Ashes to Ashes, series three, episode seven.
Writer: Ashley Pharoah
Director: David Drury

xxxx

MUSIC: 'Abide With Me'

A sky bright with stars fades to black.

# Help of the helpless, oh, abide with me #

A crematorium. The curtain starts to move around a coffin, police helmet on top. To the side is a photograph of a smiling VIV. The hymn is being badly sung by a full congregation, among them GENE, ALEX, RAY, CHRIS, SHAZ, and at the back, JIM KEATS.

# Swift to its close ebbs out life's little day
# Earth’s joys grow dim, its glories pass away
# Change and decay in all around I see #

The curtain comes to a stop, stuck just short of closing. There are anxious looks and the vicar tries the button again with no success. GENE isn't having any, and strides forward.

GENE:
For Christ sakes.

GENE tugs at the curtain, much to CHRIS' suppressed amusement. The curtain takes the hint and finishes closing.

GENE:
Sorry, Viv.

GENE returns to his place, not impressed with CHRIS' muffled laughter. The hymn finishes and a burst of flame is reflected in the photograph of VIV, accompanied by the opening chord from 'Maid of Orleans' by OMD, if I'm any judge. Fade to black.



MUSIC: 'I Don't Wanna Dance' by Eddy Grant

Luigi's, and the wake. GENE is evidently taking VIV's death hard.

LUIGI:
Wine?

GENE:
I remember when we were evicted from paradise and sent down to this southern shithole. Viv came over to me, shook my hand and said he was sorry, but all Northerners looked the same to him.

RAY and CHRIS chuckle.

GENE:
Said he'd look after me.

RAY:
I've worked with a few skippers in my time, but Viv was the best by a country mile. I'm going to miss him.

CHRIS:
I can't believe he's gone. I mean, I keep looking at the door expecting him to come through and bollock me for not having done my paperwork.

SHAZ:
He was a lovely man.

GENE:
When it came to it, it was my turn to look after him...

RAY:
Guv. Wasn't your fault. Was nobody's fault but Viv's.

CHRIS turns away to open a bottle of beer, only to spill it.

CHRIS:
Oh, bollocks.

GENE:
I've just lost one of my finest and now I'm left with officers like you, Skelton. You clumsy bastard.

In a burst of anger, GENE throws his own drink at the wall.

LUIGI:
Signore Hunt, please!

GENE:
Show some respect!

RAY:
Guv, it's going to be all right. We're all going to be all right.

GENE:
Where's Bolly?



ALEX is in CID, looking at the photograph of PC 6620. JIM KEATS materialises from somewhere.

JIM KEATS:
Another good officer gone, Alex.

ALEX:
Sir.

JIM KEATS:
Find a dead police officer, and a penny to a pound, you'll find Gene Hunt standing over him.

ALEX:
If you don't mind, sir, I've got things to do...

JIM KEATS:
Still, you're the lucky one. Your bullet didn't kill you.

ALEX:
It was an accident.

JIM KEATS:
Who's this?

ALEX:
Er... sounds stupid, but, um, you know the ghost I was telling you about?

JIM KEATS:
Where'd you find it?

ALEX:
The Guv's office.

JIM KEATS:
Huh, another dead copper?

JIM KEATS laughs.

JIM KEATS:
He's slippery. Even putting this report together, working right here, next to him. Covers his tracks.

ALEX:
He's a good copper.

JIM KEATS:
He's a killer.

JIM KEATS leans forward and picks up the roll of film that was with the photograph. ALEX is not happy and moves to take it back.

JIM KEATS:
And this?

ALEX:
That was with it. Can I..? I'm going to get it developed, I...

JIM KEATS:
Well, we've got superior facilities at D&C. I'll do it.

JIM KEATS pockets the film.

JIM KEATS:
Heh, you know, um... you could no more turn your back on a bent copper as stop breathing. We're the same, you and me.

ALEX:
Except I don't want it to be true. So we're not the same, are we?

JIM KEATS:
The time has come, Alex. Do what you were put here to do. Get me Gene Hunt.


Opening titles.

ALEX voiceover:
My name is Alex Drake. I was shot and found myself in 1983. Is it real? Or in my mind? Either way, I have to solve the mystery of what all this means and fight to get home. Because time is running out.


CID. GENE is staring moodily out of his office window. ALEX casts an anxious glance at him as she goes over to talk to RAY.

ALEX:
How is he?

RAY:
How do you think he is? Blames himself.

ALEX:
Have you heard anything from your friend in Manchester, Ray. About the epaulette numbers?

RAY:
No.

ALEX:
Well, could you ask him again? Please?

RAY:
Look, what's so important about some plod's epaulette number?

ALEX:
It's just a line of enquiry. I need an ID. Please, Ray.

RAY:
All right.

A police whistle sounds sharply. CHRIS looks up, worried.

CHRIS:
Who's doing that?

Two CID blokes come into CID, blowing whistles and laughing. CHRIS leaps to his feet.

CHRIS:
What the hell are you doing?!

SHAZ:
Chris, are you all right?

RAY:
Luigi's cheapest Chianti on an empty stomach, always a recipe for mental disaster.

CHRIS:
No, I'm not hungover.

RAY:
Told you. Should have eaten a vol-au-vent.

SHAZ:
What is happening to us all?

ALEX goes in Gene's office for a word. He doesn't even turn round.

GENE:
Bugger off, I'm grieving.

ALEX:
How're you doing, Guv?

GENE:
I miss my pal.

ALEX:
Yeah. I know you do.

ALEX elects to go for a wild change of subject to take his mind of things.

ALEX:
What are doing tonight?

GENE:
I'm going to a revival of 'The Caretaker' at the Royal Court.

ALEX:
Are you?!

GENE:
No.

ALEX:
You know, we've been through a lot together, you and I. Professionally and... you know, in, in other... in other ways.

GENE:
Come on, spit it out, Bolls.

ALEX:
Let's have dinner together. Tonight.

GENE:
Why?

ALEX:
'Cos I get the feeling that we won't have very many more opportunities, that's why.

GENE:
What, a date?

ALEX:
Yeah, I s'pose so.

GENE:
All right, you're on. Mind you, I have to warn you, Bolly. First date, upstairs outside only.

Anyone want to remind Gene it'll be their second date...? But just then RAY comes in.

RAY:
Guv, reports of something kicking off at a shebeen in Dalston.

GENE:
A what?

ALEX:
It's an illegal drinking den. That's hardly CID, is it, Ray?

RAY:
Yeah, but it's an ANC shebeen.

GENE:
Right, then, we'd better go and splinter some skulls for Viv.

ALEX:
Mmm. How touched he would be.



The Quattro roars off in fine style. Meanwhile, in his office JIM KEATS gets unnecessarily turned on over a parcel of three video cassettes. And no, they're not that sort, even if they did arrive under plain brown covers.

MUSIC: 'Qhwayilahle (Leave Him Alone)' by Moses Mchunu



A dilapidated house, site of the shebeen. GENE and Co arrive just as TOBIAS NDBELE is finishing an argument.

TOBIAS:
It is nonsense, man.

SOUTH AFRICAN MAN:
What d'you mean, nonsense?

TOBIAS:
Nonsense!

SOUTH AFRICAN MAN:
You are Judas! A Judas!

TOBIAS sees them arrive and hurries after them into the drinking den.

GENE:
Are we in Dalston, or did we just take a wrong turn into Bogobogo Land?

ALEX:
No need for that, is there?

TOBIAS:
Can I help you?

