the end of which a man is stacking up a wall of cardboard boxes right across the road.

ALEX:
I know this bit. I know this bit!

GENE brakes sharply inches away from the boxes, throwing ALEX forward, her hands on the dashboard to stop herself going through the windscreen. She gives GENE a look; it's not supposed to go like that. GENE puts the car into reverse.

GENE:
Right, we'll go the long way round. I'm not scratching this baby.

# When the knights come along at the end of the day
# Some were half-alive and some had run away #

GENE, reversing at speed, turns to ALEX and raises his eyebrows. ALEX raises her eyebrows right back and looks around in comic boredom.

# But hear our triumph, hear our roar #

The Quattro spins round to face the right way at the end of the tunnel with a screech of tyres, still at impressive speed.

# We'll probably drink a barrel of ale and much, much more #

ALEX:
I thought we were in a rush?

# Hoorah, Hoorah, Hoorah, Yea
# Over the hill with the swords of a thousand men #

Eventually the Quattro pulls up outside a pub, cutting right across the path of an Allegro, which sounds its horn.



GENE and ALEX march into the pub; the tables covered in dustsheets. RAY, CHRIS and two uniformed officers are standing behind the bar.

RAY:
Family have locked theirselves in upstairs, say they're not coming down.

CHRIS:
This is the last place left, guv, the rest have been compuls... compuls... They didn't want to leave but they've had to.

GENE:
Any journalists?

CHRIS:
No, just a couple of locals.

RAY:
This is hardly CID stuff, guv, is it?

GENE:
It's like a powder keg round here, just waiting for a spark. It's not going to happen. Not this week. Not on my patch. Not for Di. Chris, get up there and kick the door down. Let's get 'em out of there.

ALEX:
Well, hang on. Why risk a spark? Who's the dominant personality up there?

GENE looks away in exasperation.

RAY:
Landlord, David Bonds. Hard as nails.

ALEX:
Who else?

RAY:
His wife, who wouldn't say boo to a goose. Son, who looks as though he might have spent too much time in the shallow end of the gene pool.

RAY and CHRIS snigger.

ALEX:
OK. Look and learn, constructs.

ALEX goes outside again, RAY rolling his eyes behind her back.

GENE:
Right, let her do her stuff for a minute, then break the sodding door down.



Outside the pub, which we now see is called The Finish, ALEX looks up to the windows and calls up to the windows above.

ALEX:
Mr Bonds? Mr Bonds?

BY-STANDER:
What's happening?

GENE has also come outside.

GENE: (to BY-STANDER)
Shut up!

ALEX:
Mr Bonds, my name's DI Alex Drake.

A window opens, but no other response.

ALEX:
I wonder if myself and my colleague could come up and have a chat? See if we could help you achieve the conclusion you're looking for?

Still no response. ALEX's confident smile starts to slip. GENE looks at her, looks up at the window, looks at her again and starts to walk back to the pub entrance rather smugly.

GENE:
Right. Let's get the door down.

ALEX doesn't move. GENE gets to the entrance and a bunch of keys drops down in front of his face, presumably from the window above. GENE stops, looks at the keys, looks up at the window, looks at the keys again. ALEX walks up behind him, smirks and grabs the keys. GENE is not pleased.



The BONDS flat above the pub. MR BONDS is sitting in an armchair, lord of his domain; his wife MRS BONDS standing to the left behind tea pot, cups etc, looking nervous; his son GEORGE to the right, hunched over, drawing on an army surplus haversack.

MR BONDS:
My dad was the landlord of this pub, and his dad before him. It'll be his (indicating GEORGE) when the time's right.

GENE and ALEX are sitting on a two-seater sofa opposite; ALEX neatly upright, cup in hand; GENE slouching, dunking a biscuit in his tea.

MR BONDS:
Generations of skilled workers drank here. Now they've all been chucked on the slag-heap by Thatcher and Heseltine. Homes destroyed to make buildings and offices, with no new homes built to replace 'em!

ALEX:
The march of history, Mr Bonds.

GENE looks fed up.

MR BONDS:
Hitler couldn't drive my dad out of this pub, and I'll tell you this, Mr Hunt, no poxy Docklands development's going to succeed where the Luftwaffe failed! We ain't going nowhere!

MRS BONDS walks over to top up GENE and ALEX's tea.

ALEX:
The thing is, Mr Bonds, that...

GENE:
Where will you be watching the, er, the royal wedding?

MR BONDS:
We won't be watching it anywhere! It's a charade, to paper over the cracks of mass unemployment and the wholesale destruction of working-class communities!

GENE:
You're a cheerful bugger, you are, aren't you?

GEORGE:
Inbred bloody fascists.

MR BONDS:
Don't you dare swear in front of your mother!

GEORGE:
Sorry, Dad.

MR BONDS:
Idiot!

GENE:
Mr Bonds, I'm not interested in spoiling your protest. What I do ask is that you sit up here quietly until after Di and Charles have tied the knot. Can we shake hands on that?

GENE stands, hand out to seal the deal. MR BONDS moves as if to get up and take it.

ALEX:
Can I just say...?

GENE interupts, eager to cut her off, and walks over to MRS BONDS to get a biscuit.

GENE:
Do you mind I have another garibaldi, Mrs Bonds? Fine Fare?

MRS BONDS:
Presto's.

ALEX:
Will you just shut up and listen to me! This is my bloody fantasy and I will be listened to!

Everyone else looks taken aback.

GENE:
Excuse my colleague. Education of a toff, manners of a sewer rat.

ALEX is not happy at this descripton. GENE gives her a hard stare and she offers up a slightly insincere apology.

ALEX:
Sorry. I just wanted to say that I admire your stance, Mr Bonds, I really do. But there is no point in fighting a battle that can't be won. You know, in ten years' time, glass and steel will tower above us. The only thing that will remain from this street will be the street name. I've seen it, so I know. So, please, let us help you move on. There'll be other battles to fight in other places, and battles you may even have a chance of winning.

Throughout this speech, MR BONDS appears to be listening intently, GENE just shifts about looking uncomfortable. ALEX looks smug, thinking she's talked MR BONDS round.

MR BONDS:
Piss off... out of my home.

ALEX's face falls.



Outside The Finish, GENE and ALEX return to the Quattro.

GENE:
Well, that went well.

ALEX:
It's all about profiling. It takes a little time.

GENE:
Bollocks.



The Quattro draws up outside the Police Station.

GENE inside the car:
Right, shall we get back to some proper policing? Bit of admin, we need to stamp your arse.

GENE and ALEX get out and start walking towards the entrance.

ALEX:
I beg your pardon?

GENE:
It's a tradition. When a woman joins the Met, skirt up, stamp your bum with the day's date, down the pub. Then you get to see us moon you.

ALEX:
You must be joking. What is wrong with my mind?

GENE:
Personally, I have no desire whatsoever to see your boney, privately-educated buttocks, but it's good for morale.

ALEX:
Well, it's not going to happen.

Just before they go inside the Station, the police radio GENE's carrying crackles into life.

COCKNEY POLICEMAN over radio:
Guv?

GENE into radio:
What?

COCKNEY POLICEMAN over radio:
You are not going to believe what's just happened back on the Isle of Dogs, guv.



CID. GENE steps out of his office to address the assembled members of CID.

GENE:
There has been an incident over at the Royal Docks.

RAY:
What sort of incident?

Images of a Docklands Development Agency "SOLD" sign on waste ground; some wit has added in "up the river".

GENE: (eching voiceover)
A bloody messy one, that's what.

A small dog runs up, picks up a bundle of dynamite in its mouth.

GENE:
If anybody laughs, I will attach jump leads to their genitalia.

The dog runs in slow motion towards us, with the dynamite still in its mouth. Sound of explosion.

ALEX squeals, trying to stiffle a laugh.

ALEX:
I'm sorry, I'm sorry. Oh, God.

ALEX fans her face with her hand; GENE looks stoney-faced.

ALEX:
Only, some of my friends don't think I've got a sense of humour. An exploding dog, from my psyche...

GENE still isn't amused.

GENE:
If you've quite finished, DI Drake.

ALEX:
You see, the thing is, my parents were... It doesn't matter, it doesn't matter. What's the point? Carry on.

GENE:
Are you sure?

ALEX:
Please.

GENE:
So, Special Branch are as nervous as a virgin in a brothel, especially since HRH was sent a letter bomb in May.

ALEX:
I remember that. That's why I've put it in this story.

GENE:
Do you mind?!

ALEX goes quiet again.

GENE:
So nervous, in fact, they want to investigate this one themselves.

