Ashes to Ashes, series two, episode seven.
Writer: Mark Greig
Director: Catherine Morshead

xxxx

ALEX is dozing, the image blurred. A heartbeat can be heard, then MOLLY's voice, muffled.

MOLLY:
Mum? Mummy. Mummy. Mum.

MOLLY's face comes into view, also blurred.

MOLLY:
The doctor got the bullet out. You're going to be okay! He said if you get plenty of rest and if there are no complications, you're going to wake up. You're going to be fine.

ALEX smiles.

MOLLY:
Mum? Mummy?

The blurred image of MOLLY gradually changes to that of CHRIS.

CHRIS:
Ma'am?

MOLLY:
Mum?

CHRIS:
Ma'am? D'you want a biscuit, ma'am?

The heartbeat stops, ALEX wakes up properly.

CHRIS:
D'you want a biscuit?

ALEX:
Er, no. I, um, dozed off.

GENE:
This is supposed to be a stakeout, not a midnight feast in Mallory Towers.

RAY:
Oh-ho. Pillow fights and gym knickers, eh?

The CID blokes gathered in the back of the Transit van all laugh.

GENE:
Shake a leg, boys. Informant has it something big is going off. I'm not referring to Ray's unsavoury teenage fantasies.

CHRIS has a flask of tea as well as biscuits and hands GENE a mug.

CHRIS:
Here you are, Guv. Shaz made it.

GENE tries it.

GENE:
Not enough sugar. Or milk, or tea.

OFFICER over the radio:
Target on site. Moving your way.

GENE:
Right. Ray, your team from the side. Chris, your team from the back. Once in position, wait my orders. Three bears, set?

A chorus of 'Set' and 'Yeah' and The Wild Bunch, er, Fenchurch East CID pile out of the van, leaving GENE and ALEX behind.

ALEX:
I'm going to wake up.

GENE:
Well, it's about bloody time.

ALEX:
Yep. If there are no complications.

GENE:
You're staying here.

ALEX:
No, I'm, er, I'm fine. I just dozed off.

GENE:
You don't look it. I'm not carrying a dead weight. You can man the radio. Or woman it. Whatever you prefer.

ALEX:
Fine. Absolutely fine. All I'm saying to you, is that you are going to miss me more than you know.

GENE:
Well, I think we'll manage.

GENE leaves and makes his way to a backlit place of concealment on a building site, radio at the ready, to await the bad guys.

GENE into the radio:
Daddy Bear in position.

RAY over the radio:
Big Bear set.

In the back of the van, ALEX rolls her eyes.

CHRIS over the radio:
Baby Bear ready.

Bad guys arrive in a Jaguar; one is armed with a knife.

KNIFEMAN:
Open it over here, mate.

One bad guy opens a large briefcase containing bags of white powder. It's a talcum powder salesmen's convention. Or maybe drugs.

GENE into the radio:
Go, go, go, go, go!

The three bears, Goldilocks etc all rush in to grab the bad guys and there's a general fracas, during which GENE finds himself grabbed by the KNIFEMAN, knife held to his throat. CHRIS spots it and runs to help.

CHRIS:
Guv.

Back in the van, ALEX is listening.

CHRIS over the radio:
Ray! Ray!

CHRIS:
Ray!

RAY also runs to help, but there's not much they can do.

KNIFEMAN:
One of you so much as blinks, I'll cut his throat so wide he'll be using his tongue for a tie! Let them go. Let them go.

The KNIFE MAN keeps backing away, GENE struggling in his grip, RAY and CHRIS following. As the KNIFEMAN backs round a corner, ALEX meets his head coming the other way with a length of wood. The KNIFEMAN loses his grip and gets GENE's elbow in his face as he goes down, falling into a trench.

KNIFEMAN:
Urgh!

ALEX:
Say hello to Mummy Bear.

RAY and CHRIS come galloping up and all four turn to look down at the KNIFEMAN. Next to him, sticking out of the solid concrete in the bottom of the trench, is a human arm.

KNIFEMAN:
Get me out! Get-get me out! Get me out!

GENE:
Go on then, say it.

CHRIS:
D'you want a hand, mate?



Opening credits:

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



The building site, and RAY is enthusiastically wielding a pneumatic drill to get the body out of the cement. CHRIS and two Scene of Crime types look on. GENE arrives.

GENE:
Oi! Oi! What d'you think you're doing?

RAY:
Digging him out.

GENE:
I want a body on a mortuary slab, not a plate of dog food. Use a ruddy chisel.

RAY:
Guv, that'll take ages!

GENE:
Well, you'd better get started then.

CHRIS:
I haven't had my turn yet.

RAY:
(to the Scene of Crime types) On you go, boys. All yours.



GENE and ALEX go to see the site manager.

ALEX:
The site manager's here. Michael Lafferty.

GENE looks at ALEX thoughtfully.

GENE:
What?

ALEX:
What?

GENE:
Well, either you've got a meaningful bowel movement on the way, or you're about to say 'It's probably nothing, but...'

ALEX:
Don't be ridiculous.

GENE starts to walk on.

ALEX:
Er, it probably is nothing, but, er, doesn't it seem a bit of a coincidence to you we get a tip off then we get drugs and a body?

GENE:
That dealer was as surprised as we were.

ALEX:
Yeah. Yeah, yeah, you're right. Let's keep it simple. Yeah. Sooner I get this wrapped up, the sooner I get to go home.



Site office.

LAFFERTY:
The concrete delivery was late so we poured those foundations last thing yesterday.

ALEX:
How secure's the site at night?

LAFFERTY:
Oh, not very. Still stripping out this part of the development.

ALEX:
So anybody could just wander in?

LAFFERTY:
Yeah. Well, those druggies did. If I'd known they were using my site as some sort...

ALEX:
What about the body?

LAFFERTY shrugs.

GENE:
Some piss head on the nick?

LAFFERTY:
Yeah, that's what I reckon. I mean, you know, we've got keep out signs all over the shop, but...

LAFFERTY sighs.

LAFFERTY:
I'm not going to get building done here, am I?

GENE:
Not my department, mate.

LAFFERTY:
All right, how long are you going to close us down? You know, every lost day has a knock on effect and this is a massive development. I mean, it's going to transform the whole docks. Delays are very expensive.

