Ashes to Ashes, series one, episode three.
Writer: Julie Rutterford
Director: Bille Eltringham

xxxx

Exterior of Alex's flat. APPLAUSE. Cut to television screen and "Larry Grayson's Generation Game". ALEX is sitting very close to the screen.

LARRY GRAYSON:
Thank you very much. Thank you. Thank you very much. It's lovely to have you here, and lovely to have you looking in at home...

ALEX turns off the television and we see her reflected in the screen. MOLLY is standing behind her in school uniform.

ALEX:
I know that if I turn around, you'll vanish. .. I know that.

Just before ALEX turns her head, MOLLY fades in to darkness. ALEX looks over her shoulder, then turns back and slumps down.

ALEX:
I'm coming back to you, Molly.



Exterior. Tyres screech - the Quattro is in pursuit of a white Transit van. GENE is driving, ALEX in the front passenger seat, RAY with a police radio in the back next to CHRIS who's eating.

MUSIC: 'Staring at the Rude Boys' by The Ruts

RAY: (in to the radio)
Give location of area car, over.

POLICE OFFICER over the radio:
Wapping Wall, heading East.

# It's a very small world in the middle of a crowd #

RAY: (in to radio)
Wapping Wall. Roger that. Over and out.

# The room gets dark when the music gets loud
# Treble cuts thru' when the rythmn takes the bite
# But there's no room to move 'cause the floor is packed tight #

The Transit van and the Quattro career through the streets, ploughing through cardboard boxes and bags of rubbish stacked up at the side of the road and swinging round corners.

CHRIS:
Steady on, Guv, I nearly lost me breakfast then.

# A voice shouts loud
# "We'll never surrender" #

GENE:
What is that?

CHRIS:
It's me kebab.

# A voice in the crowd #

GENE:
Looks like a bloody pasty with its arse hangin' out.

# "We'll never surrender"
# A hand in the crowd's flying propaganda
# 'Never surrender, we'll never surrender' #

GENE is still driving like a maniac and ALEX, RAY and CHRIS are being thrown about by the Quattro's violent manoeuvres.

ALEX:
Must you?

GENE:
Six months we've been waiting for a tip-off on this lot. If you think I'm gonna let them slip through the net by driving like a tart, you are very much mistaken.

# The skins in the corner are staring at the bar
# The rude boys are dancing to some heavy heavy ska
# It's getting so hot people are dripping with sweat
# The punks in the corner are speeding like a jet #

The Quattro bumps over a pot hole and CHRIS gets a face-full of his kebab.

RAY:
Go on, Guv, we nearly got the bastards!

# Staring at the rude boys
# Staring at the rude boys
# Dancing with the rude boys
# Dancing with the rude boys
# Staring at the rude boys
# Staring at the rude boys #

The Transit comes to a spinning halt at a dead end in an area by the river, its rear doors flying open to reveal cardboard boxes and garden gnomes. The driver and passenger jump out and start frantically throwing the gnomes over a wall in to the water as the Quattro arrives. RAY and CHRIS run across to grab the two men.

CHRIS:
Stand still!

ALEX leans against the Quattro and looks on disapprovingly as they scuffle. RAY knees his collar in the groin, slams him against the bonnet of the Quattro then hauls him to his feet past GENE, who punches him in the stomach as he passes. A marked Patrol Car arrives with siren going. GENE looks unmoved as he walks past CHRIS still struggling with the GNOME THIEF and looks in the back of the van. GENE picks up one of the gnomes and turns to talk to the GNOME THIEF, now restrained by CHRIS.

GENE:
Wouldn't have had you down as the Percy Thrower type.

GNOME THIEF:
They're for me mum. She collects them.

GENE:
Oh, very touching.

GENE lets the gnome drop to the ground. It shatters to reveal plastic bags of white powder hidden inside; presumably drugs. GENE picks up one of the bags.

GENE:
Who's your mother? Marianne Faithfull?

CHRIS takes the GNOME THIEF away. ALEX, still leaning against the Quattro, sighs heavily and looks extremely fed up. ALEX walks over to GENE as he looks over the bags of drugs in his hand.

GENE:
What's up with you today?

ALEX:
Just because I'm stuck here doesn't mean I have to pretend to like it.

MUSIC: 'It's different for girls' by Joe Jackson

GENE:
Fine. I'll leave you to it then, sulky knickers.

ALEX walks on past him and speaks over her shoulder.

ALEX:
Thank you.

GENE watches her go for a moment, then turns away, drops the drugs off and heads back towards the Quattro, also now looking fed up.

# What the hell is wrong with you tonight?
# I can't seem to say or do the right thing #

ALEX glances in a skip then walks on towards some metal stairs leading to the top of the wall next to the river. Meanwhile a uniformed officer is putting RAY's collar in the patrol car, while RAY is investigating the inside of another gnome and CHRIS is looking at one of the bags of drugs in puzzlement.

PLOD: (to gnome thief)
Come on. Just get in the car.

# Wanted to be sure you're feeling right
# Wanted to be sure we want the same thing #

ALEX reaches the top of the stairs and sees some of the gnomes floating down river. Sitting on a dilapidated piece of dock is a young black woman, NINA, evidently in distress. ALEX looks concerned.

# She said, I can't believe it
# You can't, possibly mean it
# Don't we all want the same thing
# Don't we #

ALEX turns to call down to GENE.

ALEX:
Hunt! Here.

# Well, who said anything about love? #

GENE looks fractionally more annoyed than he did before but still heads for the stairs.

# No, not love she said #

GENE:
Make your mind up, woman.

# Don't you know that it's different for girls?
# (Don't give me love) #

NINA whimpers.

# No, not love she said
# Don't you know that it's different for girls?
# You're all the same #

GENE reaches the top of the stairs and sees NINA.

GENE:
You all right, love?

NINA looks round, terrified, and sobs.



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.



Police Station front desk, gnomes are visible on every surface. The 'phone is ringing and there's general background noise of a busy police station. VIV has the GNOME THIEF by the arm. GENE hands him a clipboard.

GENE:
There you go, Viv. Take 'em down the cells.

VIV:
Cheers, Guv.

GNOME THIEF:
I need a piss.

GENE:
It's en suite.

VIV:
Someone's nicked the bucket, Guv.

GENE:
Oh, if it isn't bloody nailed down...

GENE walks down the corridor. SHAZ leads NINA past to the interview room, followed by ALEX. They continue along the corridor as they talk.

ALEX:
This requires a cognitive interview procedure.

GENE:
We're fresh out of cognitives. What say we just talk to her?

ALEX:
I don't think she'll open up with a man present.

GENE and ALEX reach the door to the interview room and GENE turns to ALEX in annoyance.

GENE:
Plenty of women have opened up to me without so much as a shandy down their neck.

ALEX:
She's scared of you. Can't say I blame her. Trust me.

GENE looks unconvinced, but opens the door for her and stays outside.



Station front desk. CHRIS picks up box from amongst the gnomes on the counter and queries VIV.

CHRIS:
What's this, Viv?

VIV:
It's for the canteen... Toaster.

VIV starts to hand CHRIS some of the gnomes.

VIV:
Right, here you go.

CHRIS:
Right, let's find these a 'gnome' to go to. Are you havin' that, skip? 'Gnome' to go to?

VIV:
Don't give up your day job, boss.

As CHRIS heads down the corridor towards CID, one of the gnomes starts to emit an electronic laugh. CHRIS passes GENE as ALEX emerges from the interview room and walks towards him. GENE is leaning against the wall of the corridor, drinking a mug of tea.

GENE:
Well?

ALEX:
Promise me something.

GENE:
What?

ALEX:
Don't gloat.

GENE:
Oh, dear. The 'cognitive approach' didn't work?

ALEX:
You promised.

GENE:
You failed.

ALEX:
She's traumatised. We need to keep her here.

SHAZ walks by leading NINA towards the front desk.

GENE:
Shaz...

SHAZ pauses.

GENE:
Check out the missing persons file.

SHAZ:
Yes, Guv.

ALEX:
Her name's Nina. Doesn't want to go home, wants to stay here.

GENE:
Where's home?

ALEX:
Don't know, couldn't get anything else out of her.

GENE:
Why does she keep scratching herself all over?

SHAZ and NINA pass the front desk as TRIXIE arrives. CHRIS is also there, collecting more gnomes. He walks back towards CID looking puzzled.

ALEX:
I don't know. It could be nerves, could be self-harming. Whatever's happened to that young girl's frightened the life out of her.