GENE:
We've had reports of a disturbance here.

TOBIAS:
As you can see, all is well.

GENE:
Is it true that in your country the police don't need warrants? They can hang a man by his ankles just because they don't like the cut of his jib?

TOBIAS:
You mean the colour of a man's skin? Yes, it's true.

GENE:
Ray, take this place apart.

RAY:
Yes, Guv.

ALEX:
Well, that's a bit extreme, isn't it?

RAY:
Come on. Out the way.

SOUTH AFRICAN MAN angrily makes a move towards CHRIS but is stopped by TOBIAS.

CHRIS:
Thank you.

TOBIAS:
Why d'you do this?

GENE:
If you don't shut up, I'll arrest you for obstruction.

CHRIS:
'K, if you all want to make your way into the middle of the room, please!

GENE:
What the bloody hell are you doing?

CHRIS:
Guv, there's no point in giving them a hard time. We don't know if they've done anything wrong...

GENE:
When I want your opinion, Skelton, I'll ask for it. And I will never ask for it. Prick.

ALEX:
Guv, I know you're upset, but that's...

GENE:
Ray, get on with it.

ALEX:
You don't understand. These people have been fighting against an abhorent society. They're just...

GENE:
They're members of a terrorist organisation and they are on my patch, Bolly!

RAY, meanwhile, has found something on the floor of the kitchen.

ALEX:
They didn't kill Viv. Not did Chris and nor did I.

TSITSI comes out of the kitchen and says something to TOBIAS, who shakes his head and indicates to her to be quiet.

GENE:
Please, don't stop talking on our account.

RAY:
Guv, there's some blood.

GENE goes to the kitchen, RAY already following the trail.

RAY:
Hang on, there's more here.

RAY opens a cupboard only to have a body fall out into his arms.

RAY:
Bloody Nora.

The deceased doesn't look like a Nora to me.



CID, and it's heaving with the patrons of the ANC shebeen. Noise and bedlam. CHRIS claps his hands to try and restore order.

CHRIS:
Right, bit of hush, please! Nobody's falling down any stairs here!

RAY:
I don't know about that.

SHAZ:
What did the Guv say to you?

CHRIS:
Aw, it doesn't matter.

SHAZ:
You need to stand up for yourself, Chris.

RAY:
Oh, yeah, and police officers'll fly.

GENE and ALEX arrive, GENE pushing people out of his way and just about ready to kill and eat.

GENE:
Right, listen! Get these people processed, now! Come on!

SHAZ:
Can I take your names, please?

JIM KEATS breezes in to drop some additional work on CHRIS.

JIM KEATS:
Chris, make copies of these.

CHRIS:
Right, I'm a bit busy at the minute, Guv. Other Guv.

JIM KEATS:
Now.

SHAZ:
Address?

GENE:
You look unpleasantly happy.

JIM KEATS:
My report is almost done.

GENE:
Good. You'll be sodding off then.

ALEX:
What does it say?

JIM KEATS:
That's for me to know and for you to read.

GENE:
He's got nothing. Couple of unpaid parking tickets, few lost forms.

JIM KEATS:
If you want to think that.

GENE:
Nothing a big juicy collar won't override.

JIM KEATS leaves. GENE turns to go into his office, but pauses.

GENE:
Can I, please, have a bit of peace and bastard QUIET!



Mortuary, and the PATHOLOGIST is doing his laid-back stuff over the body. The body is obviously even more laid-back.

PATHOLOGIST:
There are thirteen knife entry holes to his stomach and torso, but the wound that killed him is this little chap. Cut into the trachea. Leading to massive haemorrhage and death.

GENE:
Time of death?

ALEX:
Er, the call came in at 9 o'clock this morning.

PATHOLOGIST:
That would be about right.

GENE:
So what do we know about him?

ALEX consults a file.

ALEX:
His name is Oliver Ndlovu. Er, he's a member of the ANC. Fled South Africa six months ago, where he was accused of organising strikes in township schools.

GENE:
Murder weapon?

PATHOLOGIST:
Small knife. Serrated edge. My guess would be a kitchen knife of some sort.

GENE:
Right, let's go nab ourselves a terrorist, Bolly. Let Keats put that in his pipe and smoke it.



CID, and the questioning goes on.

RAY:
So what did you see?

SOUTH AFRICAN MAN:
Nothing.

RAY:
Someone got murdered and you saw nothing?

SOUTH AFRICAN MAN:
I was in the bathroom.

SHAZ:
You were in the bathroom too?

SOUTH AFRICAN LADIES in unison:
Yes.

SHAZ:
Must have been one hell of a big bathroom.



Interview room.

GENE:
You were not in the bathroom. You, my bolshie African friend, are the head honcho. Which means you know who murdered Oliver... N... Nu...

TOBIAS:
Ndlovu. No, I don't know who murdered him.

GENE:
You know I might not be able to pull your fingernails out, but I'm not stupid. He was murdered on your watch, in your club.

TOBIAS:
I was in the bathroom.

GENE:
D'you know what I think? I think you killed him.

TOBIAS:
No.

GENE:
You ever been inside an English prison? They'd love you in there. Bit of African rough. Something different for the weekend. You wouldn't be able to sit down for a thousand years.

CHRIS, who's been observing all this, chuckles.

CHRIS:
Thousand years. It's classic.

GENE glares at him.



Interview room, and ALEX's approach is markedly different with a frightened TSITSI.

ALEX:
There's no need to be afraid, Tsitsi. I give you my word. Did you know Oliver...?

TSITSI:
I was in the bathroom. I saw nothing.

ALEX:
That's not what I asked. I understand he had quite forthright views on how the struggle should progress? We found these in his belongings.

ALEX shows TSITSI some pamphlets.

ALEX:
Did he upset somebody, Tsitsi? Is that why he was killed? You know, we will find out what happened, and when we do there'll be discussions as to who should be deported and...

TSITSI:
Please. Don't send me back.

ALEX:
Well, I...

TSITSI:
They will kill me like they killed my father.

ALEX:
How did your father die?

TSITSI:
They put wires in his penis and shocked him. The shock cracked his spine and hurt his vocal chords. He couldn't even say goodbye to me before he died.

ALEX:
I'm sorry.

TSITSI:
I was in the bathroom.



CID. RAY and CHRIS are reenacting the battle of Rourke's Drift as portrayed in the film 'Zulu'. This seems to mainly involve singing 'Men of Harlech' while waiting for their CID and uniform colleagues to 'attack'.

RAY and CHRIS:
# Men of Harlech stop your dreaming # Can't you see their spearheads gleaming? #

CHRIS:
Can I be Michael Caine?

The police 'Zulus' burst into CID, brandishing various truncheons and umbrellas as spears.

RAY:
Here they come, chaps! First rank! Fire!

The 'ZULUS':
Aargh!

RAY:
Second rank! Fire!

The 'Zulus' collapse to the ground in a heap. much to the disapproval of SHAZ and ALEX.

SHAZ:
Pathetic, aren't they?

The 'ZULUS':
Aargh!

RAY laughs, but stops when GENE makes his entrance. Everyone picks themselves up off the floor in a hurry and goes to look busy.

RAY:
Guv.

GENE:
I've come across some stone-wallers before, Bolly, but this lot are First Division.

ALEX:
They're doing the whole civil disobedience thing. Hoping we won't be able to separate the killer from the herd.

GENE:
We need something to shake them up. Ray? Get yourself back down that shebong.

RAY:
Shebeen.

