Ashes to Ashes, series one, episode seven.
Writer: Matthew Graham
Director: Jonny Campbell

xxxx

MUSIC: 'Police On My Back' by The Clash

# Well I'm running, police on my back
# I've been hiding, police on my back
# There was a shooting, police on my back
# And the victim, well he wont come back

# I been running Monday Tuesday Wednesday
# Thursday Friday Saturday Sunday
# What have I done?
# What have I done? #

The Quattro is speeding to a crime scene at the usual break-neck speed. A track-suited man is lying, shot, next to his car. But wait, there's something wrong. These are not our heroes, but rather some amusing GENE, RAY and CHRIS look-a-likes. It's a television reconstruction, kiddies.

GENE LOOK-A-LIKE:
Been in the wars, have we, sir? Oh, dear.

CID, with the exception of ALEX, are gathered, watching the reconstruction.

GENE LOOK-A-LIKE on TV:
It certainly looks like a nasty one.

GENE:
What the bloody hell...?

SHAW TAYLOR on TV:
CID were quickly on the scene, where Gil Hollis was only just regaining consciousness.

GENE LOOK-A-LIKE on TV:
Looks like we won't be watching the match today, boys. We've got a robbery to solve.

CHRIS:
Move over, Lewis Collins, eh?

RAY:
It doesn't look anything like me!

SHAZ:
(to CHRIS) You're better looking than him.

CHRIS doing a Jimmy Saville impression:
Jingley jingley. Jingle jangle

RAY:
I don't even wear any jewellery!

SHAW TAYLOR on TV:
Of course, you will know Gil Hollis as the man in the tub, one of our most popular fundraisers.

GIL HOLLIS on TV:
Lovely. Thanks very much.

GENE:
Just remind me, whose idea was it to run an appeal on Police 5?



ALEX's flat, and she's watching in a sort of amused horror.

SHAW TAYLOR on TV:
In fact he toured the whole of Britain with his tub, raising money for the children of Africa.

GIL HOLLIS on TV:
Oh, thanks very much. Brilliant!

SHAW TAYLOR on TV:
He eventually finished up with £20,000. Here he is on Children In Need, together with his own son, Adam.

GIL HOLLIS on TV:
Well, I'd raised all this money for charity around the country. And, um... I'd collected it, and I'd put it in me rucksack. I was on me way to the bank with it. There was a man and a woman and they were wearing masks.

MASKED GUNMAN on TV:
Get out! Get out!

Gunshot on TV.

GIL HOLLIS on TV:
And they shot me. I was actually shot! I was unconscious 'til the police found me.

SHAW TAYLOR on TV:
The robbery took them just 30 seconds to commit, and then they made their getaway, leaving Gil Hollis for dead.

Abruptly the television picture changes to the CLOWN in a mortuary. ALEX goes towards the TV, and sees herself going to look at a shrouded body. Sounds of dripping water and creaking metal.

CLOWN:
Something dreadful IS going to happen. I'm going to take someone.

ALEX:
Who?

The shroud is pulled back, but we only see ALEX's reaction on the television, not who it is.

ALEX:
Who is it?

On the TV the CLOWN draws a bloody question mark on ALEX's calendar. Ringing and clanging bells. The CLOWN laughs.

ALEX:
Who is it? Is it one of them?! Is it CID?! Who is it?! Who?! Who's going to die?!

The TV switches back to 'Police 5'. ALEX clutches her head in agony.

GIL HOLLIS on TV:
I just wish I could have remembered more, you know, for the police. But I do remember those tracksuits.

SHAW TAYLOR on TV:
This was a brutal and callous attack and the police need your help to catch this couple before they strike again.

The photofit on the TV turns into the CLOWN, who laughs again. ALEX clutches her head, than slams the TV and it changes back to 'Police 5'

SHAW TAYLOR on TV:
Until then... keep 'em peeled.

ALEX turns to look over at her calendar - which now has a bloody question mark on the Wednesday 7th October. Spooky.



Opening credits:

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



CID. GENE and RAY come out of GENE's office, while SHAZ is being wheeled in through the other door in GIL HOLLIS's bathtub.

GENE:
Broad bloody daylight and nobody sees or hears anything. You said a telly appearance would raise awareness and get results.

ALEX:
Well, it works on Crimewatch.

GENE:
What watch?

CHRIS:
Don't fret, I got it taped on Betamax.

SHAZ:
Run off some copies, Chris. My mum'd love to see it.

RAY:
We're not gonna bother with that, are we?

SHAZ:
That poor man lost everything.

GENE:
Now we're under pressure to solve this quick because according to the great British public, Gil Hollis is Britain's answer to Mother Theresa!

ALEX suddenly notices drips of water landing on her desk, and looks up at the ceiling to locate the source.

GENE:
Chris, give me a note. That bloke has raised a bomb for black kiddies, now the chief wants us to show public compassion.

GENE puts CHRIS' fiver in the bathtub and indicates CHRIS should hand over another one, which also goes in the tub.

GENE:
One from me. One from you. (to CID) Well, come on! Show compassion NOW!

CID reluctantly shuffle forward to add their donations.

RAY:
They'd better not do these telethons too often or I'll be skint!

CHRIS:
Nah, people aren't gonna do this daft rubbish every year, are they?

ALEX is still perplexed as to where the drips are coming from.
Audio of dripping water and creaking metal.

VIV:
Hey, saw you on the telly last night, Carling.

RAY:
It wasn't me. I don't look like... Did you see that bloke's gut?!

VIV:
I only had half an eye on it, mate, but I'm saying, I thought it was all of you.

RAY:
I don't look like Eddie Yeats, all right?

ALEX:
Where is this leak coming from?

SHAZ:
Not from the bath, it ain't plumbed in! Anyway, I can't see no leak. Hey, d'you like it?

SHAZ rings a hand bell in front of ALEX, it tinkles and then clangs.

SHAZ:
Found it on the chair this morning, thought you could use it as a paperweight.

ALEX snatches the bell from SHAZ, just to get it to stop ringing.

ALEX:
Thanks, Shaz.



CID kitchen. ALEX has a mug of tea and evidently trying to get a grip.

TERRY WOGAN on the radio:
...£20,000 raised in an old tin tub, and then this happens. It's enough to make you weep.

ALEX:
Ah, tell me about it, Terry.

TERRY WOGAN on the radio:
So, Gil, thoughts are with you, and on a wing and a prayer, this one's for you.

GENE enters.

MUSIC: 'The Man With the Child in His Eyes' by Kate Bush

GENE:
Whatever next? Ed 'Stewpot' Stewart talking about GBH on Junior Choice?

ALEX:
You were right, you know. We have to crack this. I have to. It's part of being in control.

GENE:
Yeah, well they shot him, Bolls. They're ruthless. And if we don't stop 'em somebody's going to wind up dead.

ALEX:
Yeah. Yeah, they are. But I won't let that happen. I have to prove to my subconscious that I am its master. And that is how I'll get home.

GENE:
Home? Thinking of leaving?

ALEX:
Well, this was only ever temporary.

GENE:
Ah, right. Had enough of us?

ALEX:
Well, I didn't mean that exactly, I... Er... excuse me.

GENE:
Here's a thought, and, er, well, it is only a thought but, um... Tonight, somewhere posh. Trout and almonds. My shout. Just you and me. Ah, if you don't want to then, well, stuff it.

ALEX:
Um...