CHRIS:
Wait till you hear this one, Guv. Prozzie wants to make a complaint of rape.

GENE:
Rape?!

CHRIS carries on to CID, chuckling. GENE heads towards the front desk while ALEX remains, looking thoughtful.

GENE:
Drake!

ALEX is shaken out of her thoughts and follows him.



CID. CHRIS is on the phone at his desk, positively surrounded by gnomes.

CHRIS: (speaking in to the telephone)
Yeah... Yeah, he's got a beard... Yeah, and a fishing rod... It's broken?

CHRIS breaks the gnome's fishing rod in two.

CHRIS:
Yeah, got the little fella right here, love. Come and pick him up anytime.



GENE picks up a clipboard from the front desk and consults it while he and ALEX walk towards the interview room again. ALEX looks interested; GENE is cynical.

GENE:
Trixie... Real name Patricia Walsh. Recently promoted from the streets to escort work. Seen more beaks than Daffy Duck at a family knees-up. Raped? Who's she trying to kid?

ALEX:
Oh, and they say it's difficult for rape victims to be believed. I wonder why?

GENE:
She gets paid for having sex.

ALEX:
It's not about sex, is it? It's about control and power and revenge. I did a thesis...

GENE:
Maybe tell me about it some other time. You know, when I'm in a coma or when I'm dead.

GENE turns to go in to the interview room.

ALEX:
What, the interview room? Where's the rape suite?

GENE:
Rape suite? What, is that with or without a mini bar?

ALEX:
Not like a hotel suite!

ALEX follows him, exasperated.



Interview room. GENE and ALEX are sitting opposite TRIXIE. ALEX is being understanding while GENE is radiating scepticism.

GENE:
So, where did this 'rape' take place?

TRIXIE:
On that big flash boat up by Tower Bridge.

GENE:
Which boat?

TRIXIE:
I don't know. Sky- something I think.

ALEX:
I'll get Chris onto it. So, the escort agency you work for booked you with a client?

TRIXIE:
He took me to a party on this boat. Load of posh sorts there. As many champagne cocktails as you like.

GENE:
What, so you were drunk?

TRIXIE:
I can hold me own.

GENE:
Do you charge extra for that or... ?

ALEX:
Carry on, Trixie.

TRIXIE:
It gets late. I goes in to this cabin, where I thought the client was but it turns out he'd gone. Then someone comes in, switches the lights out. Puts a key in the door to lock it. I thought it was the client but it wasn't.

ALEX:
Were guests given keys to the cabins?

TRIXIE:
Not that I know of.

ALEX:
So it had to be somebody who worked on the boat?

TRIXIE:
I guess so.

ALEX:
Trixie, can you describe the man who raped you?

TRIXIE:
Well, it was dark, so I didn't get a proper look at him. But he was skinny. Curly hair. Wore a suit, I think. Posh accent.

GENE:
So we're looking for a skinny, curly-haired bloke in a suit who was on a big boat somewhere on the river?

GENE claps his hands together and gets to his feet, leaning on the table towards TRIXIE and obviously loosing his temper. ALEX is not impressed at his reaction.

GENE:
Right! Better crack on! We've got about a million suspects to interview before we knock off. DI Drake, shall we?

TRIXIE:
I knew it'd be a waste of time comin' here.

GENE:
Congratulations, Puss in Boots, first sensible thing you've said. Now I suggest you drop this quicker than you drop your drawers, otherwise I'm gonna arrest you for wasting police time.

TRIXIE:
It's just, you know, it's upsetting talking about it.

ALEX:
Of course it is. Just... just take your time, Trixie.

ALEX throws a look at GENE, who subsides back in to his seat, folding his arms and still sceptical.

TRIXIE:
I thought he was just another punter after the usual... Straight sex. He was all right at first. Said I was beautiful.

GENE:
Blimey, it was dark!

TRIXIE:
'Beautiful on the outside', that was it. But then he turns weird. He starts saying, 'You're all impure'. Calling me names... 'filthy whore' and stuff. Next thing, he's digging a ring into me. It felt like a sovereign ring.

TRIXIE reaches up to pull away the scarf around her neck to reveal a red mark.

TRIXIE:
That's when he raped me. And then he started to strangle me.

ALEX:
Did you struggle?

TRIXIE:
I was too scared to. He had a knife. He slashed me with it. I thought he was going to kill me! I'm tellin' you this bloke, whoever he is, he's gonna do it again. He's a nutter.

ALEX:
Where did he cut you, Trixie?

TRIXIE:
Left breast.

ALEX:
Could we see?

TRIXIE moves to unbutton her blouse; ALEX hurriedly intervenes, with a glance at GENE.

ALEX:
Oh, when DCI Hunt has left the room.

GENE sighs and goes to leave.

GENE
When you're done, a word.



GENE is waiting outside in the corridor, leaning against the window. ALEX comes out of the interview room.

ALEX:
Ten centimetres across the left breast.

GENE:
Mmm... About eight weeks ago, we found the body of a young woman, Delphine Parkes. Black, about 5'2', early 20s. She'd been raped, probably. Beaten and strangled. And her breast had been slashed. Left breast.

ALEX:
Was she a sex worker?

GENE:
Prozzie? No, far from it. Regular church goer, in the choir. Decent family life. Lived at home. No boyfriends.

ALEX:
Suspects?

GENE:
Well we hauled in the usual perves and psychos. Nothing.

ALEX:
So the only thing to link Delphine and Trixie are the injuries, especially the one to the breast?

GENE:
Correct. Although the detail about the breast was never released to the press.

ALEX:
So how would Trixie know about it?

GENE:
That's what I'm wondering.

ALEX:
Well, let's pull Delphine's file.



ALEX is at her desk, going through Delphine Parkes' file; pictures of Delphine with her parents and her church choir, picture of her dead, various indications of a strong Christian faith including St John's Gospel.

MEMORY
ALEX talking to MOLLY.
ALEX hugging MOLLY.

ALEX is close to tears and sniffs. GENE appears behind her and leans his hands on the desk next to her.

GENE:
You OK?

ALEX looks up and nods, obviously not. GENE indicates something on the desk.

GENE:
We, um, found that on Delphine's body.

ALEX picks it up - a pocket-sized copy of the New Testament - flicks through it and finds a photograph of the choir folded in the back.

ALEX:
Why would she carry that around with her?

GENE:
Presumably as a keepsake. The choir was a big part of her life. That...

GENE picks up another, larger photograph of the choir, framed.

GENE:
...took pride of place in her mum's house.

ALEX sighs, evidently no further forward with the case, and picks up a chain with a St Christopher medallion on it.

GENE:
And that was also found with the body.

ALEX:
God is in the detail, huh?



CID. Everyone is gathered round as Alex hands round detailed pictures of Delphine Parke's body before perching on the end of SHAZ's desk, next to GENE.

ALEX:
I know you've all seen these before but look again. Is there anything in them that might connect the murder of Delphine Parkes to the injuries sustained by Trixie Walsh?

CHRIS:
I wish I'd never had that kebab.

GENE:
DI Drake has a theory.

ALEX:
The cut is on the same breast but it's different to the one on Trixie Walsh. It's deeper. This is a disorganised crime whereas the attack on Trixie, although violent, is more organised, it's more thought out. There's also a lesion on Delphine that isn't on Trixie.

GENE holds up a plastic bag holding the St Christopher.

GENE:
Yeah. She was wearing this St Christopher which was ripped off her during the attack.

ALEX:
Fingerprints?

GENE:
No traces.

ALEX:
What were her last movements?

GENE:
She left work as normal. Had something to eat. Told her mum she was going to the church although there wasn't any choir practice that night.

CHRIS starts hunting through his notes.

ALEX:
Did she often go to church when there was no choir practice?

GENE:
Her mum and dad said that she'd been a few times, yeah.

ALEX:
Witnesses?

CHRIS consults his file.

CHRIS:
Night she was killed, an old dear who goes to the same church saw her there alone. That was an hour before the estimated time of death.

ALEX:
And how long would it take her to get from the church back to her home?

GENE:
Well, on foot, which she was... between 15, 20 minutes.

ALEX:
So she met somebody on her way home from church, or she went somewhere else afterwards. Boyfriend?

RAY:
We checked out all the blokes where she worked, and all the blokes who went to her church. Water-tight alibis, the lot of them.

ALEX:
OK, so we need to re-trace her steps. See if we've missed anything.

