Ashes to Ashes, series two, episode four.
Writer: Ashley Pharoah
Director: Ben Bolt

xxxx

Luigi's, and the mysterious and hitherto unknown A-DIVISION are at a table on one side of Fenchurch East's boozer and serenading GENE, ALEX, RAY, CHRIS, SHAZ and VIV with a classic from 'The Wurzels'.

A-DIVISION:
# So, I got a brand new combine harvester and I'll give you the key #

WITTY SOLOIST:
Ooo arr!

A-DIVISION:
# Come on now, let's get together
# In perfect harmony... #

RAY:
Bloody A division need a little slap, I think.

ALEX:
Just ignore it.

CHRIS:
Not really going to send you to Plymouth are they, Guv?

GENE:
Not if I've got anything to do with it.

A-DIVISION:
# Now, I've got a brand new combine harvester... #

SHAZ:
Come on, baby, let's go.

VIV:
Hey, sounds like you're on a promise.

CHRIS:
Not really. She's got me watching tapes of 'Brideshead Revisited'.

RAY, increasingly wound up by A-DIVISION's harmonic melodies and grasp of rhythm, grabs a bread roll off SHAZ's plate and hurls it at them.

SHAZ:
I was eating that!

A-DIVISION:
Oi!

CHRIS retaliates by also seizing a bread roll, possibly RAY's, and also hurls it at A-DIVISION.

CHRIS:
She was eating that!

MUSIC: 'Ebony and Ivory' by Paul McCartney and Stevie Wonder

LUIGI:
Please! Don't throw the food, eh?

A-DIVISION retaliates with their own dough-based missile and LUIG hurries over to remonstrate.

ALEX and GENE in unison:
Right, I'm going home.

ALEX:
Well, er, I'll stay and keep Shaz company...

GENE:
Well, maybe one for the r...

Awkwardness all round; so that went according to plan then... VIV and RAY exchange glances.

ALEX:
Um, see you all tomorrow.

ALEX leaves.

GENE:
Good night.

RAY:
Night.

A-DIVISION lob over another bread mortar, but SHAZ has had enough and chucks one right back.

SHAZ:
Right.

A-DIVISION:
OI!

A positive barrage of bread rolls comes back at them; RAY gets to his feet, followed by VIV and CHRIS.

RAY:
Right. Come on then, if you think you're hard enough.

LUIGI:
No, please, I beg you. Take it outside!

RAY:
One for all and all for one.

GENE takes the opportunity to slip away.

RAY:
Where's the Guv?

VIV:
He's... He didn't finish his drink!

MUSIC: 'Harry' by Bauhaus

CHRIS:
Something's going on between them two.

RAY:
D'you think he's slipping her one?

SHAZ:
Don't be disgusting.

RAY:
Come on!

Battle commences, LUIGI vainly trying to prevent it.

LUIGI:
Ebony and Ivory!

SHAZ:
Watch your face, baby!



Montage of ALEX and GENE walking along deserted streets, through dark passageways and along corridors to an assignation. It turns out, despite Luigi's being directly opposite the police station in real life, it's actually supposed to be a few streets away. Who knew?

# Well, hello pretty woman
# You're looking good
# With a yellow dot skirt
# And you're swaying, hah
# You look as though you've ate your one last meal
# Your conceit is all that's left
# You can sing a spiel #

As GENE goes past a man relieving himself against a wall he casually shoves him against it.

MAN:
Oi!

# You used to hide away in kiosk land
# Let's find you out and loosen up
# You're so upset
# Making coffee for the poor machines
# Stipulate, copulate for all his schemes
# I have you
# You have me
# We go where we want to be
# We have it
# We have fun
# We go places to have some, hah #

GENE and ALEX meet up in a deserted corridor in the police station.

ALEX:
Sure you're ready for this?

GENE:
I'm ready.

ALEX:
Okay. It's a big step.

GENE:
Between you and me, Bolls, I've been wanting to do this for weeks.

ALEX:
Yeah. Yeah, me too, I just didn't know you felt the same way.

GENE:
Oh yeah. Let's do it.

# Lalalalalalalalalalala la
# Lalalalalalalalalalala la #



SUPERMAC's office; GENE is standing on his desk, fitting a bug in the ceiling while ALEX acts as lookout at the door.

ALEX:
Really will be Operation Burning Ring if you get caught up there.

GENE:
I've never been west of the Chiswick High Road, Bolls. I don't intend to start now.

ALEX:
You know what amazes me is where all the money's going. Look, like the gold bullion job on the Balls Pond Road. We know that Mac was involved and yet his situation just doesn't change. The same car, same house, same holiday in the West Country.

GENE:
Don't mention the West Country. Trying to concentrate here.

ALEX:
That's hundreds of thousands of pounds over the past couple of years. There must be a trail.

GENE:
Listen, Mac may be bent, but he's not stupid. It'll be well buried.

ALEX:
There's a lot of work, we should tell Ray and Chris.

GENE:
No. Mac's already killed one of his own foot soldiers, he wouldn't hesitate in killing one of mine.

ALEX:
Okay. What now?

GENE:
Fiire up the flip chart.



Opening credits:

ALEX voiceover:
My name is Alex Drake. I've been shot and that bullet's taken me back in time. Now I'm lost in 1982 and all I can do is fight, and search and stay alive. Because somehow, I will find a way home.



ALEX and GENE are fast asleep in Gene's office; RAY, CHRIS and SHAZ come in to CID, turning on the lights. Evidently it's the morning after.

RAY:
Aye, aye.

ALEX and GENE hurriedly wake up, scrabbling the papers detailing their investigation of SUPERMAC out of sight. They look excessively guilty but make a stab at nonchalance; the others are amused.

ALEX:
Morning.

SHAZ:
Morning, ma'am.

GENE:
Tea, five sugars.

CHRIS:
Copped a bit of a hiding, Guv.

RAY:
Yeah, you left us. There was only three of us.

SHAZ:
And me. I threw a roll.

Enter Ms JACKIE QUEEN wearing a suspiciously familiar camel-hair coat.

JACKIE QUEEN:
He always did run away from his responsibilities.

ALEX:
Who are you?

RAY:
Jackie Queen, as I live and breathe!

GENE:
That's my coat. I was looking for that.

JACKIE QUEEN:
You left it at my flat. Though come to think of it, that's not all you left behind.

JACKIE QUEEN removes the coat to make sure we haven't missed the fact she's really rather pregnant. Ooops.

RAY:
Bugger me.



CID. JACKIE QUEEN is dragging on a ciggie, gazing not entirely pleasantly at ALEX, who's busy working at her desk. For a change.

ALEX:
Will you please stop smoking because you'll stunt your baby's growth.

ALEX doesn't like JACKIE QUEEN either it seems.

JACKIE QUEEN:
It'll come out easier then, won't it?

GENE:
No, I can't have been that drunk.

JACKIE QUEEN:
You were very drunk. I had to tie a pencil to it.

JACKIE QUEEN, RAY and CHRIS laugh. GENE elbows CHRIS in the ribs - he stops laughing.

RAY:
You've not worn that coat for years.

GENE:
Yeah, well, I was back in Manchester for that police charity do.

JACKIE QUEEN:
He was so drunk no taxi would go anywhere near him. So I took pity on him and took him back to my place.

ALEX:
You actually had sex with him?

JACKIE QUEEN:
Well, the central heating was broken. It was cold.

GENE:
Remember she's a journalist. Don't believe a bloody word she says.

RAY:
And, it has to be said - no offence, Jackie - a bit of a slapper.

JACKIE QUEEN:
Well, it's either yours or the black bass player in Neil Diamond's backing band.

GENE:
You know, I think you're winding me up.

JACKIE QUEEN:
Am I now? We'll just have to wait and see, won't we?

ALEX:
The little pitter-patter of tiny crocodile boots.

VIV enters CID to drop off mail and some happy news.

VIV:
Guv, just had Devon and Cornwall on the phone. They're very excited about you joining them. They want to know if you shoot?

GENE:
Yes. People from Devon and Cornwall.

SHAZ:
How would you get from Plymouth to Manchester to visit your kid?

GENE:
What is this? Slap Gene Day?

JACKIE QUEEN:
There is one other reason I'm here. Now, you're only police officers so you probably don't know this, but every month dozens of young northern kids come down to the bright lights of London. Some don't ever go back.

ALEX:
Well, they can't be blamed for that.

JACKIE QUEEN:
Since when did you let your typist have opinions?

ALEX:
Excuse me, I'm not a typist. I'm a Detective Inspector.

