Ashes to Ashes, series one, episode four.
Writer: Mark Grieg
Director: Catherine Morshead

xxxx

MUSIC: 'To Cut a Long Story Short' by Spandau Ballet

# Huh! Soldier is turning
# See him through white light
# Running from strangers
# See you in the valley... #

A police siren wails. The Quattro sweeps into an open-sided warehouse next to the river; police activity is visible all round. GENE, ALEX, RAY and CHRIS get out. The pathologist is examining a body.

GENE:
Suicide.

ALEX:
What makes you think that?

GENE:
Well, I wouldn't expect to get up and dance a fandango if I jumped from up there.

CHRIS:
No ID in his wallet, guv.

ALEX:
Who said he jumped?

GENE:
OK. Accident. Pissed up, doing a tightrope act to impress the girlfriend, or off his noddle on acid, thinks he's Superman.

RAY:
There's blood up there, guv, and scuff marks.

GENE:
Signs of a struggle?

RAY:
Seems like it.

The pathologist indicates the victim's head.

HARVEY DUNN:
Well that wasn't caused by the fall.

GENE:
Well what was it caused by?

HARVEY DUNN:
Can't say until I've done a full post mortem.

GENE:
You must have a bloody good idea. Come on, Harvey. Spit it out.

HARVEY DUNN:
Something hard, pointed and heavy. In addition, there are green wool fibres beneath his nails. As there might be if he...

GENE:
As though he'd grabbed hold of somebody's clothing to stop himself from falling.

ALEX:
Murder, then.

ALEX walks away towards the river.

Sounds of creaking metal and dripping water.
MEMORY
LAYTON forcing ALEX along the embankment.

LAYTON in memory:
Move!

Layton in the barge.



In CID RAY and CHRIS are going through the victim's belongings.

RAY:
His diary's got entries every week for RWF.

GENE:
Find out what that is.

CHRIS:
Could be a mugging.

ALEX takes the diary from RAY.

GENE:
If you're gonna mug somebody, the chances are you're going to use a knife or a gun. You're not going to crack somebody's head open with a hammer.

ALEX:
He didn't say it was a hammer.

GENE:
An as yet unidentified blunt instrument. Anyway, he wasn't out there for a casual stroll was he?

CHRIS:
What, he'd arranged to meet someone?

RAY:
It could just be some random nutter.

ALEX looks in the back of the diary and finds two folded pieces of paper slipped into the cover. One is a grid of letters and numbers, the other a telephone number.

GENE:
Great. The dreaded hammer-killer of South London!

ALEX:
He didn't say it was a hammer.

GENE:
I know he didn't say it was a hammer! What is that?

ALEX:
Er... it was folded up in the back of the diary. It's just random numbers and letters.

ALEX hands across the larger piece of paper, concealing the telephone number in her back pocket.

GENE:
What about the other items on the body? The envelope?

CHRIS:
There's nothing in it, guv. I've checked it.

GENE ostentatiously rechecks the envelope.



In her flat, ALEX has dialed the number.

MEMORY
ALEX PRICE running to answer the telephone; getting in to a wooden chest.

ALEX PRICE (in memory):
9460 549. Hello? Price house.

CAROLINE opens the chest lid.

CAROLINE (in memory):
Boo!

The phone is unanswered. ALEX slips the piece of paper into her wall calendar and hangs up.



HARVEY DUNN enters the mortuary, ALEX in his wake.

HARVEY DUNN:
Is this absolutely necessary?

ALEX:
I just wanted to be sure we hadn't missed anything.

HARVEY DUNN:
Where's the body?

MORTUARY ASSISTANT:
Coroner just came and took it.

HARVEY DUNN:
What? Your lot.

ALEX:
Our lot? When?

MORTUARY ASSISTANT:
Five minutes ago.

ALEX bursts out of the back door of the mortuary to see a number of men loading a coffin into the back of a Transit van. They ignore her and drive off. One man, IAN KAY, leaves in a Mercedes.

ALEX:
Excuse me. Excuse me. Hey! Hello? Excuse me! Hey! Hey!



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.


Gene's office.

ALEX:
So you don't think it's unusual then, for a body to be snatched like that?

Gene:
Well if he'd got off the slab and walked out under his own steam.

ALEX:
It took eight men to lift the coffin. I think that's unusual. I think that's very unusual.

GENE:
Home Office business. Coroner ordered it.

ALEX:
How do you know?

GENE:
Made a few phone calls. I knew if I didn't, you'd twist your expensive French knickers round your neck 'til your eyes popped.

ALEX:
But why would they take it?

GENE:
How should I know? Coroners are like judges, they don't breathe human air and they never ever explain.

ALEX:
Don't you see, it's a very...

CHRIS opens the door.

GENE:
Thank you.

CHRIS:
I haven't told you yet.

GENE:
No, but you interrupted perfectly. So, Christopher, what can I do for you?

CHRIS:
We've got an ID on him. Popped up on the missing persons list. Martin Kennedy.

GENE:
Who's missing him?

CHRIS:
His mum.

GENE:
Right, let's break the bad news. Quick, before Bolly here draws breath. Come on, quick, quick, quick quick!

GENE hurries CHRIS out of the door leaving ALEX looking none too pleased.


LUIGI's, and ALEX and EVAN are ordering, LUIGI all significant smiles and looks.

ALEX:
Thanks.

EVAN:
I'll have the spaghetti.

LUIGI:
Of course.

LUIGI takes the menus, gives ALEX the OK sign behind EVAN's back and departs.

EVAN:
So, what's the reason for the intimate rendezvous?

ALEX gives a short laugh.

ALEX:
It's hardly intimate, is it?

EVAN:
It's not police business though.

LUIGI shimmers back with two glasses of champagne.

LUIGI:
Complimenti of the house.

ALEX:
Thanks.

EVAN:
If I'd known it was a date.

ALEX:
Um... It's not a date. Have you ever heard of somebody called Martin Kennedy?

EVAN:
No. Why?

ALEX hands over a large black and white photograph of MARTIN KENNEDY, evidently taken post mortem.

ALEX:
He's dead. I don't mean to put you off your spaghetti - it's really very good.

EVAN:
Er, no. Sorry.

ALEX:
I thought he might have been a client maybe?

EVAN:
Not that I know of.

ALEX:
What about Tim or Caroline Price? He had their number on him.

EVAN:
I don't remember coming across the name. But you should ask them yourself. They're really not as fearsome as the tabloids make out.

ALEX:
No, no.

EVAN:
Tim's away in the States at the moment, but I'm sure Caroline... I mean, outside the office, she's really very nice. Funny. Warm.

ALEX:
I know. I mean I'm sure she is.

EVAN:
Do you need a chaperone?

ALEX laughs. LUIGI returns with rolls, butter and more nudge, nudge, wink, wink obviousness.

LUIGI:
Buon apetito.

ALEX:
Thank you. Thank you.

ALEX and EVAN exchange looks concerning LUIGI's behaviour.

EVAN:
Cheers.

ALEX laughs and they clink glasses.



Gene's office. GENE looks thoughtfully at MARTIN KENNEDY's belongs, particularly his diary and the page of code.



LUIGI's and the man himself looks on from behind the bar, humming and polishing a glass, as EVAN bids ALEX goodbye with a kiss on the cheek.

ALEX:
Bye.

LUIGI smirks and hums in a more pointed manner.

ALEX:
He's not, it's... we're not...

LUIGI:
Of course.

ALEX:
It really wouldn't be appropriate. I mean, it's... We are kind of related.