ALEX gets up to go to her desk for her jacket.

RAY:
Is that a dig?

ALEX turns, surprised.

ALEX:
No, just a fresh pair of eyes might uncover something new.

RAY:
Oh, it's all right lads, Wonder Woman's here.

Members of CID snigger.

ALEX:
FYI, DI Carling...

RAY:
FY what?

CHRIS: (amused)
I think she means FBI.

RAY:
We're CID.

CHRIS shrugs, grinning.

CHRIS:
I know.

ALEX:
The only thing I'm interested in is finding out what's happened. If you want to sit there making smug comments, that's fine.

ALL:
Wooo!

ALEX storms out.

RAY:
Time ofthe month.



Exterior of church. GENE and ALEX walk up to speak to MRS PARKES who's just about to go in. She stops and turns.

GENE:
Mrs Parkes...

MRS PARKES:
You got him?

GENE:
Er no, not yet. But we're doing everything we can, I promise. This is my colleague, Detective Inspector Drake.

ALEX:
Hello. Your husband told us we'd find you here.

MRS PARKES:
It doesn't take away the pain, but it eases it a little. I can still hear Delphine's voice in the choir. Such a pure, sweet voice, like you've never heard. People say I may be cracking up, but I hope I never stop hearing it. You want to come in?

MRS PARKES goes in to the church, GENE allowing ALEX to go first to follow her. He pauses at the crucifix hanging next to the door and addresses it.

GENE:
Where were you when she needed you?

The choir is practicing inside the church and MRS PARKES is already sitting in a pew, watching them.

MUSIC: 'Oh Happy Day' performed by the choir.

# Oh happy day, Oh happy day
# When Jesus washed, When Jesus washed
# When Jesus washed #

ALEX takes a seat in a pew on the other side of the church from MRS PARKES

# Oh happy day, Oh happy day
# He taught me how #

GENE takes a seat next to MRS PARKES

# To walk right and pray
# Right and pray
# We'll live rejoicing every
# Every day
# Every day... #

The music fades and becomes echoing; the choir goes in to slow motion as ALEX looks on.

MEMORY
Photographs of Delphine's injuries and of Delphine and her mother.

FLASHBACK
Microfiche effect rapidly sideways.
Man in glasses.
Red balloon.
Woman opening car boot - CAROLINE
Microfiche effect rapidly sideways.
Car exploding.
Rapid zoom in to CLOWN's head.

CLOWN:
Alex!

ALEX looks round. The choir is still singing, but still in slow motion and the song is indistinct. Male and female voices whisper her name. Rapid cuts between close up of one of the singer's hands clapping and the CLOWN walking rapidly towards camera through a graveyard of white gravestones until his face is in extreme close-up.

Audio of breath being taken run backwards. ALEX turns slightly in her pew.

MEMORY
CAROLINE standing in a school hall, inter-cut with choir.

CAROLINE in memory:
Goodbye, Alex.

LITTLE ALEX in red school uniform sitting cross-legged on the floor of the hall, all alone.
Mrs Parkes outside the church.

GIRL's voice (whispering and echoing):
Mummy. Mummy!

Photograph of Delphine's injuries

GIRL's voice (whispering and echoing):
Mummy.

CAROLINE's face in close-up, laughing, as she apparently swings LITTLE ALEX around in a circle.

Audio of breath being taken run backwards. ALEX turns in her pew to look over her shoulder. The CLOWN is standing in the gallery high up in the church, looking down at her.

GIRL's voice (whispering and echoing):
Alex, wake up! Wake up, Mummy!

Photograph of Delphine's injuries
Mrs Parkes outside the church
The choir, clapping to the music
More photographs of Delphine's injuries

CAROLINE in memory:
Make sure she concentrates...

LITTLE ALEX standing in a graveyard with some flowers, looking at a gravestone. The inscription relating to Caroline from the Price's grave is superimposed on the image.

GIRL's voice (whispering and echoing):
Wake up, Alex.

CAROLINE in memory:
...she's easily distracted.

White grave stones.

GIRL's voice, calling echoingly:
Mummy!

The CLOWN in the graveyard, smiling triumphantly.

TRIXIE in memory (echoing):
Beautiful on the outside...

ALEX still looks towards where the CLOWN was standing in the church.

TRIXIE in memory (echoing):
You're all impure...

Realisation dawns; ALEX reaches for the bible on the ledge in front of her in the pew and starts to rapidly flick through it until she finds the passage she's looking for.

# Oh happy day, Oh happy day
# Oh happy day
# Oh happy day... #



GENE and ALEX are walking from the church to the Quattro, ALEX gesticulating to make her points.

ALEX:
Trixie said the man who raped her told her that she was 'beautiful on the outside' but impure. 'You're all impure'. Now, I may have lapsed but I knew that I recognised that phrase. 'You're like whitewashed tombs. Beautiful on the outside but filled on the inside with dead men's bones and all sorts of impurities'. Matthew, Chapter 23, verses 27, 28.

GENE:
So he's a religious nutter?

ALEX:
Except on a day-to-day basis he probably functions perfectly normally. He won't have had successful relationships with women, he's sexually dysfunctional. He tries to replace sex with God and realises that he can't.

GENE:
What, and, er you can tell all this from a quote in the Bible?

ALEX:
Well, I've worked on cases similar to this before. He cuts the breast because it's symbolic. You know, it's the nurturer, the suckler, it's a literal attack on femininity, on all womanhood.

GENE:
Don't you ever get brain ache?



ALEX: (voiceover)
This man has unresolved anger.

CID. ALEX and GENE walk in. RAY hands GENE a file.

RAY:
Guv, details on that Trixie you asked for.

ALEX:
He's cleansing society of these impure women, and we have to stop him before he kills again.

GENE:
Yeah well, at least Delphine's attacker existed.

ALEX:
Why would Trixie lie?

GENE:
Because she wants to get one over the agency that sacked her! An agency girl that accuses a client of rape? That's going to go down about as well as a pork pie at a jewish wedding.

Laughter from the rest of CID. GENE thrusts the file at ALEX. She looks at it, then up at RAY, who scoffs and shakes his head, unimpressed.



Interview room. Once again, ALEX is sitting opposite, but GENE is perched on the edge of the table next to TRIXIE.

TRIXIE:
If I'd have wanted to get my own back, I'd have just gone to work for another agency.

GENE:
They said you rolled a punter.

TRIXIE:
He never paid the agreed fee. I just took what was mine. Look, this has got nothing to do with why I'm here. I'm begging you to believe me. I was raped. Nearly killed. The bloke who did it, he's gonna try and kill one of us again. You've got to stop him. Please.

ALEX:
We will.

GENE:
You know you might be a good performer at work, love, but you don't cut it with me.

ALEX shows TRIXIE an advertising flyer for the 'Sunborn'.

ALEX:
Does this look like the boat where it happened?

TRIXIE:
Yeah, I think so.



CID. ALEX is addressing a group of very sceptical detectives, including RAY and CHRIS.

ALEX:
We bring in all members of staff, every single one, that was on the boat the night Trixie was attacked.

GENE:
No we don't.

ALEX:
What?

GENE steps out of his office.

GENE:
The boat is owned by a Mr Leonard Roseberry-Sykes who's a bigger pain in the arse than a bad dose of piles.

ALEX:
So he's a pain in the arse. Why should that stop us questioning suspects?

GENE:
Because Mr Roseberry-Sykes is a member ofthe funny-handshake brigade, along with our dearly beloved Commissioner of the Met. Which means he's got the Commissioner by the bollocks, which means he's got us by the bollocks!

GENE looks pointedly at ALEX.

GENE:
Well, some of us at least.

ALEX:
So what, we just do nothing?

GENE:
We play it softly softly.

CHRIS:
It's a waste of time all this, isn't it, Guv? I mean, we've only got the word of some tom to go on.

Members of CID nod in agreement.

ALEX:
Ah, and that's what you all think, is it?

ALEX looks round at them. GENE, who had returned to his office, reemerges.

ALEX:
Whether you believe Trixie or not, somebody cut her. Someone hurt her and someone left her for dead. Now what is it going to take for you to realise that prostitutes need your protection just as much as anybody else? What, another Yorkshire Ripper?

GENE looks thoughtful.

ALEX:
Sod the lot of you. I'm going to do something I should have done a long time ago!

ALEX throws her pencil at CHRIS and storms out to "ooos" and chuckles from CID.

