Ashes to Ashes, series three, episode one.
Writer: Matthew Graham
Director: David Drury

xxxx

Burst of static, as if someone's changed channels on an old television...

Opening credits - the story so far.

ALEX voiceover:
My name is Alex Drake. And quite frankly, your guess is as good as mine.



Reprise from the opening of series one of a shot of a modern office block as seen from the street looking up. ALEX, in 2008 clothing and style, is sitting in a dark room, talking to a THERAPIST.

ALEX:
I understand that emerging from a coma... I understand that one might have difficulty adjusting to the real world.

THERAPIST:
A sense of dislocation's natural. The place that you went to in your subconscious felt completely real.

ALEX:
But what if it was real? You weren't there. You didn't see them.

THERAPIST:
Are you still hearing voices?

ALEX:
No.

THERAPIST:
And are you dreaming about him?

MUSIC: 'The Ride of The Valkyries' by Richard Wagner.

ALEX appears to be slightly guilty and looks down. She knows a little girl who does that when she lies, you know... The soundtrack swells, and the Quattro quite literally leaps into view in pursuit of a Capri containing two blaggers. Everything goes slo-mo as the Quattro cuts them off and GENE gets out and shoots them in an overly heroic manner, not dissimilar to some parts of series one. Oh dear, she has got it bad. The music dies and we're back with ALEX and the THERAPIST.

ALEX:
Of course I'm glad to be back.

THERAPIST:
But the real world scares you.

ALEX:
Because it's not as real as the one I left.

THERAPIST:
You're isolating yourself. You sent Molly to stay with her father.

ALEX:
Because I have to... to deal with this by myself.

THERAPIST:
So you want to return there?

ALEX:
I thought it was all in my head. But Sam Tyler was in a coma too. He was a copper in the same place. Now how is that possible? Sam told me when he woke up, he told me that he could hear them begging him for help. And he listened. What if it is a real place? What if Sam and I both had a... a purpose there?

THERAPIST:
Alex, Sam Tyler is dead. And the world you describe isn't real.



MUSIC: 'Sex On Fire' by Kings of Leon

Electrical goods store, and ALEX is browsing the DVDs. She picks up one called "Legal Force". The cover shows characters very like GENE, RAY, CHRIS and SHAZ, in exaggerated action film poses. She puts it back, discomfitted, and walks away. As she gets near the huge bank of televisions, they all switch on with a burst of static. RAY's face is on every one, looking down on her, evidently in a hospital room.

RAY:
Just wake up. The doc stopped the bleeding in your guts weeks ago. I wasn't going to come here but I've got a little girl who's been kidnapped. And what with the Guv in hiding, I'm on my own. I mean I'm doing my best but they never think my best's any good. So wake up. Wake up and… help me.

Abruptly the picture changes and CHRIS replaces RAY.

CHRIS:
I couldn't get grapes so I got... a melon.

ALEX laughs.

CHRIS:
I'll, er, I'll leave it here for you.

CHRIS drops the melon.

CHRIS:
This kidnapping stuff... little Dorothy Blonde. We're all at sea on it boss, er, ma'am. What with the Guv on the run... It's been three months now. Oh, er, Shazzer's coming in later. We're not together any more, but that's cool. And The Gang. Hmm. It's not the same without you any more, ma'am. Can't you wake up and...

CHRIS looks away and the picture changes again to SHAZ.

SHAZ:
Bits of melon on the floor, ma'am. D'you want me to clean it up? It's not fair. You made things better and then you left us. Now I'm back making bloody tea and biscuits. Should have got a job at Peak Freens.

ALEX smiles sadly.

SHAZ:
If you came back, I know you'd help me to...

Abruptly the picture changes yet again, and JIM KEATS looks out of the screen.

JIM KEATS:
Alex.

ALEX is understandably surprised and confused; she's not read the pre-publicity.

JIM KEATS:
Look what he's done to you. You don't know me, but I read all about you. You're the best of them, Alex. It's not fair. He did this to you, and I don't want history to repeat itself. I don't want you to end up like...

The picture changes again, to RAY. Then, in quick succession, CHRIS, then SHAZ, then RAY again.

RAY:
Wake up.

Then changes to CHRIS again, then SHAZ. The picture keeps changing between the three of them.

SHAZ:
It's not fair.

RAY's face is on screen but the voice is SHAZ.

RAY/SHAZ:
Help me.

Now CHRIS' face, but still SHAZ speaking.

CHRIS/SHAZ:
Help me.

Back to SHAZ.

SHAZ:
Help me.

The picture changes again, to reveal GENE.

GENE:
Wakey, wakey, Drakey. Come on, you weren't that shot.

ALEX looks horrified, and rushes away. As she passes the endless television screens, they switch between CHRIS and SHAZ, and then to GENE again. A cacophony of voices, SHAZ asking for help, and over it all, GENE.

GENE:
Do you hear me, Bolls? Come back to me, I need ya! Wake up. Wake up. You weren't that shot. Wake up.

Somehow ALEX finds herself in Piccadilly Circus, GENE's face on the giant screens.

GENE:
Wakey wakey, Drakey! Drakey! Wake up. Come back to me, I need ya! Drake! Alex! ALEX! Wake up!

ALEX turns, confused and scared - and walks into the wall of a police or prison cell. She gasps and looks around the dark cell. The voices continue, whispering, as she makes her way to the door.

CHRIS voice:
It's not the same without you any more, ma'am.

SHAZ voice:
You made things better and then you left us.

The beeping of a monitor is audible as ALEX approaches the cell door and peers through.

JIM KEATS voice:
Look what he's done to you.

GENE voice:
Come on, you weren't that shot.

ALEX sees herself lying in a modern hospital bed, the televison on the wall showing a news report. Things of note include the sound of crows and the time being 9:05

MATTHEW AMROLIWALA on TV
Police in Lancashire say a body found in a shallow grave on farmland may be that of a police officer. They believe it may have lain undiscovered for many years before being found by a group of travellers two days ago. A postmortem is being carried out to establish the cause and likely date of death.

The clock in the hospital room moves to 9:06 with a bang, and the hole in the cell door slams shut. ALEX jumps, and turns round to be confronted by the GHOSTLY COPPER emerging from the shadows. It's not a sight you really want to see emerging from shadows, quite honestly. ALEX takes it better than I would.

GENE voice:
Alex.

Everything goes black. And cut to...



GENE slapping ALEX hard across the face as she lies in a hospital bed.

GENE:
Alex. WAKE UP!

Alex groans

GENE:
Well, that worked then. 'Cos I had a mate called Brian Batts. Used to get on the voddy ts and wind up sparko in his own sick.

ALEX is starting to become more aware of her surroundings to the sound of this charming anecdote.

GENE:
A little tap to the boat race always used to bring him round with a smile. So smile. You're back.

GENE picks up a bundle of clothes from a chair.

GENE:
Well, you're gonna like these. They're even clean.

GENE drops the clothes on the bed, right on top of a still-dazed ALEX, who whimpers.

GENE:
What's the matter with you, you dozy mare? You walked straight into the path of my shooter. I don't fire magic bullets, you know. They're don't go bending in the air! They said I tried to kill you, Bolls. But I know you wouldn't let me down. We're a team. Bodie and Doyle. I'm the one in the SAS, you can be the one with the girl's hair. Now get your knickers on, we're leaving.

Suiting the action to the word, GENE goes, leaving ALEX trying to work out why she wanted to come back, I imagine. She pulls off the cuff of a blood pressure thingy (technical term) and sighs.



Hospital corridor, and a wobbly ALEX hangs on to GENE - brilliantly disguised with his sunglasses, of course - as they make their way out.

HOSPITAL TANNOY:
Duty cleaner to Casualty, please. That's duty cleaner required to Casualty.

ALEX:
I was in a dream. I was at a home, but I... but I wasn't. I was in ICU. There was a man. It was a young copper, his face was...

