Ashes to Ashes, series two, episode eight.
Writer: Matthew Graham
Director: Catherine Morshead

xxxx

Time for 'Jackanory' - read by DCI Gene Hunt...

GENE on the TV:
Alex and The 'Orrible Awful 'Eadache. And you'd better be sitting comfortably, or there'll be tears.



Cut to GENE throwing DOYLE around his own chip shop.



Unsurprisingly, it turns out 'Jackanory' is showing on Alex's television.

GENE on the TV:
Alex Drake loved brains.

ALEX is making a cup of tea in the kitchen, but turns when she hears that, comes into the living room and perches on the arm of the sofa to see.

GENE on the TV:
She loved the way they controlled your arms and your legs. Made you hungry and thirsty. She loved that these balls of wrinkly sponge could be filled with all our dreams, hopes and fears.

ALEX;
This is fantastic. Bloody brilliant. Thank you, Guv. Another childhood memory runined.

GENE on the TV:
(aside to unseen TV powers that be) Is there going to be some flaming action in this?



Meanwhile, GENE shuts DOYLE's hand in the lid of one of his own fryers, before hitting him in the face with a sieve. Don't strain yourself, Gene...



GENE on the TV:
Ever since she was a kid, Alex had wanted to study brains.



GENE applies DOYLE's head to the top of the counter in order to whisper in his shell-like.

GENE:
Tell me about the blag, Doyle. I know it's coming, so start ruddy talking!

No response.

GENE:
Right.



ALEX:
Willie Rushton. Kenneth Williams! Kenneth- I loved Kenneth Williams. Could have been any one of them.

GENE on the TV:
Shut your gobs! Or I'll come round your houses and stamp on all your toys.



GENE has moved on to plunging DOYLE head first into a bath tub of water and would-be chips. DOYLE struggles and GENE pulls him out again.

GENE:
Right, sick it all up for me, Doyle. When, where, how.

DOYLE shakes his head.

GENE:
Tell me!



GENE on the TV:
When Alex grew up, she became a police woman...

ALEX:
Police officer.

GENE on the TV:
...or plonk, as her friends cheerfully called her. But she never gave up her love of brains, so she studied something called psychiatry.

ALEX:
Psychology.

GENE on the TV:
Now this wouldn't help her become a better plonk, but in her own little girly way, it made her very happy.

ALEX:
Right, think that's enough of that, don't you?

ALEX moves to turn off the television.

GENE on the TV:
And then one day, Alex met Pete.

ALEX keeps watching.

GENE on the TV:
Alex and Pete fell in love, and they had a daughter. Molly. (aside to unseen TV powers that be) D'you know, I'm going to chuck if this lot carries on.



GENE has plunged DOYLE's head back in the water.

GENE:
Who are the guns for? Who did you sell them to?

GENE hauls DOYLE out again; he's still not talking. Evidently not a speaking part.

GENE:
You better change your mind tomorrow, Doyle.

GENE leaves.



GENE on the TV:
...and Alex was, of course, a brilliant mum.

ALEX:
Was I, though?

GENE on the TV shuts the book with a snap and leans forward.

GENE on the TV:
Until the headache. The horrible, awful headache.

ALEX jumps as the picture breaks up, Layton's bullet heads towards us, the 'book illustration' on the television shows Layton firing, a gunshot, scream.

GENE on the TV:
It was horrible.

The picture goes again and the bullet retreats.

GENE on the TV:
It was awful.

The bullet returns; ALEX in the 'book illustration' holds her head. The screen goes white and then the 'book illustration' shows ALEX in bed, head bandaged, a SURGEON talking to her. The sound of a ventilator can be heard.

SURGEON on TV:
Alex, this is Samuel Gerrard. I'm your surgeon.

ALEX:
Surgeon. That's good. That's very good.

SURGEON on TV:
We've managed to stop the bleeding in your brain, but there's an infection. A rather nasty infection. Now, I need you to listen, Alex.

The television picture starts to break up.

SURGEON on TV:
Because I know your periphery senses are returning. We're administering these super-antibiotics and they're very strong.

ALEX leans towards the television, straining to hear as the signal continues to come and go.

SURGEON on TV:
50mls is the limit, okay? So you've got to fight this infection. Show us how strong you are.

ALEX:
Then what?

SURGEON on TV:
It's kill or cure time, Alex. 50mls and it's over.

The picture is reduced to nothing but static and Alex gives the television a thump.



Opening credits:

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



Alex's flat, and she's asleep on the sofa. A hand idly flicking an audio cassette appears in shot. MARTIN SUMMERS has made himself at home in the chair opposite, watching ALEX. He deliberately makes more moise with the tape and ALEX wakes.

MARTIN SUMMERS:
Guilty conscience? You covered up a murder, Alex. That young bobby had his whole life ahead of him. As crimes go, it's a biggie.

ALEX;
Clock's ticking. I've got until 50mls to beat the infection that's killing me. That's you, by the way.

MARTIN SUMMERS:
Ah heh. You think I'm the rot? That's ironic.

ALEX:
And then I'm going home.

MARTIN SUMMERS:
If you're strong enough.

ALEX:
I'll stop you and then I'll be strong enough.

MARTIN SUMMERS:
Well, you haven't done a good job of it so far.

MARTIN SUMMERS places the gun used to kill YOUNG SUMMERS on top of ALEX's television.

MARTIN SUMMERS:
See? Heh heh. I'm one step ahead of you, Alex. All the time. See, I understand you, why you make these tapes. The private agonies of someone who's trying to figure out the meaning of life. Or death.

ALEX:
I am going home.

MARTIN SUMMERS:
D'you really want to go home that badly? I'm in the next room to you. We share nurses, I hear them talking. You've only said one word since you came to the hospital. Just the one. Gene.

ALEX's face goes through about 27 different emotions in a second.

ALEX:
No great surprise, is it? I mean... this world, it's... it's a maze. He's the one constant.

MARTIN SUMMERS:
Heh. But you lie to him too. What if you told him the truth? What you've done. How you buried that body. Eh? Would he be a constant then? Alex! I am in control.

ALEX:
No.

MARTIN SUMMERS:
I knew there was a reason I came here. I knew it the moment I arrived, and to stop me you need to find out what it is. Quickly. Because as you say, the clock is ticking.

Amongst the static on the television it reads '10ml' and a bleeping is audible.

MARTIN SUMMERS:
Good luck.

MARTIN SUMMERS leaves. I can't warm to him.



Rear of the police station. ALEX leans against the wall, not looking too good.

ALEX:
Oh God.

She pulls herself together and heads towards the entrance, spotting CHRIS loitering round the corner.

ALEX:
Chris?

CHRIS:
I can't go back.

ALEX:
Yes, you can. Walk in with me. Come on.

CHRIS:
No, ma'am, you don't get it. That... that way you're looking at me, that's how they look at Kurt Russell when they think he's the Thing in, well, in The Thing. When they think he's a monster on the inside. I-I can't take that.

ALEX:
Come on, it'll be all right.

CHRIS reluctantly accompanies ALEX inside and in to CID. Silence falls as he enters; while ALEX is greeted with her desk covered in red rose petals. Must be the Milk Tray man branching out.

ALEX:
What's this?

SHAZ:
It was like that when we got in, ma'am.

CHRIS goes over to speak to RAY.

CHRIS:
What can I do to help, Ray?

RAY:
Why don't you sit tight for now, yeah?

CHRIS goes away to talk to SHAZ.

CHRIS:
Maybe we should have some lunch today?

SHAZ:
Yeah, if I'm not too busy.

CHRIS:
Of course, yeah. Only if you're not too busy.

SHAZ:
Because I need to phone my mum. About the flowers.

CHRIS:
Flowers? Is there much point now?

SHAZ gives him a look and walks back towards her desk; ALEX is sweeping the rose petals into a bin.

SHAZ:
You okay? You look drawn.