LUIGI:
Oh, is possible for dispensation. My brother's nephew married his second cousin...

ALEX:
Oh, no, no! We're not blood relatives, he's, he's... He is godfather to somebody I'm very close to.

EVAN:
You like this man? Eh.

LUIGI shrugs and indicates that in his opinion that's all that matters.



The station reception, and GENE comes out of the Gents just as ALEX comes in through the door. A CONSTABLE and a woman are having a vigourous argument by the front desk. ALEX catches up with GENE and they make their way to CID.

UNIFORM CONSTABLE:
Lady! Shop lifting...

ALEX:
What did you get on Kennedy?

GENE:
Lived alone with his mother, kept a stack of Colour Climax close to his left hand, liked wearing army surplus, probably did a lot of crosswords.

VIV stops GENE in the corridor with a clipboard for him to sign.

VIV:
What's wrong with crosswords?

GENE:
Nothing, Skip. Very stimulating for the brain.

VIV:
Well I like crosswords.

GENE:
Good. What do you make of this then?

GENE hands over the page of code from MARTIN KENNEDY's diary.

VIV:
What is it?

GENE:
A challenge. Found it on a victim. You crack that code, and there's a round of drinks for B relief Friday night. On me.

VIV looks suitably motivated and GENE and ALEX move on.

ALEX:
Anything else?

GENE hands over an identity card.

ALEX:
So Kennedy worked at Edgehampton? The weapons research place?

GENE:
Part-time security guard. Underpaid and self-important. Just one of many rubbish jobs he's had over the years. It's not a big deal.

ALEX:
Well it sounds like a very big deal to me. Home Office involvement, codes, secret keys, that sealed envelope...

GENE:
'Secret keys' You see I knew you'd be like this.

ALEX:
Well what if they're linked ?

GENE:
What if Lee Harvey Oswald shot Elvis and they both flew to the moon?

ALEX:
Come on, Gene, this must set off alarm bells!

GENE:
Yes, it does. Bolly kecks on rampage with idiot theories! Run for your lives!

RAY and CHRIS enter CID.

RAY:
Guv. You're gonna like this.

CHRIS:
It's good. Very good.

RAY:
RWF. The regular diary entry?

CHRIS:
Like every week?

RAY:
We know what it stands for.

SHAZ:
RWF? Revolutionary Workers Front. Grew out of the core of the International Workers Front when they split from the United Socialist League a couple of years ago. They say they're anti-revisionist but I'd class them as Trotskyists. Dad's always been a union man.

CHRIS:
Yeah. Them.

RAY:
Yeah. Well, they have meetings at the Red Lion, and there's one today.

ALEX:
So Kennedy was a socialist.

GENE:
It's about as significant as his porn collection.

ALEX:
You can not write that off as a coincidence.

GENE:
It's murder and murder is not about politics. It's about money, sex or bloody women. Cannot imagine why. Right, let's swing by the Red Lion.

ALEX:
Er, I'm going to stay and go over the crime scene report again.

GENE:
Fine.

GENE sweeps out, RAY and CHRIS in his wake.



The PRICES' house. A semi-detached three storey house in a leafy square. Classic middle class professional territory. ALEX pushes open the front gate with a smile of recollection, peering round to see a stone tortoise under a shrub to the left.

MEMORY
LITTLE ALEX pushing open the gate and retrieving the door key from beneath the stone tortoise.

ALEX smiles and walks up the steps to the front door.

MEMORY
TIM PRICE taking LITTLE ALEX's hand and crouching down to talk to her.

ALEX knocks on the door and then looks over wall to the steps going to down to the basement.

MEMORY
LITTLE ALEX pulling a doll in a pushchair down the steps.

The front door is opened by CAROLINE.

CAROLINE:
Inspector. I'd almost given you up. Come in.

CAROLINE leads the way, ALEX pausing in the hallway to absorb the familiarity of the house.

CAROLINE:
We're in here.

ALEX runs her hand up the bannister, smiling, and then follows CAROLINE into the room, where EVAN is already there, handing CAROLINE a glass of wine.

EVAN:
Hello again.

ALEX:
Hi.

CAROLINE:
Here. Make yourself at home.

CAROLINE hands ALEX a glass of white wine.

ALEX:
Thanks.

CAROLINE:
(To EVAN) Clacey may be in the Tories' pocket but not even he can't class that as inadmissible. (To ALEX) Help yourself to cheese, if you like Danish Blue.

ALEX:
No, no.

CAROLINE:
It's not to everyone's taste. My daughter hates it, but she's not here.

ALEX:
Where is she?

CAROLINE:
France. School trip.

ALEX:
Oh, God, I remember that... When I went on the school trip to France. Boulogne.

CAROLINE:
That's where 'Lex has gone. 'Bonjour, je m'appelle Alex.' We practiced. I think I managed not to cry as I waved her off but I can't be sure.

EVAN:
She'll be fine.

CAROLINE:
I know she will, but you know. I don't see her enough. It's hard.

ALEX:
Is it?

CAROLINE:
Sometimes.

ALEX finds a toy troll doll between the seat cushions of the sofa.

ALEX:
She forgot that.

CAROLINE:
So she did.

ALEX:
She'll miss it.

CAROLINE:
I imagine she will. What can I do for you? Evan was typically vague. Somebody died or...?

ALEX:
Murdered. Martin Kennedy.

CAROLINE:
Kennedy? Not... curly hair, swept back...?

ALEX:
Could be.

ALEX hands CAROLINE a photo of MARTIN KENNEDY.

CAROLINE:
Oh, good heavens. Circumstances do seem to keep pushing us together. He did our cloakroom.

ALEX:
The downstairs toilet?

CAROLINE:
He's an odd-job man, plumber. Casual work, cash in hand, but a good job, I think.

ALEX:
Well, it leaks.

CAROLINE:
Well, yes, it does actually, but I don't think it's quite finished.

ALEX:
And that's the only reason that you knew him? Why he had your phone number, because he was an odd-job man?

CAROLINE:
Yes.

ALEX:
Well, that's good. Brilliant. Very good! It's just that he had your number and, er... Did you know that he worked at Edgehampton? The weapons research place.

CAROLINE:
He may have mentioned it. D'you think his murder might be connected to it in some way?

ALEX:
I don't know. The body was er... commandeered.

CAROLINE:
By whom?

ALEX shrugs.

CAROLINE:
How very unusual. Why would that happen?

ALEX:
I don't know.

CAROLINE:
Do you think the Government might be implicated in some way?

ALEX:
It had crossed my mind.

CAROLINE:
I'm sure it did. Maybe you need some more of this. You should tread carefully. Sounds like you might be entering difficult territory.

ALEX smiles sadly, looking from CAROLINE to EVAN.

ALEX:
Do you mind if I...?

CAROLINE:
Of course. But don't use the cloakroom.

ALEX and CAROLINE in unison:
It leaks.

ALEX gets up, taking the troll with her. EVAN and CAROLINE exchange a glance.



ALEX hesitates for a moment in the hallway, then goes upstairs, pushing open the door to a little girl's bedroom. Her room. She walks in slowly, picking up remembered objects, until she gets to the radio cassette player.

ALEX:
Green Door.

ALEX pushes the play button.

MUSIC: 'Green Door' by Shakin' Stevens

# Midnight
# One more night without sleepin'... #

ALEX laughs softly before stopping the tape. She moves to the unused fireplace and reaching up inside the chimney extracts a diary. SHe looks at it, hesitating to open it.