JACKIE QUEEN:
I'm writing a piece for the paper. What happens to these kids, where do they end up. I'm hanging it on this girl.

JACKIE QUEEN hands across a photograph.

JACKIE QUEEN:
Now, her name's Rachel Lessing. She's sixteen years old. She went missing last week and her mother's in pieces.

ALEX:
Yeah, and that is all very commendable, but you can't just waltz into CID and expect us to drop everything.

JACKIE QUEEN:
I wrote several letters to the Met. I phoned several times, I got fobbed off every time.

ALEX:
Have I become invisible?

GENE:
So, um, who fobbed you off?



GENE and ALEX are speaking to VIV on the front desk.

GENE:
Why weren't Jackie Queen's inquiries put in front of a senior officer?

VIV:
I was told to ignore any such inquiries from up north.

GENE:
Why?

VIV:
Don't know, Guv. Just to annoy them, I suppose?

GENE:
Well, who told you to ignore them?

VIV:
Mac.

GENE:
Mac did?



Coach station. GENE brings ALEX and JACKIE QUEEN a lovely polystyrene cup each of some beverage. It might be tea, it might be diesel oil. It's often hard to tell in a coach station.

TANNOY:
Gate six for the ten thirty from Liverpool.

JACKIE QUEEN wanders off.

ALEX:
We're on the verge of uncovering a nest of corruption deep within the Met. and you're chasing a pregnant Glaswegian round London.

GENE:
Why would a senior officer stop Viv from acting on a simple request from a journalist?

ALEX:
What, you think Mac's connected to runaway kids?

GENE:
I don't know what to think any more.

ALEX:
Is she really having your baby?

GENE:
I don't know! My memories of that night in question are somewhat hazy.

RAY and CHRIS turn up, evidently after a successful quest for food. They're taking the mickey out of 'Brideshead Revisited'.

RAY:
'I remember, Sebastian, that Michaelmas term.'

CHRIS:
'Pink buttocks quivering in the Quad.'

ALEX:
At least make her sit down.

RAY:
Well, he made her lie down easily enough. Ha ha.

GORDON LANEGAN, looking shifty, appears near the newly arrived coach from Liverpool. JACKIE QUEEN spots him and hurries back to GENE and co.

JACKIE QUEEN:
That's him. That's the bloke. He's here every morning to meet the coaches from up north. I've watched him.

CHRIS:
It's not an offence to try and pick up a pretty girl in a bus station.

RAY:
No, it's quite a lovely hobby really.

JACKIE QUEEN:
Am I going to have to hurt you?

GENE:
Aye, aye. Dog's seen the rabbit.

GORDON LANEGAN approaches a young girl wearing a red and white striped scarf, picking up her suitcase from the coach.

CHRIS:
Good girl, she's turned him down.

RAY:
She's got no chance. He'll have her ankles behind her head within the hour.

CHRIS:
How d'you figure that?

RAY with Liverpudlian accent:
'Cos she's from Liverpool.

CHRIS:
Oh, eh.

RAY and CHRIS laugh.

GENE:
Come on, let's follow the perv.

They set off, but ALEX stops as her radio crackles into life.

MARTIN SUMMERS on the radio:
DI Drake?

ALEX:
Yep, Drake.

MARTIN SUMMERS over the radio:
I could smell your hair, Alex, even as I put it in your pocket.

ALEX reaches into her pocket and draws out a single red rose. Not a clump of hair, as I momentarily expected...

ALEX:
Where are you?

MARTIN SUMMERS over the radio:
Don't spoil my fun or people will get hurt.

ALEX:
Look, we're in this together, maybe we could help each other out. You know, we don't have to be enemies.

MARTIN SUMMERS over the radio:
No, we don't. We could be anything we want it to be.

ALEX:
Can we meet?

GENE:
Bolly! Get a ruddy bloody move on! We're losing him!

ALEX runs after GENE.



Outside the 'Victoria' pubic house. RAY is just returning from a recce.

RAY:
The landlord says he rents a room out above the pub to a bloke called Gordon Lanegan.

ALEX:
Right, are we ready? (to JACKIE QUEEN) Don't you need to light up? You haven't had a cigarette for at least five seconds.

JACKIE QUEEN:
Good point.

GENE:
Right, let's go and dance the light fantastic on Gordon's head.



DEBBIE HALL is awkwardly posing in front of a sunset backdrop in her underwear as GORDON LANEGAN takes pictures.

GORDON LANEGAN:
Come on, love, give us a smile. Come on, darling, cheer up, you're on the beach.

Whereas Gordon is in the poo as the door bursts open and our heroes arrive. DEBBIE HALL screams.

ALEX:
Hey, it's all right. It's all right. We're police officers.

GORDON LANEGAN:
You'd better have a warrant.

GENE:
And you'd better have an arsehole the size of Gwent, my friend, because where you're going...

GENE sweeps some of the photographic developing equipment off the shelf.

GORDON LANEGAN:
Hey, careful, some of those are lethal!

GENE:
Are they? Christopher, make the gentleman a cocktail.

JACKIE QUEEN:
Do you know this girl?

JACKIE QUEEN thrusts the picture of RACHEL LESSING at GORDON LANEGAN but he shakes his head.

GENE:
What's your name, love?

DEBBIE HALL:
Debbie.

GENE:
Right then, Debbie, I'm a police officer, I'm going to give you a bit of advice. You never, ever do what scumbags like him tell you to, understood? Your life is too precious, keep it that way. Right, get yourself back up to Liverpool and have a lovely life stealing hubcaps and being over-sentimental, okay?

GENE hands DEBBIE HALL some money.

DEBBIE HALL:
Thanks.

GENE:
Right then, seems that some of our fine northern lasses are going missing and I think you might have something to do with it. Chris! I think the gentleman needs his whistle wetted.

CHRIS has been enthusiastically mixing the various developers, fixers etc to make a persuasive 'drink'.

CHRIS:
I call this 'Pornographer's Guts Against the Wall', Guv.

RAY, meanwhile, has found another photograph.

RAY:
Guv, is that her?

GORDON LANEGAN:
It's just photographs. I paid her.

JACKIE QUEEN:
Where is she?

GORDON LANEGAN:
I dunno.

JACKIE QUEEN head butts him. Colloquially known as a 'Glasgow kiss', appropriately enough...

GORDON LANEGAN:
Uh!

RAY hauls him back to his feet and holds him in an arm lock.

GENE:
Right, start talking. Where d'you send the girls?

He takes the 'cocktail' from CHRIS.

GORDON LANEGAN:
It's just a party. There's only the special ones.

GENE:
What d'you mean, 'special'?

GORDON LANEGAN:
Virgins. He likes them to be virgins.

GENE:
Who's party? Give me a name.

GORDON LANEGAN:
I can't, he'll kill me.

GENE:
This is your last chance.

GENE starts to tip the beaker of chemicals towards GORDON LANEGAN's mouth.

GORDON LANEGAN:
Jarvis! His name's Ralph Jarvis.

JACKIE QUEEN starts to cry.

JACKIE QUEEN:
Jesus. Jesus Christ. Oh God, she's...

GENE:
Come on.

JACKIE QUEEN:
Gene.

GENE comforts her, the undeserving... Yes, well, moving on.

GENE:
S'all right, love. Come on, we're going to find her, I promise you. We're going to find her.

JACKIE QUEEN:
She's my niece, Gene.

GENE:
Come on.



ALEX and GENE make their way to the CID kitchen.

ALEX:
Failed to mention she was related to Rachel Lessing, didn't she? Your girlfriend.

GENE:
She's not my girlfriend. You don't like her very much, do you?

ALEX:
Ha, it's none of my business really, is it?

GENE:
That's true.

ALEX:
Yeah, just thought you could have done a bit better, that's all.

GENE:
What's wrong with her?

ALEX:
Well, apart from the fact she's a journalist and she's from Glasgow?

GENE:
Blimey, you're beginning to sound like me, Bolly.

ALEX sighs.

GENE:
So you don't think her niece needs protecting from a scumbag like Jarvis?

ALEX:
'Course I do, I just feel like Mac's slipping through our fingers, that's all.

GENE:
Listen, Mac is a very smart man. He knew one day someone would come knocking. He'll have had all his doors and windows bolted.

ALEX:
If this is another one of your metaphors, please...

GENE:
There must be another way in. A side door. One that he's long forgotten about.

ALEX:
And you think that's Jarvis?

GENE:
Little dig wouldn't hurt, that's all I'm saying.