GENE:
Well, forgive me if our little investigation costs Sir Henrington Arse-Twat a year's subscription to his private members' club!

GENE leaves.

ALEX:
We'll let you know.



Mortuary. GENE paces about, ALEX stands next to the slab, the body just lies there; all three waiting for the PATHOLOGIST.

ALEX:
Strange it should all end on some silly accident. Still, maybe that's the point? Sometimes bad things just happen. There doesn't have to be a reason. All I have to do now is try not to overcomplicate things.

GENE:
Halle-bloody-lujah!

At last the PATHOLOGIST arrives, trailed by RAY and CHRIS. GENE immediately points to the body's arm.

GENE:
What does this say?

PATHOLOGIST:
We focus more on anatomy rather than languages at medical school. Something Slavic I'd say.

CHRIS:
No wallet, no ID, Guv.

RAY:
Prints came up blank too. Can we go now?

GENE:
Right, we'll log it as accidental death.

GENE turns to ALEX.

GENE:
You, slip into something skimpy and join us at Luigi's for a bottle or two of Asti Spumante to celebrates the Skip's birthday.

ALEX:
Something skimpy?

GENE:
It's supposed to be a party.

ALEX:
Yes, it is. It's a celebration. If you're going to go, why not go out in a lovely dress?

GENE:
That's the ticket.

They turn to leave the mortuary.

GENE:
Not a lot of point in having a female DI if you're not going to flash a little bit of...

PATHOLOGIST:
It's not an accident.

They all stop dead and turn round.

GENE and ALEX in unison:
What?

PATHOLOGIST:
Oh, I'm sorry. Does that interfere with your pressing social engagement?

GENE, ALEX, RAY and CHRIS trail back again to hear the worst.

PATHOLOGIST:
Compressed fracture of the skull indicates blunt force trauma, not consistent with a fall. Bruising and abrasions to the face suggest a succession of severe blows. And this here...

The PATHOLOGIST indicates the body's ankle.

PATHOLOGIST:
What do these marks look like to you?

ALEX:
Er... Links. Chain links.

GENE:
Ruddy big heavy chain.

ALEX:
So, they must have weighed him down and thrown him in?

PATHOLOGIST:
It's hard to tie a knot in a chain that big. It must have slipped off his ankle. You'll probably find it at the bottom of your very deep pit.

GENE:
Murder. Bugger. Sod it. Always time for a party. We'll deal with this tomorrow.



Luigi's. Everyone sings 'Happy Birthday' as the man himself brings a birthday cake and places it in front of VIV. It has an amusing arrangement of model truncheon and helmets.

ALL:
# Happy birthday dear Skip/Skipper/Viv #

VIV:
Oh, look at that!

ALL:
# Happy birthday to you! #

They all cheer and laugh.

LUIGI:
Augurigli un Buon Compleanno!

VIV:
Prego! Prego!

Cries of 'Speech'

VIV:
Um... thanks. Thanks a lot. Erm... I don't know what to say.

Much laughter.

ALEX:
Well, maybe - maybe I could, er, say a few words. Ah...

GENE:
Oh, good.

ALEX:
Well, Viv. He's not just our skipper, he's, er, well, he's the lynchpin. At the heart of a group of people who've become really very special to me over time, and, er... And I think it's very important at occasions like this to... Well, to let people know your, your real feelings about them. And as I might not be with you for very much longer, I, er, I just wanted to say that... well, that, that I love you. Each and, each and every one of you. I love you. So, bon voyage!

There's a slightly stunned and wholly awkward silence.

VIV:
Sod the lot of you!

Cheers from everyone.

MUSIC: 'Goody Two Shoes' by Adam Ant

ALEX hugs VIV.

ALEX:
Happy birthday.

VIV:
Thank you very much.

RAY:
Watch out for that big stick, ma'am! Woah-ho!

More laughter and the party is very much underway. ALEX goes over to speak to GENE.

ALEX:
So, skimpy enough?

GENE:
It's a start.

CHRIS shimmers up with a bottle of champagne.

CHRIS:
Ma'am?

ALEX:
I think you owe me a thank you, don't you?

GENE looks the question.

ALEX:
For coming to your rescue.

GENE:
I did not need rescuing.

RAY wanders over.

CHRIS:
No, the Guv had the situation under complete control.

ALEX:
Oh, yes.

RAY:
Oh, yeah. He was going to bleed on him until he begged for mercy.

GENE chuckles. He actually does.



Time has moved on and drinks have evidently flowed a bit. ALEX goes past SHAZ, who's debating her table seating arrangements for the wedding, to sit at a table next to CHRIS and RAY.

SHAZ:
...keep changing it all the time. What am I supposed to do?

ALEX:
You're a lucky boy.

CHRIS:
I know.

ALEX:
And she's a lucky girl.

CHRIS:
Is she?

ALEX:
Yeah, she is.

SHAZ comes over and sits down.

SHAZ:
I think we should put your cousins with my Godmother.

RAY:
What, the Bentons? Tell her not to wear a necklace. Or any jewellry at all, in fact. Oh, and tell her not to carry any cash.

CHRIS:
Oh, they're not that bad. Not really.

RAY:
What about me?

RAY picks up the seating plan.

RAY:
Ooo, Alice and Elizabeth. Lovely.

SHAZ:
Yeah, they are lovely. Alice is eighty. They're my great aunts.

RAY:
What?

CHRIS:
Yeah, they're very nice.

RAY:
No, hang on, the whole point of a wedding is to slip the bridesmaid a quickie before she gets all weepy and throws up all over her dress!

SHAZ takes back the seating plan as GENE appears behind her and looks over her shoulder.

GENE:
What's that?

SHAZ:
Oh, it's the...

GENE takes it.

SHAZ:
...plan for the reception.

GENE:
Aren't I supposed to be there?

CHRIS:
No, that the, er, top table, Guv.

ALEX:
It's traditionally reserved for the parents of the bride and groom?

GENE:
Well, I'm a damn sight more of a father to this lad, and her. Father, mother, brother, uncle, highly respected elder. Family, eh? Heh hey. I do love a wedding.

GENE goes again.

VIV:
All right, Guv?

GENE:
I need a drink.



The morning after. ALEX comes-to to find she's still in 1982, the television on but with nothing but static.

ALEX:
Come on! The bullet's out, it's bloody out! It's time to go home.