CAROLINE:
What are you doing?

ALEX:
Er... yes, I... I'm sorry. I couldn't resist. It's my room!

CAROLINE smiles, the hostility gone.

ALEX:
It's my room, it's exactly like my room... When I was a child... A girl.

CAROLINE
A special place. Special time. Where d'you find that?

CAROLINE nods towards the diary in ALEX's hand.

ALEX:
It was on the, er... I used to have one exactly like it.

CAROLINE
Girls do have their secrets.

ALEX:
Have you ever...?

CAROLINE:
No.

ALEX:
Really?

CAROLINE:
It's her world. Her life. It wouldn't be right.

ALEX:
I'm sure she'd be very pleased to know that.



The Red Lion public house, and GENE and the boys sweep through the public bar and up the stairs to the function room above.

GENE:
Right. Let's find out why Kennedy was so keen to hang out with a bunch of politicos.

As they near the top of the stairs, females voices raised in political protest can be heard.

SARA:
...they failed to condemn the antagonistic and aggressive policy of Reagan's!

RWF CROWD cheers

GENE:
Oh, good. Women.

Approximately two dozen (mainly) ladies of the RWF are gathered in front of a small dais, from which SARA is addressing them. PATTY is looking belligerent and unconvinced at the front of the crowd.

SARA:
Magnifying the intensity of the neutron radiation emitted, a form of radiation extremely lethal to living tissue.

CROWD:
Right on! Yeah!

SARA:
Extremely lethal. They poison flesh and blood, leaving tanks and buildings intact. I mean, the neutron bomb IS the capitalist bomb.

CROWD:
Yeah.

SARA:
It's the imperialist's wet dream.

GENE, RAY and CHRIS listen from the back of the room; GENE and RAY exchanging looks at the last comment.

CROWD:
Yeah.

SARA:
And that is why Reagan is stockpiling them. That is why his puppet, Thatcher, will test and deploy them, in spite of the denials.

CROWD:
Yeah!

SARA:
And that is why we must join our European sisters in protest.

CROWD:
Yeah! Yay!

PATTY:
Woah, woah! This is a party issue, not a women's issue. We shouldn't get drawn into some petit-bourgeois 'Mothers Against The Bomb' crap.

CROWD:
Oh! No! etc

SARA:
The fact that our European sisters are mobilising is exactly why we've convened this meeting.

CROWD:
Yeah!

I don't reckon PATTY's swaying the crowd at all here.

SARA:
This is a new kind of protest politics, and we're in the vanguard.

CROWD:
Yeah!

SARA:
Women have a voice that needs to be heard.

CROWD:
Yeah!

GENE finally pipes up from the back of the room.

GENE:
Don't we get enough of that? You carry on, love. Doing great.

GENE gets out his warrant card and steps forward.

CROWD jeers

MUSIC: 'Girls On Film' by Duran Duran



CID. And it's chaos; full of RWF members being interviewed by harassed members of CID. RAY is making little progress with a khaki-clad silent member of the group, while CHRIS is being educated by ERIN.

RAY:
All I'm asking is your bloody name!

ERIN:
No, because that concept, that idea, is just another, socio-historical construct.

CHRIS:
Yeah, but she's not an idea, she's me girlfriend.

ERIN:
What is that? What is 'girlfriend'?

CHRIS:
Well, it's someone you go to the pictures with.

ERIN:
There has to be an equal connection based on more than just sex. All that does is physicalise the inherent power structure. There has to be more to it than that.

CHRIS:
Well... we both like Kim Wilde.

RAY:
Look, I'm not going anywhere and you're not going anywhere!

Gene's office, and GENE is showing PATTY a photograph of MARTIN KENNEDY.

GENE:
Was this man at the RWF meeting on the night of the 10th September?

PATTY:
You're an instrument of a morally-bankrupt state and I deny your authority.

GENE:
I'll show you an instrument of the state if you don't start giving me some sodding answers!

PATTY:
Threats and bullying? First resort of the fascist.

GENE:
I am trying to find out who murdered this man. If that makes me a fascist, then heil bloody Hitler!

PATTY:
No. He wasn't.

GENE:
Do you own a green jumper?

PATTY:
A what?

Back in the main body of CID, and RAY is reaching the end of his tether.

RAY:
What's your bloody name?

ERIN:
Yes, yes, but what does the box of chocolates represent?

CHRIS:
A liking for chocolate?

ERIN:
It reinforces your stereotypical gender role as provider. I will provide for you - be my mate.

CHRIS:
But she's more than a mate.

# Girls on film
# Girls on film
# Girls on film... #



ALEX arrives back at the station, having to push past the crowd of RWF members in the corridor who seem to be treating it as a social gathering while VIV looks on helplessly.

ALEX:
What's going on?

RAY shoves his khaki-clad nemesis through the throng and into VIV's care.

RAY:
Book her.

VIV:
Name?

RAY:
I don't bloody know.

RAY walks off, pausing to stare at one of the more attractive members of the RWF, before being tripped up by one of her male colleagues.

VIV:
What's your name, madam?



Gene's office and GENE is interviewing SARA as ALEX comes in.

GENE:
You're certain that's the same man?

SARA:
Yeah, he'd been to a few meetings.

GENE:
Where were you on the night that he was murdered?

SARA:
At the meeting.

GENE:
What, all night?

SARA:
'Til closing time. Then some of us went back to a comrade's house to discuss the economic imperative behind the British occupation of Ireland.

GENE:
Blimey, that must've been a barrel of laughs.

SARA:
Socialists have a sense of humour too.

GENE:
Right. How many birds does it take to change a light bulb? Two. One to run around screaming 'What do I do?' and one to shag the electrician.

SARA:
(to ALEX) How do you live with yourself?

ALEX:
I honestly don't know.



GENE and ALEX retreat to the CID kitchen, past the chanting RWF.

RWF:
Maggie! Maggie! Maggie! Out! Out! Out!

GENE:
Bloody women! Give me a break.

RWF:
Maggie! Maggie! Maggie! Out! Out! Out!

ALEX:
Well?

GENE:
Kennedy had been going to RWF meetings for a couple of months.

ALEX:
Anybody get to know him?

GENE:
Not really. They tried to convert him, but he wasn't biting.

RAY enters with a stack of Polaroid photos.

RAY:
On the night ofthe murder, it was the party's second anniversary. Got these from one of the boilers.

ALEX glances through the pictures, throwing GENE a dirty look when he slams one of the cupboard doors.



ALEX's flat, and ALEX is looking at her calendar and wall of information, the troll doll in her hand.

ALEX:
You had one of these, didn't you, Moll?

ALEX still stares at the calendar as she passes the troll to the silent figure of MOLLY, sitting in the chair next to her.

ALEX:
Somebody killed my mum and dad. Someone planted a bomb under their car and set it off. Someone who knows how to stay hidden. How to cover their tracks. She is right. I am in difficult territory.

MOLLY looks anxiously at ALEX. The telephone rings and ALEX quickly looks down; MOLLY no longer in the chair beside it. ALEX answers the phone, but the line just crackles, and she replaces the receiver thoughtfully.



CID, and GENE is storming into his office (again), ALEX trailing along behind him.

GENE:
There is no conspiracy.

ALEX:
You are not listening.

GENE:
Contrary to what commie nutters like the RWF believe, and what you seem to have forgotten, is that this is the home of bloody democracy. Land of Hope and Glory, Rule Britannia, Roast beef and Yorkshire pud, and a square deal for all. If the Government are keeping secrets, it's probably for our own bloody good!