# The man with the child in his eyes #

ALEX:
I prefer Dover sole.

GENE:
You want sole? I can give you sole.

ALEX rather strangled:
OK then.

GENE:
Great, OK. Right.

GENE leaves, stops, comes back and peers round the corner again.

GENE:
Wear something slutty.

GENE returns to CID, ebullient.

GENE:
Right, Jimmy, chase up the dabs from forensics. Chris, Datsuns, check for any last-minute resprays. Raymondo, pull in all our regular snouts.

RAY:
Be all over it like red dots on a tart's mini, guv.

ALEX:
Guv, I think Gil Hollis knows more than he remembers.

GENE:
The bloke's a nice kindly twat. He's a victim, and victims are crap. They shit themselves and forget everything.

ALEX:
I'd like to walk Gil through the crime scene again. Try and provoke an associated memory.

GENE:
Psychology.

ALEX starts to correct him and then realises to her surprise that he's got it right.

ALEX:
Yeah.

GENE:
Hmm. Right, boys and girls, you know what you're doing? I'm going to go and do a bit of mind-reading with Uri Geller here.

GENE leaves and ALEX goes to follow, but is brought up short by the sound of bells clanging.
Audio of creaking metal.

SHAW TAYLOR echoing:
Keep 'em peeled.

The CLOWN laughs.

Rapid microfiche effect sideways.
The barge.
Audible heartbeat.
ALEX's eye in the present open, then closing.
Rapid microfiche effect sideways.
The CLOWN.

CLOWN:
Who's it gonna be?

Rapid microfiche effect sideways.

SHAZ echoing:
Ding dong! Avon calling.

Bells clang.

SHAZ:
You were miles away.

SHAW TAYLOR echoing:
Keep 'em peeled.

ALEX looks at CHRIS, who's revealed on the mortuary slab; then VIV likewise, followed closely by SHAZ and RAY.

ALEX:
Who is it going to be?



Station corridor.

SUPERINTENDENT:
Oh, Hunt. Saw your chaps on P5.

GENE:
Um, it wasn't actually us, sir. It certainly wasn't my idea.

SUPERINTENDENT:
Pity, because it's a splendid notion. Police and public sharing collective responsibility, what? Very modern. Awful business. Amazing man. Separated from his wife and child all those months. Can you imagine sitting out in a bath tub in Carlisle?

GENE:
Mmm. He shames us all, sir.

SUPERINTENDENT:
Well the TV personalities are showing their support.

GENE:
I think that sort of thing is more inclined to, er, hinder rather than help.

SUPERINTENDENT:
Yes, well, I've been asked to pass on a rather large donation from a golfing partner of mine. (he whispers confidentially) It's Sid Little. He's a close friend.

ALEX arrives.

SUPERINTENDENT:
Ah, our very own Juliet Bravo. Or is it Jill Gascoine? Ah, The Gentle Touch.

ALEX:
Trying, sir. Er, DCI Hunt and I are just off to practise a little psychology on Gil Hollis.

SUPERINTENDENT:
Ah, I'm glad to see you're dragging this lummox into the 1980s. I shall look forward to giving Sid some good news. (he whispers confidentially again) That's Sid Little. He's a close friend.

The SUPERINTENDENT leaves.

GENE:
D'you know, I wish you were Jill Gascoine.

ALEX:
And I wish you were Sid Little.



Scene of the crime. ALEX is coaching GIL HOLLIS to try and tap his memories. GENE is not convinced.

ALEX:
OK, breathe in... and out. Just take your time.

GIL HOLLIS:
It's all just a blur. It's just a blur, really. It was over in a flash. It all happened so quick, you know.

ALEX:
OK. Let's not worry about specifics. Just let the images wash over you.

GIL HOLLIS:
All I remember is that they had balaclavas with hoods up.

ALEX:
OK, so these hoodies, what did they...

GENE:
Hoodies?! They're blaggers, not characters from Watch With Mother!

ALEX:
So, you got out of the car and they're there. What did they say to you?

GIL HOLLIS:
Er. . .er, they were shouting stuff. I don't know. They just shot me and I blacked out.

ALEX:
OK. Well, the mind's an amazing organ.

GENE:
I've got an amazing organ.

ALEX:
It's capable of far more than you'd imagine.

GENE:
Right again.

ALEX:
So, the car?

GIL HOLLIS:
Yeah, Datsun. Yellow... yellowish. Brown.

GENE:
Oh, God!

GIL HOLLIS:
And I think the bullet, er... pass- I remember the bullet passing through me, and then I was falling.. .erm

ALEX:
OK. OK, so you were shot and then you were falling?

GIL HOLLIS:
Yeah, and then it all went dark.

GIL HOLLIS starts to fiddle with his sling.

ALEX:
Is your sling uncomfortable, Gil?

GIL HOLLIS:
No. It's... No. It's got to be straight. It's got to line up with me badges.

GENE:
Whilst we are tripping the light fantastic of your mind, can you recall anything else, like the registration of the Datsun?

GIL HOLLIS:
Or Allegro. Might have been an Allegro.

GENE:
What?! You are joking me! I have got coppers over most of this city looking for a ruddy Da-

GIL HOLLIS:
I'm trying to be useful!

GENE:
All right, what about the tracksuit?

GIL HOLLIS:
Blue. Yeah, blue. Or black. Er, bla... They were a dark colour.

GENE:
Oh, give me strength!

ALEX:
You're just confusing him now. You're gonna cloud the memories.

GIL HOLLIS:
Look, I'm try... look, I so much want you to catch them. Everyone's given so much cash for Botswana and they entrusted it to me.

ALEX:
Gil. Gil, this is what we're going to do. We are going to retrace your steps, OK? See if we can, during the regression, dislodge some hidden memories.

GIL HOLLIS:
Yeah.

GENE:
And after that we're gonna make a study of some sheep entrails. See what we can learn from them!

GIL HOLLIS, much to GENE's exasperation, goes through a routine of opening and closing the car door before getting in.



GENE, ALX and GIL HOLLIS are in the Quattro, retracing his movements on the day of the crime.

ALEX:
Keep your breathing circular. In through your nose... and out... through your mouth. Nice and controlled.

GIL HOLLIS:
Sun's out. Um...it's a bit...it's bit overcast. Um, I'm happy. Er, car's handling badly 'cos I've got the bath strapped to the roof rack. Er...

ALEX:
OK, just relax.

GIL HOLLIS opens his eyes and looks through the windscreen.

GIL HOLLIS:
Stop! Stop the car!

GENE:
What?!

GIL HOLLIS:
Stop the car! I want to get out! Stop the car! Let me get out, let me get out! Let me get out!

The Quattro halts in front of a large billboard, on which an advertising poster is being pasted.

ALEX:
OK, what is it? What's wrong, Gil?

GIL HOLLIS:
Sorry, sorry, it's...

GIL HOLLIS does a strange shuffling dance before running to the billboard to repeat the action.

GENE:
He's turning into Al Jolson now.

GIL HOLLIS:
Sorry. Hang on, hang on... Sorry, I've just got to...

GENE:
Drake, what the bloody hell...?

ALEX:
Just give him a minute. He's clearly OCD.

GENE:
Eh?

MUSIC: 'Whine and Grine' by The Beat

A group of SKA BOYS hail them from further up the road.

SKA BOY:
Hey, man! Where's your rub-a-dub? Eh? Where's your shampoo?

