Ashes To Ashes &#8211 307

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1 EXT - THE COSMOS - NIGHT 0 1
Stars. Infinity. Silence. Nothingness.
Then we slowly fade up the sound of people singing:
ALL
(Singing)
Abide with me; fast falls the
eventide;
The darkness deepens; Lord, with me
abide;
When other helpers fail and comforts
flee,
Help of the helpless, oh, abide with
me...
CUT TO:
2 INT - CREMATORIUM - AFTERNOON 1 2
GENE, RAY, CHRIS, SHAZ and ALEX sing and watch as Viv’s COFFIN
is placed on the rollers that will take it to the fires.
All of CID behind them, Viv’s grieving friends huddled together.
ALL
(Singing)
Change and decay in all around I see—
O Thou who changest not, abide with
me...
ALEX turns around to look at her COLLEAGUES and other members of

the CONGREGATION.
At the back of the church, on his own, impeccable and serious,

is JIM KEATS. Their eyes meet.
ALEX turns back to the front. The coffin is stuck on its

electric rollers, the curtain juddering. Truly stuck.
The VICAR stands at the front, useless, dithering.
GENE
For Christ’s sake.
GENE strides forward and manually shoves the coffin through.
GENE (CONT’D)
(To himself)
Sorry, Viv.
He tugs the curtains closed, before returning to his seat.
ALEX is moved by this gesture.

(CONTINUED)
Ashes to Ashes 3 - Episode Seven - Draft 4 09/12/09 2.
2 CONTINUED: 2
ALL
(Singing)
I fear no foe, with Thee at hand to
bless;
Ills have no weight, and tears no
bitterness;
Where is death’s sting? Where, grave,
thy victory?
I triumph still, if Thou abide with
me.
Then ALEX feels someone next to her. Even before she turns she
knows it’s going to be the GHOST. And it is! Very close, staring
at her, insistent. His epaulet number so close to her - 6620
ALEX
(Harassed)
Alright, alright.
A BANG. CHRIS has dropped his hymn book, destroying the mood.
ALEX turns back but the ghost has gone.
ALL
(Singing)
Heav’n’s morning breaks, and earth’s
vain shadows flee;
In life, in death, O Lord, abide with
me.
CUT TO:
3 INT - LUIGI’S - EVENING 1 3
A wake is being held for Viv, LUIGI pouring drinks, the mood
sombre but touched with humour as CID drink heavily and remember
their fallen colleague.
GENE glugs from a glass of red wine.
GENE
I remember when we were evicted from
paradise and sent to this southern
shit-hole. Viv came over, shook my
hand, said he was sorry but all
northerners looked the same to him.
Laughter.
GENE (CONT’D)
Said he’d look after me.
RAY
I’ve worked with a few Skippers in my
time but Viv was the best by a country
mile. I’ll miss him.
(CONTINUED)
3 CONTINUED: 3
CHRIS
I can’t believe he’s gone. I just
expect him to walk through the door,
moaning at me for not having done me
paperwork.
SHAZ
He was a lovely man.
GENE
But when it came to it, when it was my
turn to look after him...
RAY looks at CHRIS, they can feel the mood turning.
RAY
It wasn’t your fault, Guv. It was
nobody’s fault but Viv’s.
GENE
I lost one, Ray. One of my own.
The glass SHATTERS in GENE’S grip, sending wine and glass

everywhere. GENE looks at his hand, which is bleeding.
LUIGI
Please, Mr Hunt, don’t bleed on the
carpet tiles.
LUIGI wraps a bar towel around GENE’S bleeding hand.
CHRIS
(Worried)
It’ll be alright, Guv. We’ll all be
ok.
GENE
Where’s Bolly?
CUT TO:
4 INT - CID - NIGHT 1 4
ALEX looks at the photograph of the Ghost copper. The roll of