ALEX:
You are so naive.

GENE:
And you are really pissing me off. The British Government does not go around throwing people off the tops of buildings. Chris, bank statements!

ALEX:
Kennedy worked part-time at a top secret weapons research centre. He joined a left-wing group, suddenly he's murdered and his body goes missing.

GENE:
Spies do not wear camo and keep girlie mags under the bed. They're too busy sipping claret and touching each other's posh todgers. You probably know some of them. This is a murder inquiry.

ALEX:
One that could already be compromised. They could be watching us right now.

GENE:
And when they come, they'll be wearing white coats and carrying a straitjacket, and it won't be my bloody size!

CHRIS appears in the doorway with the requested bank statements.

CHRIS:
Who's a spy? Kennedy's been in the red for months. His credit card's at the limit. His bank's knocked back a loan application two weeks ago.

GENE:
Skint. Money. Just sex and women to go.

ALEX gives GENE a look and flounces out of his office, only to be met by VIV in the main CID area. RAY and CHRIS approach.

VIV:
Ma'am? It's a cipher rather than a code. Now I haven't cracked the key yet, but there's a repeated block of digits here... here... and here, that I think I've got. Artemis.

ALEX:
Artemis? Goddess of the hunt. Good work, Viv.

VIV departs.

RAY:
That you, is it? Goddess of the hunt?

CHRIS:
Sounds like a potent symbol of female power.

ALEX:
Listen, have you two seen anyone, hanging around, watching? Keeping tabs?

CHRIS:
What, like surveillance?

ALEX:
Yeah. Like surveillance.



Interview room. A basic sketch map of a fictional road layout is on the table, RAY and CHRIS sitting on one side and ALEX on the other. ALEX distributes three plastic toys on the 'map' - two Smurfs and an Egyptian Pharaoh. As you do.

ALEX:
Now, the best way of learning how to spot a watcher is to learn how they do it, beat them at their own game. So, in this scenario who has got eyeball on the rabbit? Front or tail?

RAY points at one Smurf.

RAY:
Him. He's got the eye.

ALEX:
No. No. He's the front. Tail has got the eyeball.

CHRIS:
Which one's the rabbit?

ALEX indicates the Pharaoh.

ALEX:
He is. Rabbit's the target. So... if tail takes the front, how are you going to spot it?

ALEX moves the Smurfs around and looks expectantly at RAY and CHRIS. They look suitably blank - frankly if anyone can explain how you spot it, I'd be obliged. Unless the tail really is always dressed as Papa Smurf...? Anyway, moving on...



GENE and ALEX are on their way out of the station, passing the front desk.

ALEX:
Where we going?

GENE:
Kennedy had two jobs. One at Edgehampton, one as a handyman, cash in hand. We're gonna see his workshop. Skip! Stick that diary back in evidence. Oh, for a bonus point, guess who he did a bit of plumbing work for?

ALEX:
Er... Caroline Price?

GENE is just a trifle nonplussed.



GENE and ALEX walk down the narrow street to MARTIN KENNEDY's workshop, RAY and CHRIS 'tailing' them in an oh-so-conspicuous and possibly comedic way.

ALEX:
She thought it could be some sort of Government conspiracy.

GENE:
Oh, did she.

ALEX:
You've got no idea what they're capable of. Trust me.

GENE:
The only conspiracy I'm worried about is my DI keeping secrets from me.

ALEX:
I just needed to check it out first, okay?

GENE:
Oh, did you! What, without telling me? She could be a bloody suspect!

ALEX:
He was an odd-job man, it didn't seem that important.

GENE:
That is not your decision to make! If Caroline Price is involved in any way whatsoever, I want her on a bloody hook.

ALEX:
She is not involved.

GENE:
How do you know? What if it's commie spies? Lefties? Reds under the bed? There's a Cold War going on out there.

ALEX:
Now you're being ridiculous!

GENE:
You're the one pushing the Scooby Doo bollocks! (shouts at RAY and CHRIS) What are you doing?!

CHRIS:
Just practicing.



GENE opens the door to MARTIN KENNEDY's workshop and they all troop inside.

GENE:
You'd think he'd have locked it.

ALEX:
Um... I'm sorry. I should have told you before about Caroline's number.

GENE:
Yes, you should.

GENE's eye falls on a locked tool chest.

GENE:
Here. So, Kennedy, what are you hiding?

GENE shifts aside the girlie photos to find a brown envelope containing large black and white photographs of CAROLINE and EVAN. They're not doing paperwork...

RAY:
Ooh! Not bad!

GENE:
Well, I never. Who'd have thought?

ALEX:
Give me those!

ALEX looks through the photos, shocked.

MEMORY/FLASHBACK
TIM whirling LITTLE ALEX round in his arms.
EVAN pouring CAROLINE a glass of wine in the PRICES' house.

CAROLINE in memory:
We're in here.

LITTLE ALEX at the top of the stairs, EVAN and CAROLINE embracing in the hallway below.

LITTLE ALEX climbing into a large wooden chest sitting in the middle of a black and white checkerboard, various toys dotted around it.

TIM opening the front door.
CAROLINE closing the front door.
LITTLE ALEX closing the lid of the wooden chest.

RAY:
I'll get copies...

RAY grabs the photographs from a stunned ALEX.

GENE:
Sex and women. Well we'll have some fun with these.



GENE, ALEX, RAY and CHRIS knock on the PRICES' front door; CAROLINE opens it.

CAROLINE:
How can I help you?

GENE:
Ms Price. We'd like a word. If it's convenient.

GENE walks in regardless, envelope of photos in his hand; ALEX follows, avoiding catching CAROLINE's eye; RAY and CHRIS look pointedly at CAROLINE, smirking. CAROLINE is obviously discomforted by them.

CAROLINE:
Is this about that man who was murdered?

GENE:
It turns out there's more to this case than meets the eye, so to speak.

CAROLINE:
Really?

GENE:
My colleague here seems to think, and I'm told that you agree with her, that it's some kind of Government conspiracy.

CAROLINE:
I wouldn't be at all surprised.

GENE:
Well I think it's much simpler than that.

GENE hands over the envelope and CAROLINE opens it and sees the photos. She takes it pretty well, considering.

CAROLINE:
Where d'you get these?

GENE:
Where Kennedy hid them. For the record, can you confirm that you are the woman in these piccies?

CAROLINE:
Yes, yes, it's me. Is it necessary to have these men...?

GENE:
Was Kennedy trying to blackmail you?

CAROLINE:
That vile little pervert came to me with the photographs, sat there, and told me he wanted £2,000 for them.

GENE:
Or?

CAROLINE:
He'd send them to my husband.

GENE:
And what did you say?

CAROLINE:
I refused to go along with his squalid little scheme. Said I wouldn't give him a penny.

GENE:
Oh, so your husband knows?

CAROLINE:
No. No, he doesn't. He's in the States and I've- I've been waiting for something to happen.

RAY:
Your lucky day when he turned up dead.

ALEX:
How long had it been going on?

CAROLINE:
What?

ALEX:
You and Evan, how long?

CAROLINE:
A few weeks, nothing.

ALEX:
Who started it?

CAROLINE:
I beg your pardon?

ALEX:
You heard me.

CAROLINE:
I'm not sure what that's got to do with anything.

ALEX:
Plenty of opportunity, though. Friend of the family's, always round here. Late nights with case studies, cheese and wine. 'Let's have another one, Evan, Daddy's away. I know, let's do it, let's do it here on the floor.' Was I up...? Was your daughter asleep... Was she sleeping upstairs, while you were shagging her godfather?