She hits the television remote and brings up a test card - no, not that one. Hits the remote again and the BBC1 clock appears, showing 8:10.

TV ANNOUNCER:
Good morning, and a very warm welcome from all of us here at the-



ALEX arrives in CID.

GENE:
Buck up, Bolls. We've a murder to solve. I tracked down my mysterious informant. Much as it pains me to say it, I think you might be right.

ALEX:
No, no. I'm not right. I'm wrong. It's just the way things happen sometimes and it doesn't have to be complicated.

GENE:
No, it's too much of a coincidence.

CHRIS:
Who's your informant, Guv?

And right on cue...

YOUNG SUMMERS:
DCI Hunt? PC Summers.

Flashback to MARTIN SUMMERS walking in to CID in episode five.

MARTIN SUMMERS in flashback:
Hello, Alex.

GENE:
This fine upstanding young plod with an uncanny sense of timing. My office.

GENE heads for his office, YOUNG SUMMERS following, ALEX watching him warily before joining them.



Gene's office.

YOUNG SUMMERS:
I got wind that something serious was going to happen last night, but I didn't know anything about a body.

GENE:
Why not take it to your sergeant?

YOUNG SUMMERS:
Look, it's not always that simple. It's a question of trust. Look, I know I might be putting my job on the line, but word is you're straight. Totally kosher.

GENE:
Well, apart from not being Jewish and the fact that, in my case, Sergeant Rock is 100% intact (turns to ALEX) in case you were wondering?

ALEX:
No.

Gosh, that was convincing...

GENE:
I'm as kosher as a rabbi at a matzo party. You can talk here.

YOUNG SUMMERS:
Lafferty, sir. He's running every scam in the book. Treats the men who work for him like animals, pays them well below the rate and taxes back the little he does give them.

GENE:
Drugs?

YOUNG SUMMERS:
Well, I wouldn't put it past him. If he thought he could make a profit out of it.

GENE:
Murder?

YOUNG SUMMERS:
If someone died on that site, it's a fair bet Michael Lafferty's behind it.

ALEX:
What have you got against him?

YOUNG SUMMERS:
Just that he's the kind of villain I joined up to put away.

GENE:
Well, thank you for bringing this to my attention. Dismissed.

YOUNG SUMMERS:
Sir.

YOUNG SUMMERS hesitates at the door.

YOUNG SUMMERS:
Look, you won't, er... I mean, you won't tell anyone I came?

GENE:
Thank you, constable.

YOUNG SUMMERS leaves, still viewed with suspicion by ALEX.

GENE:
Seems like a good lad.

ALEX leaves without a word - and winds up in the Gents again! This time interrupting YOUNG SUMMERS and pinning him against a cubicle in a thoroughly Gene-like manner.

YOUNG SUMMERS:
What the hell are you doing?

ALEX:
What are you doing here?

YOUNG SUMMERS:
I-I told the DCI. Look, I thought-

ALEX:
Just as I'm finally about to get out of here, you show up. It's a coincidence too far. D'you know me?

YOUNG SUMMERS:
I-I'm sorry...?

ALEX:
What are you doing here?

YOUNG SUMMERS:
Look, I don't know what you mean.

ALEX:
Maybe you don't. And maybe you do. Either way, I know about you.

ALEX virtually throws YOUNG SUMMERS out of the Gents.



CID.

RAY:
Got those photos of the body. Look at that. Builder's hands.

GENE:
Think he worked on site?

RAY nods. GENE shows the photograph to ALEX.

GENE:
Very interesting. Get your coat.



Building site.

LAFFERTY:
Look, I've got dozens of men working different jobs on four different sites. I see different faces every day. I mean, that bloke, he does look familiar, but I wouldn't swear.

ALEX:
What about your employee records?

LAFFERTY:
This is the building trade.

LAFFERTY, GENE and ALEX go into the Site Office.

GENE:
What about this tattoo?

ALEX:
Could be Czech? Or Polish?

LAFFERTY:
Oh, yeah? Got a load of them working on site here. Miserable bastards. Can't half graft though.

GENE:
Maybe I should get a warrant. Give this place a good old going over.

LAFFERTY:
If I was on the fiddle, d'you honestly think I'd be running a site this big?

GENE:
I think running a site this big would give you more opportunities.

LAFFERTY:
Right.

LAFFERTY gets a stack of paperwork from the top of a filing cabinet and thumps it on the desk in front of GENE.

LAFFERTY:
Here you are. Check them. Receipts, invoices, delivery notes. Every brick signed and sealed for. Every bloody one! Go on, check the lot. I don't mind, you got the time to waste. Look, my reputation is my job! I get a bad name, I don't work. Who's spreading this bollocks about?

ALEX:
PC Martin Summers.

LAFFERTY:
Oh well, that figures, doesn't it? Heh. That's just dandy.

ALEX:
You know him, do you?

LAFFERTY:
Well, if it's the same PC Summers who came round here fishing for a backhander, then yes, I know him.

GENE:
What kind of a backhander?

LAFFERTY:
I'm sure you know the kind. Hundred a week or you'll be getting regular visits from my colleagues and me, and look what the cat dragged in.

GENE:
What are you saying?

LAFFERTY:
That your murder investigation has lost us time and cost us thousands. Maybe I should have paid PC Summers what he wanted, yeah?

GENE and ALEX leave.

ALEX:
What if Summers set this murder up?

GENE:
I told that lad I'd keep his name out of it.

ALEX:
And I'm telling you this is exactly the kind of thing he'd do. Frame Lafferty to...

GENE:
To what?

ALEX:
I don't know, but he's up to something. He's calculating, he's manipulative, he's dangerous, that's what he is.

GENE:
Seemed like a decent copper to me.



GENE and ALEX pass the photograph of the body round the Poles on the site.

GENE:
You know him?

TOMASCZ:
Dawid. That's his name.

GENE:
But where's he from?

TOMASCZ shrugs.

GENE:
Great. Well, thanks very much for you help.

GENE and ALEX leave.

GENE:
Well, they won't talk here. Not while Lafferty's got them all under his thumb.

ALEX:
Well, we've only got Summers' word for that, and he's taking backhanders.

GENE:
According to Lafferty.



Interview room.

YOUNG SUMMERS:
As God is my witness, I did not ask Michael Lafferty for a bribe.