RAY:
I hope you told them where to get off, guv?

GENE:
I did. Which means my reputation is on the line. Which means there will be no hiccups between now and the twanging of the royal hymen. Is that understood?

Assorted 'Yes, guvs' from the CID.

RAY: (to CHRIS)
Apparently, she was the only posh virgin they could find.

CHRIS: (to RAY)
How do they know she's a virgin?

RAY: (to CHRIS)
I dunno. Had a little peek, I suppose.

CID laugh. GENE does not appreciate the interruption.

GENE:
Is that understood?!

RAY:
Yes, guv.

GENE:
Good! So, if some nutter is playing with dynamite on my patch I want to know about it.

ALL:
Yes, guv.

GENE:
Let's round up all them anti-establishment toe-rags, all of the usual lunatics and losers and put the fear of God up 'em. Questions?

ALEX raises her hand like an eager schoolchild.

GENE:
What?

ALEX:
Can I come, please?



Snooker hall. GENE is carefully chalking up a cue, RAY and CHRIS leaning on an empty snooker table, CHRIS fooling about with a cue ball. RAY takes it off him in annoyance and places it in the centre of the D. GENE walks round to face a line up of eight men, naked except for their footwear, hands protecting their dignity. He prowls up and down in front of them, snooker cue in hand.

GENE:
Gentlemen... You have several things in common, all of which irritate me immensely. Poor skin, donkey jackets, and membership of anarchist groups.

One of the men hesitantly steps forward slightly to protest. Brave, but ultimately doomed.

TIMID ANTI-NAZI:
I-I don't think I'm supposed to be here. I'm part of the Anti-Nazi League.

GENE rounds on him, pushing him back into line with the cue.

GENE:
Don't you dare talk to me! Now one of you gobs of pond life has been mucking around with explosives. Why was that?

ALEX is now seen to be standing opposite the line up, arms folded, giving the impression she considers this all rather beneath her.

ALEX:
Is this really necessary?

GENE:
Because in your dark, twisted little minds, you think trying to stop the redevelopment of the East End is an act of revolution. Wrong.

CHRIS: (to RAY)
Do Anarchists have smaller tadgers than normal men?

RAY:
It's the fear. They get sucked up into the body.

GENE:
So when you limp out of here you can spread the word amongst your scummy comrades I will personally remove the intestines... from anyone who even thinks about causing trouble this week.

GENE brings the cue down onto the shoulder of the TIMID ANTI-NAZI.

GENE:
Bernie... the bolt.

RAY and CHRIS hurry round to seize the TIMID ANTI-NAZI; comprehension starts to dawn on ALEX's face, and apprehension on the TIMID ANTI-NAZI's.

TIMID ANTI-NAZI:
But... I'm not supposed to be here! I'm the Anti-Nazi League, look, not the anarchists! Anarchy doesn't work!

RAY and CHRIS lift the TIMID ANTI-NAZI onto the end of the snooker table, legs spread. GENE is already cueing up at the other end. ALEX looks horrified.

TIMID ANTI-NAZI:
No! No!

GENE: (to ALEX)
All right, love?

ALEX still looks horrified and embarrassed, but says nothing.

TIMID ANTI-NAZI:
No! No! No!

RAY:
Brown or pink, guv?

TIMID ANTI-NAZI:
No!

GENE:
God save the Queen.

GENE cues the ball down the table. TIMID ANTI-NAZI screams in agony and ALEX winces, as do we all...



ALEX is searching through newspaper reports on the microfiche in CID

CHRIS: (off screen)
I wonder how you get a job like that?

RAY: (off screen)
Like what?

CHRIS: (off screen)
Checking out posh totty to see if they're a virgin.

ALEX scrolls on and stops at an article headlined 'Law and Marriage' about CAROLINE. It moves again and we see an advert for 'Commemorative Covers of Operation Drake'

CHRIS: (off screen)
All right, Skip?

VIV:
Ah, you're working, sir. Not an April Fool's, is it?

RAY:
Heh heh heh

CHRIS: (sarcastically)
Ha ha

VIV knocks on GENE's office door and steps in.

VIV:
Guv...

GENE is at his desk, he doesn't look up.

GENE:
Bit busy trying to find a bomber.

VIV:
Cast your eyes on that, sir.

VIV holds a piece of paper in front of GENE, who looks up.



GENE slaps the paper down on a desk in CID. It's a message made using cut out letters from newspapers and magazines: 'Forget the dog, next time it's Moore. London Liberation Front'

GENE:
London Liberation Front?

RAY picks the message up and turns it so he can read it.

RAY:
It's a new one on me, guv.

Now ALEX reaches to spin the paper round.

ALEX:
Next time it's Moore? What does that mean?

RAY:
That's obvious. They've misspelled 'more'.

ALEX:
No, the syntax is too good.

GENE:
What?!

ALEX:
Well, there's the correct usage of a contracted apostrophe. If they know how to use that, then they know how to spell 'more'.

GENE:
Yes, thank you, Miss Jean bloody Brodie.

GENE spins the paper back so he can see it.

GENE:
Who is 'Moore'?

CHRIS spins the paper round again, clicks his fingers and jabs his finger down on it.

CHRIS:
Bobby Moore.

Everyone exchanges incredulous glances.

GENE:
Bobby Moore?!

CHRIS:
Footballer.

GENE:
Yeah, I know who he is, numb-nuts! Why would anybody want to blow up Bobby Moore?

RAY:
Well he WAS in 'Escape To Victory'.

Laughter. And fair enough - it's a terrible film.

GENE:
Right. I will not have the aristocracy of this country blown to smithereens on my watch. Is that understood?

ALL:
Yes, guv.

GENE:
I want you, Einstein, to trace the original publication of the letters from this note.

SHAZ has been listening in from her desk.

SHAZ:
What about Daniel Moore? He's got a few enemies, I bet.

GENE:
When I need advice from a lobotomised Essex Girl I will ask for it, OK?



LIFT MUZAK plays.
A shiny atrium in an office block; marble and cheese plants. GENE and ALEX get into the lift.

GENE:
Danny Moore is on the board of the Docklands Development Agency. Born in the East End, dragged himself up by his boot straps, worth at least a million.

ALEX:
Really? A real, living breathing Thatcherite businessman? How completely brilliant.

GENE:
Personal friend ofthe Great Handbag herself, so try and behave.

ALEX:
I promise not to twang his red braces...

The lift doors open to reveal DANNY MOORE, white-suited, smooth operator. ALEX is evidently taken by him. She's got a bullet in her head; her judgement may be impaired...

MUSIC 'Body Talk' Imagination

ALEX:
...more than once.

DANNY:
Hi, Danny Moore.

GENE and ALEX get out of the lift; GENE is obviously not so taken with DANNY.

DANNY:
Now what's all this about?

ALEX and DANNY shake hands, ALEX already getting a bit flirty. GENE looks shocked for a moment.

GENE:
Er, we found a small amount of explosives on land near Royal Docks.

ALEX:
Well, technically, a small dog found it. He's an even smaller dog now.

ALEX and DANNY laugh; GENE turns and gives her another look. ALEX gets back to business.

ALEX:
It wasn't made public, and yet the warning note we received mentioned that incident and also seemed to indicate that you could be a possible future target. Do you have any enemies, Mr Moore?

DANNY:
Well you don't attempt to do what I'm doing without upsetting a few people, big ones and little ones. I get threats almost daily.

GENE:
Well, if you will go around destroying communities...

DANNY:
People will be disconcerted, I don't deny that.

DANNY moves towards the lift.

DANNY:
Look, I'm sorry, I've got a business meeting.

GENE, ALEX and DANNY all get into the lift. Cosy.

ALEX:
Actually, although there was widespread opposition at the time and, God knows, the woman was appalling, the Left did come to see Thatcherism as a necessary political evil. Unions were emasculated which led to the abolition of Clause 4 and the rise of New Labour. Although not everybody...

ALEX sees GENE's expression and recollects herself again.

ALEX:
Sorry. Sorry. Bombs. Dogs. Carry on.

GENE:
You'll have to excuse the ramblings of my DI.

ALEX:
Don't you apologise for me.

GENE:
Well, someone has to!

DANNY:
No apologies necessary. I like the cut and thrust of a good argument. Don't you?

ALEX:
That depends who's doing the cutting and, er...

ALEX hesitates over whether to finish the sentence but does anyway.

ALEX:
...and who's doing the thrusting.

ALEX and DANNY laugh. The lift door pings and GENE gets out in disgust, DANNY and ALEX following.

GENE:
So, we'll go ahead and arrange some protection for you, Mr Moore.