CAROLINE:
I... I don't appreciate...

ALEX:
And I don't appreciate your lies! You are a bloody liar!

ALEX is just a little bit angry and walks out into the hallway. She paces a bit then grabs the bannisters and has a moment of realisation.

FLASHBACK
LITTLE ALEX at the top of the stairs, EVAN and CAROLINE kissing in the hallway below. They spring apart guiltily, LITTLE ALEX staring before returning upstairs.

ALEX rests her head against the bannisters; she knew all along.

FLASHBACK
EVAN and CAROLINE kissing in the hallway.
EVAN in 2008 in reflection.
EVAN walking away as MOLLY jumps up to catch the kiss, also in reflection.

ALEX is upset, but pulls herself together and returns to the room where GENE is still questioning CAROLINE.

GENE:
Where were you on the night of September 10th?

CAROLINE:
At the office preparing a case.

GENE:
Witnesses?

CAROLINE:
Several. I'm not denying I had an affair and if Tim found out, I just... I'd... I don't know. I love my husband. The last thing on Earth I would do is hurt him. I did a stupid, stupid thing, but I did not kill Martin Kennedy. Anyway how do I know he didn't sell the pictures to another buyer?

GENE:
What d'you mean?

CAROLINE:
My husband and I aren't exactly popular with the establishment.

ALEX:
MI5? Do you think they'd try and smear you?

CAROLINE shrugs, indicating she believes it's a possibility.



Gene's office.

ALEX:
What if Five have been spying on her?

GENE:
What if Dennis Thatcher's the Fifth Man?

ALEX:
If they killed Kennedy they could easily kill Caroline. I'm serious, Gene. What if she's next?

GENE:
Wouldn't that be a loss to humanity.

CHRIS taps on the door frame.

CHRIS:
He's here, guv.

GENE leaves the office, scowling at ALEX en route. RAY, meanwhile, has put up a photocopy of one of the pictures of CAROLINE and EVAN on the wall of CID, much to his own and other officers' amusement.

RAY:
Very nice.

ALEX:
Take that down.

RAY:
Just brightening the place up before me hot date. Natalie, that leftie bird. Hey, do you think that she bleaches her muff?

ALEX:
I said take it down.

CHRIS:
Yeah. It's... not appropriate.

RAY:
What?

CHRIS:
Your victimising that woman. That kind of picture just objectionably...

SHAZ:
Objectifies.

CHRIS:
...women. Yes.

ALEX reaches past RAY and tears the picture down before storming off.

CID:
Oooh!

RAY:
(to CHRIS) Wanker.



Interview room. GENE shuffles through the photographs while RAY peers over his shoulder.

EVAN:
Look, it's not like we planned it. I work a lot with Caroline, long hours. Tim, he's away a great deal. I mean I admire and respect them both, enormously. But Caroline, she's a strong-minded woman.

GENE:
Mm. Dominant, even.

EVAN:
All right, look it's not something I'm particularly proud of.

ALEX:
No. I should bloody well hope not.

EVAN:
I'm nothing to Caroline, not really. Not compared with Tim. It was a physical thing.

GENE:
What, worth killing for?

EVAN:
Of course not.

GENE:
Where were you on the night that Kennedy-

ALEX:
Why didn't you tell me about it?

GENE is not impressed by being interrupted.

EVAN:
It's over, that's why. I was out my depth and I think Caroline felt that way too. I couldn't face Tim and we... We just couldn't do it any more.

ALEX:
Has she had other affairs?

EVAN:
Do you really need to... She's been with Tim since they were at University. I don't think she's... I mean I don't think she's ever been with anybody else. I got the impression that it was just something that she needed to do. A release.



ALEX leaves the police station; EVAN catches her up at the top of the steps.

EVAN:
Look, I'm sorry, but this is so... I mean, it's over. It's finished. I don't see why you should be so interested anyway...

ALEX:
What would you do if your god-daughter found out?

EVAN:
She won't. Why would she? It would break her heart. But why are you taking this so personally?

ALEX:
I'm not. I'm not, I just think it's a terrible thing to do, to betray your friend like that.

EVAN:
I know. That's why it's over.

EVAN leaves. ALEX goes to re-enter the station, passing IAN KAY on his way out. She turns and watches him drive away in a Mercedes.

MEMORY
Behind the mortuary, a number of men loading a coffin into the back of a Transit van
IAN KAY walking past; driving away in his Merc.

ALEX rushes back into the police station.



Front desk.

ALEX:
Viv, who was that man? The one that just left?

VIV:
DC Baker. Kennington.

ALEX:
What did he want?

VIV:
Came to pick up some case evidence for-

ALEX rushes off to the Evidence Room, rifling through the bags of evidence and failing to find what she's looking for. She storms through CID and into GENE's office, where GENE has his feet up catching up on some reading.

ALEX:
Where's the diary? Kennedy's diary?

GENE:
Evidence room.

ALEX closes the door, closes all the blinds and gestures to GENE.

ALEX:
Come here.

ALEX turns on the radio; GENE looks doubtful but gets up and goes over to her.

MUSIC: 'Enola Gay' by OMD

GENE:
Very good. Very poppy. Don't expect me to dance to it though.

ALEX:
It's gone. All the evidence. Somebody walked in, flashed a warrant card and walked out with everything. The whole lot.

GENE:
Who did?

ALEX:
DC Baker from Kennington.

GENE:
Well, he might have had a reason to.

ALEX:
The only DC Baker from Kennington is a 25-year-old woman. This DC Baker was a man in his 40s with a moustache.

GENE looks rather more convinced.



CID kitchen, and GENE and ALEX are hunched over the sink, tap running.

GENE:
Do we have to do this?

ALEX:
If they're prepared to walk in here in broad daylight, they've probably bugged your office.

GENE:
My office... Who...? They? Who the bloody hell are they?

ALEX:
They've got access to genuine police uniforms, authentic warrant cards. They're not just a bunch of loony lefties.

GENE:
Special Branch? Bloody Ada!

SHAZ comes in with a file.

SHAZ:
Guv!

GENE and ALEX jump, surprised.

ALEX:
Whoa!

GENE:
What?

SHAZ:
I got the information you wanted on the RWF. They were charged with conspiracy to cause criminal damage and breach of the peace and Sara Templeton faced an individual charge.

GENE:
Who was the barrister?

SHAZ:
Tim Price. Caroline Price's husband? He must be very good, 'cos he got 'em off every time.

GENE:
Oh, the Prices again. Curiouser and curiouser.

ALEX:
Kennedy hooked up with the RWF. If they found out he worked at Edgehampton, he could be very useful to them.

GENE:
Useful how?

ALEX:
Well, there is a Cold War going on.

GENE:
Reds under the bed. I'm going to have a little talk to this Templeton woman.



GENE and ALEX pass the front desk, on their way out.

VIV:
Guv, those codes. I think I might have got it.

VIV hands GENE a piece of paper.

GENE:
Nice one, Skip.



Outside the station.

ALEX:
Well?

GENE:
It's a list of names followed by numbers. Aldersgate, Chigwell Lane, Dover Street, Gillespie Road, Eastcheap.

GENE hands ALEX the paper and gets in the Quattro.

ALEX:
Gillespie Road...

GENE sits in the driver's seat, and right on his hip flask. ALEX, meanwhile, walks round to the passenger seat, still looking at the list of names. GENE puts the hip flask in the glove box as ALEX gets in.