ALEX:
All right. But you get your little friend to show me some respect.



GENE's office, and GENE, ALEX and JACKIE QUEEN are going through the evidence.

ALEX:
Ralph Jarvis. According to Companies House, he's a moderately successful businessman, made his money through his own haulage firm.

JACKIE QUEEN:
He's got nasty eyes.

ALEX:
There's nothing wrong with his eyes.

GENE:
Any associates?

ALEX:
Er, nothing untoward. Leads a fairly quiet life, makes regular charitable donations.

SHAZ knocks on the door.

GENE:
Never trust a man who gives to charity.

SHAZ:
Fax for you, ma'am.

ALEX:
Ah.

JACKIE QUEEN:
Let's bring him in.

ALEX:
Um, excuse me. Me police officer, you pregnant journalist.

GENE:
So why did she leave home, Jackie?

JACKIE QUEEN:
The usual. She thought life was boring, wanted adventure.

ALEX:
Hang on.

GENE:
What?

ALEX:
In 1977 he was arrested, er, for the murder of a young girl. Wendy Gorman.

GENE:
How young?

ALEX;
Fourteen. He had an alibi so no charges were ever brought.

GENE:
I think we'd better have a word with this Mr Jarvis.

JACKIE QUEEN:
Told you. Nasty eyes.



Interview room. GENE and ALEX are interviewing RALPH JARVIS, his LAWYER by his side. ALEX puts the photograph of RACHEL LESSING on the table.

ALEX:
Please look at this, Mr Jarvis. Her name's Rachel Lessing. She comes from Manchester but she's gone missing in London.

RALPH's LAWYER:
And what makes you think this would be of any interest to my client whatsoever?

RALPH JARVIS:
I'd like to help the police as much as I can, but I've never seen this girl before in my life.

GENE:
How about this girl?

GENE puts another photograph on the table.

GENE:
Wendy Gorman. Remember her?

RALPH JARVIS:
Cheap shot, Inspector.

RALPH's LAWYER:
My client was cleared of any wrongdoing in this case.

ALEX:
What do you do for a hobby, Mr Jarvis?

RALPH JARVIS:
I don't follow you.

ALEX:
Collect rare stamps?

GENE:
Or fishing tackle.

ALEX:
Or garden gnomes.

GENE:
Or young virgins straight from the coach station.

RALPH's LAWYER:
On what grounds was my client brought in?

ALEX:
We have reason to believe that Mr Jarvis' agents procure underage girls for him.

RALPH JARVIS:
I have a lot of eyes and ears in this city, DCI Hunt. I could have helped you find a missing girl.

GENE:
Well, we'll be in touch.

RALPH JARVIS:
I don't think so.



GENE is mobilising CID.

GENE:
Right, get Rachel's photograph to every plod in the West End. Shake down your narks, talk to the street.

JACKIE QUEEN:
Please, find her.

SUPERMAC comes in; he's not happy.

SUPERMAC:
Don't you ever bring Ralph Jarvis in for questioning again. Ever! D'you understand me?

GENE:
A girl's gone missing, he has form.

SUPERMAC:
He does not have form, he has never been charged! You can't just drag innocent people in off the street!

JACKIE QUEEN:
He's got nasty eyes.

SUPERMAC:
Who the hell are you?

GENE:
She's a friend of mine.

SUPERMAC:
You a police officer?

JACKIE QUEEN:
No, I'm the missing girl's...

SUPERMAC:
Then get the hell out of CID.

GENE gives her the nod and JACKIE QUEEN leaves.

SUPERMAC:
I've just been on the 'phone to the Deputy Commissioner. He says our mugging clear up rate's a disgrace and he's right. I want to see you working, I want arrests. Drop everything else.

ALEX:
What about the girl?

SUPERMAC:
Are you deaf, DI Drake? Big cities attract young people, some of whom don't want to be found. End of.

SUPERMAC leaves.

MUSIC: 'It Ain't What You Do (It's The Way That You Do It)' by Fun Boy Three and Bananarama

CHRIS:
What's wrong with him?

GENE:
Right, Shaz, what's it looking like in Lost and Found?

SHAZ:
Packed to the rafters. Bikes, briefcases, umbrellas.

GENE:
Pull the nastiest scrotums in off the street and charge them with stealing them.

RAY:
Guv.

GENE:
Should generate a bit of paperwork and get Mac off our backs. We also need to talk to any northern girls we might have brought in recently.

CHRIS:
But Mac said that...

GENE:
I know what he said.

GENE and ALEX go into Gene's office and start closing all the blinds. Yes, they really are being discreet.

# It ain't what you do it's the way that you do it
# It ain't what you do it's the way that you do it
# It ain't what you do it's the way that you do it
# And that's what gets results
# It ain't what you do... #

CHRIS:
What is going on around here?

# ...it's the time that you do it #

RAY:
I've no idea.

# It ain't what you do it's the time that you do it #

Meanwhile, behind closed blinds in GENE's office...

ALEX:
Bit risky, isn't it?

# It ain't what you do it's the time that you do it #

GENE:
Yeah, well we're running out of time.

GENE unlocks the top drawer of his filing cabinet and they start taking out notes, bugging equipment etc.

# And that's what gets results
# You can try hard, don't mean a thing
# Take it easy... #

Meanwhile, out in CID.

CHRIS on the 'phone:
Thanks very much for your time, thank you.

CHRIS hangs up.

# ...then your jive will swing #

CHRIS:
You don't think the Guv and DI Drake are, er... you know.

# It ain't what you do it's the place that you do it
# It ain't what you do it's the place that you do it #

SHAZ:
What?

CHRIS:
I can't even say it.

# It ain't what you do it's the place that you do it
# And that's what gets results #

Back in Gene's office, ALEX has switched on the speaker to the bug in Mac's office; GENE hands her some papers.

GENE:
Bolly.

ALEX:
What is it?

GENE:
Bank statements.

ALEX:
Who's are they?

GENE:
Metropolitan police officers.

ALEX:
Where did you get them?

GENE:
Don't ask and I won't tell you. Willis, Crawford, Ferguson, Collins. CID, plain clothes, Traffic, Flying Squad. All of them with bank balances that are way out of their league and all of them connected back to Mac.

ALEX:
You can't use this sort of evidence in court.

GENE:
This is not netball, Bolly, this is serious. Look at the date the money went in.

ALEX:
The week after the Balls Pond Road job. Week after the Heathrow... What about Mac?

GENE:
Well, he goes slightly in the red every month before his money goes in. Like I said, he's a smart man.

ALEX:
And, um, what about...?

GENE:
What, Chris and Ray?

ALEX:
Yeah. I don't like to think about it...

GENE:
No, they're both skint. Mac hasn't got to them.

ALEX:
Well, can't we let them in on it now?

GENE:
No. Not unless we really need to.

Over the speaker there's the sound of a knock at the door.

SUPERMAC on speaker:
I told you never to come here.

GENE:
Turn, turn it down.

RALPH JARVIS on speaker:
Don't tell me what I can and can't do, not any more.

SUPERMAC on speaker:
You know the deal, Jarvis. You never bring attention to yourself.

RALPH JARVIS on speaker:
You're paranoid, they can't touch us.

SUPERMAC on speaker:
Do nothing to jeopardise the arrangement. Nothing.

RALPH JARVIS on speaker:
Don't tell me what to do, Mac. If you push me, I'll show you what I'm capable of.

SUPERMAC on speaker:
Are you threatening me?

RALPH JARVIS on speaker:
How's your Victoria, Mac? Blooming I hear.

There are sounds of a scuffle.

GENE:
Bloody hell.



CID, and RAY is doing a deal with a VAGRANT.

RAY:
You confess to stealing the Harrods pickled walnuts in a fine port vinegar, and I'll let you have a little nap in a cell, how's about that?

VAGRANT:
Can I spend the night?

RAY:
Deal.

JACKIE QUEEN arrives.

RAY:
Ho, ho, look who it is. The whale woman returns.

JACKIE QUEEN:
Where's the father of my child?

CHRIS:
He's in there with DI Drake, but I wouldn't.

JACKIE QUEEN goes to open the door to GENE's office, but it's locked.

JACKIE QUEEN:
Oi, Hunt! (to CHRIS) What are they doing in there?

CHRIS:
Dunno.

JACKIE QUEEN knocks insistently at the door until GENE opens it, shortly afterwards joined by ALEX, who really needs to work on not looking so guilty.

JACKIE QUEEN:
Are you shagging my future husband?