RAY:
Put in for a transfer with any luck.

More chuckling.

GENE:
Drake, where are you going?

ALEX is halfway down the corridor but shouts her reply back through the glass.

ALEX:
Somewhere my subconscious thinks I should be!



Close up of a brass plate reading 'Caroline Price, Solicitor'. ALEX walks up, seen in the reflection, and looks slightly aprehensive. The door opens and EVAN steps out. ALEX is taken aback.

ALEX:
My God...

EVAN:
Can I help you?

MEMORY
Microfiche effect rapidly sideways.
Older Evan leaning on the Millennium Bridge
Molly leaping up to hug him.

MOLLY in memory:
Evan!

Evan and Molly walking away across the bridge, Evan turning to wave.
Microfiche effect rapidly sideways.
Red balloon.
Young Evan running down a grassy slope, shouting.
Microfiche effect rapidly sideways.
Little girl's hand letting go of balloon strings and man's hand taking little girl's hand.

ALEX:
I... I was just looking for Caroline.

EVAN:
Oh, I'm afraid she's in with a client at the moment. But maybe I can help? Evan.

They shake hands.

EVAN:
Evan White.

ALEX:
God, you were gorgeous!

EVAN:
Were?

ALEX:
Er, are. You, you won't believe how glad I am to see you.

EVAN:
Thank you! Gosh, if only I had this effect on all the attractive women I met.

ALEX:
Oh, you will!

EVAN:
Thank you for the vote of confidence. Um... do you think I could have my hand back?

ALEX:
Yeah, sorry.

EVAN:
Um... message? For Caroline...?

ALEX:
Um, no. No, no message, I, er... I was just looking for some, some reassurance really from someone I trust. But, er, it doesn't matter, it's not important.

EVAN:
So what are you going to do? Without that reassurance?

ALEX:
What do YOU think I should do?

EVAN:
Do you think I'm the right person to ask considering I've only actually known you for a matter of seconds?

ALEX:
Ah no! But if you did know me?

EVAN:
I'd say go with your instinct. Good luck.

MUSIC: 'Let's stick together' by Roxy Music

EVAN smiles and walks away. ALEX watches him go and smiles, reassured.



GENE, RAY and CHRIS are in the Quattro driving around looking for ALEX.

# And now the marriage vow is... #

GENE:
Where the bloody hell is she?

#...very sacred
# The man has put us together
# Now you ought to make us stick together #

CHRIS:
Try left here, Guv.

# Come on, come on, let's stick together
# You know we made a vow to leave one another never #



ALEX is talking to two 'street girls' from amongst many in a dubious-looking alley as GENE walks up.

# Well, now you never miss your water 'til your well is dry #

STREET GIRL 1:
Trixie? Yeah, she's all right.

# Come on now baby, give our love a try #

STREET GIRL 2:
As long as you don't get on the wrong side of her.

# And let's stick together
# Come on, come on, let's stick together #

STREET GIRL 1:
Had a soft spot for the lame ducks. Like a mum to the other girls, no kids of her own.

ALEX:
All right. Well, remember, if you do see any dodgy punters...

ALEX writes in her notebook.

# You know we made a vow... #

STREET GIRL 2:
They're nearly all dodgy, love.

# ...to leave one another never #

ALEX:
...or if any girls goes missing, call me.

ALEX rips the page from her notebook and hands it to STREET GIRL 2. She walks towards GENE while behind her STREET GIRL 2 offers the paper to STREET GIRL 1 who walks away.

STREET GIRL 2: (ironically)
D'you want to call her? Or shall I?

ALEX:
Are you stalking me, Hunt?

GENE:
What are you up to?

GENE and ALEX turn to walk towards the Quattro. RAY and CHRIS are leaning against it, watching them approach.

ALEX:
I'm warning these girls about Trixie's attacker. Somebody has to.

RAY:
Why has she got such a bloody great bee in her bonnet about these prozzies, d'you reckon?

CHRIS:
Hormones. It's always hormones.

ALEX:
Maybe I should go down to Kings Cross?

GENE:
Why? Are we not paying you enough?

ALEX:
I just want them to be safe.

GENE:
Am I missing something here? But, erm, why are you so bothered about them?

ALEX:
Does there have to be a reason?

GENE:
Yes.

GENE and ALEX stop and face each other, just short of RAY and CHRIS, who are watching and listening.

ALEX:
All right. OK. The skeleton in the closet. The private education, years at Oxbridge. All counted for nothing really, because I, Alex Drake... was once... a prostitute.

CHRIS:
Bloody 'ell.

RAY:
I knew it.

ALEX:
There, I've said it.

GENE:
Christ on a bike.

ALEX:
Well, that wasn't as bad as I thought it might be.

GENE:
Are you telling me that you lied to get into the Force?

ALEX:
No, actually.

GENE:
Eh?

ALEX:
What I just told you was a lie. I said it to show how your pre-conceptions can inform your judgements about other people. Especially prostitutes. Sorry.

GENE:
You know, sometimes I hate you, Drake.

ALEX:
So I'm not how you would expect a prostitute to be? Ifl said I'd been raped, you would believe me, but not someone like Trixie, not a woman like that.

GENE:
No, er, not hate. Despise.

ALEX:
All right. So I'm not a hooker. But if I was, do you know something, Gene?

ALEX steps towards him and gets right in his face.

ALEX:
You could never. Ever. Afford me.

GENE:
You know, you might talk with a plum in your gob, love, but I would rather go with one of them...

GENE points behind him to indicate the 'street girls'.

GENE:
...than waste my money on some bitter, twisted, messed up, clenched-arsed, toffee-nosed bitch like you.

ALEX slaps GENE's left cheek. RAY winces and exchanges a look with CHRIS.

GENE:
Do you feel better now?

ALEX:
No.

ALEX punches GENE with a left uppercut. GENE staggers backwards and recovers, feeling his chin.

ALEX:
Better now.

ALEX walks away to get in to the Quattro, wringing her left hand. RAY and CHRIS are in shock.

ALEX:
Well, come on, ladies, what are you waiting for? Let's get pissed.



RAY, SHAZ and CHRIS enter Luigi's and head towards a table, talking as they go.

SHAZ:
A proper punch?

CHRIS:
Yeah, she's Joe Bugner in a frock.

RAY:
Hey, the Guv should be careful or she'll wrap him round her little finger.

ALEX and GENE enter Luigi's and head for the bar.

GENE:
You should get help.

ALEX:
Yeah, and you should get some manners. 'Bitch'?

GENE:
It was hardly worth a smack in the chops.

ALEX:
It could have been worse, I could have aimed far lower. So, am I forgiven?

GENE:
I'll let you know when I can feel my gob.

ALEX:
I was right though. Any woman who walks in to your station deserves to be treated equally, sex worker or not.

GENE:
'Sex worker'! You talk about them as though they're your mates. I would've thought your sort are more the old, um, Pimms on the lawn brigade.

ALEX:
Yeah, course they are.

GENE:
You know, I bet you've got the names of a couple of minor royals in your address book, haven't you?

ALEX snorts with laughter at the idea.

GENE:
I bet you're on first name terms with them Armstrong-Joneses?

ALEX:
Sorry, no. No. No mates, to speak of. Not any more.

MUSIC: 'Over You' by Roxy Music

Multiple glasses of wine are poured in quick succession to indicate the passage of time well spent. ALEX is leaning on the bar looking at GENE, who's leaning back in his seat. Both are the worse for wear; ALEX rather worse than GENE.

# Oh baby... #

ALEX:
Tell me, do you ever get lonely, Gene?

# ...this is nowhere #

GENE:
The Gene Genie? Lonely?

# Wish I was somewhere... #

GENE:
Too busy clearing the streets of Cockney filth and scum to get lonely.

# ...over you #

GENE shifts in his seat and leans forward, becoming confessional.

GENE
Sometimes.

# Your sweet lips tell me there's no chance #

GENE:
But if I ever hear you repeat that I'm gonna have to stamp on your pretty little head.

# No more romance - over you #

ALEX:
Why can't I just enjoy the last few seconds of life? I mean, it doesn't ALL have to be all about pain, does it?

GENE:
No. What doesn't?

They're both leaning on the bar, heads close together.

# Oh baby... #

ALEX:
What would you do, Gene?

# ...how can I go on #

ALEX:
Your last few seconds on Earth. Anything you want.

# Crying so long... #

ALEX:
Right now.

# ...over you #

GENE:
What, anything?