ALEX:
Gillespie Road... Gillespie Road is the old name for Arsenal tube station. Eastcheap... Eastcheap's Monument now. They're old names for tube stations.

GENE:
Which means?

ALEX:
I don't know. They all fit the pattern... Apart from this one. Sienna.

GENE:
Sienna. That's Branch code. It's a Special Branch file. My station. My evidence. Bastards.

GENE fires up the Quattro and they screech off while we enjoy an all too brief excerpt from The Clash.

MUSIC: 'London Calling' by The Clash



The Red Lion public bar. GENE, ALEX and SARA are seated round a table discussing government conspiracy. It's what pubs are there for.

SARA:
What do you think?

ALEX:
We think this investigation may be of interest to the security services.

SARA:
Wouldn't surprise me. How do I know you two won't take anything I tell you straight to MI5?

GENE:
I'm a copper. I don't like those spooky-dooky bastards. 'Specially not when they've been eating my porridge.

ALEX:
Why should they be interested in you in particular?

SARA:
I'm working to overthrow a corrupt and anti-democratic state.

GENE:
Fair dos.

SARA:
A friend told me Kennedy worked at Edgehampton. Said he might be useful.

GENE:
Would that friend happen to be Caroline Price?

SARA:
Yeah.

GENE:
Well, bloody, well.

ALEX:
Are you sure?

GENE:
Why would Kennedy be useful to you?

SARA:
The Government say they're not testing neutron weapons. We think they are, we need proof.

ALEX:
And you thought Kennedy could help you get that?

SARA:
He was a working man. Interested in labour history. He didn't like the way the working class gets exploited.

GENE:
Well as long as the trains run on time, eh?

SARA:
Look, I... Kennedy said he would help us.

GENE:
How?

SARA:
Information. Confirmation. He found something.

ALEX:
What?

SARA:
Artemis.

GENE:
What is that exactly?

SARA:
A document that proves the Government were testing neutron bombs. He was killed before he could pass it to me. What if I'm next?



GENE and ALEX leave The Red Lion, GENE once again getting in the driver's seat only to find himself sitting on his hip flask again. He picks it up, looking at it oddly, before checking the glove box.

ALEX:
What?

GENE:
Nothing.

GENE puts the flask in his pocket instead, which'll be handy later...



The PRICES' house. GENE and ALEX follow CAROLINE into the kitchen.

ALEX:
You told me you didn't know that Kennedy worked at Edgehampton.

CAROLINE:
I told you he may have mentioned it.

ALEX:
So he did, then?

GENE:
How do you know Sara Templeton?

CAROLINE:
Tim represented Sara and the RWF on several occasions. I dealt with some issues for them pro bono.

ALEX takes down a jar clearly labelled 'Flour', opens it and removes a biscuit without any surprise or ceremony. CAROLINE and GENE do a bit of a double take, not unreasonably.

GENE:
She's the kind of copper who works on hunches.

CAROLINE:
I sympathise with many of their aims. Sara is a very bright, very passionate young woman. An idealist. I hope my own daughter grows up with her drive to change the world for the better.

GENE:
Did she tell you that she'd asked Kennedy to spy for the RWF after you introduced them?

CAROLINE:
I was aware it was a possibility. Did he? Is that why he was killed?

GENE:
She certainly seems to think so. But then again, she could be making the whole spying conspiracy up. And so could you.

CAROLINE:
Smoke and mirrors. That's how they work.

ALEX:
What's at stake for the Government?

CAROLINE:
They've told the world they are not testing neutron weapons. That's a lie, and Kennedy may have found something that proves that. You push this upstairs, you'll get stone cold denials and an unexpected departmental audit. But if you could find evidence that the Government is carrying out these tests, you'd also have proof of a strong motive to kill Kennedy.

GENE:
Why should I believe any of this?

ALEX pulls out the paper with the tube station names and hands it to CAROLINE. GENE looks at her like she's nuts.

CAROLINE:
Where did you get this?

ALEX:
Kennedy's body.

CAROLINE:
Edgehampton isn't just the building you see on the surface. It has underground levels. Named after defunct tube stations.

ALEX:
So these could be directions?

CAROLINE:
Maybe.



GENE and ALEX leave the house via the door to the basement; GENE goes on but ALEX stops.

ALEX:
What you do, what you know, is a very dangerous game.

CAROLINE:
Working for genuine democracy isn't a game.

ALEX:
Please be careful.

ALEX gets in the Quattro where GENE is already waiting. As he turns the ignition and puts the headlights on, the lights on a car behind them also come on. GENE waits and the car pulls out and passes them; GENE and ALEX exchange a look.



Luigi's. GENE and ALEX are at a table, poring over the list of names, GENE's food untouched in front of him. LUIGI passes them with another order and looks anxious.

GENE:
Smoke and mirrors. But what if she's the one making the smoke? Covering her own tracks.

ALEX:
Someone is, but I don't think it's Caroline. Whatever it is at Edgehampton could prove that.

LUIGI returns, a worried host.

LUIGI:
Signore Hunt, what's the matter? You don't like the food?

GENE:
No, I'm just not hungry, Luigi. Another of these, though.

GENE waves his almost empty beer glass. LUIGI turns to speak to ALEX.

LUIGI:
And how is your young man?

ALEX:
He's fine, he's fine. And he's not my young man. He's not my man at all.

LUIGI:
You look very happy together. Smiling, happy, very nice.

ALEX:
We're just friends.

LUIGI:
Va bene, va bene.

LUIGI leaves, warbling some no doubt romantic melody. GENE looks the question.

ALEX:
I was here with Evan White. Getting some background on Caroline. It's very convenient.

GENE:
Mmm. Well, we all have our little secrets.

ALEX:
What about this one?

GENE:
You really think the British Government are capable of killing somebody to keep them quiet?

ALEX:
Yeah, I do. So, we're going to do it?

GENE:
Course we are.



ALEX's flat, and she's gazing at her calendar wall again and in particular at a press cutting with CAROLINE's picture, while talking into the dictaphone.

ALEX:
What are you doing? Is this what gets you killed? 'Working for democracy'? If I do this, if I- if I prove that you're right, do I save your life? And if I do that... will I get back to my daughter?

ALEX turns as she hears a creak.

ALEX:
Molls?

There's no-one there and after a moment ALEX returns to her wall.



CID and SHAZ is following CHRIS, demanding answers.

MUSIC: 'Love Action' by Human League

SHAZ:
Why can't you get me a Marathon?

CHRIS:
I'd be patronising you.

SHAZ:
I'll give you the money.

CHRIS:
Even if you gave me the money, what I'd be saying by getting it for you, is that you can't fetch your own independent Marathon. That you're not as able as me.

SHAZ:
You think I'm handicapped?

The telephone rings.

CHRIS:
No. You're a woman.

SHAZ turns away in disgust while CHRIS answers the phone.

CHRIS:
Hello?

CHRIS turns towards GENE's office as the music seems to get louder.



Gene's office, radio blaring, and GENE removes MARTIN KENNEDY's identity card from his desk drawer and proceeds to paste his own photo over MARTIN KENNEDY's as ALEX looks on. It's the worst forgery job you're ever likely to see.

# Don't kid yourself you've seen it all before
# A million mouths have said that too
# I've had my hard times... #



CID. GENE and ALEX comes out if GENE's office on their way to Edgehampton.

CHRIS:
Guv, I've got that info you wanted on the cases Caroline Price took.

GENE:
Where's Ray?