ALEX:
Yeah, I've, er, got a bit of a headache, Shaz.

SHAZ:
I'll get you something.

ALEX:
Thanks. 1981. I came back to 1981 for a specific reason. To see my parents, right?

SHAZ:
Okay.

ALEX:
And he came back to '82 because this year is important to him. Why?

GENE comes out of his office.

GENE:
Right, shake a leg, you lot. It appears that every snout and grass in town has gone to ground. Something big is about to happen, I want my team ahead of the game.

GENE goes back in his office to get his coat; RAY pops his head round the door.

RAY:
Robbery, Guv?

GENE:
Armed and dangerous. And it's just gotten worse. You know that snout I went to see last night? Rock Salmon Doyle? Well according to a girl who works with him, he's as dead as one of his own haddock.

GENE strides out of CID, RAY and ALEX hurrying in his wake. CHRIS gets up to join them.

GENE:
Not you.



Street en route to DOYLE's fish bar.

GENE:
When we hauled in those guns from the building site, we upset a tasty little plan. Rock Salmon supplies shooters, and the underworld needed to replace them fast. Doyle wanted to talk about it, and when I got here he'd gone schtum. We had words thereafter.

They arrive at the door of the 'Sea Breeze Fish Bar'. The breeze in question probably coming off a sewage outfall pipe in the Channel. They take particular notice of the floor.

ALEX:
Chip oil. A vat must have spilt.

RAY:
Urgh. Missed my brekkie. I'm starved.

ALEX:
Oh yeah, you look like you're wasting away.

CARLEY bursts out of the back of the shop and throws herself at GENE in a rage.

CARLEY:
You stinking bastard pig filth! You killed him!

GENE:
Would you calm down! Don't you read the news? We only kill people in custody.

CARLEY:
Oh, you lousy, rotten bastard scum!

ALEX intervenes and shepherds CARLEY away into the back of the shop.

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

GENE follows.

GENE:
(to RAY) You, keep an eye out here.



Kitchen at the rear of the fish bar.

ALEX:
Carley, whatever you tell us it won't implicate you. You're not under arrest.

GENE:
What happened to Doyle?

CARLEY:
Look, it was a really big job. He was really excited. And then he found out more and he got so scared.

GENE:
Who'd he move the guns on to?

CARLEY:
I don't know!

ALEX:
What makes you think he's dead?

CARLEY gestures to a dustbin behind them; GENE lifts the lid.

ALEX:
God.

GENE:
So where's his left hand?

CARLEY indicates a container of flour on the counter; they look inside to find a hand hacked off just above the wrist.

ALEX:
Oh no, they tortured him.

GENE:
Second battering of the night.

CARLEY:
And don't think that was the only thing they cut off.

GENE:
Oh, you are pulling my todger?

CARLEY:
Well he's not pulling his.

Meanwhile RAY has found himself some breakfast in the form of a suggestively-shaped battered... sausage.

RAY:
Ho, ho, ho. Come here you beauty.

RAY takes a bite.

RAY:
Mmm.

GENE and ALEX appear from the back of the shop and look at him.

RAY:
If you're looking for some, forget it. This is all they had frying.

GENE and ALEX exchange glances.

RAY:
What?



CID. RAY is gargling with the contents of one of a number of bottles of mouthwash on his desk. His colleagues are amused.

ALEX:
Oh, come on, Ray. Taking one bite out of a deep-fried penis doesn't make you a bad person.

VIV:
No, you must feel like a right sucker, mate.

Much hilarity.

VIV:
Hey, what're you having for lunch today, Ray? Meat and two veg?

Roars of laughter; even ALEX can't help joining in.

CHRIS:
Hey, gives a whole new meaning to eating someone else's packed lunch.

No-one laughs. Tumbleweed rolls across the floor of CID, metaphorically speaking. Into this pool of silence drops GENE's dulcet tones.

GENE:
In my office, Lady Bolls.

ALEX does as she is bid. Also in GENE's office is DCI CARNEGIE.

GENE:
This is DCI John Carnegie, Fenchurch West.

DCI CARNEGIE:
You all right? You look sick.

ALEX:
Yeah, I'm fine.

GENE:
Well she's just seen a man's tackle turned into a fish supper.

ALEX:
It's an infection.

GENE:
What, a small dose of the clap or the, er, full round of applause?

ALEX:
Yeah, it's third stage VD, Guv. I'm an aggressively promiscuous nymphomaniac, you know that.

DCI CARNEGIE:
Good for you. Okay. So. Sadly, a young bobby from our district, PC Martin Summers, well his body was found on Lafferty's building site this morning.

ALEX sits down on the edge of the desk but doesn't say anything.

GENE:
Drake, would you like to know how he died, or shall we mime something?

ALEX:
Yes, of course, I'm sorry. How did he, er...

DCI CARNEGIE:
He was shot. .22 calibre.

GENE:
Lafferty's been charged with murder already. Summers must have come across him and got bumped for his troubles.

DCI CARNEGIE:
Summers was a nice lad. Make it stick, we'd appreciate it.

GENE:
You know me, Carnegie. Nobody gets away, especially not cop killers.

ALEX:
Yeah. PC Summers, he was a good officer. I underestimated him, that was my mistake. It was my fault. It was my fault.

DCI CARNEGIE:
Right. Well, er, I know the way out.

ALEX:
I wish I did.

DCI CARNEGIE leaves.

GENE:
Big night on the Gin Slings?

ALEX:
Lafferty did not kill PC Summers, it was... It was a bent copper.

GENE:
No, it was Lafferty. His MO.

ALEX:
No, you don't understand. It was a bent copper, and I have to stop him.

GENE:
Well right now we need to find out where Doyle's guns went and who they were for. There's a major blag going on and I want to nab it, Drakey. The Summers case can wait.

ALEX:
I have to stop this infection. Time's running out for me, Guv.

GENE:
Yeah, and time's running out for moi.

ALEX:
That's French.

GENE:
Sorry, I'm under pressure. Doyle is dead. I want these bastards who are planning this. You got the DTs? You want to pour yourself a large Scotch, that should sort you out.

ALEX goes to leave.

GENE:
Could do with something stiff inside you.

ALEX, not unreasonably, gives him a look to chill an ice cube and leaves.



Good heavens, ALEX is in the Gents again. LANKY CID BLOKE looks his protest and leaves.

ALEX:
Ray.

RAY:
You know this used to be the Gents. What is this? France?

ALEX:
Now listen, the Guv's focused on this robbery, okay? But you and I, we can still keep a few plates spinning, can't we? I need you, Chris and Shaz working as closely as possible with me.

RAY:
Oh yeah, 'cos we're mugs.

ALEX:
I prefer a coalition of the willing.

RAY:
Like I said, mugs.

ALEX:
Listen, I need to find out everything you can about PC Martin Summers. Where he drank, where he lived, friends, enemies, everything.

RAY:
But what's all this in aid of?

ALEX:
It's in aid of finding answers. Summers shouldn't be dead.

RAY:
No, he's a young man, it's terr-

ALEX;
No, Ray, he shouldn't be dead. He doesn't die in 1982, but this year was critical in his life. Something happens to Summers in this time. Something really significant. It has to.

RAY:
Yeah, he gets killed. Look, the Guv wants all eyes front and centre on this blag-

RAY pauses as his digestive system makes a protest.

RAY:
Flaming Nora. D'you know what the biggest crime of all is? That I'll never want to eat a sausage ever again.

ALEX:
Oh, Ray. Ray, it was a sausage! Rock Salmon's willie winkie was stuffed in his pocket. They've been having you on.

RAY:
Evil bastards.

ALEX:
Listen, just find out everything you can about PC Summers.

ALEX starts to leave.

RAY:
D'you want me to use the network? You know, the Lodge.

ALEX:
Ray! The person behind this is in the bloody Lodge. He's got a whole web of officers working for him. Break the web and we break him.



GENE is on his way through reception and pauses as he's confronted by JENETTE.