GENE:
Shebang, shebeen, shebong, showaddywaddy whatever. See if we've missed something. Take the plonk with you.

SHAZ:
Yeah, about that, Guv. You do remember saying I could join CID?

GENE:
Now.

RAY and SHAZ leave.

GENE:
So what have you got?

ALEX:
It's Tsitsi. She seems agitated. I think she may have something.

GENE:
Good. Well, maybe it's about time she had a little chat with her Uncle Gene.

ALEX:
Go easy on her, won't you? She's had a hell of a life.

GENE:
The very thought.

GENE opens the door and addresses TSITSI

GENE:
Right. Zitty. You're in with me.



The ANC shebeen kitchen.

SHAZ:
I just wish Chris would stand up to the Guv. Just once.

RAY:
It's not in his nature. Can't ask a Labrador to become a Rottweiler.

SHAZ:
I don't believe that. People can change.

RAY:
Mmm. Well, not Chris. Look, if you stabbed somebody here, what would you do with the knife?

SHAZ:
I dunno. It depends if I was hiding what I'd done from the others or not.

RAY:
They're all in on it. Boozy argument gone wrong.

SHAZ:
That drunk in the morning?

RAY:
They're Africans. Stab, stab. He goes down. Lots of screaming. Panic. What d'you do with the knife?

SHAZ:
Make a run for it and lob it in the canal out back.

RAY:
Broad daylight. Someone might see you.

RAY advances on a promising-looking barrel on the table and starts fiddling with the tap, glass held ready beneath.

SHAZ:
I really think it's holding Chris back. What if I... Ray Carling! What are you doing?

RAY:
Just getting a sneaky pint.

RAY joggles the barrel hopefully, but nothing doing.

RAY:
Must be a blockage.

SHAZ:
Anyway, as I was saying... Chris must take control of his own destiny. He's in denial.

RAY:
Denial?

SHAZ:
Yeah.

RAY:
In't that a river in Egypt? Heh heh. It's the way I tell 'em! Huh huh.

RAY produces a flick knife from his pocket.

SHAZ:
They're illegal.

RAY:
Are they? Maybe you should tell the police.

RAY starts to work at the head of the barrel. It pops free and reveals a stash of passports, IDs and money.

RAY:
Uh-ho. What have we got here? A one stop illegal immigration shop.

RAY reaches in and draws out a knife, its blade wrapped in cloth.

SHAZ:
Bingo.



Interview room, and ALEX is trying the sympathetic approach with TOBIAS.

ALEX:
Tobias, I can only guess at the experiences you've been through in South Africa. I have the profoundest admiration for your struggle. This, um... this may sound trite, but, er... I argued against apartheid at my school's inter-house debating society, and I very nearly won. Does sound a bit trite... I know what you're doing. You're creating a conversational vacuum that you think my white, liberal guilt will fill with inane chatter and banalities, almost completely without punctuation or coherent syntax, thus taking the heat off what it is that we're meant to be talking about. Which is murder. It's not going to happen. It will all end beautifully, Tobias. In seven year's time, Nelson Mandela will be released, and he will become the first democratically-elected President in South Africa. I want you to be there on that wonderful day, not rotting away in some London prison. But you have to help me.



Interview room, and GENE is taking his more forthright approach for an airing with TSITSI.

GENE:
I don't care what happened to you in South Africa. I don't care what happens to you when I send you back.

TSITSI:
No, please, you don't understand...

GENE:
D'you know, I imagine they'll probably wire you up like a light bulb and then plug you into the mains.

TSITSI:
Please, don't send me back...

GENE:
Who killed Oliver Ndlovu? Was it Tobias? Come on, you can tell me. He can't get to you in here.

RAY comes in.

RAY:
Quick word, Guv.

GENE:
You can say what you like in front of Titty. We're old friends.

RAY puts the bloodied kitchen knife on the table. TSITSI is obviously shaken by the sight of it.

GENE:
Stand up. Stand up!

TSITSI stands up.

GENE:
All right, take your dress off. Dress off!

RAY:
We should get Shaz, Guv. We're not allowed to...

GENE puts up a hand to silence him.

GENE:
If you don't take your dress off, I swear to God I will put you on the next plane to Johannesburg.

Starting to sob, TSITSI starts to undo her cardigan. RAY looks away, uncomfortable.

TSITSI:
I... I was in the bathroom.

She removes the cardigan to reveal the front of her dress covered in blood.



GENE's office. The passports, IDs and money found in the barrel litter his desk.

GENE:
This isn't just a drunken murder. This is a fully-fledged one-stop ANC cell.

ALEX:
Right, I'm going to go and call Special Branch.

GENE:
No, you won't.

ALEX:
Guv, we have to. If we suspect a link to a potential terrorist, we have...

GENE:
There's a big fish here and he's ours. It'll scupper Keats' report once and for all.

RAY:
He? I thought it was the girl that killed him?

GENE:
She's just a kid, Raymondo. She's not the prize. Right, go and get Tsitsi up from the cells. Tell her the South African police want to speak to her.

RAY:
Right, Guv.

RAY departs.

ALEX:
What are you up to?

GENE:
A sprat to catch a mackerel.



CID. TOBIAS is sitting by the door, waiting. RAY brings TSITSI along the corridor and into CID.

TSITSI:
Don't touch me.

RAY:
Oh, shut up.

TSITSI:
Don't touch me.

GENE and ALEX come out of Gene's office.

GENE:
Right, Chris, let the others go. Shaz? Get this girl a brief. A good one.

TOBIAS gets up and speaks urgently to TSITSI.

SHAZ:
Come on.

TSITSI seems to be explaining something to TOBIAS.

GENE:
Speak English.

TOBIAS steps forward, stopped by RAY, still talking.

GENE:
Right, get her in a cell.

SHAZ starts to lead TSITSI away.

TOBIAS:
I did it. I killed Oliver Ndlovu.

GENE:
Why?

TOBIAS:
He was a hothead. Talking of armed struggle, of bringing violence to the streets of London. I couldn't let that happen.

ALEX:
I don't believe you.

TOBIAS:
I was peeling potatoes when he came at me. It was self defence.

ALEX:
We saw the body. Didn't look like self defence to me.

GENE:
What about her clothes? They're covered in blood.

TOBIAS:
She tried to revive him. They were lovers.

GENE:
Ray, get him in my office.

RAY:
Come on.

TSITSI:
No!

SHAZ leads her away.

TSITSI:
No! I was in the bathroom.

GENE and ALEX follow RAY and TOBIAS into Gene's office.

GENE:
Right, what can you tell me about this little lot, Tobias? What are these?

GENE holds up an ID card.

TOBIAS:
We run a cleaning company. Gives our people work.

GENE:
Explain this.

TOBIAS:
You'll let the girl go?

GENE:
Illegal passports. Forged visas. Laundered money.

TOBIAS:
I'll tell you about it all.

GENE:
Everything?

TOBIAS:
Everything.

GENE:
Full confession?

TOBIAS nods.

GENE:
Ray.

RAY bundles TOBIAS away.

ALEX:
This isn't right, Guv. He'd say anything to get Tsitsi off.

GENE:
Sprat. Mackerel.

ALEX:
So you'd let a potential murderer go, just to get a bigger collar?

GENE:
This is the final chapter, Bolly. In case you hadn't noticed, we're fighting for our lives.



Station corridor, and honestly, RAY and SHAZ are turning into a kind of mini-Gene'n'Alex...