CHRIS:
Hot date with that blonde commie bird.

GENE:
If I'm not back here by eight o'clock, tell him to stir up a shit storm.

They leave.



The Quattro, totally unmemorable motor vehicle and ideal for covert infiltration, pulls up to a barrier bristling with armed soldiery.

GATE GUARD:
Sir.

GENE flashes his expert forgery job.

GATE GUARD:
Thank you.

GENE:
Ta.

A bells sounds and the barrier is raised. ALEX glances nervously around as a car pulls up behind them.



Edgehampton building entrance. GENE once more flashes his forged identity with complete success.

DOOR GUARD:
Sir.

A buzzer sounds and GENE opens the door and he and ALEX disappear inside.

MUSIC: 'Reward' by Teardrop Explodes



Cue montage of considerable amounts of opening of fire doors, walking down stairs and striding along corridors with old tube station names on signs on their walls until further notice. Assorted military and civilian staff mill around.


# Bless my cotton socks I'm in the news
# The king sits on his face, buttons all askew... #

GENE and ALEX reach the top of another flight of stairs.

GENE:
This one?

ALEX:
Yeah.

GENE:
Right. Let's be quick about it.

ALEX:
Bet you say that to all the girls.

GENE:
Don't give 'em a choice.

# All wrapped up the same
# All wrapped up the same
# They can't have it, You can't have it
# I can't have it too
# Until I learn to accept my reward #

Finally their feet are hurting sufficiently that the director allows them to stop.

GENE:
It must be this one.

ALEX:
Yeah. Could be.

ALEX punches in a code in the keypad next to a sturdy-looking door with a sign saying 'Restricted Access; Authorized Personnel Only' on it. A bell, green light and GENE opens the door to reveal... lots of brown and cream filing cabinets.

GENE:
Ding dong!

GENE marches in while ALEX pulls the door to and keeps watch into the corridor.

GENE:
What exactly are we looking for?

ALEX:
I don't know. Artemis. Evidence.

GENE:
Keep an eye out.

GENE starts to go randomly through the filing cabinets.

GENE:
Getting caught rifling through a Government vault might prove a little tricky to explain, even for a man as suave and as silver-tongued, as my very good self.

A SOLDIER enters the corridor, calling back through the door to his friend.

SOLDIER:
Tommo!

VOICE:
See you in a minute.

In a panicked bid for concealment, ALEX pulls the door closed and the light goes out.

FLASHBACK
LITTLE ALEX closing the lid of the wooden chest on herself.

LITTLE ALEX'S VOICE in flashback:
Ten, nine, eight, seven, six, five, four, three, two, one.

The CLOWN approaches the chest and opens the lid - to find it empty.

Microfiche effect rapidly sideways.
Trees, grass and railings.
Man's and woman's feet walking; woman carrying a bag or case.
TIM in the rearview mirror of a car.
EVAN running down a grassy slope.
Little girl's hand letting go of balloon strings and man's hand taking little girl's hand.



CID. CHRIS is tucking into a Marathon with a guilty look at SHAZ, who is not impressed. RAY enters in full investigative flight.

RAY:
Where's the guv? He needs to see this.

CHRIS:
Said he'd be back by eight.

RAY:
(to SHAZ) Have you got the Polaroids of the RWF tarts?

SHAZ goes to get them.

CHRIS:
Hey, how was the date?

RAY:
Ho ho ho! Co-operated with my enquiries. Hey, nothing at all down there. All off. It was like a lovely little peach.

SHAZ drops the Polaroids on Ray's desk.

SHAZ:
Gave me such a rash when I tried that.



The vault. GENE flicks on his lighter as the recriminations begin. In unison.

GENE:
How stupid can you be?

ALEX:
What did you expect me to do?

ALEX sighs.

ALEX:
They'd have found us.

GENE:
Oh, well, thank goodness you found us this ideal little hiding place, eh, Julian? All we need do now is wait for Timmy the bloody dog to raise the alarm!

ALEX:
It'll be absolutely fine. It must be one of these two...

ALEX moves the door handle and there's an ominous locked-in-for-a-good-long-while whirr and click from the lock mechanism. GENE looks horrified and ALEX looks guilty.

ALEX:
I didn't touch it. I didn't.

GENE snarls.



CID; RAY and CHRIS are looking at the Polaroids.

RAY:
Why's she the only one wearing a T-shirt?

CHRIS:
She likes to show she's got equal assets.

RAY:
Because she hasn't got a jumper. Why hasn't she got a jumper? Because she borrowed one from Natalie the week before and only just gave it her back before they took these photographs.

RAY picks up a hideous green jumper from the desk.

RAY:
This green jumper. And she wasn't at the whole meeting. She'd only just arrived when they took these photos.

RAY and CHRIS smile and nod.



The vault. GENE and ALEX are sitting on the floor, backs against the wall, the lighter on the floor between them. ALEX finishes off removing her jacket; GENE's already taken off his coat.

GENE:
Correct me if I'm wrong, but is it getting hot in here?

ALEX:
Yeah, it's quite warm.

GENE:
You see, the thing about vaults, it's one of their more striking features, is that they're sealed. Nothing gets in, and nothing gets out. Sound, for instance. And air.

ALEX:
Well there must be an inlet?

GENE:
Documents don't tend to need a lot of oxygen.

ALEX looks worried; this hadn't occurred to her. GENE takes out the providential hip flask and takes a swig; ALEX looks at it pointedly.

GENE:
Ask me nice and I might share.



Interview room. RAY is employing his best Bad Cop technique on SARA.

RAY:
What time did you get to the meeting?

SARA:
I dunno, about nine?

RAY:
Don't lie to me! Where were you before that?

SARA:
At home... work.

RAY:
I said, don't lie to me! You met Kennedy.

SARA:
No, I...

RAY:
You met Martin Kennedy and you killed him.

SARA:
No!

RAY:
We found fibres from this jumper under his fingernails. What did you hit him with? A hammer? A rock? Is that it? You picked up a rock and you smashed his head in. Doesn't take much to break someone's skull. You hit it right and it cracks like an egg. It's a lot easier to hurt people than you might think.

SARA looks rattled as RAY leaves the room and talks to CHRIS outside.

RAY:
Got her just right.

CHRIS:
Why can't I be bad cop?

RAY:
'Cos I'm better at it.

CHRIS goes into the interview room while RAY looks at the time - it's nearly 8.20pm.

CHRIS:
Are you all right, love? D'you fancy cuppa? Not that I'm trying to patronise you.



Time has evidently passed and the depressing effect of pink wafers has left SARA in tears.

CHRIS:
It's all right, love. I understand. It's all right. Is there anything else you want to tell us?

RAY and CHRIS exchange looks of satisfaction through the interview room glass.



Meanwhile, back at the vault, there's a rustling in the dark and ALEX lights the lighter. She's got hold of GENE's flask too. GENE has removed his jacket and is now undoing his shirt to reveal a natty vest and gold chain combination. Naturally this pains ALEX's aesthetic soul.

ALEX:
Oh, for God's sake.

GENE:
I'd rather suffocate than boil.



RAY and CHRIS have finally decided they'd better check on the Guv and storm to the front desk.

RAY:
Viv, where are the codes?

CHRIS:
It's long gone eight.

VIV hands over the codes with a triumphant smile and RAY and CHRIS leave to effect a rescue.



Meanwhile, still back in the vault... ALEX has another swig from GENE's hip flask, which was probably a mistake as she has another...