VIV:
Ah, Guv. This woman wants you.

GENE:
Can I help you, love?

JENETTE:
Um... I dunno.

GENE:
Well don't be put off by my aftershave. Underneath I'm a very nice man.

JENETTE:
No, I'll leave it.

VIV:
What was that all about?

GENE:
Dunno.

That makes three of us then...



CID, and RAY is not impressed with his colleagues.

RAY:
Some jokes, they just aren't funny!

His colleagues disagree and laugh heartily. SHAZ, meanwhile, brings ALEX something for her headache.

ALEX:
Thanks, Shaz.

SHAZ:
What's that pong?

ALEX:
Well there's chip oil all over the floor. It's on our shoes.

A police radio on SHAZ's desk crackles into life.

POLICE RADIO:
Charlie Victor, be advised, infection still virulent.

SHAZ goes to turn off the radio.

POLICE RADIO:
Dose up to 18ml.

ALEX:
No, Shaz, please! Ju-

SHAZ:
Sorry, ma'am, I'll just turn it off.

ALEX:
No, wh- Urh. What did it say? Wha-what was it? Eighteen?

SHAZ:
I dunno, I wasn't listening.

GENE arrives in CID. Probably took the opportunity of using the Gents while Alex was safely occupied.

RAY:
Guv. Dabs off Doyle's body.

RAY hands GENE a file.

GENE:
Bruise marks on Doyle's arm. Killer was wearing gloves.

RAY:
Look at the size of his hand. Big Daddy splash, or what?

GENE:
It's Tiny Tim Rivens. Six foot two, brick shithouse.

RAY:
Oh, would somebody get some Shake'n'Vac? I can still smell that batter.

ALEX:
I told you, it's on our shoes.

A penny drops.

ALEX:
Guv, I've got an idea, and if it pays off I get to go after Summers' killer. Yeah?



Tiny Tim's elegant garage establishment, under some railway arches somewhere in London. GENE, RAY and ALEX arrive, uniform in tow.

ALEX:
CID, Mr Rivens.

RAY:
Did you cut up Rock Salmon Doyle last night? Come on, we can keep a secret.

TINY TIM:
I was helping my kid sis here build a rabbit hutch.

JENETTE comes into view.

ALEX:
So you weren't at Doyle's chip shop?

ALEX is apparently dusting flour over the sole of one of TINY TIM's boots which he's conveniently not wearing just then.

ALEX:
These are very clean. They just been scrubbed?

GENE:
That's very good. I thought she was going to bake a cake.

ALEX:
Water won't wash off chip fat.

TINY TIM:
Don't know what you're on about, love. Those boots have got motor oil on them.

GENE takes a sniff.

GENE:
If that isn't chip fat, then I'm Liberace's love child.

ALEX:
You're nicked.

TINY TIM doesn't take that well and grabs a blow torch and JENETTE and threatens her with it.

JENETTE:
Tim!

TINY TIM:
I'll burn her.

GENE:
Where you going to go? Cuba?

JENETTE elbows TINY TIM in the stomach and struggles free. RAY and uniformed officers run to grab him.

RAY:
Come on, Tiger. Easy.

ALEX:
Right. Done my bit, I'm after Summers.

ALEX leaves. GENE goes over to JENETTE, who's slightly over-playing the damsel in distress card in my opinion...

GENE:
That's why you came to see me, to tell me about your brother.

JENETTE:
Maybe. I dunno. I don't know what to do any more. I've had it.

JENETTE collapses into GENE's arms. Yeah, right.

GENE:
Right, I'll get one of my officers to drive you.

JENETTE:
I want to ride with you.

GENE walks away. Eventually.



CID. VIV has found a big blue and black bag thing.

VIV:
They found this at Tiny's place an' all.

SHAZ:
Oh, it's like one of those things they use to weight baby elephants on Animal Magic.

VIV:
Look, it's got metal strips running through it. To reinforce it, I think.

RAY:
Oh, thanks, Skip. If we find any baby elephants then we're all sorted.

CHRIS:
Nah, it's probably a tool bag. Career blagger like Tiny isn't going to leave incriminating stuff about.

RAY:
All right, all right. You just do your job and be grateful you're still...

CHRIS:
Go on, say it. Be grateful I'm still here.

RAY turns away, looking belligerent.



Reception area, and GENE comes to talk to JENETTE.

VIV:
All right, Guv.

GENE:
So, tell me about your brother.

JENETTE:
He's an evil bastard.

GENE:
He's pulling a job.

JENETTE looks down.

GENE:
He is pulling a job.

JENETTE:
You don't remember me, do you?

GENE:
Well, I meet a lot of gangster's families, sweetheart.

JENETTE:
Yes, he's pulling a job. I dunno what, but it's planned for tomorrow.

GENE:
Thank you. Stick around.

JENETTE:
I ain't going anywhere.

GENE goes back towards CID, meeting ALEX in the corridor.

ALEX:
Guv! Guv, time's running out for me here, I need to-

GENE:
Time's running out for me an' all. According to the sister, this blag is going to go off within twenty-four hours. Come on, Inspector.

ALEX:
Guv, I can't. Look, I need to stay focused. I have to stop Summers.

GENE:
Summers? Summers is dead.

ALEX:
No- I mean...

GENE:
What do you mean? What is getting to you, Drake?

ALEX:
Nothing.

GENE opens the door of the interview room for ALEX to enter.

GENE:
Focus on this case.



Interview room.

GENE:
Doyle gets you the guns for a blag, and then he gets scared and calls us, so you torture him to find out what he blabbed, and then you top him.

TINY TIM:
You tortured him first.

GENE:
Oh, I don't torture, I interrogate like now.

GENE tuggs on TINY TIM's cuffs; TINY TIM grunts in pain.

GENE:
When's it happening, where's the hit, who's the gang?

TINY TIM:
I should tell you, Mr Hunt, I'm into bondage and you're giving me a stiffy.

ALEX:
Just give us some bloody names!

Even GENE's a bit taken aback by that one. Mind you, he's missed out on most of the other times ALEX has turned Gene Genie.

GENE:
Tough nuts are supposed to be your forte. You crack him, I'll get on with his sister.

ALEX:
Well, he's buckling under your technique. You could keep going-

GENE:
Just stay in this room.

GENE slams the door.



Gene's office. He's laying out some mug shots for JENETTE to look at; she's looking round the room.

JENETTE:
You basically live here, don't you? Shaver in your office.

GENE:
These men. Seen them with your brother recently?

JENETTE:
No.

GENE:
Well, take a good look.

JENETTE:
You know we met about a year ago. Gatepost pub. My cousin's birthday party. You turned up to arrest him.

GENE:
No recollection. Photos.

JENETTE:
You were about eight times over the limit. You kissed me. Said it was the only way to shut me up.

GENE:
Did it work?

JENETTE:
No. Maybe you didn't kiss me for long enough.



CID. SHAZ looks on as CHRIS hisses into the telephone.

CHRIS into the telephone.:
Go away, I'm not talking to you. Just don't call me.

CHRIS hangs up; RAY wanders over.

RAY:
D'you think I should bother the Guv now with this name from Tiny's place? Is this enough to mean anything?

CHRIS:
Just go in, Ray. Of course it means something. Show some bloody initiative.

RAY:
Oi! Mr High-and-Mighty. The last thing I need is a lecture from you on good policing, all right?

CHRIS has had enough and gets to his feet, pulling on his jacket.

CHRIS:
Sod this. I don't have to put up with this for the rest of my life.

SHAZ:
Chris, please! Ray, say something!

RAY:
Don't nick all the pens on your way out.

CHRIS shapes up to come back at RAY, but turns away and leaves.

RAY:
Sorry, love. He's a twonk.

SHAZ, upset, also leaves.

RAY:
I'm a twonk.



Gene's office.

JENETTE:
He doesn't tell me anything and I'm too smart to ask, you know that.