GENE:
When you've finished blabbering, you're going to clear my name with D&C.

ALEX:
That's a gynaecological procedure, isn't it?

GENE:
Nothing so glamorous. Discipline and Complaints. The Rubberheelers. Turns out if you shoot a fellow officer they get a bit annoyed about it.



A moodily lit garage somewhere. GENE has evidently resorted to the cure all - whisky - while ALEX is perched on a bench.

ALEX:
Where did you go?

GENE:
Abroad. The Isle Of Wight. That was shit. So I tried the Costa Brava. D'you know it was the best full English I've ever had. Then I thought, "Why am I running? Gene Hunt doesn't run." I'm in a mess, Bolls.

ALEX:
So am I.

GENE:
Fighting for my future.

ALEX:
Me too.

GENE:
Get up. Come here.

GENE helps ALEX to her feet, and then takes a frankly diabolical liberty, raising up her T-shirt to see the scar from the bullet. FLASHBACK to GENE shooting ALEX. ALEX's eye opening in a bright light.

GENE:
I'm sorry. Could have hit my target, but you fell all wrong.

ALEX:
Sometimes in life you can't help which way you fall.

GENE:
You do know when I walk through those doors they're going to come for me?

ALEX:
Yeah. Well, there's only one thing for it. Let's fire up the Quattro.

MUSIC: 'Sweet Dreams (Are Made Of This)' by The Eurythmics

They both turn to the back of the garage, where the Quattro does a bit of a GENE and magically turns the lights on, then slips off its natty red sleeping garment and is ready to go. What's the betting it's the Quattro that's dreaming it all? Cue driving off etc.

# Sweet dreams are made of this
# Who am I to disagree?
# I travel the world and the seven seas
# Everybody's looking for something
# Some of them want to use you
# Some of them want to get used by you
# Some of them want to abuse you...#



GENE breezes past the front desk of Fenchurch East, towing ALEX with him. VIV is busy reassuring an OLD DEAR about her lost cat.

VIV:
Don't worry, I'm sure we'll find Tinkerbell as soon as we... Bugger me sideways!

GENE:
You catching flies, Skip?

The OLD DEAR takes exception to VIV's exclamation of surprise, and bats him with her handbag.

OLD DEAR:
Oi!

# Some of them want to be abused #

GENE:
Tea, five sugars, if you'd be so kind.

# Hold your head up
# Moving on #

VIV:
Glad to see you've gotten sweeter in the last three months, Guv.

# Keep your head up
# Moving on
# Hold your head up
# Moving on
# Keep you head up #

GENE doesn't stop until they burst into CID, to a stunned silence. GENE advances on the white board while ALEX perches on her desk and looks uncomfortable. CHRIS looks from one to the other in surprise. RAY looks up from the desk in Gene's, er, his office and comes out.

CHRIS:
What the...? Bloody hell.

SHAZ:
Ma'am.

GENE:
What's this? Dorothy Blonde. Kidnapped yesterday morning.

RAY:
8.21. Parents are on their way. There's been a ransom demand.

Meanwhile SHAZ smiles at ALEX and goes forward to embrace her.

GENE:
Well, we'd better get her back, hadn't we? Who's in charge of this shambles?

RAY:
I am. I'm a DI now.

GENE is understandably slightly nonplussed by this. He recovers.

GENE:
DI?!

Someone sniggers.

RAY:
It's not that incredible.

GENE storms to his office and rips the 'Detective Inspector Carling' name tally and picture from the door.

RAY:
DCI Timmons wanted to keep hold of his office, so I thought I'd... move...

CHRIS:
We didn't think you were coming back, Guv.

GENE:
Nor did I after the report you gave the inquiry!

CHRIS:
They asked all sorts of questions they already knew the answers to.

ALEX:
Rhetorical.

CHRIS:
No, it was definitely English.

SHAZ:
We've really missed you, ma'am.

GENE:
Right, Dorothy. How was she taken?

RAY:
She was being walked to school. Three masked men got out of the back of a blue Ford Transit. Could have been a D-reg, but we haven't got witness corroboration.

GENE:
Well, it's all gonna get a bit busy in here. No doubt D&C will be zooming on over in their Datsun Cherries. You bring the family into MY office when they arrive.

RAY:
But you can't just pick up like nothing's happened, Guv.

GENE:
And, Ray, if you come in here again dressed like a maths teacher, I will paint your balls the colour of hazelnuts and inform a bag of squirrels that winter's coming.

MUSIC: 'Electric Avenue' by Eddy Grant

# Boy! #

RAY:
But you wear...

GENE goes into HIS office and slams the door.

# Boy! #

ALEX winces and quitely puts her name plate on her desk. Well, you wanted to go back, love...



The radio in the CID kitchen is blaring.

# Now in the street there is violence
# And, and a lots of work to be done - work to be - work to be

There's a crackle of interference on the radio, and it changes to DJ SIMON BATES doing "Our Tune". If that means nothing to you, be thankful.

SIMON BATES on the radio:
Molly... Eight years ago - eight years ago...

ALEX grabs the radio and fiddles with the tuning

SIMON BATES on the radio:
...and so time passed. Molly still hadn't heard from her mum. She knew she was fine but she was desperate...

ALEX:
Hello?

SHAZ approaches the kitchen, and overhears ALEX talking to the radio.

ALEX:
I... I am all right. I'll be back, I just need to finish something here first. That's why I can't leave. Look, please tell Molly I'm still going to find a way home to her.

SHAZ:
Who you talking to, ma'am?

Another burst of static and SIMON BATES is replaced by...

MUSIC: 'Promised You A Miracle' by Simple Minds

ALEX:
Erm... Whoever might be listening, Shaz.

SHAZ:
What was it like? Being unconscious all that time?

ALEX:
It looked like home. But it wasn't. It didn't feel at all real.

SHAZ:
This does, though, doesn't it? I mean, you're awake now.

ALEX:
Yeah. It's the strangest thing, because now I'm not awake and it does feel real.

SHAZ:
Oh. Well. Halfway there.

SHAZ moves to end *that* awkward conversation, and ALEX sees MARJORIE BLONDE heading past the door, evidently in distress.

ALEX:
Excuse me?

SHAZ:
Oh, that's Marjorie, the kidnapped girl's step mum.

MARJORIE BLONDE:
I can't.

ALEX:
Marjorie?

MARJORIE BLONDE:
There'll be more questions.

DAVID BLONDE arrives.

DAVID BLONDE:
Darling, please...

MARJORIE BLONDE:
I can't breathe in here.

ALEX:
Is there anything I can do?

DAVID BLONDE:
Come on. Marjorie? We...

ALEX:
She just needs a moment. I think maybe you should get that bruise looked at.

DAVID BLONDE:
Yeah, she got that trying to fight them off when they took Dotty.

MAJORIE BLONDE:
I should... I should've fought harder. I should've.



Gene's office, and a video ransom demand is being scrutinised. DOROTHY BLONDE holds up a series of cards with instructions. In the background on the tape can be heard someone coughing and wheezing.

GENE:
What's that say? "Do the right thing and I will be fine. Don't do the right thing and I will die."

DAVID BLONDE:
Dotty... There's a ransom demand, as well.

The video tape decides to throw a wobbly and unwind itself. RAY moves to do something about it, but ALEX stops him.

ALEX:
No. No, don't touch it. Don't rewind it.

RAY:
Got this player through the market, they're normally sound.

ALEX:
It'll be fine, we can smooth that out.

DAVID BLONDE:
The, er.. the last card definitely had "ransom" written at the top of it. I couldn't understand the rest. It was in a code.



CID, and ALEX is patiently winding the video tape back in. Those were the days.

RAY:
Should get one of the techno twats from Scotty Yard to sort that out.

ALEX:
I've salvaged enough party cassettes in my time. OK. Stand down the techno twats, I think I've got it.