ALEX:
Don't be ridiculous.

JACKIE QUEEN produces an envelope.

JACKIE QUEEN:
Have I got news for you.

GENE:
Get in.

CHRIS and RAY shake their heads.



Gene's office.

JACKIE QUEEN:
I knew your boss was hiding something. Too angry by half.

ALEX:
Ah, so you're a psychological profiler now, are you?

JACKIE QUEEN:
What?

ALEX:
A psychological profiler. Someone who creates a psychological profile of a suspect based on what he or she knows about the human behaviour.

JACKIE QUEEN:
Like an agony aunt?

GENE:
Yeah, moving on.

JACKIE QUEEN:
I talked to some old friends at The Times. Had a rummage through their picture library.

JACKIE QUEEN pulls out a group photograph.

JACKIE QUEEN:
There's your friend Supermac.

GENE:
It's Hendon 1962, that's where he trained. This isn't news, I was a few years below him.

JACKIE QUEEN:
Look at that bloke there.

ALEX:
That's Jarvis, isn't it?

JACKIE QUEEN:
Dropped out in his final year to start his own haulage firm.

ALEX:
So Mac knew Jarvis way back before the allegations that he killed the girl.

GENE:
You know the door is ajar, Bolly. What do we do now?

ALEX:
We knock it down, Guv.



CID's kitchen. The obvious place for CHRIS to 'wire up' SHAZ in front of GENE, ALEX, RAY and JACKIE QUEEN. Er, yes. Never mind, we'll go with it...

ALEX:
You're good at that, Chris.

CHRIS:
Taught by Sam Tyler himself. The best.

JACKIE QUEEN:
Sam Tyler? Now there's a blast from the past.

ALEX:
Did you ever see Sam Tyler? After the siege?

JACKIE QUEEN:
What?

GENE:
Right, they're all homeless kids hauled in on vagrancy charges. Most of them think they're going to get a caution. Just find out where Jarvis is having his parties.

CHRIS:
Shirt up.

SHAZ:
Bet you say that to all the girls.

RAY:
Women in the police force, it's just not right.

SHAZ:
You warm those fingers up.

CHRIS:
Always.

GENE:
Oh, dear God, when you're ready.



SHAZ is undercover, talking to half a dozen young girls in the interview room.

GIRL 1:
Well, there's a hostel on Old Street. It's always full but give the guy a quick hand job, get a bed and meal.

SHAZ:
That's horrible.

GIRL 1:
How long you been down here?

SHAZ:
I got off the train yesterday.

GIRL 2:
You're not from up north.

SHAZ:
No, Billericay.

CID, and everyone else is listening in.

SHAZ over the radio:
Cops picked me up this morning.

VIV enters the interview room and points at one of the girls.

VIV:
You. You're next.

SHAZ:
Where's he taking her?

GIRL 1:
You're brand new, you, aren't you?

SHAZ:
Yeah, s'pose.

GIRL 2:
Go on, ask her.

GIRL 1:
Are you a virgin?

SHAZ over the radio:
Yeah, I am a virgin, why?

Much hilarity in CID.

GIRL 1 over the radio:
D'you want to earn yourself some decent money?

SHAZ:
Yeah. How?

GIRL 2:
We're not meant to say. He doesn't like it talked about.

SHAZ:
Who?

GIRL 2:
You ask a lot of questions.

SHAZ over the radio:
Sorry.

SHAZ:
It's just that I'm a bit skint.

GIRL 1:
He'll never know it's come from us.

GIRL 2 over the radio:
There's this bloke. He's got this big house out in the middle of nowhere. Dead posh and these parties. If he likes you, you can get extra cash. We were going to go, but the cops picked us up.

SHAZ over the radio:
Where is it?

SHAZ:
Please, I'll do anything.

GIRL 1:
You'll have to, if you go to his party.



GENE & Co with uniform in tow are outside the padlocked gates of a house entrance.

ALEX:
The house is registered to an off-shore company. Managing director's Ralph Jarvis.

RAY:
It's all fenced off, doesn't even look lived in.

JACKIE QUEEN:
Can we get a move on. My niece might be in there.

GENE takes bolt cutters to the padlock on the gate. That'll be because he does not pick girly locks, I expect.

GENE:
Right, four uniform round the back, two of you with me.

They go down the drive but stop short in sight of the house.

GENE:
Bit quiet for a party.

RAY:
Has Shaz got the right address?

ALEX:
They'll all be inside, won't they?

JACKIE QUEEN moves to go on, but is halted by RAY.

RAY:
Oh, where d'you think you're going?

JACKIE QUEEN:
I'm coming with you.

CHRIS:
This is highly trained police work.

RAY:
Yeah, we don't want some mouthy fat bird getting in the way.

GENE:
Oh, let her come. She can head butt us out of any trouble. Right, quick word about police brutality. Lots of it.



GENE and RAY bust open the front door and they go in, to find an empty house, the furnishings swathed in dust sheets.

RAY:
I told you, nobody even lives here.

CHRIS:
Maybe they just use if for the parties?

GENE:
Bastards.

RAY:
Duff information.

CHRIS:
Looks like Southfork.

JACKIE QUEEN:
You lot are bloody useless.

GENE:
They knew we were coming.

ALEX:
No, that's impossible, we didn't tell anyone.

GENE:
I had to get a warrant, I told the judge.

ALEX:
What, you think Mac's got judges in his pocket?

RAY:
This a private conversation or can anybody join in?

ALEX:
No, it's private.

RACHEL LESSING enters the house.

RACHEL LESSING:
Is this where the party is?

JACKIE QUEEN:
Rachel!

RACHEL LESSING:
Auntie Jackie.

JACKIE QUEEN:
You always were late for everything.

GENE:
I told you we'd find her.

JACKIE QUEEN:
How did you get here?

RACHEL LESSING:
I, erm, hitched.

JACKIE QUEEN:
What, you hitched?! You stupid, stupid little girl! You could have been killed. You're mother's worried sick. What d'you think you're playing at?

RACHEL LESSING:
I'm not playing at anything, I'm trying to live my life!

RAY:
I do love a happy ending.



Luigi's; GENE, ALEX, RAY, CHRIS, JACKIE QUEEN and RACHEL LESSING are all at CID's usual table.

MUSIC: 'We're In This Love Together' by Al Jarreau

RACHEL LESSING:
Well, I had no idea what they charge for rent down here, and I was skint, so... I talked to some girls I met and they said that this bloke pays really good money just to have you at one of his parties.

JACKIE QUEEN:
And what d'you think happens at his parties? Pass the parcel?

CHRIS:
I doubt that very much.

RACHEL LESSING:
Well, I don't know, that's why I was going to find out.

GENE:
Should listen to your Auntie Jackie. Maybe you wouldn't have come back from that party.

RAY:
Five famous people from Devon.

CHRIS:
What?

RAY:
Go on, name me five famous people from Devon.

ALEX:
Sir Walter Raleigh.

RAY:
I didn't ask you.

RACHEL LESSING:
I've got a brilliant idea.

JACKIE QUEEN:
I hope it involves you putting on your pyjamas. If your mother knew you were up this late.

RACHEL LESSING:
Look, why don't you use me to catch this Jarvis bloke?

JACKIE QUEEN:
Oh, God, give me strength.

RACHEL LESSING:
Oh, shut up! Look, you can mike me up, I'll go to one of his parties, and then, if things start to get dangerous, you burst in and arrest him.

GENE:
I don't use civilians as bait, love.

JACKIE QUEEN:
Ignore her. This time tomorrow, she'll be wrapped up under her Bananarama duvet cover.

RACHEL LESSING:
This is why I ran away from home, because people like you keep treating me like I'm a kid!

JACKIE QUEEN:
And where are you going?

RACHEL LESSING:
To have a piss.

RACHEL LESSING storms off. Teenagers, eh?

ALEX:
(to GENE) Your baby's going to have those same delicate genes.

JACKIE QUEEN:
Our baby.

CHRIS:
Nigel Mansell, think he comes from Devon.

RAY:
Very good, that's two.

CHRIS:
Nah, I can't think of any more.

ALEX:
Sir Francis Drake, Samuel Coleridge, Agatha Christie.

RAY:
You spoil everything, you do.

GENE suddenly hauls himself to his feet.

GENE:
Go on then.

JACKIE QUEEN:
Go on then what?

GENE:
I'll make a semi-decent woman of you, and a non-bastard of him.

JACKIE QUEEN:
Are you proposing?