DANNY:
It's very kind of you to offer it.

# Body talk #

GENE:
It's not really an offer. I insist.

# Body talk #

DANNY:
And I'm going to politely decline.

# Body talk #

GENE:
Your life is in danger!

# Body talk #

DANNY:
Well, life is always dangerous. That's the thrill of it.

# Body talk #

DANNY: (to ALEX)
Hope we meet again.

# Body talk #

ALEX:
It's unlikely. I'm not going to be here very long.

# Body talk #

GENE:
I'll be the judge of that.

ALEX give GENE a look, he walks away. ALEX smiles at DANNY and follows.

# Body talk, body talk
# Body talk... #



Luigi's. A woman is mopping the floor, all the chairs up on tables, except for the end of one table where GENE and ALEX are sitting next to each other, eating.

ALEX:
I wonder if these calories count?

GENE:
What?

ALEX:
A moment on the lips, an afterlife on the hips. That would be just my luck.

GENE:
He's a bloody fool. Still, as long as he doesn't come crying to me when he's been blown to bits. Oi, Luigi!

LUIGI is behind the bar, totting up the takings.

GENE:
I hope you gave this horse a decent funeral.

LUIGI: (not amused)
Very funny, Mr Hunt. Good one.

GENE leans in towards ALEX.

GENE:
I am going to stamp your arse, you do know that.

ALEX:
You most certainly are not.



Police Station corridor. GENE and ALEX walk in to CID.

GENE:
Promise you, it doesn't hurt. Over the desk, skirt up... bosh. 'Property of the Metropolitan Police'. You show us yours, we show you ours.

ALEX:
In your dreams. And if you continue to bang on about it, I'm going to have to re-imagine you.

RAY:
She wants it, really.

ALEX gives RAY a deadly look and walks over to CHRIS.

GENE:
You got anything on the London Liberation Front, Raymondo?

RAY:
Not a thing. I think it's just kids pissing about.

GENE:
Do you? Well, I'll remind you of that when we're picking bits of viscounts out of them lovely trees on the Mall. (to CHRIS) You got that bloody note sorted?

CHRIS:
Er... three ofthe letters are from The Mirror. Er, two from a Millwall programme. And this curly thing here...

ALEX:
The apostrophe?

CHRIS:
Yeah, it's from the Woman's Weekly. I think. It's, it's these weird 'o's, though, I can't seem to find them anywhere.

VIV enters, followed by DANNY.

VIV:
Someone to see you, ma'am.

DANNY:
Hi.

MUSIC 'Money' Flying Lizards

SHAZ peers out from behind her partion.

SHAZ:
Yum.

DANNY: (to ALEX)
There's something I'd like to show you.

RAY:
I bet there is.

DANNY grins at GENE who looks like thunder.

GENE:
You carry on, Drake. We'll get on with the hard graft.

DANNY and ALEX leave; RAY giving the hand gesture for "wanker".

# The best things in life are free
# But you can give them to the birds and bees



DANNY is driving ALEX in his DeLorean car.

# I want money
# That's what I want... #

DANNY:
She's a beauty, isn't she?

# That's what I want... #

ALEX:
Thank you, frontal cortex.

DANNY:
Ha, ha. OK, I'm going to come straight to the point.

# Your love gives me such a thrill... #

DANNY:
Are there any men in your life?

# ... but your love won't pay my bills
# I want money #

ALEX:
No. I've given up on men.

DANNY:
Kids?

# That's what I want #

ALEX:
One little girl. Well, not so little. Molly. She's not with me at the moment.

# That's what I want #

DANNY:
Where is she?

# That's what I want #

ALEX:
She's with her godfather, Evan. I'm on my way to her birthday party. Or hope I am.

DANNY:
You're an enigma wrapped in a riddle, Alex.

ALEX:
Heh. Oh, you don't know the half.

DANNY:
Well, then show me. One more thing. Have dinner with me.

# Money don't get everything, it's true... #

The DeLorean draws up outside the Police Station. ALEX can be heard giggling.

DANNY:
Can I walk you in?

ALEX:
No, thanks. Er, I will have dinner with you. If the offer's still on.

DANNY:
The offer's still on, I'll call you.

ALEX:
All right.

TICKING

ALEX:
Do you hear a ticking sound?

ALEX looks around the interior of the car.

ALEX:
I think it's under your seat!

DANNY starts to look too.

DANNY:
I don't think so! I think it's under yours!

An alarm clock rings. ALEX panics and tries to get out of the car.

ALEX:
Get out! Get out! Get me out! Get me out! Get me out!

FLASHBACK.
Car exploding.
Image of the CLOWN, arms open but lowering them, fades to black.

DANNY: (echoing)
Alex! Alex! Alex, it's all right!

Audio of breath being taken run backwards.
Image of MOLLY blowing out the candles also run backwards.

DANNY has a bundle of dynamite in his hand, trying to reassure ALEX.

DANNY:
Alex! Alex, it's all right! Look, there's a note, it's supposed to frighten me.

ALEX:
Oh!

DANNY starts to laugh. ALEX's laughter is close to hysteria.

DANNY:
Bloody worked, too, thought we were both goners! We're alive!

ALEX bursts into tears, DANNY comforting her.

DANNY:
It's all right. It's OK...

ALEX gets a grip on herself but is still clearly upset. The doors of the DeLorean open.



CID. GENE has the dynamite, DANNY is standing there looking at ALEX, SHAZ hurries over with a glass of water for ALEX.

GENE:
They were just letting you know that they could get to you. Any time, any place.

SHAZ:
You all right, ma'am?

SHAZ gives ALEX a comforting pat on the hand.

RAY:
So what does it say?

GENE:
'On Wedding Day you die.'

CHRIS:
Bastards.

SHAZ:
Should we get Special Branch involved?

GENE:
No, we do not get Special Branch involved! My patch, my crime, my result!

DANNY:
I've changed my mind.

GENE:
You still here?

DANNY:
I'd like police protection.

ALEX gives DANNY a sceptical look. You and me both, love.

DANNY:
I'm at risk, I'm frightened, I need protection.

SHAZ:
I could do it.

CHRIS:
I think DI Drake was assigned the task.

GENE:
I offered you protection before!

ALEX doesn't want to go.

ALEX: (to GENE)
No. I'm needed here...

DANNY:
You offered me protection, Mr Hunt, and I'm accepting the offer.

ALEX: (to GENE)
No.

GENE:
Look at the state of you. You're no use to us here.



Luigi's. ALEX and DANNY are sitting opposite each other at a small table; candle burning, wine bottle. A waiter goes by with a small cake with a sparkler burning in it. She looks at it anxiously and pours herself some more wine, sighing.

DANNY:
You're still trembling.

ALEX:
Well, we did nearly die. I'm allowed to tremble. If you can die in this world. Weren't you frightened today? In the car. I mean, you could have died.

DANNY:
Didn't I tell you? I'm immortal.

ALEX:
Are you? Yeah. Me, too!

DANNY:
So, what do you want to do tonight?

ALEX:
Well... I would really... like to see if you could surprise me. I would love to know if that's possible.



MUSIC: 'Fade To Grey' by Visage

The Blitz Club. Lots of New Romantics dancing away; video effects of extreme black and white contrasts and so forth; very 80s. Visage performing on stage.

ALEX and DANNY enter.

ALEX:
Wow! This is amazing!

DANNY laughs. ALEX gives her coat to the cloakroom attendant; who happens to be an as yet unknown BOY GEORGE.

BOY GEORGE:
Welcome to Blitz.

ALEX:
Hey thanks, George!

ALEX follows DANNY in, looking around her in amazement. Clearly she's enjoying herself.

DANNY:
You dance?

ALEX:
No.

DANNY grabs her hand to lead her to the dancefloor anyway.

ALEX:
I said no! I don't dance!

DANNY:
Sorry, I can't hear you!

# Aaaaaah, aaaaaaah, we fade to grey #

ALEX is dancing away, inadvertently bumping someone next to her with her elbow.

ALEX:
Sorry.

ALEX turns to see CHRIS, black eyeliner etc. He looks horrified.

ALEX:
Chris! What's happened to you?!

CHRIS:
Shaz.

CHRIS nods over to SHAZ, who we see is a proper little New Romantic. SHAZ smiles and gives a little wave before switching straight back into serious dance mode.

CHRIS:
Don't tell anyone at work, ma'am.

ALEX:
What?

CHRIS:
I'll never hear the end of it.

ALEX pretends not to be able to hear and moves away, CHRIS still anxiously calling behind her.

ALEX:
Can't hear you, Chris!