ALEX:
Anything.

GENE:
Right now?

# Where strangers... #

ALEX:
Right now.

GENE looks at ALEX, giving this careful consideration. She moves fractionally closer.

# ...look for new love
# I'm so lost in love... #

ALEX:
Say it.

# ...over you #

GENE has a chronic attack of gentlemanly behaviour

GENE:
I'm drunk. And you're very drunk.

GENE drains his drink, leans back and gathers his things from the bar counter.

ALEX:
What are you doing?

GENE:
I'm doing the right thing. And you should go to bed, Bolly.

GENE leaves, ALEX looking after him mutinously. [And if anybody's actually reading this, I'm beating my head on the monitor in despair.]

ALEX takes a further drink from her wine glass, only to be interrupted by a CITY BOY reaching over her shoulder to put a bottle of champagne on the bar in front of her.

# Some day... #

CITY BOY:
Champagne should never be drunk alone.

# ... yes, it might come, babe
# When I'll be, babe... #

ALEX looks up in surprise. CITY BOY smirks.

ALEX:
Well, I couldn't agree more.

# ...over you #

CITY BOY produces a couple of glasses.



ALEX and the CITY BOY are slow dancing to Luigi's Generic Italian Background Music while RAY, CHRIS and SHAZ look on.

RAY:
She'll be dropping her knickers right here the way she's going on.

SHAZ:
Do you think I should say something to her?

RAY and CHRIS:
Nah.

ALEX:
You are so not my type.

CITY BOY:
Really?

CITY BOY kisses her; ALEX does not object.

CHRIS:
Ray. Ray!

RAY and SHAZ turn to look; SHAZ looks awkward while RAY just shakes his head in disapproval.

CITY BOY:
Your place or mine?

ALEX:
Mine. On one condition.

CITY BOY:
What?

ALEX:
You let me ping your braces.

ALEX and the CITY BOY both nod drunkenly and return to their snog. RAY shakes his head some more and SHAZ looks embarrassed.



MUSIC: 'Making Your Mind Up' by Bucks Fizz

ALEX and the CITY BOY come in to ALEX's flat, shedding clothes, lots of squeaks, giggling, snogging, etc etc

# You gotta speed it up
# And then you gotta slow it down
# 'Cos if you believe that our love can hit the top
# You gotta play around
# And soon you will find that there comes a time
# For making your mind up #



ALEX's flat. The TV is on showing the BBC1 clock at close down.

MUSIC: The National Anthem

The TV picture abruptly switches to a close up of the CLOWN peering anxiously
The image changes to MOLLY blowing out the candles on a birthday cake.
ALEX is asleep on the sofa as voices whisper her name. Sounds of creaking metal and dripping water. She turns over with a groan
The TV picture dissolves from MOLLY's face to the CLOWN's and then abruptly switches off.



Alex's flat. The 'phone rings and ALEX wakes up and gingerly reaches for it, groaning, evidently suffering from a terrible hangover.

ALEX:
Hello?

SHAZ over the telephone:
Hello, Ma'am.

ALEX:
Hi, hi, Shaz...

SHAZ over the telephone:
Are you all right?

ALEX:
No, I'm, I'm fine, um...

SHAZ over the telephone:
Are you coming in today?

ALEX:
Yeah, yeah, yeah. No... I'll, I'll be in.

ALEX subsides back against her pillow.

SHAZ:
OK, see you later.

ALEX:
Yeah, I'll be in. See you later.

SHAZ:
Bye.

ALEX:
Bye.

ALEX replaces the handset and groans into her pillow.



Front desk of the Police station. NINA is being escorted towards the exit by a WPC.

NINA:
Please, I can't... I can't...

WPC:
You're going to have to.

NINA:
Don't make me, I can't.

WPC:
You can't stay here. Now on your way.

ALEX comes in wearing her sunglasses and sees what's going on. She turns to VIV behind the front desk.

NINA:
I can't...

WPC:
Go on.

ALEX:
Is everything all right, Viv?

VIV:
Hid in the Ladies all night, ma'am. Just trying to get her to go home.

NINA:
No, please!

WPC:
Look, you're going, OK?

ALEX: (to the WPC)
Put her in the records room. Keep an eye on her.

WPC:
Yes, ma'am.

VIV:
That girl's home life must be bad to make her want to stay here.

ALEX:
Be honest, Viv...

ALEX pulls her sunglasses down her nose and looks anxiously at VIV.

ALEX:
...how do I look?

VIV:
Er...fine.

ALEX is not fooled. She replaces the sunglasses and pats her hair in to place as if it hurts.

ALEX:
Word of advice. Don't bother with poker.

VIV watches ALEX head for CID and pulls a face at her obvious hangover.



CID. A hive of activity; RAY goes to get a file from the cabinet next to CHRIS's desk. He has a vivid mark on his lower lip.

CHRIS:
You been snogging that prozzie?

RAY:
Piss off. Burnt it on a cheese and tomato toastie on that bastard Breville thing.

CHRIS chuckles.

RAY:
Cup of tea'd be nice, Shaz.

SHAZ:
Chris has just made us one.

RAY:
That's plonk's job.

CHRIS:
Well I was making one anyway.

RAY:
Poof.

SHAZ:
God, Ray, what's up with your lip?

RAY's hand flies to his mouth again.

RAY:
It's not that bloody bad.

GENE comes out of his office to deposit a file on one of the desks and notices RAY.

GENE:
Got a dose of the old pox, Raymondo?

RAY:
I burnt my lip, Guv, all right?

Members of CID chuckle and he rounds on them.

RAY:
It's just a burn!

GENE realises he's touched a nerve.

GENE:
Whoah...

GENE heads back to his office but glances back as ALEX comes in.

ALEX:
Morning.

All members of CID exchange glances in amusement. Evidently RAY and CHRIS have ensured everyone is fully informed as to what happened the evening before.

CHRIS:
Morning, ma'am.

RAY:
Good night last night was it, Inspector?

Sniggers.

ALEX:
Yeah, thanks, Ray.

ALEX looks at the gnome with its trousers down, strategically placed on her desk, picks it up - it giggles - and lets it drop into the bin. It abruptly stops giggling.

RAY:
You look a bit tired. You been up all night, have you?

ALEX:
Nearly. But you know what? It was really worth it.

RAY and other CID blokes' faces fall. RAY sits down and addresses CHRIS.

RAY:
All fur coat and no knickers. Eh, she might not have been lying when she said she used to be a hooker.

RAY laughs. SHAZ goes to ALEX with a file.

SHAZ:
Staff names from the Sunborn, ma'am. There's a fancy dress party on board there tonight. I could hire you all costumes. Maybe that could be your cover.

ALEX:
Yeah, great. Thanks, Shaz.

SHAZ:
Can I ask you something?

ALEX:
Course you can.

SHAZ:
Was it really that good? You know, what you were on about just now.

ALEX glances over at the ear-wigging members of CID and exaggerates.

ALEX:
It was amazing.

GENE is listening from his doorway.

GENE:
Uh-hum...

GENE points to his office to indicate he'd like ALEX to step inside. ALEX sighs and goes in with a marked lack of enthusiasm. GENE slams the door shut - loudly.

GENE:
How's the hangover?

ALEX:
Yeah, it's coming along nicely. How's your chin?

GENE:
Well, at least I can feel it now.

ALEX:
There's a party tonight on the Sunborn. We could go as guests, and check out the staff for Trixie's rapist.

GENE:
Look, um... don't get all feminist on me but, er, tongues are wagging.

ALEX:
It's nothing I can't handle.

GENE:
Yeah, well, I wouldn't want you getting a name for yourself.

ALEX laughs and then winces at the pain it causes.

ALEX:
Oh God, you really are a 1981 construct through and through, aren't you? It's amazing.

GENE:
I am trying to help you here.

ALEX is getting progressively angrier and louder.

ALEX:
Well, I don't need your 'help'. Their archaic attitude is their problem, it's not mine.

GENE:
Wrong. It's my problem. To keep this department running smoothly, I need their respect, which I've got. They look up to me. They should be looking up to you an' all.

ALEX:
What, you want me to morph in to a nun? It's not like I've shagged an entire rugby team, is it?!

Everyone in CID is pretending to be busy whilst shamelesly eavesdropping.

RAY:
I bet she has.

ALEX:
It's your fault anyway!

GENE now starts shouting too.

GENE:
Why is it my fault?!

ALEX:
Because you left me on my own, and I ended up with some Thatcherite wanker!