ALEX slots the tape into the player and they gather round to watch.

ALEX:
"Ransom. Tomorrow morning, 10.30am." I don't know what those other numbers mean. Sequences of four.

CHRIS:
Bastards don't make it easy. Why do that?

ALEX:
Kidnappers have been known to use biblical references, but they're usually sequences of three. You know, book, chapter, verse.

GENE appears from his office, intent on a mission of his own.

GENE:
Where the hell's my filing cabinet gone?

CHRIS:
Oh, Ray moved your stuff into storage, Guv.

RAY:
Oh, thanks for that, Chris. Guv, you're a wanted man.

GENE:
Don't you know it's nice to be wanted? Right, the Blondes. Been married two years. Happy couple?

CHRIS:
Well, they seem pretty devoted. Dorothy's the kid from the first marriage.

GENE:
David Blonde's got his own firm. Computers or something pointless. We're gonna round up his employees.

RAY:
They've all been interviewed, Guv. And family members.

ALEX:
Could be a pro job?

GENE:
Nothing is certain until I am up to speed.

RAY:
Look, you pair can't just walk back here and start... I mean it's not... D&C are just going to have a fit!

GENE:
I want my filing cabinet back.

ALEX:
That poor little girl, sat there all by herself waiting for her Dad.



Interview room. GENE is consulting a file.

GENE:
Dot Matrix.

DAVID BLONDE:
Yeah, micro processors for arcade games. But, er, now I'm going into eight-bit computers.

GENE:
Sorry, I don't speak Sci Fi.

ALEX:
Dot Matrix after Dotty? She's your inspiration, isn't she? What about her mother?

DAVID BLONDE:
She died when Dotty was six.

ALEX:
And how did you two meet?

MAJORIE BLONDE:
Oh, we were at school together. I married young and so we lost touch. But after my marriage... after it ended, I bumped into David in Tandy's.

DAVID BLONDE:
Yeah, no-one can replace her mother but Marjorie's made a damn good try.

GENE:
You made job cuts recently?

DAVID BLONDE:
Yeah, a few. We're in a recession, you know.

GENE:
Anyone turn nasty on you?

MAJORIE BLONDE:
No, not at all. David always handles these things sensitively.

GENE:
Well, have you got money? I mean why would kidnappers target you?

DAVID BLONDE:
Well, I have access to funds, you know. But I'm trying to put it all into the business. We're expanding, got a new warehouse development. Look, why the hell... why the hell are we discussing this? I mean, get out there and find Dotty.

ALEX:
I know. You need to be back with your daughter. Don't worry, I'll find her.



CID, and CHRIS pins up the list of four-digit codes from the video tape on the white board.

SHAZ:
Why give ransom details in code?

CHRIS:
Well, Drake says it's the kidnapper's innate desire to show superiority.

RAY:
You can't just shoot your DI, then waltz back in and take charge like nothing's happened.

CHRIS:
Normally I'd be inclined to agree with you, Raymondo. But these are unique mitigating circumstances.

SHAZ:
Good for you, Chris. I told you reading Doris Lessing broadens the vocabulary.

RAY:
You two aren't even together and she's got you on the bloody lesbian poetry.

CHRIS:
It's good the Guv's back, innit?

RAY:
I was running this whole caboodle while he was in Spain. All I want to hear from him are those three little words.

CHRIS:
What? "I love you"?

RAY:
"Well done, Ray."

GENE and ALEX return to CID, only to discover JIM KEATS waiting in the Gene's office.

GENE:
Oh, the Rubberheelers.

ALEX has a FLASHBACK to seeing JIM KEATS talking to her in the hospital.

JIM KEATS in flashback:
Alex.

GENE:
Never hear them coming.

JIM KEATS voiceover in flashback: Look what he's done to you.

JIM KEATS pulls the look-no-hands door-opening trick and comes out of Gene's office.

JIM KEATS:
Hi, DCI Jim Keats. Discipline and Complaints. Can we take a walk, mate?

JIM KEATS holds the door open and GENE leaves CID without a word, followed by JIM KEATS and his HEAVIES. ALEX follows.



Luigi's, and LUIGI fusses over ALEX delightedly.

LUIGI:
Signora Drake. My heart, she sings. Canta. Canta.

GENE:
Canter? What the hell is that?

ALEX:
Canta. It's Italian. "She sings".

JIM KEATS chuckles.

JIM KEATS:
Thank you. Heh. Now I know.

ALEX:
You know what?

JIM KEATS:
DCI Hunt didn't intend to kill you during the Douglas Lane robbery. The chemistry between you... It's obvious.

GENE:
Good. Chemistry lesson over? Right, I'll be getting back to work then.

GENE gets up to leave. JIM KEATS' two HEAVIES make to get up from the bar and stop him.

JIM KEATS:
No, no, wait. (to the HEAVIES) Sit down! What's the matter with you two? What, you think we're in East Berlin or something? Please. Gene.

GENE reluctantly resumes his seat.

ALEX:
Look, you know this is stupid. He didn't mean to kill me, he was trying to save me.

JIM KEATS:
You heard of Operation Countryman? Destroying the link between the Met and organised crime. Now don't take it the wrong way. I'm not saying that you folks are corrupt, but quite frankly this incident puts Fenchurch East on our radar. This is the latest in a long line of... How should I put it diplomatically? Risky operating styles.

ALEX:
No, believe it or not, he's one of the good guys.

JIM KEATS:
If it was me, there'd still be room for the mavericks. But Newman wants a clean, consistent force. Oh, blimey O'Reilly. It was so easy once upon a time, wasn't it? Yeah, I need another career. Nobody likes us. It's bloody depressing.

GENE:
How many years have you spent on the beat?

JIM KEATS:
Oh, come on. Are you that surprised that I'm here? You fled to Spain.

GENE:
You ever even held a truncheon or a pair of cuffs?

JIM KEATS:
Criminals flee to Spain. Look... I know you're clean now but I got to convince a few other people. I'm not going to make you turn in your badge so, until this blows over... go home. Full pay.

GENE mulls that over. Me, I was waiting for the snappy comeback, but hey...

GENE:
On one condition. I leave here alone. I don't need an escort here from Cannon and bloody Ball.

JIM KEATS:
Yeah, well, I only take them out to stop them chewing the carpet tiles.

GENE gets up to go. JIM KEATS halts him and puts out a hand to shake.

JIM KEATS:
Gene? Thank you.

GENE shakes his hand and leaves. Your transcriber found that whole scene... odd. JIM KEATS lets out a relieved breath.

ALEX:
You came to see me, in hospital.

JIM KEATS:
I thought Gene had tried... I was worried about you, Alex.

ALEX:
You don't know me.

JIM KEATS:
I know you can make a difference here.

ALEX:
You see, that... that's what I try and do. I try and make a difference here. To get home. But, you see, there's... there's something... There's something else and Gene is at the heart of it.

JIM KEATS:
Look, don't worry. Gene'll be fine. I got it covered. Damn thing. Look at that, my watch stopped at 9:06 exactly.

ALEX has a FLASHBACK to the clock in the 2008 hospital room crashing over to 9:06.

JIM KEATS:
Hmmm.

ALEX:
You know, you, um, you talked to me about history repeating itself. What...what did you mean? Wha...?

JIM KEATS:
Forget it for now.

ALEX:
Another copper?

JIM KEATS:
Look, I just need DCI Hunt to see the severity of this and take it seriously. And when he does, that'll help him. "Iron sharpeth iron", you know? Sorry, Book of Proverbs, I think.

ALEX:
You know your Bible.

JIM KEATS:
Oh, it comes with my upbringing. I must know almost every word. I'm here to help, Alex. You know?



Alex's flat. "Top Gear" on the televison, ALEX is making notes of what's happened thus far. I think we could all benefit from the re-cap.