film next to it on the table.
JIM KEATS
Another good Officer gone, Alex.
ALEX spins around, sees JIM KEATS standing there.
ALEX
Sir.
(CONTINUED)
4 CONTINUED: 4
JIM KEATS
Find a dead police officer and a penny-
to-a-pound, you’ll find Gene Hunt
standing over him.
ALEX
If you’ll excuse me, I’ve got -
JIM KEATS
You’re the lucky one. Your bullet
didn’t kill you.
ALEX
It was an accident.
KEATS takes the photograph and looks at it.
JIM KEATS
Who’s this?
ALEX
It sounds stupid, but... the ghost I
told you about -
JIM KEATS
Where did you find it?
ALEX
In the guv’s office.
JIM KEATS
Another dead copper?
ALEX so doesn’t want to believe it, but....
JIM KEATS (CONT’D)

He’s slippery. Even putting this
report together, working right here
next to him... he covers his tracks.
ALEX
He’s a good copper.
JIM KEATS
He’s a killer.
KEATS picks up the roll of film, inspects it.

And this?
ALEX
(Agitated)
It was in the same place. I’m going to
develop it.
(CONTINUED)
4 CONTINUED: 4
ALEX puts out her hand to reclaim the roll of film, wants it
back.
JIM KEATS
We’ve got superior facilities at D&C.
I’ll do it.
KEATS pockets the film, smiles at her.

You could no more turn your back on a
bent copper as stop breathing. We’re
the same, you and me.
ALEX
Except that I don’t want it to be
true. So we’re not the same.
JIM KEATS
The time has come, Alex. Do what you
were put here to do. Get me Gene Hunt.
Out on ALEX, torn between duty and love.
TITLES:
5 INT - CID/GENE’S OFFICE - DAY 2 5
The mood in CID is quiet and sombre as they return to work.

CHRIS, RAY and SHAZ all behind their desks.
ALEX is putting some of Viv’s funeral flowers into a vase.
ALEX
Viv would want us to have some of his
flowers.
GENE HUNT is in his office, staring out of his window.
ALEX sees this, turns to RAY.
ALEX (CONT’D)
How is he?
RAY
How do you think he is? He blames
himself.
ALEX
Anything from your friend in
Manchester about the epaulet numbers?
RAY shakes his head.
(CONTINUED)
5 CONTINUED: 5
ALEX (CONT’D)
Can you please ask him again?
RAY
What’s so important about some plod’s
old epaulet number?
ALEX
Just a line of enquiry. Please, Ray.
RAY
Alright, alright.
The sound of a loud, shrill POLICE WHISTLE rents the air.
CHRIS stands up, alarmed.
CHRIS
Who is doing that?!
It’s very loud - at least for CHRIS - and he puts his hands over
his ears.
Two CID OFFICERS chuckle in, messing about with a POLICE