CHRIS:
Don't say anything at work. I'll never hear the end of it!

ALEX: (to DANNY)
I'm gonna go get a drink.

DANNY:
OK, darlin'.

ALEX makes her way to the bar, turning to look at the stage while waiting to be served. The singer abruptly turns into the CLOWN, speaking into the microphone.

CLOWN:
Hurry up, Alex. We are waiting for you, Alex.

ALEX turns away, ignoring it. The barman turns round.

BARMAN:
What can I get you?

ALEX glances at the stage again to see the CLOWN leaving. Suddenly determined, she pushes her way through the crowd to follow him.

# So low #

The CLOWN comes into the toilets.

ALEX:
Let me through! Police officer!

ALEX wrenches open the door and follows, pushing open the door of the first stall. A woman shrieks.

ALEX:
Sorry.

ALEX opens the door of the second stall and hauls out a figure in a white clown costume. It's not the CLOWN but a woman in a Pierrot outfit.

PIERROT WOMAN:
What do you want?! Please, don't hurt me!

ALEX has PIERROT WOMAN pinned to the wall with her hand around her throat before she realises and releases her grip.

ALEX:
I'm sorry. I'm sorry.

# We fade to grey
# Fade to grey #

ON STAGE, audible in the distance:
Thank you very much. I hope you enjoyed our new single. That was Fade To Grey. Thank you.

Sounds of distant applause. ALEX stumbles away leaving behind a shocked and frightened PIERROT WOMAN.



CID. GENE and RAY are working late; GENE coming out of his office with two glasses of whisky to RAY's desk. DC POIROT is just on his way home.

DC POIROT:
Night, Ray.

RAY:
Night, mate.

GENE:
So what have we got? A dog in assorted pieces and a poxy note from a group that don't even exist.

GENE dumps one glass on RAY's desk and perches on the edge.

RAY:
It's not much. Oh... results from the explosives, guv.

RAY hands GENE an envelope which he starts to open.

GENE:
We've got a potential major incident on our hands here and everyone's gone AWOL. Where's Chris?

RAY:
Says he's got a dicky stomach. Fairy. And Drake'll be getting her knickers off round about now in the DeLorean.

GENE looks at RAY and then reads the report.

RAY:
Anything?

GENE:
World War Two dynamite, they reckon. Gathering dust for 40 years.

GENE tosses the report aside.

RAY:
It doesn't make any sense. Who'd hang on to explosives for 40 years and then blow up a dog?

GENE:
Ifl knew that, Raymondo, you and I could be sat on the crapper. Or out there shagging Thatcherites like the rest ofthe team.

RAY laughs.

GENE:
No, whoever it is, we haven't heard the end of it. As for Danny Moore, he might be a step above a flea-ridden mongrel, but it's our job to protect the bastard.

RAY:
What from? The dynamite or Drake?

GENE looks at RAY again.

GENE:
She might be a bird, Ray, but she's your superior officer, don't you forget it!

RAY:
All right, guv, all right. I'll get on to it.

GENE:
No, no, no. It's too late now. You get yourself off home and get some kip. You and I, see if we can nail these bastards, whoever they are, in the morning.

RAY drains his drink and leaves.

RAY:
See you later.

GENE:
See you.

GENE remains, in contemplative mood. Another CID BLOKE leaves for the night.

CID BLOKE:
Night, guv.

MUSIC 'Souvenir' OMD

GENE momentarily breaks out of his thoughts.

GENE:
Night.

GENE drains his whisky.

DANNY voiceover:
A lot of people have clown phobias.



The Blitz Club. ALEX and DANNY are in a tight embrace on the dancefloor. ALEX has a beer bottle in hand and is a little drunk.

DANNY:
Don't worry about it.

ALEX:
Thank you... for a wonderful evening. Or maybe it was a micro-second. I think it was. I hope it was. Thank you. For a wonderful micro-second.

DANNY pulls away from ALEX in order to look her in the eye.

DANNY:
Alex?

ALEX:
Yes, Danny?

DANNY:
You talk too much.

DANNY kisses ALEX.

# It's my direction
# It's my proposal
# It's so hard #

ALEX starts to kiss him back.

# It's leading me astray... #

ALEX looks up to see LAYTON standing in the barge. Metallic scraping noises. ALEX pushes DANNY away, closing her eyes and swaying. She opens her eyes again to see LAYTON.

CLOWN: (echoing)
We are waiting...

ALEX puts her hand to her head, swaying. Creaking metal noise.

FLASHBACK
Gunshot
Fired gun and spinning bullet heading straight for us.

CAROLINE: (echoing)
Make sure she concentrates.

Image of GEORGE on the bullet tip.

CAROLINE: (echoing)
She's easily distracted.

Images of LITTLE ALEX on the bullet tip and exploding car.

ALEX staggers, hand to her head. Creaking metal and dripping water sounds.

Image of 'The Pop Group' poster.

ALEX staggers forward, peering, looking confused.

MEMORY
GEORGE wearing a t-shirt with the slogan 'We are all prostitutes'.

ALEX is looking at a poster for 'The Pop Group - We are all prostitutes' tour on the wall of the Blitz club. Creaking metal and dripping water sounds.

ALEX:
We're moving! (echoing) I can feel it!

DANNY: (echoing)
You've had a bit to drink, why don't we get some air?

ALEX:
No, no. No, I've been distracted, but I'm all right now.

ALEX lurches away from DANNY towards the exit.

# ..my destination
# My intention... #

DANNY:
Alex, where are you going?

ALEX:
I'm going to a birthday party.

# ...my excuse... #



CID. GENE is still working late. ALEX is marching up and down in front of GENE's desk, making her case.

ALEX:
It makes perfect sense. He hero-worships his father, he looks up to him, sees him humiliated by having to sell his pub, his home, his identity. Danny Moore is the developer.

GENE:
Well, you've changed your tune. Last time I saw you, you were doing a pretty passable impression of a useless bimbo.

ALEX:
I was distracted. I am not distracted any more. Bring him in before he kills.

GENE:
Don't buy it.

ALEX:
I know that I'm right. I know his profile.

GENE:
So where does speccy four-eyes get his dynamite from? Two dabs of sherbet and some nitroglycerin? Oh please!

ALEX:
I don't know yet, but I know that I'm right.

GENE:
You think our future king of England wants to become a tampon, so your views don't count!

ALEX:
Please.

GENE:
No.

ALEX resorts to feminine wiles.

ALEX:
I'll let you stamp my bum.

GENE:
I'll get me coat.



Flat above The Finish. GENE shoulder charges the door down. Cuts to MR BONDS and MRS BONDS standing in their night clothes, ALEX holding up a copy of the "We are all prositues" poster that she's evidently found.

ALEX:
Let's all stay very calm.

GENE bounces GEORGE off the wall. Calmly.

GENE:
Innocent men don't run, son.

MR BONDS has a wooden baseball bat in his hands and advances on GENE.

GENE:
Don't make me hurt him, Bonds.

MR BONDS:
You bastard!

MRS BONDS: (terrified)
David, stop it!

ALEX:
We're arresting you for the attempted murder of Daniel Moore. You do not have to say anything...

GENE:
That's not how it goes!

GENE starts hauling GEORGE down the stairs, followed by MR BONDS and ALEX.

MR BONDS:
Listen, he may hate Daniel Moore, we all do! But he's not capable of murder, look at him! You're a coward, Hunt.

MR BONDS stops on the landing and raises the baseball bat, ready to fight.

MR BONDS:
You want to have a go at someone, come and have a go at me.

ALEX:
Put that down, Mr Bonds.

GENE shoves GEORGE down against a wall and reaches back, grabs MR BONDS ankle and pulls him off his feet. MRS BONDS appears on the landing.

MRS BONDS:
David!

GENE pulls MR BONDS all the way down the stairs by his ankle, MR BONDS bouncing off every step.

MR BONDS:
Oof! Get off me! Oo! Oo! Oo! Oo!

Bar of The Finish. CHRIS, RAY and two uniformed constables enter.

RAY: (to CHRIS)
You wearing make-up?

CHRIS:
No.

CHRIS surreptitiously rubs at his eyelid.

MR BONDS grunts and groans as GENE enters the bar and slams his face down on the counter, holding him there with one arm twisted behind his back.

CHRIS:
Everything all right?

RAY: (to GENE)
You didn't say you were going to do this.

GENE:
When you become my mother, Raymondo, I promise I'll let you know.

ALEX enters the bar, pushing GEORGE towards the exit.

ALEX:
Chris, turn this place upside down.