SKA BOYS:
Where's your loofah?

SKA BOY:
Where's your bubble bath? Freak! Eh?

GENE:
Oi, you lot! Turn that racket down, otherwise I'm gonna pull you in and force you to listen to Val Doonican till you top yourselves! Got it?

SKA BOY:
Go screw your police dog. Pig!

The SKA BOYS making squealing noises; GENE advances on them threateningly and they run off.

ALEX:
Is the billboard one of your regular touchstones, Gil?

GIL HOLLIS:
Why won't it line up?

GENE:
This is turning into a circus, Drake. Let's get out of here.

ALEX:
He's, er, he's spiralling. We need get him focused.

GIL HOLLIS:
Why won't it line up?

GENE:
I can do that... Oi!

GENE grabs GIL HOLLIS by the lapels.

GIL HOLLIS:
Those guys. Always going on about me. 'Have you had a wash?' 'Where's your bubble bath?' Messing with me motor.

GENE:
Stuff them. What's it like being stuck in a bath for eight months?

GIL HOLLIS:
It's lonely. It's very lonely.

GENE:
Bet you were the cleanest bloke in the country, though.

GIL HOLLIS looks around, slightly confused, but seems to have regained controlled.

GIL HOLLIS:
OK.

GENE:
OK.

ALEX:
Well, that was blunt but surprisingly effective.

GENE:
That's me all over.



CID. With the aid of toy cars and rudimentary sketch map, GENE re-enacts the blag, RAY, CHRIS and ALEX looking on.

GENE:
Gil collects his charity funds, he drives from his home along Marple Street here. Before any of you ask, the pink wafer represents his bathtub.

CHRIS:
That was a Ford estate.

RAY:
Dinky don't make Ford estates.

CHRIS:
Oh.

GENE:
He drives past the billboard, into Crate Lane, not realising the roadworks were blocking the road off. The blaggers, meanwhile, force him off the road right there.

CHRIS:
Do they not make Allegros?

RAY:
Dinky don't make Datsuns either.

CHRIS:
Do they not?

GENE:
Would you shut up! Blag occurs.

RAY:
'Gimme your money!' Boom! 'Ah-h-h!'

GENE:
The scumbag shits jump back in the getaway car and race along Crate Lane, screaming into Marple Street here. And this is where the trail goes as cold as a polar bear's knackers.

ALEX:
That's an unusual MO, a male and a female.

RAY:
Yeah, a bird doing blags. It's very disturbing.

CHRIS:
D'you think she wears heels or comfortable shoes?

ALEX:
I propose, given your reaction to the gender balance of the gang, that this is their first job.

GENE:
What, New kids on the block?

ALEX:
Now, that is a good name for a boy band.

SHAZ comes over and hands GENE a piece of paper, who promptly hands it on to CHRIS.

SHAZ:
Guv.

GENE:
Chris, take that. List of dodgy secondhand car dealers, East 17.

CHRIS:
Oh right, backstreet boys.

RAY:
Yeah, let's get 'em busted.

ALEX:
Oh, God, I'm going to scream. Um... OK. No, I'm not because I'm in control. I think this pair are still in the area. They'll be giddy on the adrenaline rush. Bonnie and Clyde syndrome.

GENE:
What, syndromes are named after films, are they?

ALEX:
They might start making mistakes because they think they can run rings around the police.

RAY:
Road Runner syndrome.

CHRIS:
Meep-meep!

ALEX:
OK, OK. Good. In control. Now, none of you will die... unless I choose to kill you.



Interview room.

GIL HOLLIS:
It's creepy in here.

ALEX:
You should try being in here with DCI Hunt. Now, I know that you know more than you think you do, Gil. OK. So I'd like you to close your eyes... and breathe.

MUSIC: 'One Day In Your Life' by Michael Jackson

GIL HOLLIS:
I can't see anything.

ALEX:
That's perceptive.

GIL HOLLIS:
No, I mean I can't recall nothing new.

ALEX:
I want you to picture an orchard brimming with apples. The sweet smell. The end of summer. There. Now, what can you see?

GIL HOLLIS:
Picking windfalls with my son, little Adam.

ALEX:
That's great. That's great. I want you to make it crystal clear in your mind's eye.

GIL HOLLIS:
Adam's laughing. I'd forgotten how much he laughs. I've been away too long.

ALEX:
Now drop your head... and open your eyes. We've just given your memory a bath.

GIL HOLLIS:
I've had it with baths.

ALEX laughs.

GIL HOLLIS:
Her eyes.

ALEX:
Whose eyes? The woman who robbed you?

GIL HOLLIS:
She was looking at me. Sort of holding me attention. And then he pulled the trigger.

FLASHBACK
Gunshot
Bullet heading towards us
Audio of dripping water and creaking metal

GIL HOLLIS:
Then I was falling... into darkness, and it was cold.

ALEX:
It was cold. So cold. And you feel it, and it feels like there's... It's like there's worms inside you.

GIL HOLLIS:
She was looking at me, the woman. It was her eyes, I remember that now. It was dark eyes under her hood, looking into me.



Station front desk, and ALEX looks on as GIL HOLLIS greets his son. Mrs Hollis is less pleased to see him.

GIL HOLLIS:
Adam! Hello, mate! How are you? Nice to see you.



Records room.

SHAZ:
I've checked, ma'am. All the old crime reports are down here now.

ALEX:
I'm just trying to cross-reference a few IDs.

SHAZ:
Dark eyes?

ALEX:
Yeah, that's right. The eyes have it.

SHAZ:
'Diligence is the mother of good fortune.' Don Quixote.

ALEX looks the question.

SHAZ:
It was an answer on University Challenge. It's funny what you remember, innit?

ALEX:
Yeah. Do you read, Shaz?

SHAZ:
Not really. You can get everything off the telly. Me dad used to read to us when we were little.

ALEX:
Yeah, so did mine. The Lion, The Witch And The Wardrobe every night for a week. It was fantastic.

SHAZ:
Did he put on all the voices an' that?

ALEX:
Yeah! Yeah. And every night he'd finish on a cliffhanger and then he'd say... He'd say, 'Until tomorrow.'

SHAZ:
He sounds lovely.

ALEX:
Yeah.

SHAZ:
You need to get on. You don't need some glorified typist disturbing you, eh?

ALEX:
Oh, Shaz, you are conscientious and you've got a great outlook on life. Listen to me, talking to you like you're actually...

SHAZ:
Actually what?

ALEX:
You know, women like you are so important in the force. You're the future.

SHAZ:
Fab.

SHAZ leaves, bells clang and we briefly see the CLOWN in the window.

SHAW TAYLOR echoing:
Keep 'em peeled.



CID.

GENE:
Gil Hollis is our only witness and quite frankly, I've had custard with more consistency. Plus the fact he can't drive past a billboard without stopping to do a hot shoe shuffle!

CID laugh.

ALEX:
Gil has a condition. OCD.

CHRIS:
Orchestral Manoeuvres In The Dark?

ALEX:
Obsessive compulsive disorder.

GENE:
I am done with psychiatry.

ALEX:
(to herself) Look at me... OK, all right. Happy Alex. I'm in control Alex. (to CID) Now, we have to reach into the neighbourhood, into the community, and I am loathe to suggest it, but... what about a personal television appeal?

GENE:
The goggle box is no place to police crime.

ALEX:
If we showed the public and the Chief that we're being progressive in our...