GENE hands her a tumbler of whisky.

GENE:
Then why did I bring you here?

JENETTE:
Because I swooned. And I think you've got a soft spot for damsels in distress. Oh, I love your hands. You don't give much away, do you? Hide it all behind those pretty eyes.

GENE:
Do not talk soft in my office.

JENETTE:
Does that DI of yours notice those eyes?

GENE:
A little too in love with herself.

JENETTE:
Well, I noticed them. The moment I saw you at the Gatepost. (she laughs) I can't do this. Feel's stupid.

GENE:
Does, doesn't it?

JENETTE:
Tiny always said that if he got nicked I was to... get in with the senior officer.

GENE:
Go on.

JENETTE:
And...

GENE:
What, flash your boobs? Metophorically speaking. Well if it's any consolation, I was fooled for about the first two seconds.

JENETTE:
What gave it away?

GENE:
Oh, it's not your fault. Just that beautiful women don't do that with me.

JENETTE:
Beautiful women?

GENE:
Yeah.

GENE picks up a photograph from his desk and shows it to JENETTE.

GENE:
Your brother did this to Rock Salmon.

JENETTE:
I don't get involved in his work, really. I swear. But I'll tell you this, Mr Hunt, Tiny is as nervous as I've known him about a job. Now I really don't know anything else.

GENE:
Then we're done.

GENE opens the door for her to leave, which she does.



Interview room. ALEX is shading in one half of a circle drawn on a sheet of paper. As artistic skills go, it's not a patch on Gene's doodle in series one...

ALEX:
Right.

She holds up the drawing to TINY TIM.

ALEX:
Which side looks empty and which side looks full?

TINY TIM:
Wha?

ALEX:
What, you scared of tests? There's no wrong answer, don't be afraid. Which side has the void?

TINY TIM:
That one. Empty.

ALEX:
Now, first thing that comes into your head. Bath tub.

TINY TIM laughs.

TINY TIM:
I'm not gonna-

ALEX:
Come on, be a man. Play the game. Bath tub.

TINY TIM:
Bubbles.

ALEX:
Bicycle.

TINY TIM:
Girl.

ALEX:
Chestnut.

TINY TIM:
Bonfire.

ALEX:
Stockings.

TINY TIM:
You.

ALEX:
Ice cream.

TINY TIM:
Sundaes.

ALEX:
Fun fair.

TINY TIM:
Candyfloss.

ALEX:
Gun.

TINY TIM:
Cornflakes.

ALEX:
Death.

TINY TIM:
Weekdays.

ALEX:
Rose.

TINY TIM:
Coppers.

ALEX:
Rose.

TINY TIM:
Cop- You already done that.

ALEX:
Rose.

TINY TIM:
You already done it.

ALEX:
Well, think of something else.

TINY TIM:
I said coppers!

ALEX:
Come on, Tiny, think about something else.

TINY TIM:
Coppers! Rose, coppers! Rose, coppers!

ALEX:
You can't think of anything else, can you?

TINY TIM:
Piss off.

ALEX:
Why kill a grass so close to an armed robbery? Why bring that much heat on yourself? Because you were ordered to by some very serious people, that's why.

ALEX leaves and goes back to CID.

ALEX:
I've got it. Your blag, it's being set up by police officers. Tiny told m- Well, his subconscious revealed it to me during a state of anxiety. It's Operation Rose. It's this robbery.

GENE:
That's what Mac was going on about when he died. So, bent coppers are going to pull off a blag? That means when we nicked Lafferty, we took their guns.

ALEX:
Yeah. And they got some more from Rock Salmon Doyle.

GENE:
Excellent. A breakthrough. Thank you, Bolls.

ALEX:
Thank you.

GENE:
Right, keep at him with the old psychology.

ALEX:
Guv?

GENE:
Mmm?

ALEX:
That's exactly what it is.

RAY:
Guv, I got this name from Tiny Tim's place.

RAY hands across a piece of paper.

GENE:
'King Dong job'?

RAY:
Yeah, King Dong. You know, coloured porn star with a big, massive...

RAY meets ALEX's gaze and tries again.

RAY:
The black porn star with a mass- Oh, he's a chocolate lad with a great whopping knob.

ALEX:
Could this be code?

GENE:
Either that or our bent coppers are making a bluey staring Daley Thompson.

RAY:
Now, I would pay good money to see that.

ALEX:
You know what, so would I.

GENE:
You couple of pervs. Bolly, Raymondo, go and talk to Tim about King Dong.

The dynamic duo do as commanded. Meanwhile, GENE returns to his office and finds an audio cassette left on his desk. ALEX has done him a mix tape. Or then again... GENE get a cassette recorder down from his shelf and sets the tape to play.

ALEX on the tape:
My name's Alex Drake. November 10th. Gene Hunt. Always that man. What is he? Ally or enemy?

GENE stops the tape abruptly.



Interview room.

ALEX:
King Dong.

TINY TIM:
Yeah?

RAY:
King Dong.

ALEX:
I want you to tell us what that name means to you.

TINY TIM:
Look, charge me if you're going to, but don't move me, mmm? Keep me in the cells here. Can you do that?

ALEX:
Why Tiny? You scared these coppers might reach you if we put you out on remand?

TINY TIM:
Oh, you don't get it! They got it all under control and nobody can stop them. You can't trust anyone.



Gene's office.

ALEX on the tape:
Why have I pitched up in his world? Any minute now I could be dead. And if he finds me out, what would he do? What would he do if he knew the truth? I have to fight. I have to fight him, but... What does Gene Hunt represent? I- Oh God, I've got to get out of here. I have to get away from him. I hate this place. Maybe Summers can help, but Hunt must never know-

GENE stops the tape as he sees ALEX coming to his office.

ALEX:
Tiny doesn't know anything about King Dong, but he's scared, Guv. He says the rot runs right to the top and they are everywhere. Trust no-one.

GENE:
Yeah, trust.

GENE pops the tape out of the machine and gets up.

GENE:
Tricky thing to come by. Why am I a threat to you?

ALEX:
I don't follow.

GENE holds the tape up to her; she snatches it.

ALEX:
Where the hell did you get that?

GENE:
It was on my desk.

ALEX:
He left it for you, didn't he?

GENE:
And who would that be?

ALEX:
It's very complicated, Guv. It's- it's very difficult to explain.

GENE:
What, you- you analysing yourself now? You love it, don't you? The sound of your own voice. Is that what you do of a night? Sit at home talking into a machine, working out ways of bringing me down?

ALEX:
No. No, you have to believe I'm on your side.

GENE:
Oh, I want to believe you. But you've got to tell me the God's honest truth about yourself, Drake.

ALEX:
Time's running out for me here-

GENE:
Yes, it is. You know, I look around, I see Chris taking bungs, the grave of my old boss, bent as a farthing, and I, erm... I feel adrift. You talk to me, Alex. If I mean anything to you at all.

ALEX nods, puts the tape down on the desk and gathers herself to explain.

ALEX:
I'm from the future. I was shot, and I woke up here, with you. Just like Sam Tyler, only... only this is my reality. And I am fighting not to die, because if I die, I will never get home. And it's insane, but there it is. And I trust you, which is why I'm telling you the truth.

GENE looks away, apparently trying to make sense of it.

ALEX:
Guv?

GENE:
You know I ask for the truth, and you piss in my face.

ALEX:
No. No, no, no, no, no, no. Please, please don't do this. I'm telling you the truth. I thought it was all in my head, but Summers, Summers is here too and- And he's from the future and I saw him, I saw him. He shot his younger self. He's behind Operation Rose and I- I don't know why, but I do know that I have to stop him.

GENE picks up the tape and hands it to ALEX.

GENE:
Get out of my sight, Inspector.

ALEX takes the tape and leaves without a word. She goes towards the kitchen, close to tears. On the notice board a poster appealing for assistance (in the case of her own shooting as it happens) bleeps and flashes '25ml'. ALEX tears it down and screws it into a ball. SHAZ appears, also red-eyed.