CHRIS:
What am I looking for?

ALEX:
Dynamite.

CHRIS:
Dynamite? Ace!

MR BONDS:
There's no dynamite in my house, you stupid bleeding cow!

RAY Makes A Contribution by picking up the soda syphon off the bar and spraying it in MR BONDS' face. ALEX looks on in astonishment.

ALEX:
I'm so sorry, I have no idea where this stuff is coming from.

MRS BONDS:
Stop it! Please, stop it!

GENE: (to constables)
Get them down the station.

BOTH:
Yes, guv.

GENE:
I want this done and dusted.

CONSTABLE: (to MR BONDS)
Come on.



Corridor outside CID. GENE and ALEX are standing discussing the case.

ALEX:
Let David go. If we can get rid of the father, we can isolate the son.

GENE:
Pretty confident, aren't you? What if you're wrong and the bomber's still out there?

ALEX:
I'm not. He's not.

GENE:
Right, let the old man go. I'm going to squeeze his son's zits until I hit his nervous system.

ALEX:
Let me talk to him.

GENE:
Why should I?

ALEX:
Because he's a frightened, confused kid, and I'm an expert.

GENE:
If it were me, I'd have him stuffed and mounted, and sent to Special Branch.

ALEX:
He needs a brief. I want this case to stick. May I suggest using Caroline Price?

GENE:
Viv has got a list of pet solicitors behind the desk, use one of them.

GENE walks off.



ALEX is searching through newspaper reports on the microfiche in CID again. This time she stops on an article headed 'Victory for Law Couple'

CAROLINE: (echoing)
Everyone else has gone home to watch the royal wedding with their parents...

Microfiche effect. Images all now looking as though printed in a newspaper.
Repeat of memory of little ALEX sitting on the floor of the school hall, CAROLINE addressing her.

CAROLINE: (echoing)
...but you're staying here on your own, Alex. Do you understand? (to unseen person) Make sure she concentrates. She's easily distracted.

ALEX:
I was once... but not any more.

ALEX scrolls the microfiche again, stopping on an article headed 'Price insists Met made mistakes'.



CID. RAY and CHRIS are discussing the night before.

RAY:
New Romantics? Bunch of suburban poofs wearing doilies on their heads. You didn't really go there, did you?

CHRIS:
Back against the wall, obviously. Hey, guess who else was there?

CHRIS gets conspiratorial.

CHRIS:
DI Drake.

RAY:
You're kidding? I told you she was a lesbo.

SHAZ enters CID.

SHAZ:
Who's a lesbo? (to CHRIS) You never said if you enjoyed last night.

CHRIS:
Yeah, it was really good.

RAY:
He's just told me it was full of poofs and saddos.

SHAZ:
Did you say that?! Some of those poofs and saddos are my best friends. (to RAY) Did he tell you he was wearing eyeliner?

SHAZ stalks off leaving RAY looking horrified and CHRIS looking to be somewhere else.

CHRIS:
I've got work to do.

RAY:
What the f...?



Interview room. GENE and ALEX are interviewing GEORGE who's sitting there in t-shirt and underpants, minus his glasses. From his POV GENE and ALEX are just blurs. ALEX is reading from a record sleeve.

ALEX:
We are all prostitutes. Everyone has their price, and you too will learn to live the lie. Aggression, competition, ambition. Consumer fascism. Capitalism is the most barbaric of all religions.

GENE:
D'you know I'm sure Barry Manilow's covered that one.

ALEX:
Is that what you believe, George?

GEORGE:
I just like the music.

GENE reaches across to switch on a tape player and some pretty terrible post-Punk music plays.

# We are all prostitutes. Everyone has their price. Everyone... #

GENE:
Now I know you're a liar!

ALEX:
All the letters in the warning note can be traced to publications found in your home.

GEORGE:
So?

GENE:
D'you want a smoke?

GENE reaches across to turn off the tape, thank goodness.

GEORGE:
The working classes are enslaved by the tobacco industry.

GENE:
Oh, where is my snooker cue?

ALEX:
I think you were planning on murdering Daniel Moore, George.

GEORGE:
Prove it!

GENE:
The correct answer to that question is, 'No, I wasn't!'

GEORGE:
Piss off.

GENE:
You know something, George? I think that I am going to give you a ruddy good slap.

GENE gets to his feet, taking off his jacket and hanging it on the back of the chair.

ALEX:
George, don't give him the satisfaction. Let's not do this his way.

GENE grabs GEORGE by the chin and forces his head back. GEORGE is terrified.

GEORGE:
Can I go home? Please?

GENE lets him go.



GENE: (off screen)
I don't know. A terrified kid like that should be singing like a canary.

GENE and ALEX are walking down the corridor outside CID.

ALEX:
You won't get to him by threatening him.

GENE:
What if he's got associates?

ALEX:
He won't have. He's a loner, I'm sure of it.

GENE:
Not good enough. I need to break him, find out if there are any more explosives out there.

GENE and ALEX stop just outside the door of CID, GENE peering in to check on something.

GENE:
Right, I hope you've got your best knickers on.

ALEX:
Why?

GENE:
A deal's a deal, Bolly.

ALEX looks puzzled.

GENE and ALEX enter CID to be faced with the assembled company standing round expectantly. RAY has a rubber stamp in his hand and a big grin on his face.

RAY:
All inked up and ready to go.

ALEX: (to GENE)
Heh. Please, tell me you're not serious.

GENE:
Oh just lie back and think of Cheltenham. All be over in a jiffy.

MUSIC 'Geno' Dexy's Midnight Runners

SHAZ:
They did it to me, ma'am, too. Pathetic, but it doesn't hurt.

# Geno, Geno, Geno, Geno, Geno #

ALEX:
Oh, for Christ's sake.

ALEX braces up to the ordeal and stalks across to the desk.

ALEX:
It's not real, nobody will ever know but me and my therapist.

RAY sweeps away the clutter on the desk with panache and ALEX bends over.

GENE:
Raymondo? Stampo.

RAY hands across the rubber stamp and looks down at ALEX with a chuckle. GENE raises the stamp ceremoniously above his head.

GENE:
Detective Inspector Drake, we would like to formally welcome you to the Metropolitan Police Force.

# Oh Geno #

ALEX:
Just get on with it!

ALEX looks up at RAY.

ALEX:
I've had dinner with Germaine Greer, you know.

# Oh Geno #

CAROLINE can be seen approaching down the corridor outside CID. CHRIS spots her coming.

CHRIS:
Guv...

# Oh Geno #

GENE is concentrating on his admin...

GENE:
A little bit busy, Christopher.

ALEX loses patience and spins round.

ALEX:
Will you please just stamp my arse?!

The music stops abruptly. CAROLINE is standing right there, looking on. GENE and ALEX straighten up and look guilty.

ALEX:
Mum.

CAROLINE:
What did you say?

ALEX:
Er... bum, I mean. Nothing.

GENE:
To what do we owe this unpleasant visit?

CAROLINE:
Someone phoned my office. I'm representing George Bonds.

GENE turns to give ALEX a pointed stare.

GENE:
Our cup runneth over.

ALEX takes no notice, entirely focussed on CAROLINE. She hurries over to her and offers her hand.

ALEX:
It's amazing to meet you... Caroline. Erm, Mrs Price.

CID look at each other in puzzlement; CAROLINE looks at ALEX's outstretched hand but doesn't take it.

ALEX:
I've, erm, I've been... I've admired you...

CAROLINE:
Are you trying to be funny?

GENE:
Oh, God.

ALEX:
No.

CAROLINE:
We'll see who's laughing when I'm finished here. I want to see my client.



GENE and ALEX are arguing in a corridor.

GENE:
You do not walk into an interview room with that woman unless you have a confession written in the suspect's own blood!

ALEX:
We know he did it!

GENE:
We think we know! Look, I cannot believe I am about to say this, but we need "evidence"!

GENE does ALEX's finger wiggle to represent the inverted commas.

ALEX:
The cut-out letters. Danny Moore being class enemy number one. Him taking over the pub!

GENE:
All circumstantial. She will have our heads on spikes above the Old Bailey.

ALEX:
I am going in there with her!

CHRIS appears carrying a Presto carrier bag.

CHRIS:
Guv. We took the floorboards up in that pub. We found this.

GENE reaches into he bag and brings out a bundle of dynamite.

GENE:
(to ALEX) You really think you can take on Caroline Price? Well, you might need some of this.

GENE slaps the dynamite into CHRIS chest and stalks off. CHRIS looks like he's come within an inch of being blown up.



Interview room. GENE and ALEX sit across the desk from GEORGE and CAROLINE.