GENE:
Not happening, Bolly. End of.



MUSIC: 'Fame' by David Bowie

Make-up in a television studio somewhere in the 80s. GENE is being prepped for the TV. A delighted RAY pics up a signed photograph of Roger DeCourcey and Nookie the Bear. You probably had to be there...

RAY:
Hey, look.

CHRIS:
You're joking! Roger DeCourcey!

RAY:
You don't think he's here now, do you?

GENE:
Go easy, love. I'm investigating a robbery, not auditioning for Hello Dolly.

ALEX:
Ok. Now I've made some notes. You need priming.

GENE:
I know what I want to say.

ALEX:
You're not dressing down a few beer-breaths in the coppers' canteen, guv. You're facing three million people.

GENE:
Three million?

ALEX:
Uh-huh.

GENE:
What are you doing to my hair, you TV Mary?! Get off!

GENE leaves in a huff, ALEX trailing in his wake. RAY and CHRIS follow, pausing only for a brief encounter with ventriloquist fame.

RAY:
It wasn't, was it?

CHRIS:
It was.



GENE, ALEX, RAY and CHRIS are being lead to the studio.

ALEX:
Because of the charity connection, you could appeal to the members of the criminal community to come forward.

GENE:
Members of the criminal community? We're talking about villains here, Drake, not the bloody Waltons!

ALEX:
Jesus, Guv, you can move directly into the consciences of people. You know, that is what television can do.

GENE:
No, that's what Songs Of Praise can do. Me, I'm here to catch crooks.

CHRIS:
Hey, Guv, break your neck.

RAY:
'Break your leg,' Chris. 'Break a leg'

ALEX:
So, stay calm...

GENE and ALEX disappear onwards, leaving RAY and CHRIS behind to marvel on the wonders of showbiz.

CHRIS:
Roger DeCourcey.

RAY:
And Nookie the Bear.



Production gallery, and ALEX, RAY and CHRIS watch as GENE tackles the ordeal of live television.

TV DIRECTOR:
Coming to air, and good luck, everyone.

MUSIC: 'Police 5 theme'

TV WOMAN:
Five, four, three, two, one, cue Shaw.

SHAW TAYLOR on TV:
Of course you'll know Gil Hollis as one of our most popular fundraisers. His mission ended in violence and robbery. This was a brutal and callous attack and the police need your help to catch this couple before they strike again. Did you happen to see a couple in Fenchurch that afternoon? A man and a woman. Things that might have caught your eye is the fact they were wearing tracksuits with the hoods up. Now, who would wear a tracksuit with the hood up? That could have been odd. Think about that. Well, with me is the man in charge, Detective Chief Inspector Gene Hunt. No luck so far?

GENE on TV:
Er, well, Shaw, we're in the process of conducting an exhausting invest... Oh, hang on. Er, exhaustive investigation. And, um... well we're certain we're gonna have a breakthrough soon.

CHRIS:
Is he all right? He looks like he's been on cut-price vindaloo.

GENE on TV:
...they may still be at large in the area because of, um... Well, it's Bonnie and Clyde syndrome.

An uncomprehending silence.

GENE:
We urge anyone with, er...

ALEX:
You can't just leave that hanging! You have to elucidate!

GENE on TV:
...to come forward. So if you're protecting a member of your family, then, er... then you can phone us. Erm, Fenchurch East Police Station. That's where we are. And, um... above all, don't have nightmares. No, DO have nightmares! These are scum and they're still at large and we need to nail these bastards!

Sharp intakes of breath amongst the production crew.

SHAW TAYLOR on TV:
A heartfelt plea there from the man in charge of the investigation. That's it for today. Until we meet again... keep 'em peeled.

GENE on TV:
(to SHAW TAYLOR) Sorry about saying 'bastards'.

GENE leaves shot and there's a clattering noise as he trips over something.

GENE:
Bollocks.

TV DIRECTOR:
Thank you, studio.

ALEX offers an embarrassed apology.

ALEX:
Sorry.

GENE arrives in the gallery, sweating and evidently having gone through hell.

GENE:
Is that what you wanted? I could do with a bloody drink.

TV WOMAN into telephone:
Hello. Yes... (to GENE) It's for you.

GENE into telephone:
Hello. You saw it, sir... No, hang about. I mean... If l could ju- I didn't mean for it to sound ineffectual. As you know, that's not me. No. Progressive, I think you'll find. Yes, sir. Thank you, sir. Goodbye.

GENE hangs up.

GENE:
(to ALEX) 'Pathetic'.Super's words. This was your idea. I did this for you. Happy now?

GENE leaves.

ALEX:
Gene.



GENE's office. The cleaners are trying to keep on top of the fag ends and empty bottles in the watches of the night.

MUSIC: 'Too Much Pressure' by The Selector

GENE:
You know what, love? In the old days, no-one would clean my office. Not for weeks.

CLEANER:
Oh, yeah, love?

GENE:
Yeah, the very walls would be running with scotch and fag smoke.

CLEANER:
Mmm.

GENE:
I was left to it. It was paradise.

CLEANER:
I bet it was.

GENE:
Somebody turn that bloody ska music down.

GENE has A Thought and demonstrates it to himself via the medium of toy cars on his desk. As you do.

GENE:
Hang on, hang on, hang on, hang on, hang on... The blaggers had to come back this way... past the ska boys.



The road near the billboard, and GENE arrives to have a word with the SKA BOYS. RAY, CHRIS and some uniform are in tow.

GENE:
Evening all.

SKA BOY:
Hey, Mr Hunt. 'Keep 'em peeled!'

The SKA BOYS laugh at this hilarious repartee.

GENE:
Heh heh. You know what? I did. And it suddenly dawned on me that when the getaway car had to double back, you dickheads were loitering here. Which means you're all eyewitnesses.

SKA BOY:
We saw nothing, man. Yeah?

GENE:
Nick 'em.

RAY:
Which ones?

GENE:
All of them.

RAY:
Music to my ears.

General shouts and sounds of strife as a fight kicks off.

Ray:
Come down.

GENE:
Only the guilty need fear me, son.

SKA BOY:
Argh!



CID. ALEX arrives, horrified to find mayhem.

SKA BOY 2:
Scum!

RAY:
Shut up!

SKA BOY:
Screw you, pig! Eh?

ALEX:
What the hell's going on?

GENE:
What should have gone on in the first place. These girls are all witnesses.

SKA BOY oinks like a pig, earning a punch in the stomach from GENE. A fight breaks out again, GENE getting the best of SKA BOY 2 before depositing SKA BOY on his back on one of the desks, holding his hat down on his forehead and brandishing a stapler.

GENE:
You like this hat, do you? You'd better start talking, otherwise I'll nail it to your skull!

VIV:
He's in custody!

CHRIS:
Blimey, Guv. Easy, eh?

GENE:
The South made you go all soft, Christopher?

ALEX:
Stop it. Stop it, Guv, all right? You can't do this! Where do you think you are? Bolivia?

GENE:
Now you were on that street corner all day. Tell me what you saw. Talk!

ALEX:
I understand your frustration, but you are losing control.

GENE:
Yeah, well I feel like I'm gaining it. (to SKA BOY) Come on!

SKA BOY:
We was just messing with him. He pulled up right by us. He took this bag and he ran behind the billboard.

GENE:
What, the blaggers?

SKA BOY:
That bath guy, Hollis!