MUSIC: 'Jessica (Top Gear theme)' by Allman Brothers Band

ALEX:
Dead copper on the news. Dead copper in front of me. Why?

The channel changes to static and ALEX goes over to the television.

ALEX:
Is there anybody there? You know, it's weird. I can see why Sam want... why he needed to come back here. There's something about this world, about my place in it, that's important.

Amongst the static on the television, the figue of the GHOSTLY COPPER appears, standing in a field with the sound of crows.

ALEX:
Who are you? What do you want? D'you want help? Is that it? I can't help you, I... I can't even help myself. Can you tell me what... what any of it means?

The picture abruptly changes back to "Top Gear" and a red Audi Quattro charging through the snow.

REPORTER on the TV:
I must confess to being an Audi Quattro fan. When the car first came out in 1980, I was tremendously impressed by it's blood and thunder performance. By the way it put its considerable power down on the road...

ALEX adds to her notes, which read "ICU, weather vane, rural, Dead copper?" and now "GENE."

REPORTER on the TV:
...and perhaps, most of all, by the way it catapulted out of corners. Now, this is another Audi Quattro...



CID; CHRIS and SHAZ are trying to decode the ransome demand.

ALEX:
Chris?

CHRIS:
First number could be Book. Then Chapter. Then Verse. Then...

ALEX:
Then word. 1, 6, 15, 26.

SHAZ starts looking it up in a bible.

SHAZ:
Genesis. Chapter 6, verse 15.

CHRIS:
What's the 26th word in that Bible verse then?

SHAZ:
"The breadth of it 50 cubits. " 50. The word fifty.

ALEX:
Next one is 55, 1, 5, 18.

SHAZ:
Hold on. Timothy is the 55th book. Chapter one, verse five. "When I call to remembrance the unfeigned faith that is in thee, which dwelt first in thy grand mother..." Grandmother's written as two words.

ALEX;
Fifty grand. I think we just found our ransom demand.

SHAZ:
Oh, ma'am, I bloody love having you back.



It's brainstorming time in front of the white board, and everyone's gathered round.

ALEX:
OK. "Fifty. Grand. Cloth. Bag. Behind. Hammers." These words form a simple set of instructions. Any ideas?

CHRIS:
Fifty grand... in a cloth bag... behind some hammers.

GENE breezes in and straight to his office.

GENE:
West Ham. The Hammers. Upton Park tomorrow morning.

ALEX:
You're not supposed to be in here.

RAY:
He wouldn't listen, would he?

ALEX:
Look, Guv, can I... can I just have a quick word? This is...

ALEX and RAY follow GENE into his office.

RAY:
I hate to say it, Guv, but... she's right. You can't stay.

GENE:
Yes, I can. I just have to stand here with my feet slightly apart.

ALEX:
Will you just stop trying to prove a point to everybody, please. This isn't a game!

GENE:
D'you know I missed you, but now you're back, I'm getting all annoyed again. Right, Ray, I want us crawling through Dot Matrix Limited. Debtors. Creditors. Cash flow. The lot.

ALEX:
They've been through all that stuff already. (slightly doubtfully to RAY) Haven't you?

RAY:
Yeah, yeah. As much as we need to.

GENE:
Well, it won't be enough.

RAY:
Look, I was thinking, now we know the drop, we could pull off a sting. Wire up David Blonde. We could stay out of sight and go in when we hear the switcheroo.

ALEX:
It's risky, but the clock's against us. It could be our best shot. You could head it up, Ray.

RAY:
The sting? Me?

ALEX:
Well, you can't go running operations on the streets, Guv. D&C'll have your knackers in a vice.

GENE:
No, you're right. Still annoying, but you're right. Ray, armed or bare back?

RAY:
Armed.

GENE:
Set it up.

RAY:
You've got it, Guv.



The offices of Dot Matrix.

RAY:
You're going to do what they say. You can hand over the money but we'll have a wire on you. The moment we know Dorothy's safe, we swoop in and nick 'em.

DAVID BLONDE:
Oh, no way, José!

RAY:
It's a foolproof plan, David.

DAVID BLONDE:
No! Absolutely not. We know what we have to do. We give them the money and get back my Dotty.

ALEX:
If you're wired, it means we can listen in from a greater distance. Marjorie, you can see why we have to do this, can't you?

MARJORIE BLONDE:
Dave, maybe...

DAVID BLONDE:
No! All right? I don't want to risk it.

RAY:
I've met these types of people before. They're called scumbag bastards. Now we have to bring them down. It's your duty to help us.

DAVID BLONDE:
My duty isn't to you, I'm afraid, it's to my daughter.

ALEX:
Just leave it, Ray.

RAY:
Yeah, but we've got to...

ALEX:
We can't force them, can we?

MARJORIE BLONDE:
Come on, sweetheart. Come on.

MARJORIE BLONDE leads DAVID BLONDE away.

MUSIC: 'Da Da Da' by Trio

RAY:
You could've talked him into it. You know all about feelings and crying and stuff. You've compromised my operation, ma'am.

ALEX:
Hey, did you just call me "ma'am", Inspector?

RAY:
No. Course not.

Ray turns away in annoyance.

RAY:
Shit.

RAY leaves and ALEX goes over to CHRIS.

ALEX:
So, what have you got for me, Chris?

CHRIS:
Well, they've got this warehouse a couple of miles from here for storing computer chips in from Japan. That's where all these are supposed to go. Only the warehouse isn't ready for 'em.

ALEX:
Why not?

CHRIS:
Health and safety. They had to clear the workforce out a couple of months back.

ALEX:
Anything we can use?

CHRIS:
Well, business is keeping its head above water. Just. The bloke over there let something slip. David Blonde's put his mortgage into Marjorie's name.

ALEX:
Hmm. Guard against bankruptcy, I suppose. Chris, I'm, um... I'm sorry about you and Shaz.

CHRIS:
Yeah. Me too. Just couldn't see eye to eye and she gets so angry these days. Anyway, best to lose a lover and keep a friend.

ALEX:
Has your IQ doubled since I've been away?

CHRIS:
No. It's Doris Lessing. Can I have a crack at Missile Command?

ALEX:
No.



CID.

CHRIS:
He moved his house into his new wife's name like the fella said. But this is even more interesting. In her previous marriage she was Marjorie Soaper.

GENE:
Soaper? Why do I know that name?

CHRIS:
She was married to Gary Soaper. House breaking and blackmail, sent down on a five stretch.

RAY:
Yeah, broke out of the Scrubs about five months ago while they were taking him to the dentist. Nicked a car, smashed it up, the prat.

CHRIS:
Now he's permanently spazzed-up in hospital.

GENE:
So Blonde needs cash flow but he can't go back to the bank. And Marjorie has old underworld connections. Not quite Terry and June any more, are they?

ALEX:
David Blonde going to the underworld for money? It's just ridiculous.

SHAZ:
Guv? Phone call.

GENE:
I'm not here.

SHAZ:
Well, it's D&C.

GENE:
I'm definitely not here.

SHAZ:
They say you're not at home.

GENE:
No, because I'm here, Shaz!

SHAZ:
They want to know if you're here?

GENE:
Well, I'm not!

SHAZ:
OK!

GENE:
Right, so... What if Blonde visited Gary Soaper to borrow cash? I mean, Soaper would know the right loan sharks to go to.

ALEX:
I've met a lot of liars in my time. David Blonde isn't one of them.

GENE:
You know, if you were that clever, you wouldn't be a copper, you'd be a High Court judge.

ALEX:
His fear is genuine. His love and his desire to be back with his daughter whatever, is genuine! I'm sorry if that doesn't suit you, but tough!

GENE:
This is me acting on a hunch. Deal with it!

MUSIC: 'Blue Monday' by New Order



The Quattro speeds along some awfully familiar-looking roads.

ALEX:
Your hunch is to see Gary Soaper, which makes no sense to me.