SHAZ:
Ma'am? I think they got in touch with Chris again. The Operation Rose people. He took a call earlier and...

ALEX:
Where is he, Shaz?



Rear of the police station. CHRIS is sitting on the bonnet of a squad car throwing stones at the wall. This is telly speak for 'unhappy'.

SHAZ:
Chris!

CHRIS:
Go away.

CHRIS starts to walk away.

ALEX:
Chris, they called you, didn't they? They still think you're with them.

CHRIS:
Well I'm not, okay? I'm not!

ALEX:
Where did the call come from?

CHRIS:
Another police station I think. Just leave me alone, please!

SHAZ:
Chris, please.

SHAZ runs to catch him up.

SHAZ:
It was a horrible shock, but... I'm not ashamed of you, Chris. I'm proud of you.

CHRIS:
How can you possibly be proud of me?

SHAZ:
Because you care when you get it wrong. It matters to you. And that takes something special. I love you for that. D'you hear me? I love you.

CHRIS:
Do you?

SHAZ:
'Course I do, you narna. Now I've got a wedding dress fitting tomorrow. Am I going to it? Am I, Christopher?

CHRIS smiles and they kiss. Well, snog. ALEX is left slightly embarrassed, playing gooseberry.

ALEX:
Um. Hmm. Er... Well, this is lovely, but, um... Er, Chris? Er, Chris, we haven't...

CHRIS recollects himself and puts SHAZ down for later.

CHRIS:
Oh, yeah. They want to meet with me. In one hour.

ALEX:
Right. You have to do it.

CHRIS nods.



Police station cells. An alarm bell is ringing as VIV and RAY burst into TINY TIM's cell. He's writhing on the bunk in agony, his pasta shells in tomato sauce fallen to the floor.

VIV:
What are you playing at, Tiny?

RAY:
Tiny! Tiny!

VIV:
Is it a heart attack?

RAY:
Call an ambulance, now! Tiny!



Old King's Head public house. CHRIS is waiting outside for his meeting with the Bad Guys. ALEX and SHAZ are in a car watching him.

SHAZ:
Hope he'll be all right. He wouldn't do anything stupid, would he?

ALEX and SHAZ exchange a look. A blue transit van sweeps up with a squeal of tyres, a door opens and someone comes up behind CHRIS to bundle him in.

BAD GUY:
Right, get in!

The van squeals off and ALEX and SHAZ exchange a different look.

ALEX:
Shit.



Gene's office. Back to the old days; RAY's sharing a drink with the Guv.

RAY:
Fighting for his life in hospital. Could be strychnine poisoning.

GENE:
Well, any police officer's got access to the kitchen. What is this? Smiley's People?

RAY:
Maybe he smuggled it in himself?

GENE:
Commit suicide rather than admit defeat? It's Tiny Tim Rivens, not Rommel! Somebody's tying us in knots here, Raymondo. I should never let Drake out of my sight.

RAY:
Drake? She's a pain in the arse, but she's our pain in the arse.

GENE:
She hates this place. She hates me.

RAY:
But she's not bent.

GENE:
I don't know what she is. Nothing's making sense.

RAY:
Well, when that happens, the best thing is just to get pissed.

GENE puts his glass on the desk and picks up his car keys.



Tiny Tim's garage.

GENE:
Jenette? Jenette?

JENETTE:
Mr Hunt.

GENE:
Er, your brother's been taken ill.

JENETTE:
What with?

GENE:
Well, we're not sure, but it looks like poisoning. He's fighting for his life.

JENETTE:
But he's in custody. You can't even protect him in there? Oh my God, they got to him. They got to him, they'll come for me. If they can do Tiny, they'll come for me! They'll kill me! What am I going to do?

GENE:
Look, Jenette...

JENETTE:
I know I was stupid, coming on to you like some tart.

GENE:
Well, as tarts go, you were great.

JENETTE:
I'm so scared. They will come for me.

GENE:
Yeah, well they'll have to get through me first. Come on.

He has. He's got chronic low resistance to damsels in distress. Twonk.



Meanwhile, outside the pub, the van comes back and tumbles CHRIS out into the road without stopping. ALEX and SHAZ hurry over.

CHRIS:
Urgh.

SHAZ:
Chris! You all right?

ALEX:
What happened?

CHRIS:
Were three of them, wearing beanies and masks. They want to use me on a blag.

ALEX:
So they were coppers?

CHRIS:
I'm to patrol in a jam sandwich tomorrow afternoon, radio open. When I get the call sign Oscar Papa Romeo, I'm to tell control that I'm on it and proceed to the given address.

ALEX:
Oscar Papa Romeo. It's Operation Rose. What's the address?

CHRIS:
I won't get it 'til the last minute.

ALEX:
But you took the job?

CHRIS nods.

ALEX:
Good. Nice work, well done.

CHRIS:
I thought I was going to get wacked.

SHAZ:
Oh, Chris. Love you.

CHRIS:
Well, you're only human. Oh, and ma'am? I know what the job is.

ALEX:
Which bank?

CHRIS:
It's not a bank.



MUSIC: 'The Hunter and The Hunted' by Simple Minds

Luigi's. RAY comes in, casting a jaundiced glance at GENE and JENETTE at the bar as he passes on his way to the usual CID table.

JENETTE:
I knew Tiny was caught up in something with bent coppers. He was scared from the start. But the money was going to be sky high. There's no-one you can trust, is there?

GENE:
Funny thing, trust.

JENETTE:
Am I wrong to trust you?

ALEX arrives.

ALEX:
Guv.

GENE:
I'm busy.

ALEX hesitates, looks at JENETTE, but eventually goes to join RAY, CHRIS and SHAZ following.

JENETTE:
Look, I know you don't want to hear this, but I think I heard her name being mentioned.

GENE:
She's my DI.

JENETTE:
But can you trust her?



CID table.

RAY:
Sulk over then?

CHRIS:
As long as this shit stops now.

RAY:
Fair enough.

ALEX:
Chris made a real breakthrough today on Operation Rose. Quite frankly he was brilliant.

CHRIS:
So I guess that calls for a serious drink?

RAY:
Luigi. Bottle of your finest.

LUIGI:
That'll be the Dolcetto settantasette. Eight pounds and fifty pence.

RAY:
Eight quid! I want the bloody bottle, not the vineyard.

LUIGI:
Then you can have the house. It's the best house in the house. Heh heh. I'll give you the Dolcetto for three quid.

RAY:
Now you're talking.

LUIGI:
You can also have my television, stereo, restaurant, shirt off my back, my testicoli on a silver plate. Why not, eh, Luigi?

LUIGI shuffles off, muttering in Italian. Poor fellow. ALEX gets up to talk to GENE again.

GENE:
I told you to get out of my sight.

ALEX:
You need to know this. (to JENETTE) It's CID business. Why don't you go and find a tappas bar?

GENE:
She's with me.

ALEX:
This is serious.

GENE:
Do I appear to be laughing?

JENETTE:
It's okay. I'll be okay.

GENE:
I think you should stay.

JENETTE:
I feel much better, really. I'll go straight to me friend's house.

GENE gets out a wad of fivers.

GENE:
Fine. Here. Take a taxi, don't stop for anything.

JENETTE:
Thanks. And remember what I said. Be careful.

JENETTE leaves.

ALEX:
Right, the station.

GENE:
No. Here.

ALEX:
Why don't you stick your pride back in your pocket and listen to me for a minute?

GENE:
Only when I can believe what you say.

RAY:
Guv, we've had it skulking about and being three weeks behind these bastards. If she's got a plan, then let's just give her the benefit, eh?

SHAZ:
Chris risked his life tonight, Guv. You owe him that much.



CID. Your basic briefing set up; GENE is exuding sceptisism.

ALEX:
Chris.

CHRIS stands up.

ALEX:
DC Skelton has made a very important discovery.