FLASHBACK
The CLOWN opening the lid of the chest.
CAROLINE opening the boot of a car.
Voices whisper ALEX's name.
TIM inter-cut with the CLOWN.
MOLLY behind the candles of a birthday cake.
MOLLY watching from the car.
A red balloon floating up into the sky.
The CLOWN opening the lid of the chest.
ALEX in the rearview mirror, turning to see LAYTON in the back seat.

ALEX in flashback:
Aaargh, God!

Sounds of a rapid heartbeat.
EVAN and MOLLY waving goodbye in reflection.
The CLOWN.
A car burning.
The CLOWN closing the lid of the chest.

ALEX opens her eyes to find herself still in the vault. GENE's looking at her oddly.

ALEX:
What? What?

GENE:
That Evan bloke.

ALEX:
It's complicated. It's very complicated and, uh... It's none of your business. Oh, God! I am so hot.

ALEX takes her blouse off; GENE's eyes pop.

GENE:
Oh, dear Lord, if this is a test, I fear I may fail. And I thought it'd be the booze or the fags, but oh, no, I'm going to die in an underground vault in the company of a posh, mouthy tart with a head full of brains and the common sense of a grain weevil.

ALEX:
We're not going to die. I CAN'T die. Can I? Can I?

GENE:
Come here.

GENE puts his arm around her and a large percentage of the viewing public (female) go "Ahhhhh". The lighter starts to dim and ALEX looks at him.

ALEX:
Gene.

GENE:
I know.



A box is flipped open and the large red button within is pushed. A motor whirrs and the door opens to reveal CHRIS, RAY, SHAZ and an alarm going off.

RAY:
I told you not to touch it!

MUSIC: 'Green Door' by Shakin' Stevens

RAY, CHRIS and SHAZ look in and GENE moves his arm at lightning speed.

GENE:
Bloody hell, it's Wonder Chris!

CHRIS:
Sorry, guv.

SHAZ:
My hero.

ALEX and GENE get up, pulling clothes on as they go and not really meeting anyone's eye; GENE pauses to scoop up a file from the open cabinet and set off the fire alarm on his way out. The famous five evacuate along with Edgehampton's more legitimate inmates.

# Midnight
# One more night without sleepin'...
# Watchin'
# 'Til that morning comes creepin'
# Green door
# What's that secret you're keepin'?
# There's an old piano and they play it hot behind the green door
# Green door
# Don't know what they're doing but they laugh a lot
# Behind the green door
# Green door
# Wish they'd let me in So I can find out
# What's behind the green door
# Green door... #



Interview room.

SARA:
It was self-defence. He tried to rape me. He said he'd get what we wanted from Edgehampton. For a price. So we came to an arrangement.

GENE:
What kind of arrangement?

SARA:
I slept with him. We're at war. Any means necessary. Anyway, he found something, and he said he'd give it to me. And then when we met, when it came to it, he wanted more. He wanted money.

ALEX:
So he showed you the sealed envelope?

SARA:
Was there anything in it?

GENE:
No.

SARA:
Bastard. Bastard. I said I wouldn't give him his thirty pieces even if I had them. He tried to rape me. I'm not sorry. I want a solicitor.



GENE and ALEX leave the interview room, GENE pausing on his way into CID to address her.

GENE:
Money, sex and bloody women. Hat trick.

VIV appears with CAROLINE.

VIV:
Ma'am?

CAROLINE:
Inspector. If this is about my indiscretion, I'd have preferred to meet somewhere more neutral.

CHRIS goes past escorting SARA to the cells; CAROLINE is rather taken aback.

ALEX:
I'm sure you would.



The evidence room.

CAROLINE:
If I'd known Sara had killed Kennedy, I would have told you.

ALEX:
Girls do have their secrets.

CAROLINE:
That wasn't one of them. I can't believe you actually got inside Edgehampton. Amazing. D'you find anything?

ALEX:
That's all you wanted, wasn't it? Something you could use against the Government you despise. You weren't interested in solving a murder, righting a wrong.

CAROLINE:
There are degrees of wrong.

ALEX:
You used me. Like you use Sara, just like you use whoever you need for whatever you happen to want.

CAROLINE:
I don't think that's true.

ALEX:
Really?

ALEX takes out the envelope of photographs from a filing cabinet and hands it to CAROLINE.

ALEX:
Negatives, too. I don't think there's any need for Tim to find out, do you?

CAROLINE:
Thank you. Thank you. You don't know what... uh. These could have torn my family apart. I could have.

ALEX:
But you didn't.

CAROLINE:
No.

CAROLINE leaves.



ALEX wearily leaves the station, only to be caught by EVAN on the steps.

EVAN:
Alex!

ALEX:
Hi.

EVAN:
Hi.

ALEX:
What can I do for you?

EVAN:
I dunno. I mean, I don't know why I feel that it's so important, butI just want you to know that Caroline and me, it's over. It's finished. It was such a stupid, stupid thing and it's over.

ALEX:
And that's what you've come here to say?

EVAN:
Er... yeah. I just felt that it was something that I should do. And now that I've done it, I feel completely ridiculous.

ALEX laughs.

ALEX:
And that's it?

EVAN:
Yeah. Yeah, that's it. Good night.

ALEX:
Night.

EVAN goes and ALEX turns away, smiling. Leaving poor EVAN, imo, with some seriously mixed messages.



Gene's office, and GENE locks away a file in his desk drawer - a file helpfully and clearly labelled 'ARTEMIS' - before leaving with a magic lights-turning-off-behind-him-as-he-goes moment.



LUIGI's and IAN KAY hijacks a jug of house red on its way to ALEX and GENE's table, where they're busy having an alcohol-fuelled tete-a-tete.

ALEX:
What a horrible way to go.

GENE:
Oh, unspeakable.

IAN KAY:
Would you mind?

IAN KAY puts the jug on wine on the table; ALEX sobers up in a hurry.

IAN KAY:
Aren't you inventive? My respect for Her Majesty's Police Force has increased enormously since your little adventure.

GENE:
You poked your sticky spook fingers where I didn't want them.

IAN KAY:
You got your murderer. And greatly reassured us all, I might say. We locked onto Kennedy quite late, didn't think he was serious. What scared the flock was the thought that he might pass something to the Russians. May I?

IAN KAY helps himself to a glass form the adjoining table and pours himself some wine. Truly these spooks know no fear.

ALEX:
Why did you take the body? That coffin was lead-lined, wasn't it?

IAN KAY:
There was the remote possibility of radioactive contamination. Nothing to worry about. Docs gave the all-clear.

GENE:
What do you want?

IAN KAY:
Rather awkward. I hardly like to bring it up, but there seems to be something missing from the vault.

GENE:
Well your security's not up to much.

IAN KAY:
You didn't happen to pick something up, did you?

GENE:
No. We did leave in a bit of a hurry.

IAN KAY:
Of course you did. Well, if you do happen to stumble across something, I think it'd be in everyone's best interests if you let me know.

GENE:
Would it?

IAN KAY:
I think so. Well, best off.

IAN KAY leaves.

ALEX:
So, what did you find?

GENE looks inscrutable.

ALEX:
Well, what difference does it make?

Turns out GENE wasn't being inscrutable, he just had something else on his mind.

GENE:
So what are you, C or a D cup?

MUSIC: 'Police and Thieves' by The Clash

Fade to black, credits.

# Police and thieves in the street
# Oh yeah
# Scaring the nation with their
# Guns and ammunition
# Police and thieves in the street
# Oh yeah
# Fighting the nation with their
# Guns and ammunition... #