GENE:
What, before he was robbed? So he took the cash behind the billboard? What was he doing?

SKA BOY:
I dunno. Just... He was behind there for about five minutes.

GENE:
Right, Ray. Take a formal statement from laughing boy here.

ALEX:
OK. Right, you have to let the rest of them go, all right?

GENE releases SKA BOY to RAY's tender mercies.

SKA BOY:
Urgh!

GENE:
Fine. We're recalling Gil Hollis for questioning. There's a discrepancy in his statement. Now you saw how he reacted at that billboard...

ALEX:
Urgh. How many times? He's...

CHRIS:
OCD.

ALEX:
OMD! No, no, he's OCD! Yes!

GENE:
He's been lying to us and playing me for the fool. Don't tell me what to do!



Interview room.

GIL HOLLIS:
Look, I know I said I'd come in and help today, but you had a message through to your front desk person that my son's had an asthma attack, so I've got to go really. And his mother's worried.

ALEX:
We didn't realise. We can do this another day. It's fine.

GENE:
Why did you go behind that billboard?

GIL HOLLIS:
What, on the way to the bank? To have a Jimmy Riddle. I'm sorry, can we do this another day? 'Cos Adam really is not well.

GENE:
How come a load of ska boys on that road all saw you going for a dangle but never clocked the getaway car ten minutes later?

GIL HOLLIS:
What are you looking at me like that for?

GENE:
So you parked up and took the money with you?

GIL HOLLIS:
Yeah! I'm not going to leave 20 grand in my car, am I? Look, those boys are thugs. I saw one of them climb up on my roofrack and get in my bath. That's not on. And they were trying to get in the car, and they were looking for me bubble bath and rearranging all my things.

GENE:
What more can you tell us about this getaway car? You know, the Datsun. Or was it maybe an Allegro? You know, the yellow one... or brown?

ALEX:
He was shot.

GIL HOLLIS:
I was literally shot!

GENE:
So what? I've been shot. Loads of folk get shot. He wasn't that shot.

ALEX:
He passed out. How could he possibly remember anything?

GIL HOLLIS:
It was over in seconds.

GENE:
Why, when we walked you on your journey, did you fail to mention that you stopped right in front of the billboard? Why was that spot so bothering you?

GIL HOLLIS:
Look, if you must know... it's about my peeing habits. I have to do it a certain way. And I have to count, and I've got a system. And that's just the way it is. I had to stop in front of the billboard 'cos I remembered that I hadn't touched it after I'd... been.

ALEX:
I'm sure Mr Hollis didn't think that his renal habits would benefit the case.

GIL HOLLIS:
Look, I really, really want to help you with every fibre of my body. For those kids, those dying kids in Africa.

GENE:
What, you caught a glimpse of this woman's face under her hood?

GIL HOLLIS:
Not her hair or anything. Just her eyes, 'cos of the balaclava. Her eyes, those eyes. DI Drake helped me remember those eyes.

GENE:
Right, Bolly, let's round up those dodgy birds on your list.



Line up of hooded and balaclava-wearing folks. GENE looks on; CHRIS and RAY arriving behind him.

CHRIS:
We looked behind the billboard, Guv. The ground hasn't been disturbed.

ALEX:
Just take your time.

GIL HOLLIS studies the line of of masked figures before finally indicating one, who steps forward.

ALEX:
Are you sure?

GIL HOLLIS:
Yeah, positive, 100%. That's her. That's the one.

GENE and RAY exchange a glance, and RAY leads GIL HOLLIS away.

GIL HOLLIS:
Where are you taking me? I've got to go home. Adam needs me.

RAY:
Yeah, I bet he does.

GENE:
Well, well, well...

The masked figure GIL HOLLIS picked out removes her hood and balaclava to reveal herself as SHAZ.



Interview room. GENE sweeps aside GIL HOLLIS' belongings from the table while RAY throws him face down on it.

GIL HOLLIS:
What are you doing?

GENE:
You're making this up, Gil. Nothing you've told us about this robbery adds up and I'm beginning to lose my patience!

GIL HOLLIS:
My things. They need to be in a certain order.

RAY:
Come here!

GIL HOLLIS:
I want to go home!

ALEX:
You can't treat him like this!

GIL HOLLIS:
You can't treat me like this!

GENE twists GIL HOLLIS' injured arm round.

GIL HOLLIS:
Aaargh!

ALEX:
What the hell are you doing?!

GENE:
You've been lying to us from day one. No-one saw the getaway car, they only saw you!

GIL HOLLIS:
Aargh! I stopped the car. The robbers, they shouted something, then I opened the door. And then the gun went off. And then... And that was it. I'm not a brave man, Mr Hunt. I'm not a hard man either. I'm sorry if I'm not good enough for you. Aargh! Get off me!

ALEX:
He was shot, Hunt! Where's the gun? Where's the evidence?

GENE:
Evidence can always be found to back up my instinct.

ALEX:
Oh God, we're not going to go down this path!

GENE:
Right, take him down the cells. He can decide what he wants to say next.

RAY manhandles GIL HOLLIS towards the door.

GIL HOLLIS:
You can't let him do this, DI Drake! Aargh! What are you doing? What are you doing? Get off me! DI Drake, I want to go home! I want to see me family! I'm dying here!

ALEX:
You're going to ruin this for me, you stupid, pig-headed bastard!

GENE:
I've been poncing about on the telly for you, saying things that I didn't even understand. Do you really believe that I am going to sell my professional gut instinct down the river just so's that you can feel good about yourself? Forget it!

GENE leaves in a huff. Or a minute and a huff...

ALEX:
No. I won't let you.



Alleyway somewhere in the City of London.

ALEX:
CID detained people illegally last night. DCI Hunt used physical violence and now he's holding Gil Hollis in custody without caution. Gil has a medical condition and I'm worried that he's going to hurt himself. I'd, er... I'm just wondering how to regain control of this investigation. If I don't, then- Then I believe somebody's going to die.

EVAN:
Report Hunt to your superiors. Have him removed.

ALEX:
I don't want to wade in too hard. I feel like such a Judas, and besides there are still forensic leads to follow. If I carry on with my own sideline investigation...

EVAN:
He'll undermine it. Report Hunt. Get your control back. I can help you. I'm on your side.



CID. GIL HOLLIS is signing for his belongings, EVAN hovering.

GENE on the telephone:
Sir, with respect, there was... No, sir. Thank you, sir. Goodbye.

GENE hangs up and storms out of his office.

GENE:
Tell me I am having a bad dream.

ALEX:
No, that's me.

EVAN:
Gil Hollis is now under the representation of Caroline Price and her legal team. You detained him based upon a witness statement which was illegally obtained through inducement.

GENE:
Now just hold your bloody horse-

EVAN:
I'm sorry but I haven't quite finished. Contrary to the judges' rules, you held him without access to a telephone call or a solicitor. You also failed to caution him. I'm sorry, but that's... you can't quite do that, you see.

GENE:
You are making one of the biggest mist-

EVAN:
One last thing. You implied that you were prepared to manufacture evidence to secure a conviction, and I quote, 'Evidence can always be found to back up my instincts.'

While EVAN is talking, CAROLINE and the SUPERINTENDENT enter CID.

CAROLINE:
Now, that is a biggie. This is just like the good old days.

SUPERINTENDENT:
This is none too healthy, Chief Inspector.