GENE:
Don't tell me, turns out we're not descended from monkeys after all. 'Cept for him.

There are sniggers.

CHRIS:
Tomorrow's blag, it's a bullion job.

GENE:
Gold? They wouldn't dare.

ALEX:
Brinks Mat?

GENE:
Who?

ALEX:
I'm telling you, they're going to hit the gold truck.

GENE:
No. Too audacious.

ALEX:
What about these?

ALEX picks up the reinforced bag from TINY TIM's place.

ALEX:
Reinforced to carry the extra weight. Look, they allow a genuine robbery to take place on the truck. Then, when the blaggers are in possession of the gold, the bent coppers will come in and raid the raiders.

CHRIS:
Raiders of the Lost Blag.

CID laugh.

ALEX:
If they're caught for any reason, it'll just look like an arrest.

GENE:
Who's the ringleader?

CHRIS:
No idea, Guv. But as soon as it's radioed through, I'm the first on the scene. Screw up the scene of the crime and send false directions to the pursuing vehicles. It's brilliant.

ALEX looks at CHRIS.

CHRIS:
And, of course, despicable.

RAY:
Where are they going to do the hit? These gold lorries take loads of different routes for security. They won't even tell us.

CHRIS:
Well, we've got that note from Tiny's.

RAY:
'King Dong job'? How's that going to help? They're going to take a shortcut through a dildo factory?

Sniggers.

ALEX:
Shaz has been doing some digging.

SHAZ pins a map up with routes marked on it.

SHAZ:
Yeah. There's actually only three routes that they can take.

RAY:
So which one are they going to take tomorrow?

SHAZ:
We dunno.

ALEX looks at the map and has another penny-dropping moment.

ALEX:
Hang on a minute.

GENE:
Inspector, you are trying my patience beyond its normal generous limits.

ALEX:
Only one of these routes goes east. I remember this. I studied this heist at Hendon. It's 1982. That's why this year's so important to Summers.

GENE:
Summers? Eh- What the bloody hell-?

ALEX:
King Dong. It's not King Dong on that piece of paper, it's King Doug! It's King Douglas Lane. Look, here. It's east of the bullion depot. I remember, I studied it. I can't remember anything about it, but that is where they'll hit and we can stop Summers.

GENE:
Summers is dead!

ALEX:
No, the other Summers!

RAY:
What other Summers?

ALEX;
I'm sorry, but there's another Summers. I had to get my head around it and so do you!

GENE:
I am trying to get my head around your connection to all this, Drake, because it is chilling me to my bones!

ALEX:
Guv, I am handing you a collar on a plate!

GENE:
I have heard you on that tape attacking me, asking the same question over and over. 'Should I fight Gene Hunt?'

ALEX:
Summers wanted you to hear that tape! He wants to drive a wedge between us!

GENE:
Summers? What, the other Summers? The one from the bloody future?!

GENE storms into his office; ALEX follows and slams the door behind her.

GENE:
First Sam Tyler, now you. Why do I always attract the liars and the weirdos?

ALEX:
The bullion truck's scheduled for eleven o'clock tomorrow morning. Somehow it will be diverted to King Douglas Lane. Now, the clock is ticking, Guv, and we have to bring Summers down.

GENE:
I'm formally suspending you.

ALEX:
Well, you can't do that.

GENE:
Me organ grinder, you monkey. Give.

GENE holds out his hand for ALEX's warrant card. She whips it out of her pocket and onto the desk in one angry motion. GENE picks it up.

GENE:
I really thought you and me... I thought we were the ones. We had a connection.

ALEX:
We do.

GENE:
You can't tell me the truth.

ALEX:
I did. I know you can't possibly comprehend it, but I did.

GENE:
You know it's just struck me how truly cold you are, Drake. You told me once you had a daughter. You don't phone her. You never talk about her. You never try and see her.

ALEX slaps GENE, hard, then storms out of his office. GENE goes to his door and shouts after her.

GENE:
I'm doing this without you.

ALEX stops and glares at him.

GENE:
And you dare to get in my way, I swear to God I will kill you.

ALEX turns away and leaves CID. The rest of CID avoid GENE's eye.



MUSIC: 'While My Heart Is Still Beating' by Roxy Music

Alex's flat. Once more our heroine sleeps fitfully. MARTIN SUMMERS appears and sits on the edge of her bed. Honestly, it's been like Picadilly Circus on there this series. He whispers and she doesn't wake up.

# All of those people #

MARTIN SUMMERS:
The fever's bad, Alex.

# Everywhere #

MARTIN SUMMERS:
Very bad. I've heard them talking. No improvement, eh? Look at us. Couple of desperate cases. Now you've lost your lifeline.

ALEX in her sleep:
No.

MARTIN SUMMERS:
Your constant. Your Gene Hunt.

ALEX in her sleep:
No. No, he'll come round. He knows he can trust me. He cares about me.

MARTIN SUMMERS:
Heh. You sure? You're alone, Alex. It's over.

ALEX in her sleep:
No.

His evil work done, MARTIN SUMMERS leaves. Manipulative bastard.



CID. GENE is brooding, ending up propped up on one desk, gazing at ALEX's empty one.

# Where's it all leading
# Words to spare
# Lost in their meaning
# I'd better... #

JENETTE arrives. Oh good.

JENETTE:
How many nights d'you spend here on your tod?

# ...be strong now #

JENETTE:
Front desk were making coffee. Ain't Fort Apache this, really.

GENE:
You like Westerns?

JENETTE:
Love them.

GENE:
Wayne, Stewart, Cooper or Eastwood? It's important.

JENETTE:
Wayne for the machismo. Stewart for the warmth. Cooper for the romance. Eastwood for the mystery.

GENE:
Above all?

JENETTE:
Gary Cooper.

GENE:
Me too.

JENETTE:
Not for the romance.

GENE:
No, not for the romance.

JENETTE:
Not against a bit of romance though, are you?

GENE gets up and steps towards her.

GENE:
What d'you want from me, Jenette?

JENETTE:
You have to ask?

JENETTE steps a bit closer. If you're not grinding your teeth at this point, rest assured I'm doing enough for both of us.

JENETTE:
I like to think I don't scare easily... But I'm lonely, Gene. And I just think if you admit the same, then maybe we-

And finally GENE gets his act together and kisses someone under the age of 70. And it's the wrong woman. Your transcriber throws up her hands in despair at the male of the species - and I'm looking at Matthew Graham. Oi vey. Anyway, where were we...?



Alex's flat. The alarm sounds and ALEX wakes up all of a sudden, and puts her fingers to her lips. Which was... odd. She seems to think it was a bit odd too. The noise of the alarm blends with the bleeps of a monitor, and '36ml' flashes on the clock radio display. ALEX gets determined, and gets up, grabbing the gun from the bedside table.

MUSIC: 'Club Country' by The Associates



Exterior of the depot, and the bullion van is leaving, watched by RAY and POIROT waiting in a Ford Granada. Henceforth their unit will be referred to as the Granada.

RAY into the radio:
Guv, the bricks are in the van, over.

GENE over the radio:
Right, stay with them 'til Maybridge Road.

RAY into the radio:
Before they turn into the High Street. Copy that.

The Granada sets off after the van.



Meanwhile ALEX is on foot, making her way to King Douglas Lane. She taps on the window of the patrol car CHRIS waits in (That's the 'jam sandwich' in case you were wondering)

CHRIS:
Ma'am, you can't be seen out here. Guv says if you come within two miles of the bullion route he'll have you nicked.

ALEX:
Don't worry about me. How are you doing?

CHRIS:
Er, I'm fine. Shaz is a bag of nerves, she wanted to come with me. I made her go to her dress fitting. She's taken a radio in case sh-

ALEX:
Shit.

ALEX ducks down out of sight as a uniformed constable walks past.

ALEX:
God, you can't tell which ones are bent and which aren't.