RAY:
Look, I'm not saying I agree with apartheid, but just take a look at the rest of Africa. Set of corrupt murderers. I mean, it's like Liverpool, but with sunshine and elephants.

SHAZ:
You're the most intolerant, prejudiced man I've ever met, Ray.

RAY:
Bet you say that to all the boys. Come on, let's get this report typed up.

They turn the corner only to be shocked to hear echoing disembodied laughter, the murmur of voices and chink of glasses.

NELSON echoing voiceover:
All right, settle down.

SHAZ:
I'm scared, Ray.

RAY puts his arm round her, looking round at the door to the evidence room from whence the sounds seem to be coming.

RAY:
It's okay, I'm here.

NELSON echoing voiceover:
Hey!

SHAZ:
We're all going mad.

CHRIS:
Oi!

CHRIS steps out into the corridor to see his best friend and ex-fiancée apparently in a close embrace.

CHRIS:
What the hell are you doing?

RAY reaches cautiously for the door handle of the evidence room.

CHRIS:
I'm talking to you two. What's going on?

RAY:
Nothing.

SHAZ:
How can you say that?

CHRIS:
My best mate and my...

RAY finally, cautiously, opens the door. It's empty. Apart from the evidence, obviously.

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

CHRIS walks away, SHAZ calling after him. RAY remains, gazing at the empty evidence room.

SHAZ:
Something strange is going on. We've heard noises, Chris. And we've both been seeing stars! Tell him Ray! Tell me you've seen it too, Chris.

CHRIS:
I've seen all I need to see. You're both nutters, you deserve each other.

SHAZ:
Chris! Chris!



Gene's office.

GENE:
A man was killed and another man owned up to his murder, which means you're free to go.

ALEX:
Did you kill, Oliver, Tsitsi?

TSITSI:
No.

GENE:
Give it a rest, Bolly.

ALEX:
If you've got something to say, you must say it now.

GENE goes to the door.

GENE:
Chris! Show this young lady out. (to TSITSI) Oh, and you tell your terrorist friends to keep off of my manor, or I'm going to hunt them down like rats. Understood? Bye bye.

CHRIS escorts her away.

ALEX:
You can't be sure it wasn't her, and you certainly can't be sure that it was Tobias.

GENE:
He's giving me an entire ANC illegal immigrant centre. He's the prize.

ALEX:
And what about the truth?

GENE:
Oh, grow up!

A whiff of strife in the air, and JIM KEATS arrives.

GENE:
Jimbo! My mood's improved. Murderer apprehended, international incident avoided, and terrorist leader in the cells. (looks at ALEX) And on something of a promise.

ALEX:
In your dreams.

JIM KEATS:
Well, glad you're in a good mood, Gene.

GENE:
So if you need to know how to spell the word 'stupendous' on your D&C report, you just give us a shout, eh?

JIM KEATS:
The dead man. Oliver Ndlovu.

GENE:
What about him?

JIM KEATS:
He's Special Branch.

JIM KEATS shuts the door behind him and prepares to enjoy himself.

JIM KEATS:
His real name is Vincent Sarpong. He was originally from South Africa but had lived in London for five years, worked for Special Branch for three. Started hearing rumours that the exiled ANC were gathering bomb-making materials looking to avenge last year's attack on their Patten Street offices.

ALEX:
I remember that now. It was the South African Secret Service. This guy confessed to it all at the Truth and Reconciliation trials.

GENE:
The what?

JIM KEATS:
The point is the ANC have been plotting their revenge ever since. Sarpong figured it out.

ALEX:
Which is why he was killed.

JIM KEATS:
The President of South Africa, P W Botha, is due in London for secret talks with the Prime Minister.

GENE:
What, and you think they're going to try and off Botha?

JIM KEATS:
Sarpong thought so. Which is why they executed him.

GENE:
No. These wounds were the result of a frenzied stabbing, not an execution. I don't buy it.

JIM KEATS:
Well, quite frankly, nobody's very interested in what you 'buy', Gene. Special Branch have lost one of their own. They'll be taking the accused off our hands.

ALEX:
Well, what will happen to him?

JIM KEATS:
None of our business.

JIM KEATS turns to go. ALEX looks anxiously at GENE, who springs to his feet.

GENE:
Where's their request form? Form APR13 I believe?

JIM KEATS:
Heh. What?

GENE:
Alien Prisoner Release. Do everything by the book at Fenchurch, Jim. So if you can get me APR13, signed and dated, I just might consider Special Branch's request.

JIM KEATS:
Have you any idea how serious this is?

GENE:
Yes, I do. S'going to be one hell of a last chapter, eh, Jim?

JIM KEATS leaves, momentarily defeated.



CID are going through the suitcases of the ANC folks from the shebeen.

GENE:
You've got their belongings, now look through them. Thoroughly.

ALEX:
The ANC never waged a terror war outside of Africa.

GENE:
Yet. Which means a bloody big feather in our cap if we thwart a terrorist attack on a visiting head of state. Find me a smoking gun.

RAY:
(to ALEX) Oh, I spoke to my mate up in Manchester. Apparently there's been a fire in the records department, so your epaulette records have all been destroyed.

ALEX:
Oh.

SHAZ:
Forensics on the knife, Guv. No prints.

RAY:
There're no explosives in here, Guv.

GENE:
Well, keep looking. And when you're done go and search Tobias' flat, and be thorough. He's a crafty bugger. Chris, I want you to stay in CID tonight. Tobias Nudderbelly, whatever his name is. He's our prisoner, he stays in our cells, understood?

CHRIS:
Guv.

ALEX:
Well, they can't take him unless they get a... an APR13 form, can they, Guv?

GENE:
There is no APR13 form, you dozy mare. Right, nobody goes in, nobody comes out. Is that understood?

CHRIS:
Guv.

GENE:
I'd trust an estate agent before I trust Special Branch.

GENE pauses on his way back to his office.

GENE:
Bra opens at the front or back, Bolly?

ALEX:
Hah! You will never, ever, EVER know, Guv.

ALEX walks away, smiling.



CID; only ALEX and CHRIS are left.

ALEX:
Goodnight, Chris.

CHRIS:
Ma'am. Guv. Ma'am...

ALEX:
Is everything all right?

CHRIS:
Why wouldn't it be?

ALEX:
Just asking.

CHRIS:
Have you ever had the feeling that things are falling apart, and the world as you know it is about to end and nothing will ever be the same?

Ever immaculate in his timing, JIM KEATS shimmers in from the kitchen.

JIM KEATS:
DI Drake, could I borrow you a moment?

ALEX:
Um, I'm... I'm just...

JIM KEATS:
Just a minute. In my office.



Keats' office; JIM KEATS and ALEX enter.

ALEX:
...found no evidence, sir, to support Special Branch's allegation that this...

JIM KEATS gives her a quelling look and shuts the door. He's not a happy bunny.

JIM KEATS:
Do you think this is a game? Hm? Some flirty, silly little game being played out by me, you and Hunt?

ALEX:
No, I don't think it's a game...

JIM KEATS:
Sam Tyler lost his life. By all accounts an extraordinary man. His life was taken from him. Murdered.

ALEX:
We don't know that. Not for sure.

JIM KEATS:
Yes, we do! In our hearts we know that. Now, it's down to you, Alex, to take that final step. To find out from Hunt's own mouth how he did it, where he did it, and why he did it!

ALEX:
It's not that easy is it, sir?

JIM KEATS:
Oh, actually it is. It's about being a solution to a problem. A despicable problem. Or being part of the problem itself.