GENE:
I told you to go to bed... alone. If you'd listened to me in the first place I wouldn't be wasting my time having this ridiculous conversation.

ALEX:
That's right, that's right. We are wasting time when we should be making a plan for tonight.

ALEX leaves and slams the door behind her. Everyone in CID quickly looks busy again.

ALEX:
Get those fancy dress costumes, Shaz.



MUSIC: 'Ay Ay Ay Ay Moosey' by Modern Romance

The fancy dress party on board the 'Sunborn', moored along side on the Thames, is in full swing. Champagne flowing, dancing, etc. GENE is dressed as a cowboy, with more than a hint of Clint Eastwood. ALEX favours a more revealing cat-look. Maybe kitten...

# Now when I hear those trumpets and congas start to play
# My heart it starts a dancing down that Argentina way #

ALEX walks towards GENE, who does his best not to be impressed but draws heavily on his cigar.

# I see Carmen Miranda; she's shuffling on her feet
# She's just another lover of that saucy Salsa beat #

GENE:
You could've made an effort.

# Ay Ay Ay Ay Moosey
# Ay Ay Ay Ay Moosey
# Ay Ay Ay Ay Moosey #

ALEX:
You know they say that a big cigar makes up for a less than impressive manhood.

# To help me through the day #

GENE:
Not this hombre, sweetheart.

GENE takes another puff of his cigar, blowing the smoke towards a protesting ALEX.

# Ay Ay Ay Ay Moosey
# Ay Ay Ay Ay Moosey #

ALEX:
Well it might do it for Monica Lewinsky but it does nothing for me.

# Ay Ay Ay Ay Moosey
# To help me through the day #

GENE:
Monica who?

ALEX:
Some girl who's tipped to go down well in the White House.

GENE:
Where's Chris and Ray?

CHRIS, dressed as Superman but wearing glasses, walks in to GENE's arm, spilling his drink.

CHRIS:
Sorry, can't see a thing in these. Eh, Superman and Clark Kent. Good, eh, Guv?

# We're flying down to Rio... #

GENE:
Don't call me that, we're undercover.

# ...something something week[?] #

CHRIS:
Sorry, Guv.

# We're gonna dance the Mambo, we're a happy family #

GENE:
Remember, we're looking for a skinny, curly haired bloke wearing a sov.

# My best girl's dressed in Latin... #

GENE:
What about him over there?

# ...from her head down to her feet #

ALEX:
Well, he's not skinny, is he?

RAY, wearing a dinner jacket and large moustache, turns round and walks towards them with two drinks. He has a momentary tussle with someone who tries to relieve him of the drinks.

RAY:
Leave it out!

# She's just another lover of that saucy Salsa beat.
# And now we're singing #

RAY: (to GENE, ALEX and CHRIS)
That's the third person who's thought I was a waiter.

# Ay Ay Ay Ay Moosey
# Ay Ay Ay Ay Moosey #

GENE:
What are you supposed to be?

# Ay Ay Ay Ay Moosey
# To help me through the day #

RAY:
The name's Bond. James Bond.

ALEX laughs, but RAY looks hurt and she stifles it.

# Ay Ay Ay Ay Moosey
# Ay Ay Ay Ay Moosey #

ALEX:
Well, James Bond didn't have the, er, 'tache, did he?

# Ay Ay Ay Ay Moosey
# To help me through the day #

CHRIS:
It's his Breville lip. It was either that or Jesus.

GENE:
Right, we split up. See if any of these waiters fit Trixie's description.



MUSIC: 'Planet Earth' by Duran Duran

The party continues; GENE and ALEX standing together, playing 'spot the waiter'.

# Only came outside to... #

GENE:
What about him?

# ...watch the night fall with the rain #

ALEX:
No, straight hair.

# I heard you making patterns rhyme... #

ALEX:
What about that one?

# ...like #

GENE:
No, he's not wearing a ring.

# Some new romantic looking for the TV sound #

GENE:
Drake, sovereign ring over there.

# You'll see I'm right some other time #

ALEX:
Time for a little bit of role play, I think.

ALEX walks over to the waiter with the ring.

# Look now, look all around. #

ALEX:
Hi.

ALEX whispers in to the waiter's ear.

# There's no sign of life #

The waiter whispers back in to ALEX's ear and she laughs.

# Voices another sound.
# Can you hear me now? #

ALEX walks back to GENE

# This is planet Earth #

ALEX:
It's not him. Let's keep looking.

# You're looking at planet earth #

RAY and CHRIS are also standing together playing 'spot the waiter'. A man dressed as a JOHN LENNON LOOKALIKE tries to take RAY's drink from him.

JOHN LENNON LOOKALIKE:
Thanks very much.

RAY:
Woah! Get off! (to CHRIS) Everybody thinks I'm a waiter.

# Ba ba ba bah ba ba ba ba bah, this is planet Earth #

The party continues, RAY looking on in disapproval until he spots waiter RYAN BURNS and catches GENE's eye, who turns to look.

GENE:
Christ, you could actually be on to something, Bolly. Over there. He was in Delphine's choir. We interviewed him.

Cut to RYAN BURNS standing in the choir singing 'Oh Happy Day'

ALEX:
Let's go.

GENE:
Just remember, softly, softly, Drake. That's Roseberry-Sykes. If he smells a rat, we go. Upset him, we're all in the shit.

MUSIC: 'Happy Birthday' by Altered Images

RYAN BURNS enters with a birthday cake, sparklers lit, and puts it down in front of one of the guests to applause. GENE and ALEX look on.

# Happy
# Happy birthday in a hot bath
# To those nice
# Nice nights.
# I remember always
# Always I got such a fright. #

ALEX:
I've got an idea. Maybe we can provoke a reaction.

# Seeing them in my dark cupboard with my great big cake. #

ALEX:
Tell him you think women like me are dirty. Tell him you think I'm like a prostitute. You've got no respect for women like that.

# If they were me #

ALEX:
In fact, Gene...

# If they were me #

ALEX:
...just be yourself.

# And I was you
# And I was you #

ALEX puts down her glass, walks over to RAY and tows him on to the dance floor. RAY looks like it's Christmas come early while GENE and CHRIS look on.

# If they were me
# If they were me
# And I was you
# And I was you
# If they were me and I was you
# Would you have liked a present too.

CHRIS:
Jammy bastard.

RAY grins all over his face while ALEX gets a bit saucy on the dance floor with him. GENE watches RYAN BURNS watching ALEX and RAY. ALEX acts out turning on RAY and telling him where to go. GENE approaches RYAN BURNS.

GENE:
Fancy shoving her overboard?

RYAN BURNS:
No amount of water could ever get a woman like that clean. Our Lord has many words to describe women like her.

GENE:
Impure?

RYAN BURNS:
Very.

GENE:
She may be beautiful on the outside...

RYAN BURNS:
But filled on the inside with dead men's bones and all sorts of impurity.

ALEX, who's been in earshot, walks up and addresses RYAN BURNS.

ALEX:
What's your name, sir?

RYAN BURNS:
Ryan.

ALEX:
Full name, sir.

RYAN BURNS:
Ryan Burns. Why d'you ask?

ALEX:
Ryan Burns, I'm arresting you for the rape and attempted murder of Miss Trixie Walsh...

ALEX produces her warrant card, but GENE looks round anxiously and pulls her arm down.

GENE:
Ahem! Not at the moment...

RYAN BURNS:
Who?

ROSEBERRY-SYKES appears on the scene.

ROSEBERRY-SYKES:
What's going on?

GENE:
Um... nothing. Er, this young lady was just having a little chat with, um...

ALEX:
A rape took place on your boat two nights ago, Mr Roseberry-Sykes. This man here is a suspect.

ROSEBERRY-SYKES:
Rape? There must be some mistake.

ALEX:
I'm afraid not. (to RYAN BURNS) Now if you'lljust come quietly, we can get this over and done with.

In the distance a guest tries to take RAY's glass from him.

RAY:
I'm not a waiter, all right? I'm James Bond!

RAY and the guest tussle over the glass, RAY pushing him over.

GENE:
Raymondo!

ROSEBERRY-SYKES:
This is unbelievable!

GENE:
Yeah. Right, go. Now! Sorry to cause this inconvenience, sir.

RAY is still tussling with the guest and Chris is restraining another man.

CHRIS:
Leave it, he's not worth it!

RAY pushes the guest over one last time and walks away, the victor.