CHRIS:
Well, it don't matter to you, ma'am. You're knackered either way.

ALEX:
Heh. Right, well, er, just sit tight until you get the nod.

CHRIS:
Roger that.

ALEX:
Cheers, Chris.

ALEX moves on.



The Granada does a Quattro in pursuit of the bullion van, which itself isn't being driven like it's got a lot of very heavy gold in it, but never mind.

# The fault is
# I can find no fault in you #

RAY into the radio:
All units, I have eyeball on the bricks.



Meanwhile the Quattro is being the Quattro, GENE and as yet unidentified CID BLOKE aboard.

RAY over the radio:
Clearing Gorton Road, heading towards Maybridge Road. That'll take them to the High Street.

GENE:
King Douglas? Bloody rubbish. They'll hit them in the High Street.

GENE into the radio:
Listen up, this is the Quattro. They'll either hit the bullion in Maybridge or the High Street. Under starter's orders.



Back in the Granada.

GENE over the radio:
We're in the sweet spot, boys.

RAY and POIROT exchange grins.



In the Quattro.

GENE:
I love the sweet spot. D'you love the sweet spot?

CID BLOKE:
Yes, Guv.

# Alive and kicking #



ALEX, meanwhile, has reached King Douglas Lane.

# Alive and kicking at the Country Club
# We're old and sickening at the Country Club
# Your limitations are our every care
# Every breath you breathe belongs to someone there #

A crisp packet blows past ALEX on the ground, bleeping and flashing '44ml'. ALEX steps on it and moves on.



The Granada continues to follow the bullion van, having a little difficulty overtaking a taxi.

TAXI DRIVER:
Bastard!



ALEX is listening in to a police radio.

VIV over the radio:
Guv, it's Viv at base. We've got reports of a fire on the High Street.

ALEX:
A fire.

GENE over the radio:
Fire? What sort of fire?

ALEX:
Yeah. Yeah, there was a, there was a fire.



In the police station.

VIV into the radio:
I'm not sure, but I think, well I think it's the florist.



The Quattro/King Douglas Lane

VIV over the radio:
Yes, it's the florist on the High Street. There's already officers...



Police station.

VIV into the radio:
...at the scene, and they're blocking it off, redirecting traffic.



The Quattro screeches to a halt.

GENE into the radio:
What are the bricks doing?



The Granada.

GENE over the radio:
Somebody talk to me. What are the ruddy bricks doing?

RAY into the radio:
Hang on, Guv, they're getting redirected.



In the Quattro GENE waits anxiously.

POLICE OFFICER over the radio:
Bullion van's on its way.



Granada.

RAY into the radio:
They're taking the van on the back streets.



King Douglas Lane.

RAY over the radio:
Drake was right. It's King Douglas Lane.

ALEX:
Yes. Yes, I bloody well was.



GENE is not happy and throws the Quattro into reverse, spins round and heads off.



Meanwhile CHRIS takes his gun and radio and gets out of the patrol car.



In the Granada, they're stopped by a UNIFORMED CONSTABLE.

UNIFORMED CONSTABLE:
Diversion. You'll have to back up.

RAY:
You are joking, aren't you?

RAY backs up.



In King Douglas Lane, ALEX looks for some place of concealment. On the railings a sign bleeps and flashes; '46ml'

ALEX:
Just hold off. Just hold off, I need more time.

She flattens herself behind a pillar as the bullion van arrives. A BMW arrives from the opposite direction, swings across in front of ther van and the latter has to stop. The blaggers leap out, shooting out the tyres, one pointing his gun at the driver.

BLAGGER:
Get out!

BLAGGER 2 points his shotgun at the GUARD in the passenger seat.

BLAGGER 2:
Bulletproof, my arse! This'll rip your face off!

The GUARD gets out, hands up, and is grabbed by BLAGGER 2.

BLAGGER 2:
You, with me!

BLAGGER 1 smashes the driver in the face with the butt of his shot gun.



Meanwhile CHRIS has arrived and conceals himself behind a pillar, from where he can see the blag.

BLAGGER 2:
Open the doors or I'll blow your brains out!

OFFICER over the radio:
Oscar Papa Romeo. Oscar Papa Romeo. Incident in King Douglas Lane. Any units?

CHRIS into the radio:
Roger that, Oscar Papa Romeo.

OFFICER over the radio:
You know what to do, son.

CHRIS into the radio:
Preceding to King Douglas Lane.

CHRIS:
(to himself) Shitting myself, but preceding to King Douglas Lane.



The Quattro speeds to the scene.

GENE into the radio:
Ray.

RAY over the radio:
Guv.

GENE into the radio:
Hang back. Let the blaggers have their fun.



The Granada contingent is now on foot, lurking on a corner opposite CHRIS and also with a view of the blag.

GENE over the radio:
We need to nail those bastard coppers as well.

RAY into the radio:
It's okay, Guv. We're parking up and following on foot.



BLAGGER 2:
Get on the bloody floor!

GUARD:
Whoa, whoa, whoa. Okay, okay.

The blaggers are shifting improbably heavy amounts of gold into reinforced bags. They'll never lift them.

BLAGGER 2:
Move it! Don't move. Don't you dare move!



In the Quattro, GENE vents his frustration by hammering on the steering wheel.

GENE:
Bastard, Bastard.



BLAGGER 2:
Stay there! Stay there!

A police van arrives, passing the Granada unit.

RAY:
Quick, down!



BLAGGER 1:
Come on!

BLAGGER 2:
Leave it!

The police van arrives on the scene.

BLAGGER 1:
It's the cops!

BLAGGER 2:
It's the Old Bill!

He points his gun at the driver of the police van.

BLAGGER 2:
Don't move!

DCI CARNEGIE burst out of the back of the van and shoots BLAGGER 2.

DCI CARNEGIE:
Police! On the ground!

He fires again. A blagger tries to drag one of the bags away (told you they'd never lift it)

BENT COPPER 1:
There!

BENT COPPER 2:
Got him.

He shoots the blagger.

BENT COPPER 2:
That's it, they're all done.

BENT COPPER 1:
Right. Come on, move this. Come on!

DCI CARNEGIE:
Radio base. Tell them officers already on the scene, no need to send back up.

MARTIN SUMMERS emerges from the back of the police van.

BENT COPPER 2:
Sir.

DCI CARNEGIE:
That should give us more time than we need.

MARTIN SUMMERS:
Ah, yes, this brings me back.

GUARD:
Who are you?

MARTIN SUMMERS:
Police.

GUARD:
Oh, thank God!

MARTIN SUMMERS shoots him. No, I don't know why either. But he shoots somebody else too, all watched by ALEX, hiding round the corner.



The Quattro squeals round a corner, still racing to get there; nearly ramming an on-coming vehicle.

GENE:
Bastard!



CHRIS finally makes his way to the scene and looks on in horror at uniformed police officers unloading the gold bars from the bullion van.

MARTIN SUMMERS:
You're not happy, are you, son? Neither was I, and I wasn't even involved. Just a spotty kid asked to turn a blind eye. It'll hurt, you know. The guilt. It'll hurt like a bitch, I should know. I bid you and your conscience adieu.

MARTIN SUMMERS walks away and DCI CARNEGIE comes up to speak to CHRIS.

DCI CARNEGIE:
You tell them we're headed that way.

The Quattro finally arrives, driving straight at DCI CARNEGIE and running him over.

GENE:
Carnegie, you've just been Quattroed!

MARTIN SUMMERS walks away, towards ALEX's hiding place. Meanwhile RAY and the Granada lads run up as GENE gets out and goes over to DCI CARNEGIE, stepping on his hand reaching for a gun.

DCI CARNEGIE:
Urgh.

GENE:
This doesn't bode well for future career prospects in the Met, eh, Chief Inspector?

RAY:
Don't move, don't move! Put your weapons down!