CAROLINE:
The Manc Lion. I knew one day you'd ask to have this lion shaved, DI Drake.

RAY:
You bitch!

GENE:
Watch your mouth, Sergeant. You're talking to a DI.

CAROLINE:
What are you waiting for? Christmas? Take him to the car.

EVAN:
Come on.

GENE:
We'll meet again, Gil. Don't know where, don't know when, but I know we'll meet again some sunny day.

GIL HOLLIS:
I'll be back for my bathtub.

EVAN and GIL HOLLIS leave.

CAROLINE:
You see, Alex, this lion, this lion they all fear, why, he's nothing but a big pussycat.

ALEX:
You've got what you want. Will you please just leave. Please.

CAROLINE leaves.

SUPERINTENDENT:
DCI Hunt, shall we step into your office?

GENE:
Why sir? So's that I can step straight back out again? I take it I'm suspended.

SUPERINTENDENT:
Oh, no, you're on leave. You're over-stressed. A holiday will do you the world.

GENE:
D'you know, I might visit Bognor. There's a cats' home in Bognor.



GENE storms out of the police station with a box of his belongings, ALEX in pursuit.

ALEX:
I know you hate me, but I have to do this, all right? It's important. I have to be in control.

GENE:
Oh, what, I suppose I'm not? There was me thinking that we were beginning to get along a little bit.

ALEX:
Oh, Gene, I can't tell you everything, all right? Maybe if you had a child, then you'd understand.

GENE:
How do you know I don't have children?

ALEX:
What?!

GENE:
Here! You want my job, have my stuff!

GENE skims his box of belongings over the roof of the Quattro and ALEX catches it.

ALEX:
Oh, no, no, no, no!

ALEX throws the box down to the ground, accompanied by sounds of something fragile breaking. Possibly Gene's ego.

ALEX:
I am not going down that path! God. The righteous anger. Me feeling guilty. You, you are a fictitious construct bemoaning his fictitious fate. And I'm fighting for my life, Gene! YES, I AM!

ALEX bangs on the roof of the Quattro and sinks her head on it.

ALEX:
(to herself) Molly. (to GENE) I am so tired.

GENE:
D'you know what? We all are, love! Shall we postpone dinner?

ALEX kicks the Quattro as GENE drives off.



CID and CHRIS is entertaining everyone with an impression of Rigsby from Rising Damp.

CHRIS:
And then he goes, 'Ooh, Miss Jones, Miss Jones...'

CID erupts with laughter, abruptly cut off as ALEX enters.

ALEX:
DC Skelton, forensic report from the car?

CHRIS:
Yeah, it's in. No dabs. Firearms residue on the driver's side.

ALEX:
Well the man was shot. Anything else?

CHRIS:
Yeah, the blood in the car was A pos.

ALEX:
Hollis is A positive.

RAY:
Well done, Quincy.

ALEX:
Quincy is a pathologist.

RAY:
Well, so are you.

CHRIS:
No, Ray, she's a psychiatrist.

ALEX:
Psychologist.

RAY:
Yeah, just like Quincy.

SHAZ:
Additional statements, ma'am, like you asked for.

ALEX:
Thanks, Shaz. Would you mind, er...?

SHAZ ignores her.

SHAZ:
Are we still going out tonight?

CHRIS:
Yeah. Pictures.

SHAZ:
I want something romantic.

CHRIS:
Friday The 13th, Part 2.

SHAZ:
Is it romantic?

CHRIS:
Well, it's set by a lake.

SHAZ:
Fab.

ALEX:
DCI Hunt may be on leave, but I would like you all to keep him in the loop, please.

RAY:
Just to let you know, ma'am, if you were a bloke, I'd be knocking ten bells out of you.

ALEX:
Bells?

RAY:
Bells.

ALEX looks round CID and sees that RAY's mood is shared by the rest. She leaves.

CHRIS:
'Oh, Rigsby!' 'Ooh, Miss Jones, Miss Jones...'



MUSIC: 'Reunited' by Peaches and Herb

# Reunited and it feels so good
# Reunited cos we understood... #

ALEX's flat and ALEX and EVAN are having Martini's and so forth. EVAN indulges in a bit of a wavy hand dance - viewers everywhere feel the urge to throw up but ALEX manages to confine herself to giggling.

ALEX:
God, you're so '80s.

EVAN:
What?!

ALEX:
Hah! The touch of your hand and this music.

# ..Cos we're reunited... #

ALEX:
Oh! I think I might be losing my mind. Which is ironic, really, as I'm in my own mind.

EVAN:
Have we met before, Alex? I mean... don't you think it feels that way?

ALEX:
We have. We have met before. In another life.

EVAN:
A past life? Woo, it's not what I was thinking, but it's an interesting idea.

ALEX:
Just forget it.

EVAN:
Who were we?

ALEX:
Um... well... I was in distress and you rode to my rescue.

EVAN:
Ah, the damsel and the shining knight, of course. But then again, I'm no Lancelot, and you're no damsel in distress.

ALEX:
I was scared. And I was so alone and...

MEMORY
Red balloon
EVAN running
LITTLE ALEX holding the balloon, looking at flames


ALEX voiceover:
...you took my hand...

A figure moves across, blocking the view of flames.
Man takes little girl's hand.

ALEX voiceover:
...and, through all the pain and the fear...

ALEX:
I felt that my world wasn't over.

EVAN:
I've no idea what you're talking about. But the crazy thing is, I believe you, Alex.

ALEX closes her eyes - and sees GENE with a helpful audio roar, just in case we haven't got the lion thing yet...

ALEX:
(to herself) Why? Why are you in my head?

EVAN:
I don't know.

ALEX:
Oh. No, um, not, not you. Gene Hunt... actually.

EVAN:
Is he?

ALEX:
Yeah.

EVAN:
Well, um... it's, er, it's getting late, so... I'm going to head off.

ALEX:
OK.

EVAN:
Ciao.

ALEX:
Ciao.



CID and CHRIS is running off video tapes of the Police 5 appeal.

GIL HOLLIS on TV:
And you know, it was the culmination of all the hard work...

SHAZ:
Is that for me mum? Aw, baby.

GENE enters to everyone's surprise, and VIV's concern.

RAY:
Guv!

VIV:
Guv? You sure this is a good idea?

GENE stalks into his office and out again at speed, clutching a bottle of whisky.

GENE:
Well, with all the excitement, I missed something vital.

GENE takes a swig from the bottle, rather to VIV's disapproval.

GENE:
Well, I am on leave. Right, you lot. Let Bolly-kecks do her job. She's a scheming cow but we need to nail this bastard.

Chorus of 'Yes, Guv'

CHRIS:
Here, Guv, do you want one of these? I'm running one off for Shazzer.

On TV the Garfield toy stuck to the window of GIL HOLLIS' car is shown.

SHAW TAYLOR on TV:
This was a brutal and callous attack, and the police need your help to catch these...

GENE:
Hang on, hang on. Go back a little bit. Freeze it there.

RAY:
What is it?

GENE:
Look. This looks like dried blood under those plastic sucker things. How did it get under this toy after he was shot?

CHRIS:
Hollis must have put it back up. He hates mess. OCD an' that.

GENE:
Yeah, but he told us he blacked out straight away. You see, nothing adds up with this bastard. I want you to show this to DI Drake. It's her investigation now. As for moi, I will be trying out a new steak and chips pizza in Luigi's.

RAY:
Not off to Bognor, then?