That gives ALEX pause for thought.

ALEX:
I'm, um... I'm having dinner this evening, with DCI Hunt. Hopefully I'll find out the truth then.

JIM KEATS:
Last chance, Alex. If you don't have the courage to do it, I'll find someone who has...

ALEX:
Oh, I have the courage. Sir.

JIM KEATS:
Get. Him.

MUSIC: 'Couldn't Love You More' by John Martyn.

ALEX leaves, now also not a happy bunny.



Montage of GENE and ALEX getting ready for their date. Gene does apparently live in the station. Both are evidently nervous, manifesting itself in the consumption of some Dutch Courage.

# If you kissed the sun right out of the sky for me
# If you told me all the lies I might deserve
# If you lay all night in the rain for me
# Well, I couldn't love you more
# Just couldn't love you more
# I couldn't love you more.

# If you loved me 'til my eyes got no more shine for you
# If you walked beside me all the long way home
# If you wasted all of your time on me
# Well, I couldn't love you more
# Just couldn't love you more #



CID.

# I couldn't love you more
# Just couldn't... #

SHAZ:
You don't really think anything's going on between me and Ray, do you?

CHRIS:
I don't know what to think any more, Shaz.

SHAZ:
A misogynist with a moustache. Don't float my boat, baby.

CHRIS:
What's happening?

SHAZ:
I don't know.

CHRIS:
I mean, I hear a police whistle, I jump out of my skin.

SHAZ:
It scared you?

CHRIS nods. RAY comes in for his jacket.

CHRIS:
And I don't know why.

SHAZ:
Then we'll be scared together.

RAY:
Come on, Shaz. Let's go and turn this geezer's flat over.

SHAZ:
Will you be all right?

CHRIS:
I'll be fine.



JIM KEATS is in his office brewing potions writing on the video cassette labels. One each for RAY, CHRIS and SHAZ. He clicks home the lid of his marker with altogether too much enjoyment. I reckon his idea of jollies might be a trip to 'Staples'...



Luigi's, and LUIGI brings GENE a beer. The latter is studying the menu with unwarranted care for a man who's apparently eaten there every night for three years.

MUSIC: 'La Donna e Mobile' by Verdi

LUIGI:
Grazie. Mr Hunt. Pleasure to see you.

GENE:
The pleasure is all yours, Luigi.

LUIGI:
Signore Hunt is on a date?

GENE:
I am not on a date. I am meeting a colleague for a meal and a professional chat.

LUIGI:
Mmm. I know enough about restaurants and men to know a date when I see one.

GENE:
And I know enough about Italians and vats of boiling cooking oil.

LUIGI turns away in resignation, only to see ALEX arrive, dressed to kill. Or at least seriously maim.

LUIGI:
Eh, bella dio.

GENE drops his menu like a hot brick and leaps to his feet.

GENE:
Luigi, glass of champagne for the lady.

LUIGI:
Si, Signore Hunt.

LUIGI takes ALEX's coat.

ALEX:
Thank you.

LUIGI:
[ ? ] bellissima.

GENE:
Scrub up well, Bolls.

ALEX:
Thank you. You don't look so bad yourself.

They sit down, nervous as a couple of long-tailed cats in a room full of rocking chairs.



The cells, and CHRIS has come to talk to TOBIAS.

CHRIS:
Why did you do it, Tobias? Why did you kill him?

TOBIAS:
I didn't do it. You know that, I can see it in your eyes.

CHRIS:
You're covering for the girl. But why would you do that? If they send you home...

TOBIAS:
If they send me home, I die.

CHRIS:
So why?

TOBIAS:
What time is it?

CHRIS:
It's ten past nine.

TOBIAS laughs softly.

CHRIS:
Can't see what you've got to smile about.

TOBIAS:
Tsitsi's on the evening flight to Harare. She's safe now.



In Luigi's, they're talking about work. D'oh.

MUSIC: 'Barcarolle from Tales of Hoffman' by Offenbach

ALEX:
Have you noticed how strange the atmosphere is in CID?

GENE:
It's a nuthouse, always has been.

ALEX:
No, it's more than that. 'Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world,'

GENE:
That Pam Ayres?

ALEX:
W B Yeats.

GENE:
It's Viv. They're all missing Viv.

ALEX:
And you miss him too, don't you?

GENE:
He was the quiet centre of things. The middle of the wheel.

ALEX:
And now the spokes are coming off.

GENE:
Blimey, it's like going out for a date with Leonard Cohen.

ALEX laughs.

ALEX:
You know, we've, um... we've had our differences. In the past.

GENE:
Differences. All we are is difference, Bolly.

ALEX:
Like Tom and Jerry.

GENE:
Eric and Ernie.

ALEX:
Abelard and Eloise.

GENE:
Saint and Greavsie. Come on then, say it.

ALEX:
Say what?

GENE:
Alex, there's an elephant in the room. Let's get it out the way, eh?

ALEX:
Did you, or did you not, kill Sam Tyler?



Back in the cells.

TOBIAS:
I was a teacher. I didn't have much, but I had more than most. I kept my head down. I did what I was told.

CHRIS:
Why are you telling me this?

TOBIAS:
There was a school strike. All my students were at the demonstration. They fired into them.

CHRIS:
Well, they must have had a reason.

TOBIAS:
They were black. That was their reason.

CHRIS:
Or communists. I mean... I don't know much about what goes on down there, but...

TOBIAS:
They were children.

CHRIS:
Look, if this is about you trying to justify a murd...

TOBIAS:
One of my students got shot in the head. Through the eye. I held her in my arms and as she died I swore that I would not live my life like a dog, shivering in fear of what its master might do. Better a dead lion than a live rat, my friend.

CHRIS is impressed and demonstrates that by offering TOBIAS a cigarette.



TOBIAS' room. SHAZ enters and the heavy tread of official feet can be heard following her up the stairs.

RAY:
Right then, you lazy buggers. Let's get this thing done. We might just get home in time for Sportsnight. # Men of Harlech stop your dreaming # Can't you see... #

SHAZ:
Ain't got much, has he?

RAY spots a poster advocating the release of Nelson Mandela and picks up a pen to deface it.

RAY:
# Can't you see their spearheads gleaming? #

SHAZ:
Ray! You're a disgrace!

RAY's pen goes through the poster and into the wall. He pulls it aside to reveal a tin box hidden in a hole in the wall.



Luigi's, and it's all got rather serious.

GENE:
Sam Tyler was a friend of mine. Bloody irritating friend most of the time, it has to be said. But I learnt more from him than I've ever learnt from anybody I've ever met. He was strong, decent, a brilliant copper.

ALEX:
What happened?

GENE:
Been acting strange for a few weeks. And Sam Tyler strange was very bloody strange indeed.

ALEX:
But he was happy here. I mean, everybody says so. He had a girlfriend, Annie. He had you.

GENE:
Yeah, I asked him what was wrong. He wouldn't tell me. Said he couldn't tell me.

ALEX:
What did you do?

GENE:
He said he wanted to leave. He only asked me to help him fake his own death. It's why we set fire to the car and pushed it in the river.

ALEX:
Wh...? So, Sam asked you to commit an illegal act and you just did it?

GENE:
Well, I wasn't happy for him to go. I wanted him to stay. I didn't want to lose him.

ALEX:
Well, what happened next?

GENE:
I never saw him again.

ALEX:
Wh...? Oh, come on. What, he just vanished? Look... Sam was like me.