RAY:
Stay!



ALEX enters the interview room to find EVAN already seated at the table with RYAN BURNS.

EVAN:
Hello again... Inspector.

EVAN smirks at ALEX's surprise and GENE also enters the room.

ALEX:
Hello.

ALEX and GENE take their seats, GENE putting a clipboard with a photograph of TRIXIE down on the table in front of RYAN BURNS.

GENE:
Recognise this woman?

RYAN BURNS:
No, sir.

ALEX:
She was on The Sunborn the night ofthe alleged rape. You were on duty. We checked.

RYAN BURNS:
Well, I was... but I didn't see her.

EVAN:
Unless anyone actually saw my client sexually assault the complainant, all this is completely circumstantial. Has anyone witnessed it?

ALEX:
No.

EVAN:
So the only witness to this alleged crime is the complainant? A prostitute?

ALEX:
Correct.

GENE:
Have you ever had sex with a prostitute before, Mr Burns?

EVAN:
You really don't have to answer that.

RYAN BURNS:
No, I wouldn't... I couldn't

ALEX:
You were the only one that used the exact quote from the Bible that the victim says you used.

EVAN:
As far as I'm aware, quoting from the Bible doesn't make someone a rapist.

ALEX:
Shall we let Mr Burns speak for himself?

ALEX puts a Bible down in front of RYAN BURNS.

GENE:
Did you or did you not rape and assault Trixie Walsh?

RYAN BURNS puts his right hand on the Bible without hesitation.

RYAN BURNS:
I swear I did not rape or assault Trixie Walsh. I've never even seen her, as God is my witness.

ALEX is disappointed, but RYAN BURNS swearing on the Bible is too convincing to ignore.



CID and ALEX is going through Delphine Parkes' New Testament again, looking at the choir photograph with RYAN BURNS standing right behind Delphine.

ALEX:
Shaz, find out anything you can about Ryan Burns. Check and double check the statements that placed him at the park at the time of Delphine's murder, OK?

SHAZ:
Yes, ma'am.

GENE comes out of his office.

GENE:
Right. I've asked Ray and Chris to keep an eye on that girl who keeps hanging around the station.

ALEX:
What, Nina? What's she done to deserve them?

GENE:
Well, they can't make a balls up of that, can they?



In the records room NINA is sitting, neurotically scratching at her hand. RAY and CHRIS, look on awkwardly. RAY indicates to CHRIS that he should say something.

CHRIS:
We had a dog that used to scratch itself all the time. Distemper.

RAY looks at CHRIS in disbelief.

CHRIS:
That wasn't his name.

NINA looks up, perplexed.

CHRIS:
Had to be put down in the end.

RAY sighs and looks at the ceiling in despair.



GENE's office.

GENE: (into the telephone)
Yes, sir... Thank you, sir.

GENE hangs up.

ALEX:
Well?

GENE:
That's us bolloxed. Roseberry-Sykes has been on to the Commissioner. He's accused us of victimising his staff. Unless we can get something that sticks, we're going to have to let Burns go. And right now, we've got sweet FA.



In the corridor EVAN is shaking hands with RYAN BURNS while ALEX rests her forehead against the wall in frustration.

ALEX:
Shit.

ALEX sighs and joins EVAN as he walks past on his way out.

ALEX:
Um, I know this won't mean anything to you but I just wanted to say that I honestly think that I'm right. And if I'd had more time I could have...

EVAN:
Not time, patience. You weren't in possession of all the facts. You couldn't present a strong enough case. But you still believe you're right.

ALEX:
Yes. I do.

EVAN:
Snap.

ALEX:
Well, one of us has got to be wrong.

EVAN:
It's not a question of being wrong, it's a question of doing the right thing. Ryan Burns should have somebody fight his corner whether he's innocent or not. How's your Latin?

ALEX:
It's rusty.

EVAN:
'Alios tracta sicut te ipsum.'

ALEX:
Treat others as yourself?

EVAN:
Not so rusty.

EVAN goes to his pocket, presumably for his keys, and brings out a model figure of Dangermouse.

ALEX:
I remember that! Those.

EVAN:
Really? Wow, they've only just come out. It's for Alex, my boss's daughter, though she's probably going to say she's too old for toys.

ALEX:
I bet she loves it when you spoil her.

EVAN:
Well, she's worth every penny.

ALEX:
Is she?

EVAN:
Definitely. Well then, Inspector Drake...

ALEX:
Alex.

They shake hands as GENE appears in the background.

EVAN:
Really?

ALEX:
Yeah.

EVAN:
Well, Alex, I hope we meet again. It's been...

GENE clears his throat pointedly and EVAN notices him.

EVAN:
...unique.

EVAN leaves and GENE walks up to ALEX looking less than pleased.

GENE:
Getting to know the enemy?

ALEX:
You know what, I'm not even sure that you and I are on the same side any more.

GENE:
Well, let's put that to the test, shall we? I went with your idea on Trixie Walsh's story, now you can go with mine.



GENE bursts in to the interview room where TRIXIE is already seated at the table. ALEX follows and leans against the door frame.

GENE:
Your alleged rapist, Ryan Burns, doesn't even remember seeing you, never mind having sex with you.

TRIXIE:
Well, he would say that, wouldn't he?

GENE:
About the only thing you got right was him wearing a ring. What kind of ring was it again?

TRIXIE:
Sovereign.

GENE:
Sure?

TRIXIE:
Yeah.

GENE:
Like this, was it?

GENE takes a ring out of his pocket and holds it up for TRIXIE to see.

TRIXIE:
Yeah.

GENE:
So how can you be sure? Because you said it was dark. What, you got x-ray vision?

TRIXIE:
I'm pretty sure.

GENE:
Do you know what I think? I think I've got x-ray vision because I can see right through you. You've made this whole thing up, haven't you? And I want to know why.

TRIXIE:
I can't tell you.

GENE:
Can't or won't?

TRIXIE:
Both.

ALEX:
You weren't raped, were you?

TRIXIE:
Don't let that bastard get off. He's sick!

GENE:
No, sweetheart. You're sick.

GENE and ALEX leave.



RAY enters the records room with two mugs of tea, a plate of biscuits and a tin of sugar.

RAY:
Sorry it took so long.

NINA looks on as he puts the things down and flourishes the tin at her.

RAY:
I didn't know if you wanted sugar?

RAY pulls up a chair, sits down and smiles encouragingly. NINA looks down awkwardly. Struck by an idea, RAY takes off a sock and makes an impromptu glove puppet and starts talking to it.

RAY:
Oh! There you are! And who have we got here? Really?

RAY makes a spitting sound and moves the 'puppet' to suggest its doing the spitting. NINA looks horrified but RAY laughs.

RAY:
Spit the dog! That was rubbish, wasn't it?

NINA nods and smiles in agreement. A woman of taste and discernment.

RAY:
You should smile more. It suits you.



Out in the corridor TRIXIE is remonstrating with a WPC.

TRIXIE:
Don't let him off! Listen to me! This isn't right, you shouldn't have let him go!

WPC:
Calm down.

TRIXIE:
Will someone listen to me? I want justice!

WPC:
Will you calm down...

GENE bursts throught the door and seizes TRIXIE's elbow, marching her in to the interview room.

GENE:
Tough tits. You've got me instead. Get in.



In the records room, RAY is lighting up and offers NINA a cigarette.

NINA:
No, thanks. What happened to your lip?

RAY:
I burnt it. Everyone keeps pulling my leg saying I've been kissing a prozzie. I mean... a lady of the night.

NINA:
Like me?

RAY:
Yeah. I like you. You seem like a nice kid.

NINA:
No. Like me.

RAY:
What? You mean you're a...? You're having me on. Nice girl like you?

NINA:
Don't believe me?

RAY:
No, I don't think I do, love. Why would you want to make something up like that?

NINA:
I'm not.

NINA starts to remove the scarf round her neck and open her top.

RAY:
Hang on a minute, love.

NINA:
If I was such a nice girl, why would someone do this to me?

RAY looks appalled.



RAY is talking to ALEX in CID.

ALEX:
And Nina actually told you this?

RAY:
She showed me the cut. She's a mess; covered in bruises. She knows that Trixie. It was her who got her into the escort agency. She'd only just started.

GENE comes out of the interview room as ALEX hurries up.

ALEX:
It wasn't Trixie who was raped, it was Nina. Trixie knew that Nina would be too traumatised to come to us, so she faked the rape as her own. She was just trying to protect her. It was a-

GENE:
I know.