GENE:
Soaper would know where to go to get cash. No questions asked. It's the kind of deal, Bolly, where a man's daughter ends up as capital.

Hospital corridor en route to see SOAPER, ALEX still arguing the point.

ALEX:
You do know that Gary Soaper's a medical write-off, don't you?

GENE:
Yeah, well, most cons egg it up for the doctors. Best way of doing some cushy time.

They arrive in the hospital room.

GENE:
Jesus.

The patient is a mass of burns and evidently not going to be much use to anyone ever again. GENE ploughs on regardless.

GENE:
Gary Soaper, DCI Hunt. DI Drake. Did, er, David Blonde come to see you, Gary? He needed cash, no questions. And you know the sort of folk that would take his daughter if he couldn't pay up. Stop playing hospitals with me, Gary, and help me out.

ALEX:
Guv. Guv, the man's got 90% burns and severe brain damage. He barely knows we're here.

GENE makes as though to punch the patient in the face, stopping his fist just short of connecting. There's not a flicker.

GENE:
Hmm.

GENE concedes the point and they leave, only to be accosted in the corridor by JIM KEATS.

JIM KEATS:
You asked about handcuffs? I could use them on you right now.

GENE:
Try it, Jim.

JIM KEATS:
I'm not looking for trouble.

ALEX:
Look, the Guv really wanted to be here. This case is important to him.

GENE:
This department needs me, Keats. You know, in fact, I am this department!

JIM KEATS:
What's really important to you, Gene? The girl or your career?

GENE:
Oh, sod the mind games. Your move, officer.

JIM KEATS:
I have to set up an investigation in CID. I'll need my own office. I can't avoid that. I do NOT want to see you on the streets. And you are 100,000% banned from using a firearm!

GENE stalks away halfway through, taking no notice. ALEX goes to follow GENE.

JIM KEATS:
I got two A levels. He hasn't. I should have won that round. Heh.

ALEX pauses.

JIM KEATS:
I said I could help you. I can. I'm a bit of a superstitious person and I happen to agree with you, Alex. You are back for a reason. But maybe it's not to help him. Or any of them. Maybe it's to help me.

ALEX:
You almost sound like you know what I'm going through. How could you? Do you?

JIM KEATS:
I'll tell you one thing. Gene Hunt is at the heart of this. You were right. We'll keep talking.



Luigi's, and the team are planning the ransom drop operation.

GENE:
Right, pay attention. The drop zone will be here.

GENE jabs at a map, realises RAY isn't there, but rather making enthusiastic use of a banana as a pretend firearm.

GENE:
Ray. Oi! Billy The Flid! Drop zone.

RAY:
Oh, yeah. I'm sorry, Guv. Right, there'll be cover here and cover back here...

At the next table, LUIGI opens a bottle with a loud pop to exclamation and laughter.

GENE:
D'you mind, Luigi? We're trying to work here!

LUIGI:
So am I. This is a restaurant, not, eh... (he pretends to fire a hand gun) "Pop, pop, pop"...Who Dares, He Wins.

RAY:
We don't have a wire tap, and the Guv can't officially take the lead on this so we "go, go, go" on my signal. All right?

ALEX and CHRIS arrive.

CHRIS:
Guv, got something more on Gary Soaper. 1977 acquitted for the attempted kidnap of a bookie's son.

ALEX:
I'd say it's a coincidence. Gary's a write-off, couldn't be involved.

GENE:
Oh, aye-aye.

MAJORIE BLONDE arrives.

MAJORIE BLONDE:
Pizza? I see you're all worried sick about Dotty. (to ALEX) Can we talk?

They go to one side to speak in private.

MAJORIE BLONDE:
I'll wear the wire.

ALEX:
Your ex, Gary, was involved in a kidnapping six years ago.

MAJORIE BLONDE:
Oh, right. That's reared its ugly head again, has it? It was never proved, case was dropped. Don't judge me over Gary. When he was sent down, it was my chance to marry the right man.

ALEX:
Is there any reason we should be following up this lead with Gary?

MAJORIE BLONDE:
When Gary was inside, there was this Methodist bloke. Held Bible studies but they were also like... secret exchanges for snout and whatnot. Gary sort of got inspired. Genuinely believed that he'd become a... you know... a Christian, a Methodist. This man was very charismatic. Gary told him David had money. This Methodist bloke was doing time for kidnap.

ALEX:
What was his name?

MAJORIE BLONDE:
I don't know. Just do what you want with it. You know, in my old life, I heard hundreds of stories about Gene Hunt. He's a copper-bottomed bastard. If you think you really know him, you're in for a terrible shock.

So saying, MARJORIE BLONDE leaves. Gads, that was subtle, wasn't it?



CHRIS is discretely parked up outside the Blondes' house.

RAY over the radio:
MB units are in position with uniform set up on the far side of the stadium, Guv. All set and ready to go on your word, over.

GENE over the radio:
Right, Chris, sit tight and don't pick your nose. Make your move as soon as Blonde has left the house, over.

DAVID BLONDE drives away and CHRIS gets out and goes across to the house where MAJORIE BLONDE is waiting.

MAJORIE BLONDE:
He's gone to get the ransom money. We haven't got long.

CHRIS:
Let's get you inside, Marjorie. Um, I'm going to attach a microphone, er, to your... brasserie. Might be best if you do it.



The drop zone, and ALEX and GENE lurk in an abandoned van, while RAY is disguised as a street sweeper.

Officer over the radio:
Report in please, Elizabeth Road.

Another officer over the radio:
Yeah, we have the Blonde vehicle just turning in at the end, now.

RAY over the radio:
Not a dickie bird.

GENE into the radio:
Don't loiter, Ray. Keep moving.

ALEX mimes that RAY should put on his hat.

GENE into the radio:
Oh, and your mother's asking if your head's nice and warm.

RAY pulls on a fetching piece of headgear to disguise his telltale curls.

ALEX:
You know you shouldn't be here, Guv. We made Jim a promise.

GENE:
Oh "Jim" now, is it?

GENE gets out his gun and checks it's ready for use. ALEX is less than thrilled.

ALEX:
Oh, great. Why don't you just rent yourself a helicopter gunship and be done with it?!

GENE:
Just relax. I've shot all the innocent people I care to for one lifetime.

RAY anxiously checks his gun in his pocket, then sees DAVID BLONDE's car arriving.

RAY into his wire:
Blonde. All units, sit tight.

DAVID BLONDE's car pulls up and he gets out. Shortly afterwards MAJORIE BLONDE's car pulls up behind it.

DAVID BLONDE:
What the hell are you doing?

MAJORIE BLONDE:
I love her too. And I love you. We're in this together.

A blue Ford Transit arrives on the other side of the deserted area.

RAY:
Transit! We're on!

RAY pulls out his gun. He looks nervous and jittery.

ALEX:
Don't panic, Ray.

The engine of the Transit revs but no-one gets out and RAY can't bear the suspense any longer.

RAY into the radio:
Go! Go! Go!

GENE:
What is he doing?

ALEX:
It's too soon! It's too soon!

RAY runs towards the Transit, which pulls away. The Blondes start to run towards it too.

DAVID BLONDE:
Oh, my God!

GENE and ALEX run from their hiding place. A fair-haired figure, wrapped up in insulation, is dropped from the Transit as it drives away.

MARJORIE BLONDE:
Oh my God!

DAVID BLONDE:
Dotty!

MAJORIE BLONDE into the wire:
West Ham! West Ham! Can you hear me?! Help us!

DAVID BLONDE:
Dotty! Dotty...

The Transit gets comfortably away and DAVID BLONDE goes to the bundled figure on the ground.

DAVID BLONDE:
It's not her, it's a dummy. What are you all doing here?!

MAJORIE BLONDE:
(to RAY) Why didn't you wait?!