GENE:
Well, he's not quite as annoying, as it happens.

ALEX:
Whatever happened to him might happen to me. Gene, I have to know.

GENE:
I asked him why. He said it would be better for me that I didn't know. You see, this is about respect, Alex. It's about trust. About faith. Something you haven't learnt yet.

LUIGI:
Signore Hunt, Signora Drake. Some coffee? Brandy?

GENE:
Brandy.

ALEX:
Just the bill, please, Luigi.

GENE:
Well, you're the feminist. You can pay half.

ALEX:
Get your coat. You've pulled.

GENE looks like a little kid at Christmas, bless him. Then RAY arrives with the tin box.

RAY:
Guv, got something for you.

GENE:
So has DI Drake, and I think hers is going to be a lot more interesting.

RAY:
Want a bet?

RAY puts the tin on the table and GENE opens it to reveal bundles of dynamite.



Interview room. GENE puts the tin down in front of TOBIAS; he's in a hurry.

GENE:
Right, start talking, Tobias. Or it's a one-way ticket to Robben Island, my friend. My patience is growing thin.

TOBIAS:
I don't... I don't understand. A hole in MY wall?

GENE:
Don't take the piss. Where's the dynamite, who's it meant for?

ALEX:
There's clearly some missing, Tobias. Where is it?

TOBIAS:
I don't know where it is.

GENE:
Liar.

CHRIS:
We don't know if he's lying. He said himself there was lots of factions. He could be being set-up.

GENE:
Shut up. (to TOBIAS) Now you listen to me. I want answers and I want them now, or I'm going to hand you over to your Afrikana chums and they'll end up making biltong out of you.

TOBIAS:
As I told you, the movement was starting to split. There were hothead elements who wanted to bring the struggle to the streets of London.

GENE:
What, a hothead Oliver?

TOBIAS:
I don't believe in violence.

GENE:
Bollocks. You stabbed a Special Branch officer to death. Now, where's the rest of the bloody dynamite?!

TOBIAS:
I don't know!

JIM KEATS arrives, with ANDERS De VILLIERS.

GENE:
D'you mind, I'm working here! Who the hell are you?

De VILLIERS:
My name is Anders de Villiers. You've got something I want.

JIM KEATS:
Running around London with a box of dynamite? Bloody amateurs. Little bit more than a murder now, Gene.

De VILLIERS:
I'll take him now. (to TOBIAS) You're coming with us.

ALEX:
I don't think so.

CHRIS:
He's our suspect. He stays here.

De VILLIERS:
Got you wrapped around his little finger, hasn't he, eh? Yeah, he does that. (to TOBIAS) How's it Joshua? How you doing, my friend? Been a long time.

GENE:
Would somebody please explain what the hell is going on here?

De VILLIERS:
Oh, he likes police officers, does Joshua.

De VILLIERS opens his briefcase and pulls out some photographs.

De VILLIERS:
These guys were just coming off duty when the bomb went off. Murdered. In cold blood.

CHRIS:
When was this, Joshua?

De VILLIERS:
Ten years ago.

JIM KEATS:
Enough talk. He belongs to Special Branch now.

ALEX:
Guv, he won't stand a chance.

JIM KEATS:
We need to find that explosive. Botha's due in two hours.

RAY bursts in with more bad news.

RAY:
Guv, a bomb's just gone off at the South African embassy.



The Quattro squeals its way there.

MUSIC: 'Nelson Mandela' by Special AKA

# Free Nelson Mandela
# Free
# Free
# Free, free, free Nelson Mandela #

GENE and Co enter the entrance hall of the 'South African embassy' to find a mess of broken glass and destruction. JIM KEATS and ANDERS De VILLIERS come down the staircase.

De VILLIERS:
You people did this. You!

ALEX:
Where's Botha?

JIM KEATS:
Still at Heathrow. He's flown straight back to South Africa.

GENE:
Any fatalities?

JIM KEATS:
One. We think she was a cleaner. Bomb went off before the timer was set, otherwise it would've been a lot worse.

RAY:
Bit amateurish for an international terrorist, isn't it?

ALEX:
They were never international terrorists, Ray.

De VILLIERS:
Now you bastards know what it is we're fighting. And we're fighting it for you! To stop the communists!

ALEX:
Oh, shut your face, you racist git!

JIM KEATS:
I suggest we all try and keep calm.

De VILLIERS:
This never gets out. Never. If people back home thought the ANC had the power, the gall, to attack the President!

JIM KEATS:
I give you my word. We'll leak the papers a story about a gas explosion.

De VILLIERS:
I want no publicity for these bastards! I want your prisoner. Now.

ALEX:
No!

GENE:
It's out of our league now, Bolly. He took it out of our league when he did this. Tell Chris to get him ready.

RAY:
Guv.

RAY goes. ALEX halts the ambulance men wheeling away the fatality on a trolley.

ALEX:
Wait.

ALEX pulls back the blanket covering her face.

ALEX:
Tsitsi.



CHRIS is in the cells, talking to a frightened and pacing TOBIAS. I mean Joshua. But we'll stick with Tobias.

CHRIS:
Is this down to you, Joshua? Are you behind this? They found the explosives in your room!

TOBIAS:
I confiscated them from the young guys. Tsitsi knew where they were.

CHRIS:
Well, why didn't she go back to Africa?! You gave her the chance!

TOBIAS:
She wasn't in her right mind! All I can think is she saw an opportunity to hit back and she took it. She was in love with Oliver. And then she found out he was a traitor.

CHRIS:
A British police officer! She killed him, didn't she?

TOBIAS nods.

CHRIS:
Why... why did you cover for her?

TOBIAS:
Because I've had my life, Chris! Hers was ahead of her!

CHRIS:
Why did you kill those police officers?

TOBIAS:
I was younger. I was angry that my people were degraded. I'm still angry. But now I want to persuade them out of their wrongness, not kill them out of it.

CHRIS:
I mean, what's going to happen to you when they send you back?

TOBIAS laughs, mirthlessly.

TOBIAS:
You know what will happen.

CHRIS:
You frightened?

TOBIAS:
Of course I'm frightened! But I'm weary too. The struggle makes you very weary.

CHRIS:
You had nothing to do with the bomb?

TOBIAS:
I give you my word.



CID. JIM KEATS, GENE, ALEX and RAY return, to find SHAZ putting in some serious overtime.

JIM KEATS:
I don't like it any more than you, but this is now an international incident. Not something Fenchurch East really needs at this moment.

GENE:
D'you know, I don't care about your report, Keats.

JIM KEATS:
Oh, yes you do. That's what all this posturing's been about.

ALEX:
Guv, this is bigger than a spat with Special Branch, it's another state. It's another country.

GENE:
Gene Hunt verses another country. Y'know I like the sound of that!

JIM KEATS:
Oh, you make my job so easy.

ALEX:
Why haven't you gone home, Shaz?

SHAZ:
Oh, I did, but I couldn't sleep, ma'am. I don't know why. So I thought I'd see how Chris was.

CHRIS has been hovering around outside CID, and now tentatively comes in.

GENE:
Right, where's the Caped Crusader?

CHRIS:
Here I am, Guv.

GENE:
Go and bring Tobias up from the cell.

CHRIS:
I can't do that.

GENE:
Why not?

CHRIS looks busy with some files, not meeting GENE's eye.

CHRIS:
He's not there.

GENE:
What do you mean, he's not there?

ALEX:
Well, where is he, Chris?

CHRIS:
I dunno.