GENE:
If he comes out Gene Genie pink. If not, you're on your own.

RAY:
No, don't do it, Guv. Sit down.

CHRIS:
We could have a double wedding.

ALEX:
It's like watching a car crash in slow motion.

GENE:
Three rules. I never ever see you without your make-up, I am never going to Glasgow, and he is going to be called Gene. Good, right. Luigi, bottle of your cheapest champagne. I'm about to become a daddy.

LUIGI:
Mr Hunt. Hey, how good. That's wonderful news. Complimenti!

GENE:
Shut up!

LUIGI:
Yes, Mr Hunt.

JACKIE QUEEN:
Before we all get too carried away with romantic joy, can I just point out one thing?

ALEX:
That this is a total nightmare?

JACKIE QUEEN:
I wouldn't sleep with you if you were the last man on the planet.

GENE:
So, erm, we didn't...

JACKIE QUEEN:
No.

GENE:
So it isn't..

JACKIE QUEEN:
No. No, you were so drunk I said you could stay at my place. And you repaid this generous offer by trying to get in my knickers, so I kneed you in the balls, took off those stupid boots and threw you on the sofa. And, my little rozzer friend, there is a dry cleaning bill in the post.

JACKIE QUEEN laughs. She's all heart, isn't she? LUIGI arrives with the champagne.

LUIGI:
On the house, Mr Hunt. And I wish you and your beautiful lady every happiness.

GENE:
Put the cork back in, Luigi. We just separated.

JACKIE QUEEN:
Where is that girl?

LUIGI:
Ah. Er, signorina, she leave. She ask me to give you this.

LUIGI hands across a paper napkin; written on it is 'I am not a kid'.



Alex's flat, and ALEX is bringing a duvet and pillows for JACKIE QUEEN to use on the sofa. Digging the pyjamas, 'Lex.

ALEX:
Well, she seemed like a smart sort of girl to me. She's probably on the first coach back home.

JACKIE QUEEN:
It's my fault. I shouldn't have riled her. I mean, she's just a kid.

ALEX:
I've got one. Twelve going on thirty-five.

JACKIE QUEEN:
Well, where is she?

ALEX:
She's, er... she's not with me at the moment.

JACKIE QUEEN:
I don't think I'm cut out for this motherhood lark. I can't even fetch my niece home. Ow!

JACKIE QUEEN clutches her 'bump' - evidently Junior is already in training to play for Partick Thistle.

JACKIE QUEEN:
Little bugger.

ALEX:
Can I feel?

JACKIE QUEEN:
Sure.

ALEX laughs.

ALEX:
That's one lively little baby.

JACKIE QUEEN:
You're right. I'll settle it down with a fag. You don't mind if I smoke in the flat, do you?

She minds.

ALEX:
No.

JACKIE QUEEN:
So what's it like? Being a mother?

ALEX:
Well, once you have a child, you're no longer in control of your own life. You know, there's somebody else who's far, far more important than you. Someone you'd lay down your life for. Here.

ALEX hands over a cuppa.

JACKIE QUEEN:
Cheers.

ALEX:
Cheers. Did Sam Tyler have any kids?

JACKIE QUEEN:
Oh, did you know Sam?

ALEX:
A little bit, yeah. Yeah. He married Annie?

JACKIE QUEEN:
Happiest couple I ever saw. But no kids, no.

ALEX:
Did he ever ask you about anything?

JACKIE QUEEN:
Like what?

ALEX:
I don't know. The future?

JACKIE QUEEN:
The future?!

ALEX:
Did he seem unhappy? Did he ever talk about getting back somewhere?

JACKIE QUEEN:
Once he'd settled down and stopped fighting whatever it was he was fighting, yes, he was happy. I wrote his obituary for the paper. I wrote he was the most loved man I ever met.

ALEX:
Good. Good. I'm glad. Well, that's the difference, you see. I, um, I have to get back. Somebody needs me.

JACKIE QUEEN:
You're quite a strange person, aren't you? Have you and Hunt got something going on?

ALEX laughs.

ALEX:
God, no, why d'you ask?

JACKIE QUEEN:
Well, Chris and Ray said you're always slinking off together.

ALEX:
Yeah, on police matters.

JACKIE QUEEN:
That's what I said. I can't believe he thought I'd let him sleep with me. I'm actually quite offended.

ALEX:
You know, I think he was a little bit disappointed that he's not going to be a daddy.

JACKIE QUEEN:
He was not put on this earth to have kids. No, he's got other work to do.

ALEX:
Right. Well, we'd better get some sleep. You sure you won't take the bed?

JACKIE QUEEN:
Positive.

ALEX:
Night.

ALEX goes to leave, but JACKIE QUEEN catches her hand.

JACKIE QUEEN:
Please, make her be all right.



Alex is that extraordinary bed of hers, tossing and turning. Bad dream again.

MOLLY is blindfold feeling her way forward in the dark, periodically there are burst of light, like camera flashes. RALPH JARVIS comes up behind MOLLY and grabs her shoulders.

MOLLY in dream:
Mum?

ALEX:
Molly!

RALPH JARVIS removes the blindfold. MOLLY is on some sort of stage, the curtains drawn back. Shadowy figures stand in a line, looking at her.

ALEX:
No, Molly!

ALEX wakes with a start. The telephone rings.

ALEX:
Hello?

MARTIN SUMMERS on the phone:
Now you've done it, Alex. You went and got Mac all agitated.

ALEX:
You know Mac?

MARTIN SUMMERS on the phone:
When are you going to learn? What you do in this place has consequences.

ALEX:
What consequences?

MARTIN SUMMERS on the phone:
You'll find out.

MARTIN SUMMERS hangs up.

ALEX:
Hello?

JACKIE QUEEN appears in the doorway.

JACKIE QUEEN:
What's up?

ALEX;
Erm, oh, nothing, I, erm, I just, er, I was having a dream about my little girl.

JACKIE QUEEN comes over to comfort ALEX - so I forgive her a bit for being so nasty to GENE.

JACKIE QUEEN:
Come on. I need you to be strong.

GENE apparently lets himself into the flat and looks on as JACKIE QUEEN embraces ALEX. He turns on the light.

MUSIC: 'The Token Man' by Modern English.

ALEX:
Go on, make some smutty comment.

JACKIE QUEEN:
Don't you knock?

GENE:
Get dressed.

ALEX:
Where we going?

GENE leaves without answering.



The Quattro roars along some series one footage to a Thames dockside where a police divers' Land Rover is lowering down a tarpaulin containing a corpse. RAY and CHRIS are already there.

CHRIS:
Man walking his dog heard a splash. Thought he saw a young girl in the river.

JACKIE QUEEN:
No. No.

CHRIS:
Found a body, Guv. It's wrapped in nets and old wires.

GENE:
Stay there, Jackie.

JACKIE QUEEN:
If it's our Rachel, I want to be by her side.

ALEX:
Just let them do it.

JACKIE QUEEN:
No.

JACKIE QUEEN runs forward to see.

JACKIE QUEEN:
It's not her.

GENE:
It's Debbie.

RAY:
Who?

GENE:
The girl from the photographers.

CHRIS looks at her hand.

CHRIS:
She's been fighting someone.

GENE:
Jarvis must have found her. He did this. He's telling Mac he's untouchable, if he goes down he'll take Mac with him.

RAY:
I don't follow you, Guv. What's this got to do with Supermac?

GENE:
It stops here, Bolls. It stops here.



Gene's office.

GENE:
That poor girl was an innocent in all of this. I should have put her on the bus myself.

ALEX:
Listen, we can get Jarvis for this, and through Jarvis we can get to Mac. You said so yourself.

GENE:
Well, we found the side door all right, Bolly. Trouble is it was shut tight. No, we're never going to get Mac on evidence or bugging or through intimidation. Mind you, he does have an Achilles Heel.

ALEX:
What?

GENE picks up the photograph of DEBBIE HALL on the mortuary slab and goes to leave his office.

GENE:
Believe it or not, at one time he was a decent man.



The Gents, again.

SUPERMAC:
Drake's been trouble ever since she arrived in CID. She's poisoned the barrel. But there's still time, Gene. Come back to us. Rejoin your friends.

GENE:
A girl died last night because of you.

SUPERMAC:
What girl?

GENE:
Her name was Debbie. Just another grain of sand on the beach, I suppose, but somebody's little girl, somebody's pride and joy.

GENE shows SUPERMAC the picture of DEBBIE HALL.

SUPERMAC:
What's this got to do with me?