WHISTLE.
CHRIS (CONT’D)
(Angry)
What the hell are you doing?!
This is not like CHRIS, and RAY and SHAZ swap looks.
SHAZ
You alright, Chris?
RAY
Luigi’s cheapest Chianti on an empty
stomach... recipe for mental disaster.
CHRIS
I’m not drunk.
RAY
Told - you you should’ve eaten the vol-
au-vents.
CHRIS sits down again, clearly troubled.
SHAZ
What is happening to us all?
ALEX has watched all this. Makes up her mind, walks across CID
to GENE’S office door, knocks. Goes in.
(CONTINUED)
5 CONTINUED: 5
GENE
Sod off, I’m grieving.
ALEX
How are you doing, Guv?
GENE
(Serious)
I miss my friend.
ALEX
I know you do.
A beat.
ALEX (CONT'D)
What are you doing tonight?
GENE
Going to a revival of “The Caretaker”
at the Royal Court.
ALEX
(Surprised)
Really?
GENE
No.
ALEX
Only... we’ve been through a lot
together, you and I. Professionally
and... in other ways.
GENE
Spit it out, Bolly.
ALEX
(Spitting it out)
Let’s have dinner together. Tonight.
GENE looks up at this. Surprised, suspicious. Intrigued.
GENE
Why?
ALEX
I’ve got a feeling we might not have
too many more opportunities.
GENE
(Considers)
A date?
(CONTINUED)
5 CONTINUED: 5
ALEX
I suppose.
GENE considers.
GENE
Alright, you’re on. But I should tell
you now, Bolly, first date - upstairs
outside only.
ALEX smiles as the door opens and RAY is standing there.
RAY
Guv. Reports of a rumpus at an shebeen
in Dalston.
ALEX
That’s hardly CID, is it?
RAY
It’s an ANC shebeen.
GENE gets up, heads towards the door.
GENE
Let’s splinter some skulls for Viv.
ALEX follows GENE out.
ALEX
(Sarcastic)
How touched he would be.
CUT TO:
6 EXT - LONDON STREETS - DAY 2 6
The AUDI screams down a London Street.
The Smiths - This Charming Man
CUT TO:
7 INT - AUDI - DAY 2 7
GENE is driving. Fast.
ALEX in the passenger seat.
CHRIS and RAY chewing gum in the back.
And ALEX turns and steals a look at GENE:
When in this charming car
(CONTINUED)
7 CONTINUED: 7
This charming man
Why pamper life's complexity
When the leather runs smooth
On the passenger seat?
CUT TO:
8 EXT - LONDON STREETS - DAY 2 8
The AUDI swerves around a corner, heading east.
CUT TO:
9 INT - JIM KEATS’ OFFICE - DAY 2 9
JIM KEATS is sat behind his desk, looking with great expectation
at a brown parcel in front of him. He delays the pleasure. Then
rips off the paper to reveal...
... THREE BETAMAX CASSETTES.
CUT TO:
10 INT - DRINKING CLUB - DAY 2 10
The doors CRASH open and GENE HUNT strides in, followed by ALEX,
RAY and CHRIS.
A small, dark basement of smoke and music - something by MIRIAM

MEKEBA or HUGH MASEKELA.
Photographs of Nelson Mandela; slogans on the wall etc
A group of MEN (6 or 7) are deep in animated, angry

conversation, break up as they see the police enter.
We pick out the intelligent, lived-in face of TOBIAS NDBELE, a

man in his sixties.
The atmosphere tightens, the music stops.
GENE
Is this Dalston or did we take a wrong
turn to Bogobogo Land?
ALEX
(To Gene)
There’s no need for that.
TOBIAS strides forward to meet them. He’s calm, collected. An

impressive man:
(CONTINUED)
10 CONTINUED: 10
TOBIAS
Can I help you?
GENE
Comrade. We’ve had reports of a
disturbance.
ALEX
People screaming and shouting. Glass
smashing.
TOBIAS
As you can see, all is well here.
GENE
Is it true that in your country the
police don’t need warrants? That they
can hang a man by his ankles from the
twentieth floor just because they
don’t like the cut of his jib?
TOBIAS
You mean the colour of his skin. Yes,
it’s true.
A beat as GENE looks at TOBIAS.
GENE
(To Ray)
Take the place apart.
ALEX
That’s a bit extreme, isn’t it?
RAY
(Pleased)
Yes, Guv.
Again, the tension ratchets up. Some of the YOUNGER MEN look
ready to fight. One of them - big and strong - walks towards
CHRIS, holding a bottle. He smashes it, advances.
TOBIAS stands in front of CHRIS and the MAN, who obeys the look
in TOBIAS’ eyes, moves reluctantly aside. CHRIS quietly relieved
- and impressed with TOBIAS.
CHRIS
(Quiet)
Thank you.
TOBIAS
(To Gene)
Why do you do this?
(CONTINUED)
10 CONTINUED: 10
GENE
Shut up, Mandingo, or I’ll have you
for obstruction.
CHRIS turns to the assembled.
CHRIS
(Gentle)
OK, guys. If you wouldn’t mind
stepping into the middle of the room
for a moment -
GENE
(To Chris, annoyed)
Oi! Who the hell do you think you are -
John Le bloody Mesurier?
CHRIS
Guv. There’s no need to give ‘em a
hard time when we don’t know if
they’ve done anything wrong.
GENE steps towards CHRIS, his face like thunder.
GENE
When I want your opinion, Skelton,
I’ll ask for it. And I will never ask
for it.
CHRIS
Guv.
GENE
Prick.
CHRIS hangs his head, a cowed dog. Utterly humiliated.
A silence.
ALEX
(To Gene)
I know you’re upset but -
GENE
(To Ray)
Take the place apart.
RAY starts to enthusiastically turn over chairs and tables.