DAVID BLONDE:
You were wearing a wire! After everything we said, you were wearing a wire!

MAJORIE BLONDE:
I'm sorry... I'm sorry... I had to do it!

DAVID BLONDE:
It's all right, sweetheart. It's all right.

DAVID BLONDE comforts a sobbing MARJORIE. RAY knows he blew it. ALEX isn't happy, GENE is even worse.

Officer over the radio:
All units, van is on the move.

DAVID BLONDE:
She was probably in that van. All I wanted to do was follow their orders and give them the money. But you had to bring your guns and mess it all up. You've killed my daughter!

ALEX:
They'll be rattled and they'll be angry but they've come this far and they won't want to blow it now. Look, they need her alive. She's their only bargaining chip.

GENE into the radio:
Talk to me, Christopher!

CHRIS over the radio:
Pandas lost it on the estate, Guv.

GENE angrily throws the radio away and stalks off. ALEX looks at the dummy wrapped in blue insulation, and finds another video cassette taped to its chest.



Gene's office, and they're all looking at the new video. DOROTHY BLONDE is reading from a piece of paper.

DOROTHY BLONDE on the video:
You have let me down and putted me in even greater danger. The fee is now 60,000. You have one last chance.

Again there's the sound of someone coughing and wheezing in the background.

DOROTHY BLONDE on the video:
We will send you another location. The drop is 8pm tonight. If the fuzz are involved... If the fuzz are involved, I will die. If you have any more to do with them, I will die.

In the background the strains of the theme music for the television show "Why Don't You?" can be heard starting up. DOROTHY BLONDE stops reading the instructions and looks into the camera.

DOROTHY BLONDE:
Daddy, help me!

The camera wobbles, briefly shows a television before switching off.

CHRIS:
Well, they've put a telly in for her. That was nice.

MARJORIE BLONDE:
It'll be all right. She doesn't look hungry. Looks like they're feeding her well.

GENE:
They've been watching you, David.

DAVID BLONDE:
Yeah, well, they can watch me as I leave this station and have nothing more to do with you.

GENE:
Look, I'm sorry how that went this morning but we need to talk about other possibilities, other scenarios that might have led to this.

DAVID BLONDE:
Like what?

GENE:
Have you been straight with us? Did you use one of Marjorie's old underworld contacts to get yourself a bit of a bridging loan?

DAVID BLONDE:
Oh, don't be stupid! You think I'd hide something like that from you now? Listen, I'd admit to being a serial rapist if I thought it'd get my Dotty back.

The Blondes start to leave.

RAY:
Hold your horses.

DAVID BLONDE:
You practically killed my little girl, Carling. Now, we're going to go home and sit tight and wait for our instructions from the kidnappers.

CHRIS:
I'll show you out...

DAVID BLONDE:
I don't want to be seen standing next to a copper.

They leave. RAY, burdened with guilt, sighs heavily.

ALEX:
You didn't mess up. It was the heat of the mome...

RAY:
Just... don't. All right?

ALEX:
Just trying to help.

RAY:
No.

RAY leaves.

GENE:
Put a tail on 'em. Just in case the kidnap...

ALEX:
Look, you can't jeopardise Dorothy again. We have to go about this from a completely different angle.

ALEX goes out into the main body of CID.

ALEX:
Ray, I want every television rental shop in the district to get a visit. The guy on the VHS had a bronchial infection or something. Someone might remember somebody like that buying or renting a telly. Check out as well, who might have bought a camcorder.

RAY:
What? One of them TV, VHS...?

GENE:
Specialist TV shop might do 'em. Find out. We know the drop is at eight. Clock is ticking, ladies and gents.



Time has passed, and CHRIS arrives with a large digital countdown display.

CHRIS:
Got it from the police gym.

GENE:
We've got a gym?!

RAY:
Guv, we've had a shout. They found the Transit on the estate. Abandoned.

GENE:
Right, well get forensics down there with the talcum powder. (to CHRIS) Stick it up there.

RAY:
They'll need their oven gloves, it's been torched.



Interview room. ALEX has the blue insulation material on the table. SHAZ shows in a nervous-looking workman.

SHAZ:
Ma'am? This fella's fixing the central heating on the second floor.

ALEX:
Thanks, Shaz. It's OK, you're not in any trouble. I'd just like to know what this is.



Back in CID.

GENE:
Terry, I want a list of Gary Soaper's known associates. Chop-chop!

RAY:
Shop dummy was from a warehouse in Wapping. Just one of a dozen that they had outside in a skip. So any wally could have walked by and pinched it.

ALEX arrives back in CID. She has news.

ALEX:
The dummy was wrapped in blue asbestos.

There's a marked lack of reaction.

ALEX:
Oh, come on. Asbestos. It causes asbestosis. It's lethal. It rips your lungs to shreds!

Nope, they're not getting it.

ALEX:
Blue asbestos! Oh, come on, don't tell me... none of you have ever heard of...

GENE:
You're a one-woman Open University course, aren't you? Bamber Gascoigne in drag. That bloke with the cough?

ALEX:
The one on the tape. Maybe.

GENE:
Terry? Also find out if any of Soaper's cronies have come into contact with asbestos.

ALEX:
Gary Soaper? I've told you. How many times? The man is a burnt vegetable.

GENE:
He found religion in the nick, the notes are all Bible references.

ALEX:
What about the man Gary met inside? The one that Marjorie told me about. Y'know, the Methodist teacher with links to kidnapping.

GENE:
Well, she have a name?

ALEX:
No, afraid not.

GENE:
Oh, wonderful. So we're looking for a bloke who's done time. Well, that narrows it down to most of planet Earth and the whole of Sunderland.

ALEX:
I can trace him.

TERRY:
Here's the current list of low lifes, Guv.

GENE:
Raymondo.

RAY:
Yep. See what I can shake out of 'em.

ALEX:
Y'know, I know what you're doing. Hassling old felons, making a lot of noise. You're re-announcing yourself to the underworld, Guv, and it's all a load of bollocks.

GENE:
Just work with me, Drake.

ALEX:
You see, working together is fine when it's what you want. Y'know, has it ever occurred to you that if you gave your team a little bit of respect, a little bit of freedom, that they might actually flourish?

GENE:
I did. I put Ray in charge and look what happened.

ALEX:
You know, I'm glad I came back. This place needs me. They're crying out for me.

GENE:
This is turning into The Claire Rayner Show and I have had enough! Right. Five hours and 42 minutes left on that girl's life.

CHRIS:
Five hours, 41.

GENE:
Yes, thank you very much, the Speaking ruddy bloody Clock!

GENE and ALEX retire to their respective corners. SHAZ answers the phone.

SHAZ:
CID.



Time has moved on, and CHRIS returns to CID, just escaping being caught up in a jostling, noisy mass of people in the corridor.

CHRIS:
Blimey, it's all getting a bit Juicy Fruit out there.

ALEX:
Gary Soaper's old cronies aren't going to tell us anything. They don't bloody know anything! Any luck?

CHRIS:
Well, the Scrubs reckon there's quite a few of these Bible groups that spring up in the slammer.

ALEX:
Did you mention the kidnap angle?

CHRIS:
Yeah, and they had a William Carburton doing eight years for attempted kidnap. Methodist. Beats me how a devout Christian can also be a criminal though.

ALEX:
Ask a Catholic choir boy.

CHRIS:
Don't know any. D'you want me to pull some in?

ALEX:
Uh... Carburton?

CHRIS:
Oh, he was released a month ago. He was assigned to a Methodist hostel in Stepney.

ALEX:
Hmm. Under three hours. I think we'd better talk to Mr Carburton.



The Methodist hostel, and ALEX and CHRIS are trying to gain entry, banging on the door.

CHRIS:
Police! Open up!

ALEX:
Just break it down, Chris.

CHRIS:
But we don't have a warrant, ma'am.