A brawl between honest coppers and bent ones breaks out. MARTIN SUMMERS walks past ALEX; she shrinks back out of sight. One BENT CONSTABLE makes a break for it, tussles with CHRIS, before getting away with CHRIS in pursuit. ALEX, meanwhile, follows MARTIN SUMMERS. GENE and RAY both dispatch their foe with ease, RAY moving on to the next.

RAY:
Get down.

BENT COPPER:
Oi, oi, oi! We're police! It's all right, mate, we're police officers!

RAY:
Yeah, that's why you get one of these!

RAY knees him in the groin.

BENT COPPER:
Arrgh!

Fenchurch East is prevailing and the cuffs are going on various bent bobbies. CHRIS is still after his quarry, chasing him up some stairs and aiming his gun.

CHRIS:
Stop, police! Proper police!

The BENT CONSTABLE carries on, CHRIS running after him and ducking as a shot rings out. CHRIS drops his gun and the BENT CONSTABLE turns to shoot CHRIS. Another shot rings out; SHAZ has arrived in the nick of time. The BENT CONSTABLE tumbles down the stairs, wounded and disarmed.

SHAZ:
How you doing, baby?

CHRIS:
Not too bad, lover.

SHAZ comes down the stairs, pointing the gun at the BENT CONSTABLE.

SHAZ:
You're nicked.



ALEX follows MARTIN SUMMERS into the ruins of a church, gun drawn. A brass plaque on one of the benches flashes and bleeps - '48ml'. ALEX hurries on, only to see a notice stuck in the ground, flashing at '49ml'. She moves on, looking around for MARTIN SUMMERS; who comes up behind her, jabs a gun in her ribs and takes her weapon. He steps back, still pointing his gun at her.

ALEX:
November '82. The King Douglas job.

MARTIN SUMMERS:
There you go. Good girl.

ALEX;
There was no mention of any bent coppers.

MARTIN SUMMERS:
The Met covered it up. Carnegie got away. The first time.

ALEX:
And you saw it all. Back then. A young PC.

MARTIN SUMMERS:
They paid me off.

ALEX:
And all this was... about putting things right. You wanted them to get caught.

MARTIN SUMMERS:
When I joined the force, I believed, Alex. They took that away from me! When I saw you couldn't be corrupted...

GENE has appeared, pointing his gun at MARTIN SUMMERS.

MARYIN SUMMERS:
...I knew you'd uncover Rose.

GENE:
Police! Drop it. I will shoot.

MARTIN SUMMERS smiles and turns to look at GENE.

MARTIN SUMMERS:
I know.

MARTIN SUMMERS cocks his gun, still pointing it at ALEX. GENE fires; MARTIN SUMMERS collapses to the ground. ALEX has obviously not got used to seeing MARTIN SUMMERS being shot in front of her, even though it's happened twice now, and looks a bit shocked as GENE hurries across to the injured man.

GENE:
Who is it?

GENE puts his gun aside and lifts up MARTIN SUMMERS' head.

ALEX:
He's- it's... He's a copper.

MARTIN SUMMERS:
Just a sick DI. I messed up. I'm sorry.

GENE:
Are you?

MARTIN SUMMERS:
Yeah. I'm scared.

GENE:
D'you remember? Young copper. Ready to put the world to rights. Spick and span, very proud. You remember that?

MARTIN SUMMERS:
Yes.

GENE:
Hold onto that thought. It's a good'un.

MARTIN SUMMERS:
It is.

MARTIN SUMMERS dies. ALEX steps away, looking upwards, expecting something to happen.

ALEX:
Come on. Come on. He's dead, it's over. It's over. Just let me go. Please, let me go home!

JENETTE appears behind her, brandishing a gun and letting off a shot. ALEX shrieks as JENETTE grabs her, gun to her throat. Is DI Drake Mrs Unlucky, or what...? GENE grabs his gun and gets to his feet in a hurry.

JENETTE:
I don't believe this. Where's me bleeding money?!

GENE:
You're on your own, Jenette. Whatever he offered you to get between us, it was a lie. It's over, love.

JENETTE jabs the gun in ALEX's face, prompting GENE to aim his gun.

GENE:
Let her go.

A police radio crackles into life.

POLICE RADIO:
50mls administered.

ALEX:
Just do it!

ALEX jabs her elbow into JENETTE's stomach, causing her to stumble backwards and fire blindly towards GENE, who also fires blindly as he ducks. JENETTE runs away, unhurt. ALEX, however, has been shot in the stomach. Bugger.

GENE:
Bolly.

ALEX collapses to the ground; GENE looking down at her. RAY, CHRIS and SHAZ arrive. Lots of white light, celestial suggestion etc etc. Everything goes white.



ALEX comes to in another bright white light; a hospital room. Her head is bandaged.

DOCTOR:
Looks like 50mls just about did the trick. Mr Gerrard will be delighted. You may not feel it, but you're lucky. The bullet didn't penetrate. They stopped the bleeding and you fought off that infection. And now, someone's been waiting to see you.

MOLLY approaches the bed.

ALEX:
Molly.

MOLLY:
Mum.

They embrace. Tears all round I expect, apart from Molly, who's taking it all very calmly. Hand me a Kleenex.

MOLLY:
I knew you wouldn't leave me.

ALEX:
I love you. I love you.

DOCTOR:
Let's give your mum a bit of time to wake up, eh, Molly?

MOLLY:
I'll be right outside, Mum.

MOLLY and the DOCTOR leave. A shrouded body is being wheeled past the door as they go.

NURSE 1:
Such an angry man. But in the end it was peaceful.

ALEX finds a 'Get Well Soon' card from Molly. Meanwhile, the television is on, and it's showing 'In The Night Garden...' narrated by SIR DEREK JACOBI.

SIR DEREK JACOB on the TV:
We're going to catch... the Ninky Nonk. Oh no, it's the Ninky Nonk! Catch the Ninky Nonk!

The aforementioned Ninky Nonk, or 'toy train' as we used to call them, plunges into a hedge and the picture changes. There's a burst of static and it's... Why look there, kiddies, it's DCI GENE Hunt. He appears to be peering at us, possibly in a hospital of more elderly vintage. 1982, say. The picture occasionally breaks up.

MUSIC: 'Maid of Orleans' by OMD

GENE on the television:
Bolly. Bolls. Bolly!

ALEX realises what she's seeing and sits up to get a closer look.

GENE on the television:
Bolls!

ALEX clutches her head.

GENE on the television:
Listen, I don't know if you can hear me, Bolls. The nurses are going to be back in a minute. I need you to wake up. What about if I gave you a slap? Would that help?

ALEX reaches out and touches the television screen. The picture jumps again and ALEX pulls back, startled.

GENE on the television:
They think that I shot you. Well, I mean I did shoot you, but they think I 'shot' you. They're after me Bolly kecks.

ALEX:
No.

GENE on the television:
Look, I am on the ruddy lam here. I need you to wake up. Come on, snap out of that coma.

ALEX:
I'm in a-?

GENE on the television:
Bolly.

ALEX:
I'm in a coma in '82? No. No, no.

GENE on the television:
Bolly.

ALEX:
No, no, no, I'm not.

GENE on the television:
Bolly!

ALEX:
I'm not.

ALEX rips out her IV line.

ALEX:
No! No. I'm home.

ALEX gets up, looking round desperately.

GENE on the television:
Bolls?!

ALEX:
I'm-

GENE is appearing on all the monitoring equipment too.

GENE on the monitors:
Bolly!!

ALEX backs away.

ALEX:
I'm home.

GENE on the monitors:
BOLLY!

ALEX runs out into the corridor.

ALEX:
Help me!

GENE on the laptop in the corridor:
Bolly.

ALEX:
Oh God.

GENE on the television in the corridor:
Bolly?

ALEX bursts through the doors to be met with a whole trolley of monitors being pushed along, GENE's face all over them. She shrieks and runs on.

GENE on the monitors:
Bolls?! BOLLY! BOLLY!! BOLLY?!

Credits.