GENE is understandably a trifle disconcerted by this.

GENE:
D'you know, I realise it's been a long night and you're not the brightest button on the planet...

CHRIS:
I let him go.

CHRIS looks at GENE, who's actually rendered speechless.

JIM KEATS:
You let him go?

CHRIS:
Yes, sir.

JIM KEATS:
You idiot! You've released a murderer, a terrorist!

GENE:
Hang on, you let him go, although I expressly gave you orders to the contrary?

CHRIS:
Guv, he was never going to get a fair trial in South Africa. Probably no trial at all, so...

JIM KEATS:
Oh, this is the ship you run, Hunt. No discipline, no loyalty, no clue!

RAY:
Chris, what on earth were you thinking of?

ALEX:
Maybe Chris shouldn't have done it, but now that he has, let's ju...

GENE:
You dare to disobey me?

CHRIS:
I didn't join the police force, Guv, to be a party to state murder.

GENE:
No, you joined the police force to wipe my arse, Skelton. You joined the police force because nobody else would bloody have you!

CHRIS:
You released Tsitsi, Guv, because you wanted a big score. She killed the Special Branch guy. She set the bomb!

GENE:
Don't you talk back to me, you useless piece of shit!

ALEX:
Come on, now. That's enough.

GENE:
You don't have an opinion. You don't make decisions. Do you understand me?

CHRIS:
I understand you, Guv. But I don't happen to agree with you.

RAY:
OK, Chris. Listen, Guv, we can get in touch with uniform...

GENE:
What d'you mean, you don't agree with it?

CHRIS:
I don't agree with you, sir.

JIM KEATS:
You can phone the Commissioner. You can explain to him why you've let a terrorist loose on the streets of London.

JIM KEATS' helpful contribution tips GENE over the edge, and he punches CHRIS in the stomach and throws him on the desk.

ALEX:
Oh, for God's sake!

SHAZ:
Stop it!

GENE propels CHRIS across the room by his lapels, both going over Alex's desk and onto the floor.

GENE:
Bastard. Bastard!

RAY:
Guv!

RAY tries to intervene, but ALEX holds him back.

ALEX:
Ray! Just leave it. Just wait. Just let them get it out of their systems.

GENE ends up over CHRIS, fist raised.

ALEX:
Come on.

GENE:
Get out.

GENE angrily pushes away from CHRIS, who gets up, grabs his jacket and storms out.

SHAZ:
Chris? Chris? Chris, you all right?

GENE goes back to his office, past JIM KEATS who's leaning against the door jamb.

JIM KEATS:
Impressive. Very impressive. Think I'll go and finish my report.

JIM KEATS leaves, all triumphant. GENE leans on his desk, back to CID.




Keats' office, and he's hammering away at his typewriter when ALEX knocks and comes in.

JIM KEATS:
This place is a disgrace. A mockery.

ALEX:
We're better than this, sir. It's just that Chris...

JIM KEATS:
What d'you want? I'm busy.

ALEX:
I don't believe that Gene Hunt killed Sam Tyler.

JIM KEATS stops typing and looks up.

JIM KEATS:
And how did you come to that conclusion?

ALEX:
I asked him.

JIM KEATS laughs.

JIM KEATS:
You asked him?

ALEX:
Yes. And I believe him.

JIM KEATS:
And what about the evidence? The falsified murder scene. The falsified police reports. The destroyed evidence?. The photographs. The grave.

ALEX:
We don't have a grave.

JIM KEATS:
Close the door on your way out.

ALEX:
I work with him. I have to believe him.

JIM KEATS:
He's polluted you. Just like the others.

ALEX:
No. No, he hasn't.

JIM KEATS:
You disappoint me, Alex. Now, get out.

JIM KEATS returns to his typing.



GENE's still leaning on his desk, brooding.



A dark street, and CHRIS is walking along when a police whistle sounds. He spins round, to see a boy on a balcony blowing same.

CHRIS:
You should be in bed!

The boy runs inside. CHRIS turns back to walk on, to find TOBIAS standing right in front of him.

CHRIS:
You.



Luigi's, and RAY and SHAZ are sitting miserably at a table while GENE is miserably propping up the bar, when ALEX arrives.

LUIGI:
Eh, Signora. Try to cheer them up. My other guests, they are slitting their throats.

ALEX opts to join GENE at the bar.

ALEX:
Every police officer in London has got Tobias' description. Every port, airport, has been alerted.

GENE:
Pam Ayres was right. Things fall apart.

They look at the unhappy RAY and SHAZ.

ALEX:
They'll be OK.

GENE:
If I can't look after my own, then I'm nothing. Viv, now Chris.

ALEX:
Sam. You know, Keats... Keats thinks you murdered him. He's never going to give up.

GENE:
I don't care what Jim Keats thinks. I care what you think, and if you don't believe me, what's the point?



The ever-popular bench-by-the-Thames-in-the-dark, and CHRIS and TOBIAS are having a last little chat.

CHRIS:
Why were you following me?

TOBIAS:
I wanted to thank you. I was weary and you gave me life.

CHRIS:
You shouldn't be here. Every copper in London's looking for you.

TOBIAS:
They won't find me. What happened, man?

CHRIS:
The rat became the lion, Tobias.

TOBIAS:
Does it feel good?

CHRIS:
Not especially.

TOBIAS:
Thank you, Chris.

They shake hands.

CHRIS:
So what you going to do?

TOBIAS:
Return to the struggle.

CHRIS:
You should go.

TOBIAS:
The woman you work with, the tall one.

CHRIS:
DI Drake?

TOBIS:
Something she said about Mandela being free in seven years' time. How would she know a thing like that?

CHRIS looks over the river, possibly in amused resignation at having to try and make sense of Alex's pronouncements again.

CHRIS:
Well, she knows all sorts of things, does Alex Drake. Sometimes I think she can see into the...

CHRIS turns back to TOBIAS, but he's vanished. Oh good, more mystery.

CHRIS:
...future.



Luigi's. GENE goes to speak to RAY and SHAZ.

GENE:
What's in the glass, Shaz?

SHAZ:
Water.

GENE:
Good God, woman. And you want to be in CID?

SHAZ:
I'm not sure that I do any more.

GENE:
He went against orders.

SHAZ:
You've been riding him for months. Humiliating him.

RAY:
You have been tough on him, Guv.

CHRIS:
Won't happen again.

GENE turns round to see CHRIS standing defiantly behind him. The atmosphere is immediately tense.

CHRIS:
You're the best DCI I've ever met and I've been proud to work under you. But I'm not going to be your doormat any more, Guv. Those days have gone.

GENE:
Are they now?

CHRIS:
Buy me a drink, and we'll say no more about it.

CHRIS holds out his hand to shake.

GENE:
Luigi, get Mr Skelton a drink.

LUIGI:
Si, Signore Hunt.

After an interminable pause, GENE takes CHRIS' hand and pulls him into an embrace. A manly one, obviously. Tension gone, relief all round, moist tear ducts abound. RAY may possibly be a little jealous. ALEX leaves and CHRIS goes to the bar.

LUIGI:
Signore Chris.

SHAZ and RAY join CHRIS.

SHAZ:
I'm so proud of you, Chris.

And CHRIS gets his Spooky Moment. A zoom in and everything goes dark and quiet around him as he looks directly at us. The sound of voices, laughter and the clink of glasses, and another short burst of 'Life On Mars'.

# ...if he'll ever know
# He's in the best selling show #

NELSON:
What are you having?