CHRIS - more reluctantly - joins in.
ALEX
(To Gene)
Have you any idea what these people
have been through? They are fighting
against an abhorrent society -
(CONTINUED)
10 CONTINUED: 10
GENE
They’re members of a terrorist
organisation and they’re on my patch.
ALEX
(Pointed)
They didn’t kill Viv.
GENE just gives ALEX one of his looks.
A young woman, TSITSI, hurries into the club, very agitated:
TSITSI
(In Zulu)
What’s happening? I can’t just sit in
my room and -
She sees TOBIAS first and he puts a warning finger to his lips.
TSITSI sees the Police Officers, is instantly frightened.
GENE
Don’t stop talking on our account.
RAY sees a small stain on a rug on the floor. A dark red stain.
RAY
Guv.
RAY touches the stain, holds up bloodied fingers. RAY lifts back
the rug to reveal a smeared, bloody floor.
GENE
(To Tobias)
Been sacrificing chickens to while
away a dull Dalston morning?
RAY follows a spattered blood pattern to a door.
RAY opens the door and the body of a YOUNG MAN flops out, his
clothes still slick with fresh blood.
RAY
Bloody Nora.
CUT TO:
11 INT - CID - DAY 2 11
Mayhem in CID as CHRIS, RAY, SHAZ and others try and organise
the SOUTH AFRICANS, who don’t much want to be organised.
CHRIS
(Harassed)
Bit of hush, please. Nobody’s “falling
down” any stairs here.
(CONTINUED)
11 CONTINUED: 11
RAY
(Passing)
Oh, I don’t know.
SHAZ
(Concerned, to Chris)
What did the Guv say to you?
CHRIS
(Embarrassed)
It doesn’t matter.
SHAZ
You need to stand up to him.
RAY
(Amused)
And police officers will fly.
GENE and ALEX walk into CID.
GENE
Get these people processed. Come on!
ALEX
(Dry, to Gene)
You enjoy your work, don’t you?
A bubbly KEATS comes into CID, takes in the chaos. He hands him
some papers:
JIM KEATS
Chris. Make copies of these.
CHRIS
Bit busy right now, Guv. Other Guv.
JIM KEATS
(Firm)
Now. Please.
CHRIS reluctantly does what he’s told, under the scathing eyes
of GENE HUNT.
GENE
(To Jim)
You look unpleasantly happy.
JIM KEATS
My report is almost done.
GENE
Good. You’ll be sodding off, then.
(CONTINUED)
11 CONTINUED: 11
ALEX
What does it say?
JIM KEATS
That’s for me to know and you to read.
(Smiling)
The final chapter has yet to be
written. Impress me.
CUT TO:
12 INT - MORTUARY - DAY 2 12
The silence and peace of the mortuary.
The PATHOLOGIST, GENE and ALEX look on.
The body of the YOUNG MAN is lying on the slab, with a dozen
entry marks.
PATHOLOGIST
There are thirteen knife entry holes
to his stomach and torso. But the
wound that killed him is this little
chap...
The PATHOLOGIST indicates a wound to the neck.
PATHOLOGIST (CONT’D)
Cut into the trachea, leading to
massive haemorrhage and death.
GENE
Time of death?
ALEX
The phone call came in at 1140.
PATHOLOGIST
That would be about right.
GENE
(To Alex)
What do we know about him?
ALEX
(Reading notes)
His name is Oliver Ndlovu, he’s a
member of the ANC. Fled South Africa
six months ago where he was accused of
organising strikes in township
schools.
(CONTINUED)
12 CONTINUED: 12
GENE
(To Pathologist)
Murder weapon?
PATHOLOGIST
A small knife, serrated edge. My guess
would be a kitchen knife of some sort.
GENE
(To Alex)
Let’s nab us a terrorist, Bolly. Let
Keats put that in his pipe and smoke
it.
CUT TO:
13 INT - CID - DAY 2 13
It’s all hands to the pump as CID interview the South Africans.
RAY
What did you see?
SOUTH AFRICAN MAN