ALEX:
Where did the dynamite come from, George?

GEORGE:
I don't know.

ALEX:
If we are going to help each other out here, you're going to need to be completely honest with me.

CAROLINE:
Did you not hear him? He said he doesn't know.

GENE: (to himself)
Love-15.

ALEX:
Please, let's not play this game.

CAROLINE:
This is not a game, Detective Inspector Drake.

ALEX:
Alex. Please, my name is Alex.

CAROLINE:
Detective Inspector Drake, charge him or release him. It's quite simple.

GENE: (to himself)
Love-30.

CAROLINE:
Your evidence is circumstantial at best, at worst, it's malicious. Just because his family made a stand which inconvenienced you...

ALEX:
I'm sorry, you think dynamite is circumstantial?

CAROLINE:
I do when it's so fortuitously discovered by members of the Metropolitan Police.

ALEX:
I'm trying to help your client here. Can we just stop playing these stupid games?

CAROLINE:
D'you know what I think?

ALEX starts to lose her cool.

ALEX:
No, no, tell me.

CAROLINE:
I think you've been put under pressure by your superior officers to pin this crime on some innocent, weak member of society, so you can tell them all will be well for the royal wedding.

ALEX:
So, we would let an innocent man go down and leave a potential killer free to walk the streets?

CAROLINE:
The police immoral? Tell me it's not so.

CAROLINE laughs condescendingly.

CAROLINE:
Look, I don't know whether you're spectacularly naive, DI Drake, or spectacularly stupid. Judging by your place of employment, I'd have to suspect the latter.

ALEX:
Would you? And you... are a rude bitch. Maybe you WILL get him off-

GENE:
I don't think so.

ALEX:
Will you shut up?! (to CAROLINE) You may get him off. And he may repay you by blowing you to kingdom come!

There's an uncomfortable silence.

CAROLINE:
What a very strange thing to say. Perhaps we should reconvene this interview when you're a little less excited. Charge him or release him.

ALEX:
Consider him charged.

CAROLINE:
I look forward to seeing you in court.

CAROLINE gathers up her things and leaves with GEORGE. ALEX is upset.

GENE:
Maybe we should pop along and do some profiling?

ALEX: (sarcastically)
Thank you for your support.



Outside the Police Station. ALEX comes out to find CAROLINE standing outside.

ALEX:
I thought you'd gone.

CAROLINE:
I was waiting for you.

ALEX:
Huh. Really?

CAROLINE:
You look like you could do with a drink.

ALEX:
Yeah. I'd like that.



Luigi's. ALEX and CAROLINE are sitting at the bar.

CAROLINE:
I'm sorry if I was a bit hard on you. The last thing I want to do is embarrass a fellow female in a male profession. You know you're the only female DI in the division?

ALEX:
I know. Lucky me.

They laugh.

ALEX:
Listen, about the stamping thing...

CAROLINE:
There must be a lot of pressure on a woman to become like a man in your position. Either join the club or get isolated and abused.

ALEX:
Well people like you fought the fight so that people like me don't have to.

CAROLINE:
The Metropolitan Police presents a very united front to people like me. "Hatred", I think is the word.

CAROLINE does the finger wiggle.

ALEX:
We're on the same side. Can't we work together?

CAROLINE:
Would you really like to help me, DI Drake?

ALEX:
Alex, please. I would love to help you.

CAROLINE:
I have a daughter called Alex.

ALEX:
I know! I know. What's she like?

CAROLINE:
Bright as a penny.

ALEX:
I bet she adores you.

CAROLINE:
Not when I ask her to tidy her room.

ALEX:
You never ask her to tidy her room. I bet. Can I see her?

CAROLINE:
What?

ALEX:
Do you have a photograph or...?

CAROLINE:
Oh, er, somewhere.

CAROLINE pulls out her purse and produces a small picture if little ALEX in school uniform, the image covered in blotches.

CAROLINE:
Sorry, my perfume leaked everywhere. I really must get a new one.

ALEX:
She looks quite sad.

CAROLINE is not pleased and goes to take back the photograph; ALEX lets it go with extreme reluctance.

ALEX:
Where is she now?

CAROLINE:
What would really help me, Alex, is for us to become friends.

ALEX is pleased.

ALEX:
Really?

CAROLINE:
We could talk sometimes. You could tell me about things that go on at work.

ALEX:
What sort of things?

CAROLINE:
Things that should be in the public domain, not in a dark police cell.

ALEX realises what CAROLINE is suggesting.

ALEX:
OK. You want me to spy on my colleagues.

CAROLINE:
I want you to do what you know is right.

ALEX:
No. No, not even in death, not even to please you.

CAROLINE doesn't want to waste any more time and gets up to leave.

CAROLINE:
Do you know the one thing worse than women being refused power, DI Drake?

ALEX:
Can we meet again? I think that we've got off to a bad...

CAROLINE:
It's women fighting to get the keys to the kingdom and then behaving like men.

ALEX:
Please! Just get to know me. Look, I might even be able to save your life!

CAROLINE:
I don't want to get to know you. Thank God the only thing my daughter shares with you is her name. I'd be ashamed if she grew up to be like you.

CAROLINE leaves; ALEX is devastated.



LIFT MUZAK plays. ALEX is in the lift to DANNY's office, dressed up and tweaking her appearance in the mirror, talking to herself.

ALEX:
Obviously, I wouldn't do this in real life. I don't shag Thatcherite businessmen, no matter how cute they are. I... am merely going to piss off that part ofthe Id that spewed up my mother. And nobody will know... but me.

MUSIC '(We don't need this) Fascist Groove Thing' Heaven 17

The lift doors open and ALEX is faced with the sight of DANNY lying on a sofa with a POSH GIRL astride him.

# Reagan's president elect
# Fascist god in motion #

POSH GIRL:
Oh, God, oh, Danny! Ah, stiff trot! Oh... stiff trot! Oh! Oh!

# Generals tell him what to do
# Stop your good time dancing #

ALEX looks horrified and press the lift button to close the doors. The doors open again.

# Train their guns on me and you
# Fascist thang advancing #

POSH GIRL:
Oh! Oh! Oh! Oh! Oh! Oh!

ALEX starts to pound on the lift button and the doors close again. And open again.

POSH GIRL:
Oh! Oh! Oh! Oh! Oh! Oh! Danny!

# Brothers, sisters #

Acutely embarrassed, ALEX keeps pounding the button. DANNY turns and sees her. Finally the doors close and the lift starts to descend, ALEX sinking against the wall with a look of horror.

# We don't need this fascist groove thang #



Luigi's. ALEX staggers in to a virtually deserted restaurant on her way up to her flat. GENE is at a table in front of the mural doing some paperwork.

GENE::
DI Bolly Knickers. You appear to be drunk in control of a handbag and dressed like a tart again.

MUSIC 'I hear you now' Jon and Vangelis

ALEX stops and peers at him.

ALEX:
Oh, piss off, you lardy fascist!

GENE:
We'll make a copper of you yet. Luigi! Another bottle of your Chianti.

LUIGI bustles in to clear away GENE's empty plates. ALEX walks towards GENE, obviously a little drunk.

ALEX:
I don't want a drink, I'm going upstairs.

GENE:
Oh, and a bottle of your ridiculously over-priced fizzy water.

LUIGI:
Yes, Mr Hunt.

LUIGI bows himself away. GENE indicates the chair opposite him to ALEX.

GENE:
Sit.

ALEX collapses onto the chair.

Time has evidently passed. ALEX and GENE are sitting opposite each other, each resting their head on their left hands, glass of wine in the right.

ALEX:
Even in my own bloody fantasy, my mother's ashamed of me.

GENE:
Would you like to take some advice from the Gene Genie?

ALEX:
Not really.

GENE:
When the rest of humanity finds themselves in the dung heap, misery lapping at their throats, threatening to drown them. The rat of despair gnawing away at their genitals...

ALEX:
Yeah, yeah, all right! God. Give me some wine.

ALEX reaches for the bottle and gets a little in her glass before GENE goes to wrestle it off her. They tussle over it for a moment.

GENE:
No!

ALEX:
Yes!

GENE:
No!

GENE wins and put the bottle out of ALEX's reach. ALEX makes do with what she's already poured.

GENE:
You and me, Bolly, we're police officers. We can drive fast cars. We can shout at people. We can do something. We can make a difference.

ALEX:
Keep on fighting, don't get distracted.

GENE:
Exactly.

ALEX:
Yes!

ALEX bangs her hand down hard on the table, suddenly full of determination. GENE rears back in surprise.