Normal lighting and audio resume.

CHRIS:
I heard music.

SHAZ:
Did you?

RAY:
All right, mate. Keep it to yourself, eh?

They look anxiously over their shoulders at GENE.



Alex's flat, and she's indulging in a spot of literary endeavour when there's a knock at the door. She conceals her notebook on the shelf and opens the door. It's GENE.

GENE:
I left the children playing.

ALEX:
You did well. With Chris.

GENE:
I think we have unfinished business, Bolly.

ALEX:
Yeah. Yeah, we do.

ALEX stands aside to let him in.



Luigi's, and our Bowie'd trio are still propping up the bar, worrying. LUIGI is on the telephone.

CHRIS:
What did it mean? The music?

RAY:
Probably don't mean anything.

SHAZ:
Course it does. We've all heard it.

RAY:
Oh, I hate all this weird stuff. Makes me feel uncomfortable.

CHRIS:
Mine sounded like a pub.

SHAZ:
And ours.

LUIGI gets off the phone and delivers some Italian words of thanks to the heavens. He's very happy.

LUIGI:
Amazing news! My cousin, in Battipaglia, he's dead!

RAY:
Couldn't be happier for you, Luigi.

LUIGI:
He leave me money! I can go home!

LUIGI plants kisses on RAY and SHAZ.

RAY:
Get off!

LUIGI:
Ritorno casa.

LUIGI departs, possibly to pack.

RAY:
Even Luigi's going mad.

CHRIS:
Did you hear the voice?

SHAZ:
Lots of voices. Couldn't make any out in particular.

CHRIS:
I could.

RAY:
What was it saying?

CHRIS:
What will you have?

RAY:
Probably just imagining it all, mate.

CHRIS:
I'm not imagining it. And I'll tell you something else about that voice.

SHAZ:
You're frightening me, Chris.

CHRIS:
Remember that black bloke who was landlord of The Railway Arms?

RAY:
Nelson. Yeah, of course I do.

CHRIS:
It was him.



Alex's flat, and GENE and ALEX are on the sofa, pleasantly relaxed. Possibly helped by what used to be in all the empty bottles that surround them. And they're talking about work again.

GENE:
So Fenchurch East lives to fight another day.

ALEX:
Everyone's rattled. Viv's funeral.

GENE:
Chris stepped up to the mark. Wasn't sure he had it in him.

ALEX:
We'll be all right. We'll all be all right.

GENE:
Will we, Bolls?

ALEX:
Let's have a dance.

ALEX gets up.

GENE:
No. Gene Hunt does not dance.

ALEX:
No. He doesn't hug Christopher Skelton either, does he?

ALEX puts on a tape.

MUSIC: 'True' by Spandau Ballet

GENE looks none too keen, but gets to his feet when ALEX holds out her hand.

# Haah, ha, ha, haah, ha

GENE:
OK, let's get the dancing out the way.

Right, you go away and watch that then. Don't forget to come back again, with or without a ticket to the world.

# Haah, ha, ha, haah, ha

# So true
# Funny how it seems
# Always in time... #

GENE:
You got any Herb Alpert?

# ...but never in line for dreams #

ALEX:
No.

# Head over heels, when toe to toe #

ALEX rests her head on GENE's shoulder.

# This is the sound of my soul
# This is the sound
# I bought a ticket to the world
# But now I've come back again #

GENE kisses her forehead. Honestly, the fluffiest of plot bunnies must have gnawed at Ashley at this point.

# Why do I find it hard to write the next line
# Oh, I want the truth to be said
# Haah, ha, ha, haah, ha
# I know this much is true
# Haah, ha, ha, haah, ha
# I know... #

And just as they're about to kiss... there's a knock at the door. Might as well have gone the whole hog and had that needle-being-ripped-off-the-record sound effect. So anyway, a clichéd interruption for your viewing pleasure. Never gets old. Or then again... If you want me, I'll be sticking pins in an effigy of Ashley Pharoah, but if questioned, I will have been in the bathroom. Where were we...? Oh, yeah.

# ...this much is true #

There's a certain amount of awkwardness as reality rears its ugly head.

ALEX:
Go on. Wait in the bedroom. I'll get rid of them.

GENE goes.

# With a thrill in my head and a pill on my tongue
# Dissolve the nerves that have just begun
# Listening to Marvin (All night long) #

ALEX goes to answer the door. It's JIM KEATS. Whoopee!

JIM KEATS:
Alex.

ALEX:
It's not a good time.

JIM KEATS:
Is that right? Oh, I love this song. Got your photos developed.

JIM KEATS hands across an envelope, which ALEX immediately opens. In the bathroom bedroom, GENE is listening at the door. ALEX rifles through the photos; one of Sam and Annie; one of Gene, Ray and Chris in 70s garb; and one with 'I think we've found our grave' written on the back. Subtle.

JIM KEATS:
I think we found our grave.

Flashback to ALEX peering out of the cell door in episode one, seeing a modern hospital room with the television on the wall showing a news report.

MATTHEW AMROLIWALA on TV
Police in Lancashire say a body found in a shallow grave on...

ALEX turns over the photograph to see a detached farmhouse, possibly enjoying breath-taking views of rolling farmland and shallow graves. Flashes of the house, the weather vane in the news report and the weathervane in the photograph, and the GHOSTLY COPPER with his accompanying crows.

MATTHEW AMROLIWALA on TV
...farmland may be that of a police officer.

JIM KEATS:
Farringfield Green. Lancashire. Be careful, Alex. Be very careful.

JIM KEATS leaves, ALEX looks at the weathervane in the photograph and GENE still waits in the bedroom.



The Bowie'd Three are walking along a street somewhere. Luigi probably kicked them out.

CHRIS:
I've got no truck with apartheid.

SHAZ:
Liar.

RAY:
But if it's so bad, why is Geoff Boycott playing cricket there? Answer me that.

SHAZ:
You're a racist, Ray.

RAY:
I am not a racist.

CHRIS:
You don't like Welsh people.

SHAZ:
Mmm.

RAY:
Yeah, well, I wouldn't like them, not matter what colour they were, would I?

CHRIS:
Good point.

SHAZ:
God, it's like 1953 in your heads, innit?

They all suddenly stop and stare. It's a communal star-gazing moment, and CHRIS' first time.

CHRIS:
Oh my God.

SHAZ:
S'all right, Chris, I'm here. We're all here.

They gaze at the stars, which are apparently all around them. There's audio of something that sounds like an irregular heartbeat.



Back in Alex's flat, GENE finally steps out of the bedroom.

MUSIC: 'Victims' by Culture Club

# The victims we know so well
# They shine in your eyes
# When you kiss and tell
# Strange places we never see #

GENE walks into the living room to find it deserted.

# But you're always there
# Like a ghost in my dream
# And I keep on... #

GENE:
Alex?

# ...telling you
# Please don't do the things you do
# When you do those things
# Pull my puppet strings
# I have that strangest void for you #

GENE picks up his coat and leaves, closing the door behind him. ALEX, meanwhile, is running down an alley, cursed photograph in hand.

# We love and we never tell
# What places our hearts in the wishing well
# Love leads us into the stream
# And it’s sink or swim
# Like it’s always been
# And I keep on... #

JIM KEATS voiceover:
Be careful, Alex. Be very careful.


Fade to black. End credits


# It’s the only thing to do
# When the angel sings
# There are greater things
# Can I give them all to you?
# Pull the strings of emotion
# Take a ride into unknown pleasure #