GENE:
Well, that's not what Lafferty says.

YOUNG SUMMERS:
I don't take bent money from anyone. Which isn't to say that others don't.

GENE:
Just be careful what you say, constable.

YOUNG SUMMERS:
This Docklands development, it's massive. A lot of people are going to make a lot of money very quickly. A lot of money floating about, a lot of temptation.

GENE:
Meaning?

YOUNG SUMMERS:
You don't get a job like Lafferty's on merit. Got to have friends in the local community, you know what I mean? I file a report about the way he treats his workers, and nothing happens. I file another. Nothing happens. And nothing keeps happening. So now I'm thinking who are Lafferty's friends? Who's he paying off? He must have powerful allies. 'Cos I can't think of any other reason why that crooked bastard isn't behind bars right now. Sorry, ma'am.



CID.

GENE:
Chris, Ray, I want you to bring in all the Polaks working on Lafferty's site.

ALEX:
What? Why? You're not falling for Summers' story, are you?

GENE:
Not falling for anything. Still got a murder to solve.

ALEX:
Guv, he is spinning you a line. I just, I can't work out his angle yet. What if he's involved in Operation Rose?

GENE:
Whatever that is, if it is anything. What if Mac's dying breath was leading us up the garden path? He died a bitter man.

ALEX:
Yeah, maybe so, but Summers is-

GENE:
Why are you so obsessed with bad-mouthing one of the few decent cops left in the Met?

ALEX:
Because he sounds too good to be true.

GENE:
What he sounds like is an honest copper who's had enough of all the corrupt bullshit that we've been wading through since Mac.

ALEX stalks off.



Front desk, and ALEX hands over a pile of posters to VIV. There's a drawing of a rose and 'Call me 01 946 1017 Ext:1547' on them.

VIV:
You want me to pin these up?

ALEX:
Yep.

VIV:
With your number on it.

ALEX:
Yeah.



ALEX and SHAZ are in the Ladies. Just in case you were wondering if they used the Gents for that as well...

ALEX:
You know, I can't just hang around waiting for him to make a move.

SHAZ:
Absolutely.

ALEX:
So I've left him a phone number. Thrown him a challenge.

SHAZ:
Right.

ALEX:
Shaz, will you, um, will you screen my calls? And if he does leave a message, I want it word for word.

SHAZ:
Yes, ma'am.

ALEX:
You know, Summers is behind this case. I don't know how, but he is. So I'm going to take the initiative.



CID is heaving with Polish builders being questioned.

CHRIS:
Hey, Ray. He flew Spitfires.

RAY:
What?

CHRIS:
Spitfires. World war II.

RAY:
Look, I don't care if he flew round the world with his pet Polish donkey, just get a name and address will you?

GENE comes out of his office with a file and drops it on RAY's desk.

GENE:
Right, victim's got a wife in Poland. Tell her somebody's been playing plaster casters with her husband.

RAY:
Oh, Guv!

RAY throws the file at CHRIS, who throws it back.

CHRIS:
Oh, no. I did it last time.

RAY:
Yeah, yeah, well you're so 'sensitive'.

CHRIS leads the Polish Spitfire pilot away.

CHRIS:
Come on.

RAY:
I'll toss you for it! Chris!



Evidently time has passed as RAY enters Gene's office with the file.

RAY:
We needn't have bothered digging Dawid up, Guv. As far as the wife's concerned, death's too good for him. Something else. Tomascz, one of the Polaks, didn't turn up for work this morning. Turns out him and Dawid didn't get on too well.

GENE:
You got an address for him?

RAY:
Um-hmm.

GENE:
Bring him in.

RAY:
Right.



RAY and CHRIS knock on the rather nice door of a rather neglected building, warrant cards at the ready. TOMASCZ opens the door.

RAY:
Tomascz. Hello, mate.

TOMASCZ tries to slam the door on them and legs it, but RAY gets his foot there first and CHRIS goes in pursuit, RAY limping behind.

RAY:
Oww!

CHRIS eventually trips up TOMASCZ and he tumbles down the stairs to RAY's welcoming punch in the back of the head.

TOMASCZ:
Ah. Ooof.

RAY:
My bloody foot!



Interview room.

GENE:
You're a murderer.

TOMASCZ:
I did not kill, Dawid.

GENE:
Then who did?

TOMASCZ:
Why should I tell the police?

GENE:
'Cos if you don't start talking, you won't see daylight again, let alone bloody Poland.

TOMASCZ:
Lafferty. He is the man you want.

GENE:
Why?

TOMASCZ:
Well, the freedom you're so proud of in the West, is freedom that allows people like Lafferty to act as they do. I mean, he pays us less money than the English. Then he makes us pay for the tools that we use. If we won't to smoke, take a break, take a piss, well he makes us may for that too.

GENE:
If you don't like it, shin you way back up the Berlin Wall.

TOMASCZ:
Dawid said he would make things better for us here.

ALEX:
How?

TOMASCZ:
He told me he knew something. Something about Lafferty. Something big that would bring him down.

GENE:
What?

TOMASCZ:
I don't know. It wasn't safe to tell me. But he went to see him, the night he was killed.

ALEX:
We found this note in Dawid's possessions. What does it say?

ALEX shows the note to TOMASCZ.

ALEX:
There's some numbers. They a date? File reference?

TOMASCZ:
It's, it's a poem. By Mickiewicz. He's very famous in Poland. A great poet. Just a poem.

TOMASCZ hands back the note.



Evidence room. GENE is looking at the note; ALEX comes in.

ALEX:
He's not our murderer, Guv. I think he's genuine.

GENE:
The one thing that makes me think you might not be hopelessly and hormonally wrong, is that he was telling us the same thing about Lafferty as PC Summers. You changing your mind about him? He's a good copper. I know one when I find one.



CID.

ALEX:
Er, Shaz, were there any calls?

SHAZ:
One or two, ma'am. Several people were looking for Mr Hugh Jarse, and it turned out Mike Rotch was quite popular too.

ALEX:
Right.

SHAZ:
Five or six had chronic asthma, and one man had some very imaginative suggestions. You did want them word for word.

SHAZ shows ALEX her notebook.

ALEX:
Oh, God. Sorry, Shaz. What are people like?

SHAZ:
Er, there was one caller though, wouldn't leave his name, just said he wanted to meet you. There's the details.