GENE:
Careful, Bolls. That Formica was hewn from the hills above Florence.

ALEX leans forward and the conversation suddenly becomes more intimate.

ALEX:
Thank you.

GENE:
What for?

ALEX:
I was lost... but now I'm found.

GENE:
Kenny Rogers.

ALEX:
Book of Luke, Chapter 15.

LUIGI calls across from the other side of the restaurant where he's doing crepe Suzette for a couple at another table.

LUIGI:
Hey! Can I offer you deserts, Signor Hunt?

GENE:
DESSERTS, Luigi! How many times? Desert is somewhere where Montgomery gave your Nazi mates a bloody good hiding.

LUIGI looks embarrassed. GENE suddenly looks thoughtful.
Close-up of the flames in the frying pan. Audio of explosions/gunfire/barrage.

MR BONDS: (echoing voiceover)
Hitler couldn't drive my dad out of this pub.

GENE:
Work to do, Bolly. Think I need to start at The Finnish.



Exterior shot of the The Finish pub. Audio of explosions/gunfire/barrage continue. Shot of black and white photograph of soldier standing next to a tank, hung inside the pub. GENE paces down the front of the bar, looking around thoughtfully.

MR BONDS: (echoing voiceover)
There's no dynamite hidden in this house, you stupid bastard!

MEMORY. MR BONDS being taken out under arrest.

MR BONDS: (echoing)
Get off me!

Shot of black and white photograph of five men in front of a tank in the desert.



Interview room. GEORGE is sitting at the table, opposite ALEX who is still rather worse for wear.

ALEX:
George, I am going to put every card I have on the table. You tried to intimidate Mr Moore with the fake car bomb.

GEORGE:
No!

ALEX:
Then you threatened his life.

GEORGE:
I want to see my brief.

ALEX:
You know it, and I know it. You were angry at Mr Moore because he was trying to hurt your family, your dad, and you struck out. A jury will understand that. Your wonderful lawyer will make sure that they do.

GEORGE looks thoughtful.

ALEX:
I know what it's like to adore a parent, George. A powerful, dominating, exciting parent who, well, sometimes doesn't give you as much attention as you think you might be due.

GEORGE:
You know nothing about me.

ALEX:
I've seen where this ends, George. Boys who haven't even been born yet, so full of hate that they strap bombs to themselves to obliterate innocent people.

GEORGE:
Not even the IRA would do that.

ALEX:
Do you remember when I said that it was futile to fight? Well, I was wrong and you were right. It's never futile to fight, George.

GEORGE:
What are you talking about?

ALEX:
I am fighting for my life. I am fighting to see my little girl again.

GEORGE:
You're barking.

ALEX:
Just don't be driven by hate, George.

ALEX puts her hand on GEORGE's shoulder.

ALEX:
Be driven by love.

The door bangs open and ALEX and GEORGE turn, surprised. MR BONDS comes in propelled by GENE's hold on the arm twisted up his back. GENE stops, surprised. ALEX is puzzled drunk again.

GEORGE:
Dad?

GENE:
I'm sorry, DI Drake, I didn't realise you were interviewing in here.

ALEX:
What have you brought him in for?

GENE:
Didn't I tell you? He's our bomber.

MR BONDS:
You're insane, Hunt. I know nothing about it!

GEORGE:
I did it.

MR BONDS:
What?

GEORGE:
I did it. I'm the bomber. It's me. I was trying to scare Moore away. I wanted you to be proud of me, Dad.

MR BONDS:
No, George.

GEORGE:
I did it. I did it. I'm sorry. So sorry.

ALEX:
Did anybody help you, George?

GEORGE:
No. No, it was just me.

MR BONDS:
Don't say another word, son, until the lawyer gets here.

ALEX pats GEORGE on the shoulder. MR BONDS looks uncertain what to do.



CID. Most of CID are watching the television broadcast of the royal wedding, backs to the rest of the room. Mugs of tea and pink wafers abound.

ARCHBISHOP OF CANTERBURY ON TV:
Here is the stuff of which fairy tales are made.

RAY:
Nobody does this better than us. Nobody.

RAY is slightly choked with emotion.

ARCHBISHOP OF CANTERBURY on TV:
The Prince and Princess on their wedding day...

VIV:
Are you crying, mate?

RAY:
No!

DC POIROT and OTHER CID BLOKE both lean across the TV to get to the plate of biscuits, blocking the screen and prompting RAY to wave them away.

RAY:
Whoa! Get out the way!

ARCHBISHOP OF CANTERBURY on TV:
But fairy tales usually end at this point with the simple phrase, 'They lived happily ever after.'

SHAZ:
Isn't she lovely? That's Emanuel.

CHRIS is evidently still trying to make amends for the comments about Blitz.

CHRIS:
Yeah. Yeah, it's a lovely dress.

SHAZ:
Don't pretend you've got a soft side.

CHOIR SINGS 'Jerusalem' ON TV

RAY:
It's a bit wrinkled.

CHRIS:
It's meant to be wrinkled.

RAY:
Poof.

GENE enters, pushing a handcuffed GEORGE before him, followed by MR BONDS and ALEX.

GENE:
Have they tied the Royal knot yet?

RAY:
Almost there, guv.

GENE pushes GEORGE down to perch on the edge of one of the desks.

GENE:
Spotty, useless, anarchic twat, nil. Royal Family and Gene Hunt, one.

ALEX:
Hey, go easy on him.

VIV:
Do you think he'll make a good king?

CHRIS:
It worries me he's Welsh.

Everyone turns to look at CHRIS in disbelief. CHRIS misinterprets it.

CHRIS:
No offence, Viv, I'm not a racialist.

CAROLINE comes marching in. MRS BONDS trailing in her wake.

GENE:
I see the jungle drums are sounding in Hampstead then.

ALEX: (to CAROLINE)
Hello.

CAROLINE completely ignores her and goes straight to GENE.

MRS BONDS:
George, what have you done?

# And was Jerusalem builded here #

CAROLINE:
I want this officer removed from the case, she's not competent.

ALEX:
Oh, is that right? Is that right?

In the background, the sound of 'Jerusalem' starts to swell.

# Among these dark satanic mills #

ALEX:
Well, at least I'm not out trying to score cheap points off coppers while my daughter is stuck at school on her own for the royal wedding.

CAROLINE:
How dare you speak to me like that!

ALEX:
No, I have felt guilty about that all my life, but not any more. She's your daughter, you bloody love her!

GENE picks up a plastic 'Presto' supermarket bag and wraps it round the contents.

GENE:
Ladies, ladies, ladies! Can we deal with the matter in hand before we get to the mud wrestling?

BOTH:
Shut up!

GENE looks from one to the other before turning to MRS BONDS.

# Bring me my bow... #

GENE:
Mrs Bonds...

# ...of burning gold #

GENE:
Catch!

MRS BONDS gasps; MR BONDS dives under the nearest desk.

MR BONDS:
Get down!

MRS BONDS catches the bag and immediately opens it.

# Bring me my arrows of desire #

ALEX:
(to GENE) What are you doing?

MRS BONDS:
Garibaldis?

# Bring me my spear #

GENE opens a desk drawer and casually brings out four sticks of dynamite taped together.

GENE:
You were expecting these, were you, Private Bonds?

# O clouds unfold #

MR BONDS crawls out from under the desk.

GENE:
You're nicked.

# Bring me my chariot of fire #

ALEX:
I'm sorry, I don't understand.

GENE:
He served in the Army in North Africa, blowing up sunburnt Germans, knows his way around a set of explosives.

# I will not cease from mental fight #

GENE: (to MR BONDS)
You're the bomber, aren't you? You bitter old bastard.

GENE tosses the dynamite onto the desk next to MR BONDS contemptuously. CHRIS turns round from the TV.

CHRIS:
Erm, can you keep the noise down over there, please?

# Nor shall my sword #



APPLAUSE on TV.

SUE LAWLEY on TV:
I think actually if you're not in the royal wedding mood by now I can safely assure you, you never will be.

GENE's office. ALEX is sitting on the edge of the desk, leaning on the computer. GENE is getting two tumblers of Scotch. Audio of TV in the background.

ALEX:
I was absolutely convinced. Classic father worship, hero envy. Inadequate, angry, bright. I'd have put money on him being the bomber.

GENE:
Nah, not in a million years. And as for Daddy Bonds... well, he's a coward. All talk and no trousers. Cheers.

GENE clinks glasses with ALEX.

GENE:
Never mind. Your boyfriend's invited us to a bit of a do.

ALEX goes to drink and stops, rolling her eyes at GENE at the comment. They exchange a look and both take a swig.