GENE:
You told Jarvis to keep his head down, didn't you? He didn't like that. Now I don't know whether Jarvis is paying you, whether he's a Mason or what sort of a deal you've struck, but I know you're protecting him and another girl is dead because of it.

SUPERMAC:
'Scuse me, I've got work to...

GENE:
Come on, Mac, just give me the word and I'll arrest Jarvis and charge him with double murder.

SUPERMAC walks out, only to find ALEX hanging around outside.

SUPERMAC:
Drake. Hanging around Gents' toilets? You'll get a reputation.

SUPERMAC leaves.

GENE:
Right, we need Ray and Chris with us.



Gene's office, and RAY and CHRIS have evidently been given the happy news. They're not happy.

CHRIS:
Mac? Bent?

RAY:
It's a bloody lie.

GENE:
That's what I would have said.

RAY:
Is that what you two have been doing in here? Plotting against a senior officer?

ALEX:
A corrupt senior officer.

RAY:
That man's got more decency and courage in his little finger than you'll ever have!

ALEX:
Your loyalty does you credit, Ray.

RAY:
Don't you bloody patronise me.

GENE:
Keep your voice down. There's no man I respected more than Charlie Mackintosh, the fact of the matter is he's involved in murder, racketeering, corruption and intimidation.

CHRIS:
No, I, I don't believe it.

GENE:
Well believe it, 'cos he knows we're on to him.

RAY:
How serious is this?

GENE:
This is as serious as anything we've ever been involved in. Listen, if you don't want anything to do with this, you don't trust me, fine, you know where the door is.

RAY:
I'd jump off Tower bloody Bridge for you, you know that. I'm in.

CHRIS:
Yeah, and I'd hold his hand. In a manly way.

Someone rattles the handle of the locked door, then knocks on it insistently. RAY takes a peek through the blinds.

RAY:
It's Mac.

GENE:
Yeah.

CHRIS unlocks the door and SUPERMAC, flanked by side orders of French fries, er, police officers, comes in. He's resorting to Shakespeare; never a good sign.

SUPERMAC:
Double, double, toil and trouble, here's a pretty picture.

GENE:
What can I do for you, Mac?

SUPERMAC:
Absolutely nothing, Gene. (towards RAY and CHRIS) I'd have expected more from you.

RAY:
Why don't we just sit down and talk it through...

SUPERMAC:
Detective Inspector Alex Drake, I'm arresting you on suspicion of embezzlement and corruption.

ALEX;
What?

SUPERMAC:
And perverting the course of justice and receiving stolen goods.

ALEX:
Are you insane?

SUPERMAC:
I've got a magistrate's warrant here search your flat. Shall we?



ALEX's flat, and the French fries are pretty much taking it apart into component pieces.

ALEX:
This is an outrage.

SUPERMAC:
I made it quite clear, DI Drake. Either with me, or against me.

POLICE OFFICER:
Sir.

Oh look, SUPERMAC's minion has found a wad of cash in the chimney.

SUPERMAC:
I didn't know we'd started paying overtime in cash.

And now the side order of fries has found a bag of white powder. Oh dear.

SUPERMAC:
I'm sure you've got an explanation for everything.

The other minion has just found a portable television in a box.

RAY:
We found those at Kevin Hales' house. You said you didn't want one.

ALEX:
I didn't want one. Well, you don't believe him, do you?

SUPERMAC addresses GENE.

SUPERMAC:
You can always tell a man by the company he keeps.

GENE:
You never said you were at Hendon with Ralph Jarvis.

SUPERMAC:
I know some nice beaches down in the West Country. The wife and Victoria go there in the summer.

GENE:
I thought maybe the Bahamas was more your style.

SUPERMAC:
On my salary?

Now what's a minion found that he's handing to SUPERMAC?

SUPERMAC:
Bank statements. You don't mind if I have a little look, as you've nothing to hide.

ALEX:
He phones me, you know.

SUPERMAC:
Who phones you?

ALEX:
The man who leaves me roses. You know who.

SUPERMAC:
I've no idea what you're talking about, Drake.

SUPERMAC looks at the statements and takes an exaggerated intake of breath. Not good news then.

SUPERMAC:
Now here's a lady who can afford a trip to the Bahamas. Get her back to the station.

The minions try on the classic heavy hand of the law on ALEX's shoulder, but she shrugs them off and stalks out with them trailing behind.



Interview room. ALEX is on the wrong side of the table.

SUPERMAC:
You have considerable sums of money in your bank account you can't explain. Your phone bill shows calls from known criminal elements. I have statements from several police officers who say you tired to bribe them.

ALEX:
No, this is a farce.

SUPERMAC:
I want a list of all your contacts both inside and outside of the force who assisted you in your illegal activities.

ALEX:
You know, I'd ask for a solicitor but you'd only pick a bent one.

SUPERMAC:
If I seriously feel you've helped us with our inquiries, I'll let any future judge know.

ALEX;
Piss off.

SUPERMAC turns to GENE.

SUPERMAC:
Isn't this where you engage in some magnificent piece of physical intimidation?

GENE:
Softly, softly, catchee bent bastard.

SUPERMAC:
You must hate police corruption, Gene.

GENE:
Oh, it sickens me, sir.

SUPERMAC:
One of your own, too. (to ALEX) So you won't do the decent thing and confess?

ALEX:
I will bring you down. I give you my word.

SUPERMAC:
Consider yourself on indefinite suspension until we've pursued all our lines of inquiry. Go shopping, have a nice hot bath, because the facilities in Holloway leave a bit to be desired, it has to be said.

SUPERMAC leaves.



CID and GENE is looking a bit miserable in his office, while ALEX is clearing her desk.

SHAZ:
I don't care what anyone says, ma'am, I believe you completely.

ALEX:
Thanks, Shaz.

CHRIS:
Me too.

RAY:
Yeah, but how did that new telly from Kevin Hales get there? I was just asking.

JACKIE QUEEN:
Can we get on?

GENE:
You still here?

RAY:
Yeah, don't let Mac see you.

GENE:
If your waters break on my nylon tiles...

JACKIE QUEEN:
Please, do something.

ALEX:
Look, Jackie, I've been suspended, I can't help you.

SHAZ:
Miss Queen, it's the phone for you.

JACKIE QUEEN:
For me? But no-one knows I'm... Rachel!

ALEX:
Shaz, speaker phone!

SHAZ looks understandably blank.

ALEX:
Just... gather round.

JACKIE QUEEN:
Rachel?

RACHEL LESSING on the phone:
Hiya, it's me. I-I just wanted to say I'm going to a party tonight, so, erm, don't worry if I'm late.

JACKIE QUEEN:
Where are you?

RACHEL LESSING on the phone:
I-I-I'm fine. Tell dad I'm fine.

JACKIE QUEEN:
Not how are you, where are you?!

RACHEL LESSING on the phone:
I-I'm sorry, I've got to go now. I just wanted you to know I'm all right, so, so don't worry about me.

JACKIE QUEEN:
Rachel?

The line goes dead.

ALEX:
Well, at least we know she's still alive.

SUPERMAC's French fries arrive to escort ALEX off the premises. She takes the hint.

ALEX:
Right. Good luck.

GENE:
Oh, I don't believe in luck, Bolly.



ALEX's flat and she's starting on the task of clearing up, aided by a glass of wine.

ALEX:
Oh, God. Please, let me go home.

The television comes on and it's ROLAND RAT.

ROLAND RAT on TV:
Let's see if we have another rat fan on the line. Hello? Who's there?

MOLLY on the phone on the TV: (confused yet?)
Molly.

ROLAND RAT on TV:
Oh, hello, Molly. You a rat fan?

MOLLY on the phone on the TV:
Yes, it's my birthday today.

ROLAND RAT on TV:
Oh, wow. Happy birthday then, Molly, yeah. Get any fab pressies?

MOLLY on the phone on the TV:
There's only one present I want.

ROLAND RAT on TV:
Oh, don't tell me. A Roland Rat soft toy, a cuddly reminder of yours truly. Yeah!

MOLLY on the phone on the TV:
I want my mum back.

ALEX:
Oh, Molls.

ROLAND RAT on TV:
Oh. Where is she then?

MOLLY on the phone on the TV:
She's in an ambulance. I'm waiting for her.

ALEX:
I know you are, Molly.

ROLAND RAT on TV:
Oh, well, good luck, Moll, yeah? Give your mum a big kiss from me and you have a fab birthday. Love you loads. Bye! Let's see if we have another rat fan on the line shall we? Yeah hey!