ALEX:
Right. Thanks.



Building site, late at night and ALEX continues to flout basic common sense by trotting off to meet dubious characters on her own. A figure emerges from the shadows; it's YOUNG SUMMERS.

ALEX:
What are you doing here?

YOUNG SUMMERS:
I thought that you wanted... It was you who left the message?

ALEX:
What message?

YOUNG SUMMERS:
Someone left a message to meet them here. I dunno, I thought... That wasn't you?

ALEX:
No. No, I, er, I got the same message. What would he want with you?

YOUNG SUMMERS:
Who?

ALEX:
God, how could you possibly know? You're not him yet.

YOUNG SUMMERS:
I really don't understand what...

ALEX:
Listen, Martin, I think I need your help with something. I need to track somebody down. And this is going to sound completely ridiculous, and you, you don't have to believe it, but you have to know it, okay? You... are not the only you in this world. Okay?

MARTIN SUMMERS appears. Now it gets confusing. More confusing.

MARTIN SUMMERS:
Good evening. Alex.

MARTIN SUMMERS shakes YOUNG SUMMERS' hand.

MARTIN SUMMERS:
Martin Summers. Nice to meet you.

ALEX looks on in shock.

MARTIN SUMMERS:
What? You expected us to disappear in a puff of smoke? Matter meets anti-matter? Time imploding on itself, that sort of thing?

YOUNG SUMMERS:
Who are you?

MARTIN SUMMERS:
You.

ALEX:
You, you set this whole thing up. The, the drug drop, the body, everything. Everything. You knew that it would be here.

MARTIN SUMMERS:
Very good. I knew you were the right woman for the job.

YOUNG SUMMERS:
This is the guy you're looking for?

MARTIN SUMMERS:
Think I probably am.

ALEX:
You, you can't do this. I mean, you can't change history.

MARTIN SUMMERS:
Really?

ALEX:
No. No. I mean, this is the place where you find out how things really were. You get an insight into yourself, into your life, but you can't change things. Things still happen exactly as they were going to happen.

MARTIN SUMMERS:
I don't think you're right there, sweetheart.

MARTIN SUMMERS pulls a gun and shoots YOUNG SUMMERS in the head. Evidence suggests that certainly didn't happen first time round.

ALEX:
Oh my God.

MARTIN SUMMERS:
See? Heh heh. Why be good, when the bad guys have so much fun?

MARTIN SUMMERS slaps the gun into ALEX's hand.

MARTIN SUMMERS:
Here. Now look at you. Man's dead. Gun that killed him is in your hand. Complicates things rather, doesn't it? Now, you sort this mess out, Alex. You can't go home until you do. 'Bye now.

MARTIN SUMMERS walks away, leaving ALEX in shock. She drops the gun. Clearly not thinking straight, she drags YOUNG SUMMERS across the site to dispose of the body in some poured cement, just like Dawid, but taking care to fix the chain firmly. She gasps a mantra of apology as she rolls him into the cement.

ALEX:
Sorry. I'm sorry. Sorry. I'm sorry, I'm sorry. I'm so sorry. I'm sorry. Sorry.

ALEX tries to wipe her hands off on her clothes, inter cut with rapid sideways microfiche effect. Layton's bullet heads towards us again. Blurred and reversed flashback to MOLLY leaping up to catch the blown kiss. CAROLINE opening the lid of the wooden chest.

CAROLINE:
Boo.

CAROLINE sitting in the dark on ALEX's bed. The Escort exploding. ALEX tosses and turns in bed. CAROLINE on ALEX's bed again, her face blurred and voice echoing.

CAROLINE:
You could have warned me...

ALEX in bed. The explosion.

CAROLINE:
...about the bomb. You could have saved me.

ALEX still tossing and turning.

ALEX:
No, you, you can't change history.

CAROLINE:
Really?

ALEX:
Yes, I tried. I tried so hard.

CAROLINE:
Not hard enough.

The Escort explodes again. ALEX wakes up.



Front desk. GENE and VIV are both getting very short on temper.

GENE:
Well, where is it?

VIV:
I don't know!

GENE:
It's your bloody job to know!

VIV:
Look, I've got the only key here. Now everyone who wants access has to log in. Now, you can't expect me-

GENE:
I expect you to do your job.

ALEX arrives.

GENE:
Where the bloody hell have you been? Where'd you hide it?

ALEX looks guilty.

ALEX:
What?

GENE:
The note. Dr Zhivago's precious poem. Where is it?

ALEX:
I-I don't know. I'm not, um...

GENE:
Thought I'd take another look. Get a proper translation, only I find it's disappeared. Gone. Vanished.

VIV:
Look, the only people in there in the last 24 have been CID. Check for yourself, look at the log book.

GENE:
Right, come on then.



Evidence room. GENE shifts through the evidence on the off-chance while VIV scans the log book.

VIV:
Richards, Roberts, Sullivan, Sss... Ah.

GENE:
What is it?

VIV shows GENE the log book.

GENE:
PC Summers. You said it was only CID. Get hold of him, now.

VIV leaves; GENE shows ALEX the log book.

GENE:
Last night. 23:00 hours. Police Constable Summers. Devious little bastard. And the worst thing is, you were right.

ALEX:
No. It's impossible. It can't be Summers. Er, this, um... the signature. I saw him, he was signing something, he was filing and this isn't his.

VIV returns.

VIV:
Sir, Summers has gone AWOL. Missed his shift last night. Didn't call in.

GENE:
Well, who's bloody signature is it, then?

GENE storms out.

ALEX:
It can't be Summers. Either of them.



Gene's office.

GENE:
Someone forged it. Someone with easy access to the evidence room.

ALEX:
Well, uh, whoever took it, why would they want a poem?

GENE:
Who says it was a poem? Maybe Tomascz was too scared to tell us what it really said.



Alex's flat. She comes in and makes for the Vodka bottle. Hey, at least she's still bothering with the glass... MARTIN SUMMERS materialises from somewhere.

MARTIN SUMMERS:
I need your help.

ALEX:
No. No, I'm going back and you can't stop me. I was almost there. What have you done?

MARTIN SUMMERS:
Surely you don't believe that you're going to wake up just because they managed to get the bullet out?

ALEX:
How d'you know- How could you possibly know about- This is my world. This is my life. Who are you?