GENE:
Oh, bugger Bognor.



Luigi's. GENE seems less than enamoured of LUIGI's new culinary experiment.

TERRY WOGAN on the radio:
Thieves of Children In Need money are still at large. Probably still thinking of themselves as human beings. Police say that there were two of you, two low lives. How do they sleep? How can they look at themselves in the mirror in the morning?



CID. RAY tosses the bagged Garfield to ALEX, who's addressing all of CID.

ALEX:
So, the Garfield fell off the window and, having OCD, Gil had to put it back on.

RAY:
Hollis was adamant. He opened the car door, he was shot, he blacked out.

ALEX:
Well, he might have had memory loss. What's that smell?

CHRIS:
Don't look at me.

ALEX sniffs at the Garfield.

ALEX:
I know that smell from somewhere... Glastonbury, 1992. Yes, 1992. Get over it. Ammonia. There were chemical toilets at the crime scene.

RAY:
What are you on about?

ALEX:
Ray, Chris, come with me.

SHAZ:
Chris, we got a date, remember? We're going out.

CHRIS:
Well come along with me now. We can fight crime together. McMillan And Wife.

RAY:
More like BJ And The Bear.



The scene of the crime, and ALEX, RAY, CHRIS and SHAZ approach the Portaloo on the near-by building site.

ALEX:
He couldn't of got it down the toilet bowl, surely. It was too big.

RAY:
I have that problem meself sometimes.

They open the door to the Portaloo, and reel back at the smell.

ALEX:
Sergeant? Stick your hand down there, please.

RAY:
DC Skelton, stick your hand in there.

CHRIS:
WPC...

SHAZ:
On yer bike, McMillan.

CHRIS, well, sticks his hand in and finds... a hand gun.

MUSIC: 'William Tell Overture' by Gioacchino Rossini



Luigi's, and ALEX, RAY, CHRIS and SHAZ come to report to GENE.

ALEX:
Gil must have hidden the cash first. Then he parked up in Crate Lane near a noisy building site where nobody could see or hear him, shot himself in the arm and then hid the gun down the Portaloo.

RAY:
Thing is, when he'd gone for a pee earlier, the ska boys messed with his car as a wind-up. It was only after he'd shot himself that he realised that the Garfield had come off his window.

SHAZ:
So he put the Garfield back up. He had to. He couldn't leave it down, not with his OCD thingy. Then he made up a really vague story just to keep us off the scent.

CHRIS:
Yeah, and then, after that, he... Oh. We've sort of come to the end of it, haven't we? It's... it's Gil Hollis.

GENE:
What is this? Scooby Doo?

ALEX:
We solved this with forensics, not violence.

GENE:
May I remind you that we only pulled in Gil Hollis because of a statement by one of the ska boys that I dragged in, based on a hunch that I had. Forensics, video, a bit of rough and tumble, and good old-fashioned copper's nous. Where is he?

RAY:
Done a runner. Nobody at home at all.

GENE:
Oh, Wogan will be pleased.

LUIGI:
Ah, you pesky kids solve-a the crime?

GENE:
Yes, Luigi. Unlike your pizza, which is inedible.

LUIGI:
You go now?

GENE:
I go now.

LUIGI:
Ah, grazie. Buona sera. Grazie.

CHRIS:
Grassy-arse, Luigi. Grassy-arse.



GENE, ALEX, RAY, CHRIS and SHAZ make their way up the steps from Luigi's.

ALEX:
We need to charge Hollis.

GENE:
You can do that. I'm on leave.

ALEX:
Are you waiting for a grovelling apology to serve your wounded male ego?

GENE:
If you'd care to drop to your knees in front of me, I will not object. Cheers.

GENE raise his wine bottle to take a swig; a gunshot rings out and the bottle shatters. A second gunshot.

GENE:
Get in! Quick!

They run back down the steps to Luigi's to seek cover. Screams and shots ring out.

CHRIS:
Get back. We're under attack!

LUIGI:
What d'you mean, 'attack'?

RAY:
Attack! Attack! Tora! Tora! Tora!

ALEX throws herself to the ground, GENE, ever the gentleman, throwing himself on top of her.

LUIGI:
They shoot up my place? Bloody bastards!

LUIGI heads for the door to tell gunman what he thinks of him but RAY drags him back to safety.

ALEX:
It's stopped.

GENE:
Shh, shh, shh. Chris, give us the gun.

CHRIS:
Oh, shit, I must have left it in the car.

GIL HOLLIS outside:
Hunt! Hunt, come out and face me!

GENE:
What a surprise. It's that lovely lad who does the charity work.

ALEX:
Well get off me, then!

CHRIS:
What the bloody hell's going on?

GIL HOLLIS outside:
Hunt, you bastard, come out and face me! Come on, come and face me or I'll come in and kill everyone.

RAY:
Why don't he just take his money and get out? He must know that uniform will be here any minute.

GIL HOLLIS:
Hunt, come out! Come and face me, you bastard!

GENE:
Bugger this. I'm going out there.

ALEX:
No! No, no! You can't go out there!

GENE revealed on the mortuary slab.

ALEX:
Somebody is going to die.

GENE:
I am not dying in a trattoria!

Gene leaves, bell clangs.

ALEX:
Ge...



GIL HOLLIS is outside Luigi's, pointing his gun as GENE comes up the steps.

GIL HOLLIS:
Hunt! Right, ten seconds! Ten... nine... eight... se

ALEX follows behind and stands next to GENE. Which is quite brave really, given that she was shot.

ALEX:
Gil. Gil, if you kill this DCI in cold blood, it's life.

GIL HOLLIS:
Yeah, well, that's what this is about, isn't it? Life. Raising money for all them lives in Africa. Eight months in a bath. Lot of time to think. Yeah, thinking about a bathtub filling up with notes when I'm struggling on shit wages with a family. My wife hated me being away. She didn't see the point. She thought I cared more about the coloured kids than my own. She left me. And I'm a hero, am I? Eight months in a bloody, fibreglass bath! And what do I get at the end of it? An empty house with a note pinned to the fridge.

GENE:
Why do blokes holding guns always feel the need to tell us their life stories? Your missus cleared off because you spent more time in the bath than you did in her. Boo-hoo. What about all them people you ripped off? Thought you'd console yourself with a luxury cruise, did you?

ALEX:
Did you think you could buy them back... Gil? Is that why you did it?

GIL HOLLIS:
Why is it, the more we try to take control of our lives, the more it goes wrong?

ALEX:
Your son, Adam. You miss him? I know how that feels. If you pull that trigger, Gil, your son is lost to you. He's lost. Put the gun down. Put it down. Not because you're weak or, or because he's won, but because you love your child. Come on. Come on, gently does it.

GIL HOLLIS throws the gun at GENE and runs off.

GIL HOLLIS:
Urgh!

GENE:
Hey! Hey, hey, Chris! Get after him!

SHAZ comes up the steps from where she's been watching and hares after GIL HOLLIS.

GENE:
Shaz!

SHAZ:
I'm on it, guv!

GENE:
Ray! Chris!

SHAZ runs after GIL HOLLIS, ALEX and GENE some way behind. GIL HOLLIS reaches the billboard and starts using his penknife to extract rolls of bank notes from the metal tubing that holds the board up, muttering to himself and throwing the notes up into the air. SHAZ approaches cautiously, observing.