There's a knock at the door; it's JACKIE QUEEN.

ALEX:
Look, you saw what happened, I can't help you, I've been suspended.

JACKIE QUEEN:
Thankfully your friend thinks differently.

GENE shimmers up.

GENE:
Right, work to do, Bolly.

ALEX:
Where we going?

GENE:
Jarvis has got Rachel.

MUSIC: 'Papa's Got a Brand New Pigbag' by Pigbag

JACKIE QUEEN:
She talked about her dad. Her dad's been dead for five years.

ALEX grabs her jacket.



The Quattro races through a country lane past green fields for a change.

ALEX:
I would just like to say I'm very touched by all your loyalty and your support, but there is one small thing that I ask.

GENE:
Name it.

ALEX:
Stop bloody smoking!



A back entrance to RALPH JARVIS' place has been located. RAY shifts some chestnut palings and he and CHRIS lead the way, followed by ALEX then GENE. JACKIE QUEEN makes to follow them.

GENE:
Oi. You and your Fallopian tubes, get back in the car and do nothing.

RAY looks over the top of the back fence.

RAY:
All clear.

He climbs over followed by CHRIS.

GENE:
Right, over you go, Bolls.

ALEX:
No, you go first.

GENE:
No, no, you need me to give you a leg up.

ALEX:
Yeah, and then you'll look at my arse.

GENE:
Oh, for pity's sake, a girl's life hangs in the balance, now get over.

ALEX climbs over.



The back of the house, and GENE gains entrance by the simple expedient of punching out one of the window panes and opening the window. He motions CHRIS through first.

GENE:
Chris.

CHRIS:
It's like Scooby Doo, this.

RAY:
Heh heh heh. 'You pesky kids'. Heh heh.

ALEX:
God, I feel like a criminal.

MUSIC: 'Love Hangover' by The Associates.

GENE:
Welcome to my world.

They find themselves in a snooker/pool/billiards room.

ALEX:
Well, this can't be Jarvis' house, can it? He's only got a couple of trucks.

CHRIS:
Here you are, this way.

CHRIS opens a door, to be met by a large Rottweiler.

CHRIS:
My mistake.

RAY:
No sudden movements or he'll have your arm off.

CHRIS:
Looks friendly enough.

GENE:
Well, you're the profiler. Friend or foe?

ALEX:
Well, it's a dog.

CHRIS:
He is friendly. Here, boy, come on.

CHRIS holds out a hand and whistles. The dog isn't friendly and everyone starts back again - so Gene shoots it. On this evidence we can state that, in this instance, GENE is definitely not friendly...

RAY:
Respect.

ALEX:
You shot a dog!

GENE:
Quiet. D'you think they heard that?

They move on to the next room. There are tea chests and covered paintings dotted about.

CHRIS:
Don't tell Shaz we killed a dog.

ALEX draws back one of the dust sheets to reveal a selection of paintings.

ALEX:
Wow, it's quite a collection.

GENE:
Yeah, we're collecting perverts today, so, shall we get on?

ALEX:
No, no, there's pre-Raphaelite, a Vorticist, French Impressionist.

GENE:
Oh, stop showing off.

ALEX:
No, collectors have patterns, specialties. There's no pattern.

ALEX moves to another shrouded group of canvases.

GENE:
Maybe this isn't quite the time?

As ALEX shifts through some more paintings, a sheet falls from one canvas to reveal a portrait of SUPERMAC and his daughter.

ALEX:
Maybe it is. Come and have a look at this.

CHRIS:
It's Mac.

GENE:
That's his daughter.

ALEX:
This stuff doesn't belong to Jarvis. It's Mac's.

GENE:
No wonder we could never find any bloody money. It's all tied up in this house, these paintings. This isn't a collection, it's a pension.

RAY:
What, so, Mac uses Jarvis to launder his money?

GENE:
Mac covered for him when he killed Wendy Gorman. This is the price Jarvis pays. He's Mac's bank. Come on.

As they leave to go upstairs, RAY spots a red and white striped scarf between some packing cases.

RAY:
Guv! Bet this is Debbie's old scarf.

GENE:
Right, we need to find Rachel.

They go upstairs, the music getting louder now they're so near, and stop outside some double doors. Through the gap in the middle can be seen young girls, suited men and cash being handed across. RALPH JARVIS is trying to get RACHEL LESSSING to drink something.

RALPH JARVIS:
Here you go, Rachel. Have a little sip. Come on, there's a good girl. You know you like it. Go on.

One of the men hands across a wad of notes.

RALPH JARVIS:
Oh, good man, Dino. Look, uncle Dino will take care of you.

RAY:
Bastard.

CHRIS:
What do we do?

ALEX:
What we don't do is cause a panic. There's only four of us.

RALPH JARVIS:
You'll be all right, I promise you. There's a good girl.

GENE:
She's right. We bide our time and choose our moment.

JACKIE QUEEN:
Get off me! I said get off me!

JACKIE QUEEN is being manhandled into the room.

RALPH JARVIS:
It's all right, it's all right, gentlemen. Nothing to worry about here.

JACKIE QUEEN:
Oh, you should be worried. You're surrounded by armed bastards.

MUSIC: 'In Fear of Fear' by Bauhaus

GENE:
Oh, that bloody woman.

ALEX:
What do we do now?

GENE:
Right, you and I arrest Jarvis. The rest, my friends, are yours.

RAY:
Fantastic.

They burst in. GENE and ALEX make straight for JARVIS; RAY and CHRIS start throwing their weight about and JACKIE QUEEN and RACHEL LESSING huddle together. There's general pandemonium.

RAY:
Everybody stay where you are. Police!

JACKIE QUEEN:
Rachel!

RALPH JARVIS:
You only have to knock, DCI Hunt.

GENE:
You know, you really are a sad, pathetic little excuse for a human being, Jarvis. Nothing more than a museum curator.

JACKIE QUEEN hands CHRIS a wine bottle.

JACKIE QUEEN:
Here you go, son.

CHRIS:
Thanks.

CHRIS launches a bloke into casualty with a bottle of house white to the skull.

RALPH JARVIS:
Well out of your reach then.

GENE:
We'll see. 'Scuse me.

GENE lands a punch on a chap who was probably about to make some trouble. Probably. He won't now.

GENE:
Shall we?

GENE and ALEX escort RALPH JARVIS away.



GENE and ALEX walk into SUPERMAC's office.

SUPERMAC:
You were never very good at knocking.

GENE;
I've brought Jarvis in.

SUPERMAC:
I expressly told you not to do that. You're a bad influence, Drake, and on suspension if memory serves me right.

ALEX:
I don't answer to you. Not any more.

SUPERMAC:
Shut the door, Gene. Let's have a Scotch.

GENE:
Not this time, Mac. The door stays wide open.

SUPERMAC:
I should have left you in Manchester.

GENE:
You know, you started off like I started off. Wanting to make a small change in a bad world.

SUPERMAC:
Spare me the lecture.

GENE:
You've done some bad, bad things, Mac. Murder.

SUPERMAC:
Don't be ridiculous.

GENE shoves SUPERMAC back in his chair.

GENE:
Sit down. Now you might not have thrown that girl in the river, but I know that you're responsible for the murder of Debbie Hall.

SUPERMAC:
Get out!

GENE:
You let a fellow officer die. Sean Irvine, decent copper, good man.

SUPERMAC:
I had nothing to do with it.

GENE:
And when we got too close to Hales, you had him bumped off too.

SUPERMAC:
He took his own life, read the file.

GENE:
But worst of all, you turned a blind eye when Jarvis killed Wendy Gorman back in 1977.

SUPERMAC:
You don't know what you're talking about.

ALEX:
We found the family portrait. At the house. Your house. Along with Debbie's scarf.

ALEX drops the scarf onto SUPERMAC's desk.

SUPERMAC:
Probably planted. By some DI with a grudge on a corruption charge.

GENE:
What happened to you, Mac? Little girls, younger than your own daughter. Looking to you for protection. Well, I know what you've become, you know what you've become, if you can live with that.

GENE and ALEX leave, the latter picking up the scarf. SUPERMAC is left looking somewhat shell-shocked.



Interview room.

GENE:
You dare sit there and say no comment.

RALPH JARVIS:
No comment.

GENE:
Why was Rachel Lessing in that house with you?

RALPH's LAWYER:
She invited herself. It was just a party.

ALEX:
You were selling her virginity.

RALPH JARVIS:
No comment.

GENE:
Would you have killed her later? Raped her first?