ALEX:
What do you mean, you know?

TRIXIE comes out of the interview room.

GENE:
Well once old Motor Mouth here had stopped shouting and started talking, the truth came out, eventually!

TRIXIE:
If anything happens to one of those girls, you lot won't know what's hit you.



In CID, GENE, ALEX, RAY and CHRIS are going through the evidence yet again.

RAY:
Why would Ryan Burns try and kill Nina?

GENE:
Why would he kill Delphine? What was his motive?

GENE looks at the photographs of the choir; one from the New Testament and the other framed one.

GENE:
Shaz, pass me the magnifier.

ALEX:
What have you got?

GENE:
A link, hopefully. Yeah, look in this photograph, Burns is wearing the St Christopher, but in this one, he's given it to Delphine.

CHRIS:
They were courting.

ALEX:
Everything's significant.

SHAZ:
I don't get why he killed her though, ma'am.

ALEX:
Maybe he didn't mean to kill her. He thought he loved her. But she rejected him which made him feel... impure. He lashed out, ripped the St Christopher off, and afterwards he felt... dirty and he needed someone to take out his self-hatred on. When he realised Nina worked for an escort agency, he had to kill her.

RAY:
Let's just get the twisted bastard.

ALEX:
He'll go after prostitutes again.



MUSIC: 'Autonomy' by The Buzzcocks

Back in the dubious-looking alley and GENE, RAY and CHRIS are talking to one girl while ALEX is again talking to STREET GIRL 1.

STREET GIRL 1:
Skinny, curly hair, looked like butter wouldn't melt.

ALEX:
Where did they go?

STREET GIRL 1:
Further up by the river there.

ALEX calls across to the boys.

ALEX:
Gene!

GENE:
Raymondo.

STREET GIRL 1:
It was Sonya he went off with. It was a white Escort.



The Quattro, tyres squealing, races through the streets and eventually past a dilapidated looking warehouse.

ALEX:
White Escort, in there.

The Quattro breaks sharply, reverses and pulls up next to a white Escort parked inside the open-sided warehouse. GENE, ALEX, RAY and CHRIS get out.

GENE:
Over there.

They head towards a doorway. It's dark and sounds echo. An indistinct voice can be heard. GENE looks up and around.

GENE:
Ray, take the stairs.

RAY climbs cautiously up a ladder to the upper floor while the other three walk slowly onwards. RYAN BURNS comes out of the shadows holding SONYA in front of him with a knife at her neck. She whimpers in fear.

ALEX:
Ryan. Let her go.

RYAN BURNS:
No. I can't.

GENE:
Come on Ryan, not very Christian that, is it?

RAY starts to quietly come down the stairs behind RYAN BURNS.

RYAN BURNS:
You don't understand. I'm helping her.

GENE:
How?

RYAN BURNS:
To lead a good life, to be fruitful for God.

ALEX:
By raping and murdering her?

RYAN BURNS:
'I am the vine, you are the branches'. John, Chapter 15, Verse 5.

RAY grabs him from behind, SONYA runs to the safety of ALEX and CHRIS.

RYAN BURNS:
Aargh!

GENE:
You're nicked. For the murder of Delphine Parkes, the rape and attempted murder of Nina Akaboa. Anything you say will be taken down, ripped up and shoved down your scrawny little throat until you choke to death. Gene Hunt, Chapter 1, verse 2.

GENE indicates to RAY that he should take RYAN BURNS away.

GENE:
Ray.

RAY puts the boot in.

RAY:
Scum.

RYAN BURNS:
Oh!

RAY takes RYAN BURNS away, still groaning.



GENE's office.

GENE:
Do you want the bad news or the really bad news? That Sonya's legged it. Which means our only chance of getting that scumbag sent down is Nina.

ALEX:
If she'll press charges.



Interview room, and NINA, TRIXIE and ALEX are sitting at the table, RAY leaning on it next to NINA and GENE leaning against the wall.

GENE:
Do you think you can pick him out in a line-up?

NINA nods.

NINA:
Will he see me?

RAY:
I'll come with you. Don't worry, love. I won't let him intimidate you. Promise.

ALEX:
We'll help you out as much as we can, Nina, but when you're in the court room, you're on your own.

NINA:
Will they... bring up what I used to do?

ALEX:
Probably.

NINA:
So, when it comes down to it, it's just my word against his?

GENE:
In a nut shell, love, yeah.

NINA:
Will they believe me?

ALEX:
We can't say.

GENE:
Well, we can. I would love to be wrong about this, sweetheart, but you've got about as much chance of convincing this jury as Michael Foot has of becoming Prime Minister.

NINA:
Well, in that case... I don't think I can go through with it. (to TRIXIE) I don't want it to go to court. (to RAY) Sorry.

TRIXIE:
Now do you understand why I wanted to do this instead of her?



In the corridor outside, RAY sees NINA and TRIXIE off.

RAY:
Take care, won't you? (to TRIXIE) Look after her.

TRIXIE:
Yeah, well, I'll try.

NINA and TRIXIE leave, TRIXIE exchanging looks with RYAN BURNS who's being released via the exit at the other end of the corridor. ALEX and EVAN watch him go.

ALEX:
Right instinct. Wrong outcome.

EVAN:
I'm afraid I can't comment.

EVAN leaves and ALEX turns to see GENE exchange looks with RAY before RAY goes back to CID. GENE walks over to ALEX.

GENE:
Go on then. Get it over with.

ALEX:
What?

GENE:
The lecture.

ALEX:
No lecture. You did the right thing.

GENE slaps his ears with his hands in a mock attempt to see what's wrong with them.

GENE:
Sorry, is there something wrong with my hearing? I could have sworn you just said 'did the right thing'.

ALEX:
Well, with 5% of rape cases ending in conviction, what chance would SHE have had?

GENE:
Yeah, well, you never know, maybe it'll change one day.

ALEX:
Mmm... Don't hold your breath.



Luigi's. ALex is downing a glass of white on one side of the bar while GENE props up the opposite side. The CITY BOY approaches ALEX.

CITY BOY:
My place?

ALEX:
Hey. Sorry. I'm with a friend.

GENE glowers from the other side of the bar and with a jerk of his head indicates that CITY BOY should make himself scarce, which he sensibly does.

LUIGI arrives at RAY, CHRIS and SHAZ's table with glasses and a bottle of Sambuca and is greeted with cheers.

CHRIS:
Grassy arse.

Luigi beats a retreat, passing GENE.

LUIGI:
I hope they don't start a fire, Signor Hunt.

GENE:
No, you're all right, Luigi.

RAY has managed to light his Sambuca-drenched finger and extinguishes it in his beer.

SHAZ:
Oh... Ray!

RAY: (to CHRIS)
Your turn!

CHRIS looks nervous. Or maybe just cautious...

GENE:
Mind you, you have got insurance, haven't you?

LUIGI:
(some worried comment in Italian)

CHRIS makes an attempt but just manages to burn his finger. RAY and SHAZ laugh.

CHRIS:
Oof!

GENE approaches ALEX and pours her a glass of champagne.

ALEX:
What are we supposed to be celebrating?

GENE nods towards the television that RAY has just turned on. Images of RYAN BURNS in custody, his car and a policeman holding up a gnome from the open boot.

TV REPORT:
In a morning raid today, police arrested 24-year-old Ryan Burns of South London for possession of ten kilos of cocaine. The drugs were found hidden inside garden gnomes in Burns's car. If found guilty, Burns faces a prison sentence of at least 5 years...

ALEX:
You didn't?

GENE:
Not me.

GENE turns to look at RAY, who smirks.

ALEX:
Well, maybe I've got you all wrong, Ray. Maybe you're not the stereotypical Neanderthal I had you down as.

CHRIS:
Here, Ray! Quid says you can't light your farts with one of these.

CID laugh.

MUSIC: 'Doors of Your Heart' by The Beat

RAY:
Make it a fiver and you're on!

RAY returns to the table eagerly while ALEX rolls her eyes.

ALEX:
Then again...

GENE grabs the bottle of champagne and chinks it against ALEX's glass in a toast.

CREDITS

# Every story has to be about something I suppose
# This one says I lose my head as the feeling starts to grow, you know?
# I can feel love thumping at the doors of my heart
# Feel love thump as it tears me apart
# Feel love pump as the worrying starts
# I can feel love thumping
# At the doors of my heart again
# At the doors of my heart again #