GIL HOLLIS:
No use now, is it? No use now. You can take it. I've lost 'em, I've lost 'em. All of you, yeah. Who cares? Take it. You can take it. Yeah. Choke on it! All of you! It's no good now, is it? Who cares? Who cares? I've lost it. Take it all! I don't want it. I don't need it. I've lost me family. Take it! Take it all!

SHAZ:
Police! Stop there!

SHAZ runs forward and tackles GIL HOLLIS to the ground. GENE and ALEX arrive as GIL HOLLIS comes out from behind the billboard.

ALEX:
That's why he panicked here. He knew the cash was hidden behind the billboard and it triggered the OCD.

GIL HOLLIS drops the penknife in shock, RAY arriving and tackling him to the ground for the second time in two minutes. SHAZ appears, clutching her stomach; she's bleeding.

SHAZ:
I'm hurt. It's not bad, it's...

ALEX:
Shaz?

SHAZ:
I think I've been a bit stabbed.

SHAZ collapses, half caught by ALEX and CHRIS.

ALEX:
Shaz! Shaz, don't talk, Shaz.

SHAZ:
I got him, didn't I, ma'am? I'm not just, not just a typist.

ALEX:
No. No, no, no, no, no.

Uniform arrive.

GENE:
You! Call for an ambulance! Now!

CHRIS:
You OK, Shaz? She's gonna be OK?

ALEX:
Come on. Don't try and move. Don't try and move.

CHRIS:
It's just a flesh wound.

SHAZ:
Chris! Chris!

CHRIS:
Yeah, yeah, I'm here. I'm here.

ALEX:
Shaz, you're going to feel tired. You're gonna want to shut your eyes and go to sleep. But don't! Do not go to sleep, OK?

SHAZ:
I want my mum.

The CLOWN approaches.

SHAZ:
Chris! Chris! Chris! Tell it to go away!

CHRIS:
Who? Who? There's no-one there.

SHAZ:
I don't like clowns!

ALEX:
Shaz! Shaz! You have to fight him, OK? No matter how much it hurts, you have to fight him! Fight him, Shaz!

CHRIS:
Oh, no.

ALEX:
Come on, Shaz!

CHRIS:
No!

ALEX:
Come on, fight him! Shaz, no!

ALEX starts CPR.

ALEX:
Shaz, come on. Eight, nine, ten... Fight him. Shaz! One, two, three, four, six, seven, eight, nine, ten. Shaz, Shaz! Come on, Shaz. Come on, Shaz!

No response. ALEX looks up at GENE and gives a small shake of her head.

CHRIS:
I thought we were going out tonight. Come on. Come on, Shazzer. You're my girl. You've always been my girl. Even before we spoke, I just knew it. Shaz? Don't leave me.

CHRIS starts to cry; GENE pulls him away.

GENE:
Come on, son.

CHRIS:
No, she can't! She can't!

GENE:
Come on. Come on, it's over. Come on, Chris. Come on.

CHRIS:
He killed her, Guv. He killed her.

GENE looks at GIL HOLLIS, handcuffed and surrounded by uniform constables.

VIV:
Guv!

GENE:
Get him on his knees.

VIV:
Guv, he's cuffed. He's in custody.

GENE:
Not your problem, Viv. Over there.

VIV:
Guv! Guv, he's cuffed!

GIL HOLLIS:
She ran into me.

VIV:
Ma'am!

GENE:
You're going to be sorry that you ran into us. Cop killer!

CHRIS steps forward and punches GIL HOLLIS, RAY following up with kicks. Blows rain down on GIL HOLLIS.

ALEX
(to SHAZ) No. He's just a stupid clown. Don't be afraid. Just take a breath.

ALEX renews attempts to revive SHAZ. VIV steps forward to try and protect GIL HOLLIS, but GENE holds him back.

VIV:
Guv, leave it! The man's in custody!

GENE:
Enough, Viv. Enough!

ALEX:
You can't leave the people who love you, Shaz. Not for one stupid breath. Come on! Five, six, seven, eight, nine, ten... Fight! Fight, Shaz! Fight, Shaz! Fight!

GENE finally pulls CHRIS off GIL HOLLIS.

GENE:
Enough. Enough, Chris. Enough. Enough!

ALEX:
Fight! Fight, Shaz! Fight! That's it! And another! Come on! She's breathing! She's alive! Get her into the car! Come on.

RAY, CHRIS, VIV and a uniformed officer hurry across and carry SHAZ away.

ALEX:
I did it. I did it! I did it! I am in control!

GENE looks over at the battered GIL HOLLIS.

ALEX:
(to GENE) What have you done?

GENE:
I'm taking you home.

ALEX:
No. Get off me!

ALEX pushes GENE away and walks over the GIL HOLLIS, lying on the ground, groaning.

ALEX:
Gil. That was a foolish, stupid thing you did. But you didn't deserve that.

GIL HOLLIS:
My son doesn't deserve what he has. The kids in Africa don't deserve what they have. It's all part of this meaningless crap called life. Don't you worry about me, Alex. I am nothing. You just worry about yourself.

ALEX:
(to the Constables) Get rid of him.

ALEX walks back over to the billboard and looks up at the now completed advertising poster for Gently soap

MEMORY
Rapid microfiche effect sideways
TIM PRICE in the rearview mirror, Gently soap advertisement seen through the windscreen.

LITTLE ALEX in memory:
Is Mummy cross with you? You don't have to go away again, do you?

Car exploding.
TIM reading LITTLE ALEX a bedtime story.

TIM PRICE in memory:
We'll be together, darling, because what we have, it's as special and as magical as anything in this book. Nothing will rip this family apart.

LITTLE ALEX in memory:
Story!



ALEX's flat and the memory is now playing on the TV; ALEX crouches down to watch.

TIM PRICE in memory on TV:
She stooped down, and she said in a quivering voice, "Now, who has won?"

LITTLE ALEX in memory on TV:
Not her. The evil witch won't win. Narnia will be saved.

TIM PRICE in memory on TV:
I think you're right. I think that no matter how bad things seem now, everything will be all right in Narnia. Forever.

The TV memory stops abruptly and there's a knock at the door. ALEX goes to answer it.

EVAN:
Alex, thank God you're OK. You weren't hurt, were you?

ALEX:
No. No, he wanted to take a life, and I stopped him. I can win, Evan.

EVAN:
Right. Good... good.

ALEX:
You're always there for me. Give me a hug.

They embrace; teeth across the nation are ground down to the gums...

ALEX:
No-one died, and that means that I can save my mum and dad from dying, and that means that I can go home to you and to Molly.

EVAN:
Alex, just stop thinking so much. Just for one night.

MUSIC: 'Dancing in the City' by Marshall Hain

ALEX:
Until tomorrow.

EVAN:
Until tomorrow.



GENE's office; he's brooding. VIV arrives.

VIV:
You wanted to see me, guv?

An uncomfortable silence. GENE looks to the back pages of his newspaper for inspiration.

GENE:
He's, er...he's a hell of a batsman, that Gordon Greenwich.

VIV:
Good.

GENE:
You do know this is me apologising?

VIV:
I thought so.

GENE:
Mmm. Yeah, I should've listened to you and, er... well I should never let Chris...

VIV:
You had your reasons.

# We can really make you shine #

End credits

# Dancing in the city
# Alleys that we run through
# Now we've just begun to
# Have fun tonight
# Dancing in the city
# Alleys that we run through... #