RALPH JARVIS:
Mmm... no comment.

ALEX leaves.

RALPH's LAWYER:
All the gentlemen at the private party will declare that my client did absolutely nothing wrong.

GENE:
This scarf was found at the house. It belonged to Debbie Hall.

RALPH JARVIS:
No comment.

GENE:
You murdered Debbie Hall and I am going to make you pay, like I'm going to make you pay for the murder of Wendy Gorman back in 1977.

RALPH JARVIS:
No comment.

GENE:
There's no protection for you now, Jarvis. Mackintosh has spilled the beans. I know everything.

RALPH JARVIS:
No comment.



CID; SHAZ is tending to CHRIS' battle wounds by shoving tissues up his nose. Ain't love grand?

RAY:
There were ten blokes and a ruddy great dog.

SHAZ:
You have to be careful with dogs, baby.

RAY:
Not with this one.

SHAZ:
Why?

CHRIS:
Right, we'd better, er...

RAY:
Well, the Guv shot it.

SHAZ:
He shot the dog? Well, is it all right?

RAY:
Not especially, no.

SHAZ yanks the tissue out of CHRIS' nose and stalks off. RAY laughs. ALEX, JACKIE QUEEN and RACHEL LESSING walk through CID on the way to the kitchen.

ALEX:
So, you went to the house of your own volition?

RACHEL LESSING:
Well, I was trying to help.

ALEX;
Okay. And what happened?

RACHEL LESSING:
Well, I didn't like him. He really freaked me out. And when I wanted to go he wouldn't let me, and... And then he said someone would pay really good money to have me.

ALEX:
Okay. Er, listen, I've got Jarvis in a room down the hall. Would you be prepared to come with me and tell me whether he was the man who constrained you?

RAY comes into the kitchen.

JACKIE QUEEN:
You don't have to, love. If you're too frightened.

RACHEL LESSING:
I-I'm not frightened, I can do it.

RAY:
Can be intimidating, giving evidence against a man like that when he's right there in the room with you.

JACKIE QUEEN:
She's not a kid.

ALEX:
Good.



Back in the interview room.

RALPH's LAWYER:
If that's all you have, we'll be on our way.

ALEX enters with RACHEL LESSING and JACKIE QUEEN in tow.

ALEX;
Is this the man who held you prisoner?

RALPH's LAWYER:
This is completely out of order! If you want an identity parade, then there's...

GENE:
Excuse me, the lady is talking!

ALEX:
Is this the man who threatened to sell you to the highest bidder? Don't be frightened, Rachel, he can't hurt you now.

RACHEL LESSING:
It wasn't him.

GENE:
No.

ALEX:
Rachel. Please, it's... Please.

RACHEL LESSING:
I-I-I'm sorry, I can't. I just want to go home now.

JACKIE QUEEN:
She said no. Look, she's had enough.

RALPH JARVIS gets up to leave, pausing by ALEX on his way out.

RALPH JARVIS:
Everywhere.



RALPH JARVIS is walking to freedom along one of the station's corridors looking very smug and pleased with himself. GENE, ALEX, RAY, JACKIE QUEEN and RACHEL LESSING trail behind.

RALPH JARVIS:
Heh heh.

RAY:
I can't believe that bastard's walking.

ALEX:
We'll get him. One day.

GENE:
No, we won't, Bolly. We just lost the war.

RALPH JARVIS sees SUPERMAC waiting for him and anticipates celebrating victory with him.

RALPH JARVIS:
Ah ha ha.

SUPERMAC draws a gun and shoots him in the chest, then walks over to him and deliberately shoots him in the head. He looks at GENE & Co. then goes to put the gun in his mouth. GENE runs to grab his hand and stop him.

GENE:
No! Give it here!

SUPERMAC:
Uh! Ah.

They struggle and the gun goes off.

SUPERMAC:
Argh!

GENE:
Mac! Mac.

SUPERMAC ends up on the floor, GENE kneeling next to his head.

SUPERMAC:
Ah. I'm sorry, Gene. Sorry, sorry.

GENE:
Don't talk.

CHRIS, VIV and SHAZ have appeared and are looking on.

ALEX:
Somebody get an ambulance!

CHRIS dashes off.

SUPERMAC:
Forgive me. Say it.

GENE:
I forgive you. Don't you dare bloody die on me.

SUPERMAC:
It's not over. It's not over.

GENE:
Of course it's not. Come on, hang in there, Mac.

SUPERMAC:
Rose.

ALEX:
What? What did he say?

GENE:
Who cares? Where's that bloody ambulance?!

VIV runs off to hurry it up.

SUPERMAC:
There's something else. Bigger. Rose. Rose.

ALEX:
What... what about Rose? What does it mean?

SUPERMAC:
Operation Rose... is coming.

SUPERMAC dies. RIP.



CID and the mood is sombre.

RAY:
It's over. It's all over.

CHRIS:
What d'you mean?

RAY:
They're going to take this department down brick by brick and they're not going to put it back together.

GENE and ALEX enter.

SHAZ:
Sir.

ALEX goes to her desk; GENE turns to addres CID.

GENE:
Once upon a time in this room, a man drew a line. He said that police corruption was going to become a thing of the past. Well, that man was a liar and that man is now dead. I'm going to redraw that line. I am not a liar. We are police officers and we will behave like police officers. We will fight, slap, knock down, beat up and intimidate to hold back the wave of scum. That is our right and that is our duty. But if I find one man feathering his own nest by so much as one bent penny, I will destroy him. Any questions?

RAY:
No, Guv.

Chorus of other 'No, Guv's from the rest. GENE has his hip flask in hand.

GENE:
Right, a toast. Stood up.

They all get to their feet, drawing hip flasks from pockets etc.

GENE:
To Detective Superintendent Charlie Mackintosh. There but for the grace of God.

RAY:
To Mac.

CHRIS:
To Mac.

A further chorus of 'To Mac'. ALEX doesn't join in.



The coach station, and JACKIE QUEEN and RACHEL LESSING are off back to Manchester. Lucky Manchester...

JACKIE QUEEN:
I don't know how you stand it down here. I mean, nothing ever happens.

GENE:
Get on the bus, Jackie. You're a trouble magnet. Always have been. And you, you gobby Manc tart, stay where you're loved.

RACHEL LESSING:
Thanks, Mr Hunt.

ALEX:
Hey, good luck.

JACKIE QUEEN:
Are you absolutely positive there's nothing going on?

ALEX:
Yeah, I'm positive.

JACKIE QUEEN starts to shrug off GENE's old coat.

JACKIE QUEEN:
Oh, here, you'd better take this.

GENE:
No, no, you keep it. You need it to keep the baby warm.

JACKIE QUEEN:
It smells of whisky.

GENE:
Well, add it to the dry cleaning bill.

JACKIE QUEEN goes to get on the coach but pauses in the door.

MUSIC: 'Everybody's Gotta Learn Sometime' by The Korgis.

JACKIE QUEEN:
D'you know what? I'm going to be a mum.

# Change your heart
# Look around you #

GENE:
I need a drink.



Luigi's, and GENE and ALEX are at their usual table, the place otherwise deserted.

# Change your heart
# It will astound you #

ALEX:
Well, he died like a man, that must mean something.

GENE:
He tried to destroy the only thing I ever loved. He means nothing, not any more. What's Operation Rose?

ALEX:
I don't know. I don't think it's over though.

GENE:
Then I'll keep knocking them down until it is over. We did it, Alex. We stood tall and we stared them down.

ALEX:
Yes, we did.

GENE:
So what did Jackie mean by, er, 'are you absolutely sure there's nothing going on'?

ALEX:
Oh, she, um, she just had this ridiculous idea.

GENE:
What idea.

ALEX:
You know, just, er, silly, girly... girly stuff.

GENE:
No, I don't know. Tell me.

LUIGI shimmers up. I love Luigi madly, but honestly, his timing...

LUIGI:
Er, Signorina Drake? Telephone.

ALEX:
Oh, thank you.

ALEX goes over to the bar to take the call.

ALEX:
Hello?

MARTIN SUMMERS on the phone:
You might be right, Alex. Maybe we can help each other, you and me.

ALEX:
Who is this? What do you want?

MARTIN SUMMERS on the phone:
Not Hunt. Not Macintosh. Just you and me.

The line goes dead. On LUIGI's 'Today's Specials' board someone with enviable artistic abilities has drawn a single red rose.

Credits.

# Everybody's gotta learn sometime
# Everybody's gotta learn sometime
# Everybody's gotta learn sometime #