MUSIC: 'Show Me' by Dexy's Midnight Runners

East End street party. Tables and chairs set out a long line in classic street party configuration. Balloons and patriotic Union flag bunting abound. Sound system blaring as young and old sporting red, white and blue tuck into squash, champers and sandwiches.

# Show me now
# Show me now
# Show me now
# Show me, show me now, show me #

GENE looks on as RAY and CHRIS hurry to take a seat and get stuck in. GENE wanders up behind ALEX, who's watching DANNY speaking to the POSH GIRL in the distance.

# Show me now. G'on, g'on, g'on #

GENE:
That's the trouble being posh. There's always somebody posher.

# Show me now, show me, show me, show me, show me etc #

They both turn to look as DANNY get to his feet and reaches for the microphone, which whistles.

DANNY:
Ladies and gentlemen, can I have your attention, please? Oi!

The music stops and he laughs coarsely. ALEX sighs and looks slightly pained.

DANNY:
No, I just, I just want to say a few words. I know that we haven't always seen eye to eye on the development of this area...

MRS BONDS and GEORGE are walking alongside the table. ALEX turns to GENE.

ALEX:
What are they doing here?

DANNY:
... but I just want to say one thing.

GENE:
Getting on with their lives.

DANNY:
You and I are the same.

GEORGE moves to walk past ALEX.

DANNY:
We have the same blood running in our veins and we always will.

ALEX: (to GEORGE)
For what it's worth, I think it took a lot of courage to come here this evening.

DANNY:
We look after each other. Now I give you my word...

GEORGE:
I thought about what you said, and you were right.

DANNY:
.. that every man, and woman, here this evening...

GEORGE:
Everybody must fight.

DANNY:
... will be given a cash sum to start a new life in a new place.

ALEX gives him a smile of encouragement. GEORGE looks at GENE, who is stoney-faced, then walks on.
DANNY's promise gets applause and cheers from the crowd.

DANNY:
And every man here will have a job in my company if that's what they want.
I don't want braying public schoolboys on the floor, I want barrow boys...

Cheers from the crowd.

DANNY:
...and wide boys.

More cheers, whoops, whistles and applause. The lad's going down a storm now.

DANNY:
I want our street wisdom, our ducking and diving.

RAY shakes his head, cynically.

DANNY:
Our East End blood.

Yet more cheers and applause.

DANNY:
Now... you know, one day this place will have all the romance of Venice and the commercial power of New York.

ALEX smiles slightly in amusement. The crowd cheer.

DANNY:
And, I give you my word, we'll make a few quid on the way.

DANNY gives a cheesy grin and holds it for photographs.

GENE:
Well he's a smooth operator, I'll give him that.

GENE walks away, ALEX watching him go.

DANNY:
The future is bright, my friends.

More applause and cheers. DANNY raises a plastic cup.

DANNY:
I give you the Royal Couple.

Drum roll and everyone stands as the National Anthem is played.

MUSIC: 'God Save the Queen'

DANNY:
God Save The Queen!



The party is now underway, a conga line snaking round the tables lead by the POSH GIRL, then GENE, who's busy trying to cop a feel as they dance along. RAY's also enjoying himself, although CHRIS seems less happy. ALEX looks on as DANNY approaches with a drink.

MUSIC: 'Gertcha' by Chas 'n' Dave

# Gertcha
# When the kids are banging on his door
# Gertcha
# When the barmen aren't serving any more
# Gertcha out son, gertcha
# Barstool preaching, he's always been the same #

DANNY:
I kept the best stuff back.

ALEX:
That was a pretty speech.

DANNY:
I meant every word. Listen, if you ever got bored of working with an oaf like that, there's a job waiting for you. I could use a woman like you.

ALEX smiles and leans forward to whisper into DANNY's ear.

ALEX:
I think you already have.

DANNY's smile becomes more fixed and he turns away as ALEX starts to walk off. ALEX looks back over her shoulder and sees GEORGE looking anxious and then determinedly walking away towards The Finish. ALEX looks thoughtful. Audio of echoing ticking. ALEX starts to get suspicious, puts down her drink and hurries over to GENE in the conga line.

ALEX:
Guv.

GENE:
What? I'm molesting a toff here!

ALEX:
Guv, there's a bomb here.

GENE looks at her and steps out of the conga line to speak confidentially to her.

GENE:
What?

ALEX:
George. He's planted a bomb. We have to get everybody out.

GENE looks round doubtfully.

ALEX:
Please, guv... trust me.

GENE:
If you're wrong...

GENE looks round again, then looks at ALEX and makes up his mind, turning decisively to address the crowd.

GENE:
Right.

GENE claps his hands.

GENE:
Come on, everybody. Show's over!

GENE and ALEX start shooing the crowd away from the tables.

ALEX:
Come on, everybody, we need you to go down to the end of the street.

GENE:
We need to clear the area. Everybody back up the street. Cut the conga.

ALEX:
Move to the end ofthe street.

GENE:
Quickly as you can. Back of the street, right to the back!

ALEX and GENE start to look under the tables. ALEX looks up and sees GEORGE hesitating at the door of The Finish. ALEX stands up and starts towards him as GEORGE turns, cups his mouth and yells:

GEORGE:
We are all prostitutes!

With growing realisation, ALEX keeps walking towards the pub as GEORGE opens the door.

An enormous EXPLOSION rocks the pub and surrounding area. Windows are blown out and the sound of shattering glass. ALEX is blown backwards off her feet, as is GENE. There are screams from the cowering crowd. An large cloud of smoke and debris erupts from The Finish. MRS BONDS looks on, distraught, as GENE gets to his feet and picks ALEX up from the ground. As he drags her away, ALEX looks back at the pub to see the CLOWN leaning against the shattered pub.

Image of MOLLY blowing out the candles.



ALEX's flat. ALEX talks into her dictaphone while looking at the calendar she's drawn up and stuck to the wall. The camera pans from July 20th, circled and notated as 'arrived', all the way to October 10th.

ALEX:
Everything is significant, Molly, I just don't know why yet. But the more I experience, the more clues I'll get and the sooner I'll be back home to you.

ALEX writes in 'Mum Dad' in the October 10th square and stands back, looking at it thoughtfully.

ALEX:
Maybe I can save them. Maybe that's why I'm here. Maybe that's... (sighs) That'll be my release. (into the dictaphone) I won't leave you on your own, Molly. I promise.

ALEX turns off the dictaphone, sighs again, close to tears, and reaches forward to add a cross to the calendar above 'Mum Dad'. A knock on the door and ALEX opens it to find CAROLINE.

CAROLINE:
How are you?

ALEX:
I'm fine. Um... Well, no, I mean, I'm not fine. I mean, I'm a mess. No.

CAROLINE:
I'm not surprised, that must have been a horrible experience. I just wanted you to know I had no idea he was capable of that.

ALEX:
No. Well, passion and belief in a cause. He won't be the last. Would you like to come and have...? Er.

ALEX indicates that CAROLINE should come through, which she starts to do until she remembers.

CAROLINE:
Sorry, I can't. I'm going to pick up my daughter from school.

ALEX:
Oh. Oh that's good.

CAROLINE looks like she'd rather not be reminded of their earlier argument over that and makes a hurried exit, avoiding eye contact.

CAROLINE:
See you again, DI Drake.

ALEX:
Alex.

CAROLINE:
Alex.

CAROLINE leaves. ALEX is disturbed from ruminating over this by the sound of a car horn in the street outside. ALEX goes to the window to investigate.

MUSIC: 'Geno' by Dexy's Midnight Runners

# Back in '68 in a sweaty club
# Oh Geno #

ALEX peers through the blind, then opens the window to see GENE, RAY, CHRIS, SHAZ, VIV and THREE CID BLOKES outside in the road, looking up. They cheer her appearance. CHRIS is blowing kisses. They're all a bit drunk.

# Before Jimmy's Machine and The Rocksteady Rub #

GENE:
A deal's a deal, Bolly.

# Oh Geno #

GENE: (to the others)
Trousers down. One... two... three!

They all turn, lower their trousers and moon her. ALEX can't help but laugh.

# On a night when flowers didn't suit my shoes
# After a week of flunking and bunking school #

Fireworks to celebrate the royal wedding start up, seen in reflection on the building opposite.

# The lowest head in the crowd that night
# Just practicing steps and keeping out of the fights
# Academic inspiration, you gave me none #

Credits.

# You were Michael the lover, the fighter that won
# And now just look at me as I'm looking down on you
# No I'm not being flash, it's what I'm built to do #