MARTIN SUMMERS:
The only man who really understands, Alex.

ALEX:
You're there, aren't you? You're in the hospital.

MARTIN SUMMERS:
I'm here. And I'm there.

ALEX:
You're like me, you're just like me.

MARTIN SUMMERS:
The only man you can really trust.

ALEX:
Then why won't you let me go home?

MARTIN SUMMERS leaves.



ALEX is dreaming again; CAROLINE sitting on her bed, face blurred.

CAROLINE:
Boo. I wish I could have spent more time with you.

ALEX:
But I, I thought I couldn't change anything. And I... and I tried. But I couldn't, and... I should have saved you and I didn't. And now, now I don't know how to get home.

CAROLINE:
You'll find a way.

ALEX:
Will I?

CAROLINE nods.

CAROLINE:
Because you have to. Because you're a mother too.

The telephone rings, CAROLINE fades away. ALEX wakes up and answers the phone.

ALEX:
Yeah.

GENE on the telephone:
Looks like I was right. Tomascz was lying. I'll meet you at the hospital. Intensive care.



Hospital. TOMASCZ is in a hospital bed, unconscious, hooked up to a ventilator.

GENE:
He's going to wish he had shinned back up the Berlin Wall. Was hit and run. Should be dead by rights, he's a tough bastard.

ALEX:
So Tomascz knew it wasn't a poem.

GENE:
There's no sign of Summers. Both of them put one man in the frame.

ALEX:
Lafferty. But how could he know that we'd brought Tomascz in?

GENE looks grave and they adjourn to the corridor.

GENE:
Someone in our station told him. Probably the same bastard that stole the note. Someone in CID, someone on my team.

ALEX:
You, er, you're thinking about Mac?

GENE:
I'm thinking about Mac, about Kevin Hales, about every investigation that's gone tits up as far back as I can remember.

ALEX:
What are you going to do?

GENE:
I don't know. Go home, get changed. I need you at your best.

ALEX:
Something skimpy?



MUSIC: 'All Cats Are Grey' by The Cure

GENE is in his office, viewing everyone with suspicion. RAY and others come into CID.

RAY:
... you just take the mickey. I'd hurt me bloody foot.

SHAZ:
You still going on about it?

RAY:
I was crippled! I could have gone on the sick with that.

CHRIS:
But you still bravely soldiered on.

POIROT limps past on crutches.

POIROT:
Not as brave as this, Raymondo.

RAY:
Oh, get round your desk, you.

# I never thought that I would find myself
# In bed amongst the stones #

Interview Room. CHRIS is interviewing as GENE looks on, distrustful.

# The columns are all men #

CHRIS:
You're telling me you found fifteen brand new leather jackets in a skip?

# No shapes sail on the dark deep lakes #

Interview room. RAY is brandishing some bright red clothing at a suspect; again, GENE looms.

RAY:
You want me to believe that this is your colour?

# And no flags wave me home
# In the caves
# All cats are grey #

GENE walks past the front desk where VIV is dealing with someone.

VIV:
Put you down as no fixed abode, then. That do?

GENE pauses, looks hard at VIV then stalks off to CID.

# The textures coat my skin
# In the death cell
# A single note
# Rings on and on and on #

CID and SHAZ is on the telephone as GENE passes, again looking at her with suspicion.

SHAZ:
No, we've had the ballistics already. I'm talking about the SOC report? No, it's okay. I can wait.

GENE turns in his office door and looks at RAY who's on the telephone.

RAY into the telephone:
Listen, you make sure you wear something nice, eh? Yeah, we'll go down the restaurant. Yeah.

GENE watches as CHRIS takes a knife out of an evidence bag and brandishes it at RAY; watches SHAZ walk across CID with a file; then sees ALEX come in and holds the door for her to go into his office.

CHRIS:
What are we doing tonight?

SHAZ:
I ain't got a clue.

GENE shuts his office door and draws the blind.



CID and RAY is looking at the revised seating plan for the wedding.

RAY:
Now that sounds more like it. What's she like?

SHAZ:
Karen? She's great.

RAY:
She's great?

CHRIS:
Yeah, she's great, Karen. Dead funny. Really nice pair-sonality.

CHRIS indicates a pair of womanly attributes.

RAY:
Oh, I like that in my women. A good pair-sonality. Ha ha ha ha.

RAY also indicates a pair of breasts. Luckily SHAZ can't see. GENE and ALEX come out of Gene's office. Silence falls.

GENE:
As most of you know, a key witness in the investigation into the murder of Dawid Czarnecki has been seriously injured in what appears to be a hit and run incident. It has also come to my attention that someone on my watch, very possibly somebody in this room, misappropriated a vital piece of evidence jeopardising the entire case. That won't do. That will not do at all. And when I find out who is responsible, I will be very, very angry.

GENE returns to his office and shuts the door.



MUSIC: 'Music For Chameleons' by Gary Numan.

Gents locker room again. Never let it be said they haven't got value for money out of this set...

RAY:
Guv. You know I wouldn't go behind your back, don't you?

GENE:
It's all right, Raymondo, I know I can trust you. You know, that hit and run was attempted murder. The lad knew what was in the missing note. Something else. I've, er... I've got a file. Physical evidence that could nail Lafferty. But I can't keep it here, not at the moment. It's in a safety deposit box on Talbot Street. Box number 116.

RAY:
116.

GENE:
Just in case I end up on the wrong end of a car accident.

RAY:
All right, Guv.



Front desk.

VIV:
Why me?

GENE:
I need somebody I can trust absolutely.

VIV:
Right. Box 114.

GENE:
Don't write it down



Corridor.

GENE:
It's a favour that I won't forget, Shaz.

SHAZ:
I don't like secrets, Guv.

GENE:
No, nobody does.



Kitchen.

CHRIS:
Not even Ray?

GENE:
Not even Ray.

CHRIS:
Well, you can depend on me, Boss.



Luigi's and RAY, CHRIS, SHAZ and VIV are sitting at the usual table.

RAY:
No, not a chance. No way.

CHRIS:
What's wrong with a top hat?

RAY:
I'll look a dick, that's what's wrong with it.

SHAZ:
Right kind of look, then.

RAY:
I am not wearing a top hat and I am not babysitting your aged bloody relatives.

SHAZ:
What is your problem?

CHRIS:
Yeah, what's wrong, mate? What's up?