ALEX:
Warrant schmarrant, just do it.

CHRIS breaks down the door and they enter.

ALEX:
Police!

CHRIS:
Police! This is the police!

They make their way down to the basement.

CHRIS:
This is the police.

There are various religious artefacts and lots of chairs. A YOUNG MAN in his underpants arrives downstairs, making CHRIS jump. (He's not nervous though, obviously. Just cautious.)

YOUNG MAN:
What are you doing?

CHRIS:
Police. Hands where we can see them.

ALEX:
Well, he's not hiding any weapons, Chris. He's not wearing any clothes.

CHRIS:
Still. Police. Hands away from your smalls.

ALEX:
What's all this stuff?

YOUNG MAN:
This morning's Bible study. We meet every Thursday.

ALEX:
Will Carburton. Where is he?

YOUNG MAN:
Will Carburton?

ALEX:
Yes, where is he?

YOUNG MAN:
Hopefully, he's with Christ.

CHRIS:
Where do we find this Christ?

ALEX:
Christ isn't a nickname, is it, Chris? He means THE Jesus Christ. (to the YOUNG MAN) Um, sorry, Will Carburton's dead?

YOUNG MAN:
He had three heart attacks in prison. You get quick health care in the Scrubs. Out here... Ambulance took too long. Died two weeks ago.

CHRIS gets out the mug shot of Gary SOAPER to show the YOUNG MAN.

CHRIS:
D'you recognise this man?

ALEX:
Chris, there is absolutely no point whatsoever in showing that...

CHRIS:
...the Guv said that we had to...

YOUNG MAN:
Gary Soaper. Saw him at Bible study inside. He phoned here one time to talk to Will. He didn't leave his name but I knew the voice.

ALEX:
Gary Soaper's lying in a hospital bed with brain damage.

YOUNG MAN:
Well, a Gary Soaper called here a few weeks back. And he wasn't brain damaged.



CID. GENE sticks his head out of his office.

GENE:
Shaz.

SHAZ:
I know, Guv. Tea for 15 and I'll put the bourbons on a plate.

GENE:
A word.

SHAZ troops into his office, fed up.

GENE:
Listen, um... Drake's always going on about what a smart little plonk you are. So, er... How do you fancy a spot of surveillance?

SHAZ smiles.



SHAZ is parked up outside the Blondes' house, keeping watch.

GENE over the radio:
Shaz, what's going on? Talk to me, over.

SHAZ into the radio:
Looks like they're still waiting for a contact from the kidnappers.




Station corridor.

GENE:
Still no movement at the Blondes'. Any joy here?

RAY:
We've had it out with anyone who's ever had any dealings with Gary Soaper. Nothing. Look, Guv, maybe if we let the exchange take place. Just let these swines take the dough and hand the girl over. At least she'll be safe.

GENE:
No, she'll have seen them. Heard them. Be aware of her surroundings. My spidey senses tell me once they've got their money, they'll kill her.

RAY:
What we down to?

GENE:
About two hours ten.

TERRY arrives with a police radio.

TERRY:
DI Drake for you.

GENE into the radio:
What is it?

ALEX over the radio:
A "please" wouldn't kill you.

GENE into the radio:
Please talk now, you mare.

ALEX over the radio:
Gary Soaper, he's been making phone calls.

GENE and RAY hurry off.



Hospital room, and the patient has what I can only describe as a rude awakening as GENE and co burst in.

GENE:
Right, Ray, search the room.

ALEX:
Will you just listen to what I have to say! Just...

GENE:
I listen morning, noon and night. It's called Radio Drakey, broadcasting 24 hours a bloody day!

The patient tries to open the door of his bedside cupboard. ALEX goes to help him and hands him a Rosary.

ALEX:
This? D'you want this?

GENE:
Don't look so surprised, you said he found religion.

ALEX:
Yes, Methodist Christianity. This man's a Catholic. This isn't Gary Soaper!



Meanwhile, back with SHAZ and her surveillance, and MARJORIE BLONDE's car drives out of the gate.

SHAZ into the radio:
She's turned left out the house. That means she'll be hitting Queen Anne Road.

Then DAVID BLONDE's car drives out of the gate.

SHAZ into the radio:
No, wait up. Mr Blonde's... Mr Blonde's going the other way.



MUSIC: 'Under Pressure' by Queen and David Bowie

GENE and co are making their way out of the hospital.

GENE:
I'm reckoning our veggie in there was used as a decoy to drive the getaway car by Gary. Trouble is car crashes, ends up burnt to a crisp.

ALEX:
So now everybody thinks Gary's in a hospital bed but in fact he's lying low. Until, of course, he needs some money and then he contacts Carburton for some kidnap advice.

RAY:
Marjorie's got to know that's not her hubby in there.

ALEX:
She's in on it, Ray. It's been Marjorie all along.



Back at the Blondes' house, and MARJORIE BLONDE returns to find SHAZ on the doorstep.

MARJORIE BLONDE:
They phoned us this time. I'm sorry, but we knew you'd try to follow us so David sent me out as a decoy.

SHAZ:
Mrs Blonde, where did he go?

MARJORIE BLONDE:
He's going to be making the switch in an hour. They're not going to hurt her. She's going to be all right.



Meanwhile, in the Quattro...

# Pressure! Pushing down on me... #

ALEX:
Deep down, she wants to confess. That's why she told us about Carburton. Why she wanted a wire. She almost wants us to stop this because she can't. She's grappling with herself internally.

CHRIS:
Ray's got a film like that.

GENE:
50 minutes.

ALEX has A Thought.

ALEX:
Stop!

GENE slams on the brakes.

GENE:
Yes? Hello? What?

ALEX:
Wherever he's holding Dorothy, I bet he's been holding her there for a long time.

RAY:
Just pull Marjorie in, wire her bra strap to a fuse box. She'll talk.

GENE:
We are running out of time, Raymondo.

ALEX:
She's got David so scared that nothing is going to stop him handing over that cash. Chris, when we were at Dot Matrix, why was it so chaotic?

CHRIS:
Because of the tempo of modern life?

ALEX:
Don't over think it, Chris.

CHRIS:
Chips. Boxes of little chips from Japan. They were meant to be kept in the warehouse but they'd had to clear the workforce out a couple of months back.

ALEX:
Because of a health and safety scare.

GENE:
Look, I tend to find that stories like this work better on "Nationwide".

ALEX:
Somewhere Marjorie told him to go that he wouldn't be disturbed. The last place they'd think to look. The other warehouse.

Well, the Quattro's convinced and revs its engine. Or maybe that was GENE doing that...



The Dot Matrix warehouse. We know this because it says so on the door. Also signs saying "Danger Asbestos". Armed with torches, the team split up to search. RAY makes a discovery.

RAY:
Guv!

GENE appears on the floor above, looking down.

RAY:
Guv. We've found Dorothy's coat.

GENE:
Oh shit.

ALEX, meanwhile, hears the muffled strains of the music from "Why Don't You?". The animals - have they given the poor child nothing else to watch? ALEX presses her ear to the blank wall to locate the source.

ALEX into the radio:
Found her.



DOROTHY BLONDE is in the kidnapper's hideout, quietly slipping into a coma owing to having to watch nothing but "Why Don't You?" until suddenly there is a mighty banging and crashing and GENE and team burst in through the wall. There is some small kerfuffle until GENE gets SOAPER in a friendly embrace. ALEX rescues DOROTHY BLONDE.

ALEX:
Come on! Hold your breath! It's asbestos!

GENE:
Gary Soaper? Sorry to barge into your home like this but you're nicked.



Everyone's just coming out of the warehouse as DAVID BLONDE arrives.

DOROTHY BLONDE:
Thank you.

ALEX:
That's OK. Are you all right?

DAVID BLONDE:
Dotty.

ALEX:
I told you I'd come back for you.

DOROTHY BLONDE rushes towards her father.