RAY:
You tell me.

CHRIS:
What's that supposed to mean?

RAY:
You told her how you've paid for the ring, have you?

GENE and ALEX walk in and go to the bar.

CHRIS:
Yeah. Yeah, I have, as a matter of fact. Shaz knows that I borrowed the money.

SHAZ:
You'd better watch what you're saying, Ray.

RAY:
Huh?

SHAZ:
You're the one in the funny handshake brigade. Well, aren't you?

CHRIS:
Yeah, he is.

RAY:
What's that got to do with anything?

VIV:
Favours.

RAY:
What?

VIV:
You rub my back, I'll rub yours, 'brother'.

SHAZ:
Who's back you been rubbing, Ray?

RAY:
I could ask you the same question.

SHAZ:
I beg your pardon?!

CHRIS:
You take that back.

RAY:
You don't know her. She's in and out the evidence room every two minutes. Who knows what she'd do for a quick thrill?

CHRIS is out of his seat and punches RAY. VIV goes to intervene.

VIV:
All right, all right! Stop it, now!

RAY:
Why don't you get back to where you come from?

VIV punches RAY, RAY returns the favour and RAY, CHRIS and VIV end up in a struggling mass, VIV still trying to pull RAY away, and various CID blokes tackling CHRIS.

LUIGI:
Mr Hunt. Mr Hunt!

RAY and CHRIS separate and shrug off their restrainers.

RAY:
Get off.

They all turn to look at GENE, ready for the rocket, but he just turns away and leaves the restaurant.



The Quattro, parked up outside the safety deposit box place in Talbot Street.

ALEX:
How d'you know Lafferty'll come?

GENE:
I hope he doesn't.

LAFFERTY arrives and goes into the building.

ALEX:
Do we arrest him?

GENE:
Not yet.

ALEX:
God, I wish you'd tell me what's going on.

GENE:
If I told you all of my little secrets, I wouldn't have that devastatingly attractive air of mystery, would I?

ALEX:
No. I forgot about that.

LAFFERTY comes back out and GENE starts to get out of the car.

GENE:
Take him.

ALEX into the radio:
Blue two, blue three, go, go, go.

Two squad cars, lights flashing and sirens going sweep up and officers get out to arrest LAFFERTY. GENE, meanwhile, goes into the building.

OFFICER:
Hands behind your back. In you get.



Room of safety deposit boxes, GENE, alone, looking at the single open one. Number, as yet, unknown.



Gene's office. After a while GENE resignedly dials a telephone number.



GENE carries a sacking parcel of something along the corridor.



Interview room.

ALEX:
We've matched the paint on Tomascz's body to your car. We also have a witness who saw you driving...

GENE comes in with his sacking.

ALEX:
...in the area at the time.

LAFFERTY:
I-I dunno what-

GENE dumps the sacking down and opens it to reveal a length of heavy chain.

GENE:
Found it in the pit we found Dawid Czarnecki, with your prints on it.

LAFFERTY:
Solicitor.

GENE:
You killed him for a piece of paper. What was on it?

LAFFERTY:
Like I said, I haven't got the faintest idea what you're talking about.

GENE:
You murdered Dawid, you tried to murder Tomascz, and I have a horrible feeling you're behind the convenient disappearance of a damn good police officer.

GENE pushes LAFFERTY over, chair and all, then grabs him by the lapels.

ALEX:
Guv.

GENE:
But what really makes me want to crush your greedy little cockroach head, is that you got to one of mine.

The door opens and a constable and solicitor (probably) look on in horror.

LAFFERTY:
He's trying to kill me!

GENE shoves LAFFERTY down again and storms out of the interview room.

GENE:
Lock him up.



CID is deserted and GENE is sitting in his office. ALEX comes in.

ALEX:
You all right?

GENE looks up - he's not. ALEX starts to leave.

GENE:
Stay.

ALEX:
What are we doing?

GENE:
Waiting.

ALEX:
What for?

GENE:
A traitor.

In the distance the doors further along the corridor can be heard closing and then footsteps. GENE gets up and walks out into CID, ALEX behind him. CHRIS enters.

CHRIS:
All right, Guv? Ma'am. Brrrr, it's bloody cold, innit? So, what's up?

GENE:
There's no file.

CHRIS:
What?

GENE:
Just an empty mail box. The number of which, someone passed on to Michael Lafferty. The number 112. Not 116. Not 118. Number 112. The number I entrusted to you.

CHRIS:
No, erm... I-I don't understand.

GENE:
Neither do I, Chris. Tell me you didn't do it. Look me in the eyes and tell me you didn't do it, and I'll believe you. And we can forget about it. If you can tell me you didn't do it.

CHRIS gives a tiny shake of his head.



Interview room. GENE is leaning up against the wall, letting ALEX conduct the interview.

CHRIS:
Sorry. I'm so sorry.

ALEX:
How did it start? Was it the engagement ring? Is that who you paid for it?

CHRIS:
It was just a loan. I-I never thought... It was just a loan.

ALEX:
Who from?

CHRIS:
It was a bloke Ray knew. He said he couldn't help me, but he pointed me to someone who could. No problem. Pay me back when you can.

ALEX:
How much?

CHRIS:
Five hundred. I wanted the best. I didn't want to let her down.

ALEX:
And did you pay it back?

CHRIS:
A bit. He didn't seem to mind, you know. He, he didn't put pressure on or, I mean, I had so much else to think about. The wedding and all that. It didn't seem... It didn't seem that important. I got a call.

ALEX:
Who from?

CHRIS:
He didn't give a name. He, he just said he knew I'd do him a favour, this one favour.

ALEX:
But you knew it was about the money?

CHRIS nods.

ALEX:
What did he ask you to do?

CHRIS:
Lose a file.

ALEX:
What file?

CHRIS:
Prison transfer file.

ALEX:
Who's file? Chris? Who's file? Who's file, Chris?

CHRIS:
Kevin Hales' file. It's, it's not as if it was a big thing, you know? It wasn't passing information, or, or planting evidence or anything, it was just... Just don't find it. I mean... I didn't know it would be so important.

ALEX:
No. Don't you see, but if we'd known where Kevin Hales was being held, we could have got to him before Mac did. Before he was murdered, Chris.

CHRIS:
I didn't know that. I-I didn't know.

ALEX:
Did he pay you?

CHRIS:
Fifty quid. An envelope through the letterbox. I thought that was it, I thought it was finished. I'm so sorry.

GENE:
Jarvis.

ALEX:
What, you...? You told Mac that we'd arrested Jarvis?

GENE:
A nonce.

CHRIS:
I thought, I thought, right? What I thought was...

CHRIS starts to break down.

CHRIS:
I'll go along with it, and I'll find out who's doing this. Who's making me. And I'll go to the Guv. And I'll tell him. And he'll make it stop.

ALEX:
But you didn't tell him.

CHRIS:
Well, it, it'd be all right for a while. A-and then I'd get a call. Lose a file. Shred a file. Move this record. Fill in the wrong address. Not that phone number, this one. And the more envelopes got pushed through my door, the more I couldn't stop. I was in deep, Boss. I was in deep.

ALEX:
Did you take the note from the evidence room?

CHRIS nods.

CHRIS:
Yeah.

ALEX:
Did you forge PC Summers' signature?

CHRIS:
Yeah.

ALEX:
Did you tell Lafferty that Tomascz had read it?

CHRIS:
Not directly. A-a voice on the phone. If I didn't tell them who you'd brought in, they'd tell you about... About what I... About everything. I-I-I didn't want to do it. I didn't. They gave me a number to call. Told me to think about it.

ALEX:
And you called it. And you give them Tomascz's name.

GENE:
And he ends up in intensive care.

GENE walks out.

CHRIS:
I'm so sorry, Guv. I am so sorry.

The door slams.

CHRIS:
I've still got it. I've still got it, that note. The one from the evidence room. I was supposed to get rid of it. I was supposed to shred it, burn it. But I knew this was something else. Something different.

ALEX:
Where is it?



CID. CHRIS retrieves the note stuck under the drawer of his desk and hands it to ALEX.

ALEX:
The man you called to give Tomascz's name. The man who gave you the money. I'll need you to trace the address.



GENE and ALEX burst out of Gene's office just as SHAZ and POIROT are coming in for work. CHRIS is sitting at his desk.

GENE:
(to CHRIS) You stay here, you don't move. Shaz, get this translated now. Call it through.



Building site.

GENE:
That note must be about this site. Those numbers at the top. Map reference?

ALEX;
What, X marks the spot?

GENE:
Why not? Keep it simple. No need to overcomplicate things.

ALEX hesitates over the patch of concrete containing YOUNG SUMMERS and has a flashback to disposing of the body.

GENE:
Drake! Come on!



Site Office. GENE rifles through some blue prints; ALEX is on the telephone.

GENE:
Right, got it. What was that number? Double five zero stroke...

ALEX:
One nine six.

ALEX into the telephone:
Drain. Thanks, Shaz. Great.

ALEX hangs up and takes the translation to GENE.

ALEX;
Okay, this makes more sense. It's the full translation.

GENE:
Marvellous. Well, if X really does mark the spot, there's nothing to find.



Building site. ALEX is referring to the note; GENE to the blue print.

ALEX:
Second development stage, south of the red building.

GENE:
That.

ALEX:
Near the demolition site.

GENE:
There. But this...

They look at a drain cover.

ALEX:
...isn't on the map. What's in it?

GENE:
Something Lafferty was prepared to kill for?

GENE lifts up the cover to reveal a cache of weapons and ammunition.

GENE:
Well, that'd do it.



CID. Various officers bring in the haul of weapons; GENE goes to his office and ALEX to her desk.

DC SLATE:
Show us what you got.

LANKY CID BLOKE:
Get them in the storeroom.

POIROT:
Yeah.

OTHER CID BLOKES:
You could start a war with this lot. Let's have a look. Falklands gear, innit?

CHRIS:
Ma'am. Phone number. I got that address for you.

ALEX:
Thanks, Chris.

ALEX leaves with the address.



Once again, flouting all laws of common sense, ALEX makes her way, alone, to the lair of a nutter and lets herself in.

ALEX:
I'm here. Oh my God.

ALEX is faced with a wall covered in photographs and press cuttings of herself and others in the team, largely focused on corruption. Pinned at the bottom is a drawing of a rose, which ALEX picks up. Written across the top it says 'We're NOT done'. To one side is a sleeping bad neatly rolled out; evidently someone has been sleeping rough here.



CID. ALEX has returned. GENE opens his office door and speaks to CHRIS.

GENE:
In here.

There's a deadly silence as CHRIS walks slowly to his doom.

SHAZ:
Chris? Chris.



Gene's office. CHRIS puts his warrant card down on GENE's desk.

GENE:
What's that?

CHRIS:
Warrant card. I wish to offer my resignation from the force with immediate effect.

GENE:
No.

CHRIS:
What?

GENE:
No. You don't get off that easy. I want you to stay a copper. And know every second, of every minute, of every day, the true depth of your full betrayal of the force. Of Shaz. Ray. Yourself. Jail isn't your sentence, Chris. I am.

GENE hands back the warrant card then goes to the door to usher CHRIS out. Everyone in CID turns to look.

GENE:
You are my team. As far as you are concerned, I am judge, jury and executioner. Detective Constable Christopher Skelton made a mistake that he deeply regrets. It ends here.

RAY:
What?

GENE:
You don't like it, you come to me. You don't take it to the Super, you don't take it to the Yard. You come to me.

RAY walks out.

GENE:
Ray!

One by one all the members of CID, and VIV, leave the room in disgust. Only SHAZ and ALEX remain.

CHRIS:
Shaz, I am so sorry. I just... I just want- I just wanted... I just want you.

SHAZ, close to tears, leaves too.



MUSIC: 'Ideas As Opiates' by Tears For Fears

Alex's flat. A loud knock at the door and ALEX opens it in her pyjamas (funny place to keep a door...) to reveal GENE armed with two glasses and a bottle of wine. He's a little bit drunk.

GENE:
Right, you need a drink.

GENE puts the glasses on the coffee table and pours the red wine.

GENE:
I never thought... It's all shit, isn't it?

ALEX:
Yeah, it is.

GENE hands her a glass and they clink glasses.

GENE:
You and me, Bolly. You and me.

Credits.

# Say what you want
# Say what you want
# Say what you will
# Say what you want
# Say what you want
# Say what you will
# 'Cos I find, you make... #