GENE:
Right, this time, Gary, make the most of your time inside. Try taking up a few hobbies, like basket weaving or gang rape.

DAVID BLONDE:
Thank you, Mr Hunt. So much. Thank you.

GENE gives him a pat on the back . ALEX is getting a bit teary-eyed over the whole daughter/parent reunion thing. Tsk.



The Blondes' house, and MARJORIE BLONDE comes downstairs to the waiting police officers. DAVID BLONDE comes into the hallway with DOROTHY BLONDE.

DAVID BLONDE:
Get out of my house.

MARJORIE BLONDE:
Dotty... You OK, darling? See? He didn't hurt her. She's not hurt. You didn't...

DAVID BLONDE:
Get out of my house!

DOROTHY BLONDE:
Don't, Dad! Don't shout at her!

MARJORIE BLONDE:
It's all right. I'm going to go now. It wasn't really me you were interested in, Dave. She was everything. That's how it should be.

DAVID BLONDE:
I don't want to hear it.

ALEX:
Shaz, would you mind going sitting with them, please, until the ambulance arrives?

SHAZ:
Ma'am.

ALEX:
You know, the first time I ever met you, you were running. You've wanted to escape from this from day one, haven't you?

MARJORIE BLONDE:
Gary could've gotten away when he broke out. But he came to find me. It's a hell of a thing to be that wanted.

ALEX:
You actually let him fracture your cheek. God...

MARJORIE BLONDE:
I love him.

ALEX:
Even though he made you be part of all this?

MARJORIE BLONDE:
Fell for him from day one. Sometimes, you can't help which way you fall.

I don't know about you, but I think I've just been beaten over the head with a parallel...



CID, and the team are celebrating,

MUSIC: 'Walking On Sunshine' by Katrina and The Waves

CHRIS:
Here's to a blinding result.

CID cheer.

GENE:
Good day's work from all of you. Under difficult circumstances. Ray.

RAY:
Yes, Guv?

GENE:
It was a tough call, this morning. I know it didn't pan out but you could've dithered and you didn't.

GENE glances across at ALEX sitting alone on the other side of the room.

GENE:
As Mrs Lady Woman over there is keen to remind me, you made a snap decision and you acted on it. Sometimes, that's all we can do. So well done, Inspector.

A chorus of "Too right" from his colleagues.

RAY:
Cheers, Guv.

RAY smiles a thanks at ALEX, who raises her glass. GENE goes back in his office, while SHAZ goes over to ALEX.

SHAZ:
What's on your mind, ma'am?

ALEX:
This team. You. Chris. Ray. You're all on my mind.

SHAZ:
I don't understand.

ALEX:
No, nor do I. Maybe I'm here to help.

SHAZ:
The Guv too?

ALEX:
He's at the centre of all of this.

SHAZ:
Well, who's gonna help you, then?

JIM KEATS enters CID and the hilarity dies away to a deathly silence.

JIM KEATS:
Oh, don't do that. Don't give me the silent treatment. Not when I went to the trouble of bringing this.

JIM KEATS proffers a bottle of champagne. GENE watches from his office.

JIM KEATS:
Pass it round.

DC SLATE takes the bottle.

JIM KEATS:
Look, um... I'm just going to say it. You proved me wrong today. All of you. DCI Hunt most of all. This is a station of mavericks. That means that officially we are going to assess your suitability.

They groan.

JIM KEATS:
No, no, no, but... It's a big but... I'm in charge of assessing you, and heaven help me, oo, I've got a soft spot for the old ways. OK? So. Can we see if we can't work this thing out together? Hmm? And then... you know... D'you know what? I'm boring myself. Come on, let's have a drink, OK?

The mood is considerably better. GENE finally makes a move and sticks his head out of the door.

GENE:
Will one of you Herberts get me my filing cabinet out of storage, please. Thank you very much!

JIM KEATS' smiling face is suddenly grave as he goes into Gene's office and shuts the door behind him.

JIM KEATS:
I hate you. I can't help it. I hate what you stand for. The... The... My mouth's dry.

GENE's been pouring JIM KEATS a whisky and hands it to him.

GENE:
Maybe you'd prefer water?

JIM KEATS:
No, thank you.

He snatches the glass; GENE stalks back behind his desk.

JIM KEATS:
The laziness. The brutality. The hypocrisy. And as for your team. Some of them could have made good coppers but you've... eroded them too much.

He drinks the whisky, puts down the glass and moves over to look through the glass into the main room of CID. He mouths an "All right?" to CHRIS and mimes shooting him in a game-show-host-kinda way, smiling. CHRIS smiles and gives the thumbs up.

JIM KEATS:
Idiots. Third raters. Slackers. They'll still be getting pissed while I dismantle this station around them.

GENE:
And you think you're up to that, do you, Jim?

JIM KEATS:
It's not about them. Not really.

He pulls the blind down and turns back to GENE.

JIM KEATS:
It's about you, Hunt. About what you've done in the past.



ALEX, meanwhile, is in a storage room trying to move the filing cabinet. As she does so, a file falls to the floor, and picking it up she finds a photograph of SAM TYLER. There's the sound of crows.



Back in Gene's office.

JIM KEATS:
Yeah, maybe Alex Drake was an accident. Maybe. She thinks it was. But you do have a nasty temper, my friend, and not everyone's walked away from that.

GENE:
And a good dart-throwing arm. Don't forget my 180.

JIM KEATS:
Oh, you think you're so clever. So special, so needed, so damn right. And you've fooled everyone into believing in you. But I have the horrible, unpopular job of showing the world what you really are. The things you've done. Oh, they won't want to believe it. Because they love you and they think that they know you. They'll hate me for it. But in the end, they will see. As sad as that will be for them, they will see. I know what you did. Three years ago. I know.



ALEX is looking through the file. Whole lines of the report in it have been blacked out. Audio of crows. She looks up, startled, to see the GHOSTLY COPPER standing in the doorway. She leaves the room via another exit, taking the file with her.



Gene's office.

GENE:
So, you're going to bring me down. Why tell me that?

JIM KEATS:
You see, that's what's ironic. You can't leave here no matter what happens. This place defines you. Which means you're going to have to sit here and watch me close your little kingdom forever. And you on the scrap heap. Heh. Well, I just hope I can help Alex before it's too late.

RAY interupts. Which is just as well, because GENE was starting to look rattled.

RAY:
Come on, Guv, booze time a-wasting.

JIM KEATS:
Good idea, Ray. Let's have a drink, eh?

MUSIC: 'Every Breath You Take' by The Police

JIM KEATS:
Gene?

GENE:
Why not?

ALEX returns to CID with the file, and puts it in her desk drawer. She's a touch rattled too. JIM KEATS comes over with a mug and a bottle.

JIM KEATS:
You've been out of hospital two days, Alex. Please try to look after yourself. I want to help you. I really do. The things you hold dear... you know they might not be so good for you.

ALEX:
And I'm here to...

JIM KEATS holds out the drink for her.

JIM KEATS:
Find out the truth.

# ...I'll be watching you #

ALEX takes the drink and JIM KEATS raises his glass; all watched by GENE.

# Every move you make
# Every step you take
# I'll be watching you #

GENE turns back into his office and ALEX realises he's been watching, as does JIM KEATS. GENE resorts to a popular television drama shorthand for brooding - staring through a rainy window.

# I'll be watching you
# Every breath you take
# Every move you make
# Every bond you break
# I'll be watching you
# Every single day #


Fade to black. Credits.


# Every word you say
# Every game you play
# Every night you stay
# I'll be watching you
# Every move you make
# Every vow you break
# Every smile you fake
# Every claim you stake
# I'll be watching you
# Every single day
# Every word you say
# Every game you play
# Every night you stay
# I'll be watching you
# Every breath you take
# Every move you make
# Every bond you break... #


Revised 3.6.10