Nothing.
RAY
Nothing? Someone got murdered and you
saw nothing?
SOUTH AFRICAN MAN

I was in the bathroom.
SHAZ is talking to another SOUTH AFRICAN MAN.
SHAZ
You were in the bathroom, too? Must be
one helluva a big bathroom.
CUT TO:
14 INT - CID/INTERVIEW ROOM - DAY 2 14
TOBIAS sits very quietly, very calmly, as GENE rants opposite

him.
CHRIS is also there, can’t help but be impressed by how TOBIAS

refuses to be intimidated by Gene HUNT.
GENE
You were not in the bathroom. You, my
bolshy African friend, are the Head
Honcho which means you know who
murdered Oliver N...
(MORE)
(CONTINUED)
14 CONTINUED: 14
GENE (CONT'D)
(Struggles with
pronunciation)
Nd...
TOBIAS
Oliver Ndlovu. No, I do not know who
murdered him.
GENE
I may not be allowed to pull your
fingernails out, Comrade, but I am not
an idiot. He was murdered on your
watch, in your club.
TOBIAS
GENE
Do you know what I think? I think you
killed him.
TOBIAS
No.
GENE
What does your searing intellect
think, Christopher?
CHRIS
Either he did it or he knows who did.
GENE
(To Tobias)
Have you ever been to an English
prison? They will love you in there.
Bit of elderly African rough,
something a bit different for the
weekend... you won’t be able to sit
down for a thousand years.
TOBIAS isn’t flustered. He just looks at CHRIS with his

inquisitive, slightly disappointed eyes.
CHRIS can’t help it, feels uncomfortable and judged.
CUT TO:
ALEX is talking to the very nervous TSITSI.
ALEX
There’s no need to be afraid, Tsitsi,
I give you my word.
(MORE)
(CONTINUED)
15 CONTINUED: 15
ALEX (CONT'D)
(Kind)
Did I pronounce your name correctly?
TSITSI nods.
ALEX (CONT’D)
Did you know Oliver?
TSITSI
I was in the bathroom. I saw nothing.
ALEX
That’s not what I asked.
TSITSI says nothing.
ALEX (CONT’D)
I understand he had quite forthright
views about how the struggle should
progress. We found these in his
belongings.
ALEX shows TSITSI pamphlets advocating violent resistance in

South Africa.
ALEX (CONT’D)
Did he upset someone? Is that why he
was killed?
Nothing from TSITSI.
ALEX (CONT’D)
Tsitsi, we will find out what
happened. And when it comes to
discussions about who will be deported
and who won’t -
TSITSI
Please. Don’t send me back.
ALEX
Well -
TSITSI
They will kill me. Like they killed my
father -
ALEX is intrigued.
ALEX
How did your father die?
TSITSI
They put wires in his penis and
shocked him.
(MORE)
(CONTINUED)
15 CONTINUED: 15
TSITSI (CONT'D)
The shock cracked his spine and hurt
his vocal chords. He couldn’t even say
goodbye to me before he died.
ALEX says nothing, knows she is before a woman who has known
real suffering.
ALEX
Then you won’t want to go back there.
Tsitsi -
TSITSI
(Fierce)
CUT TO:
16 INT - CID - DAY 2 16
ALEX and SHAZ look on as CHRIS and RAY recreate the famous
firing sequence from “Zulu!”.
TSITSI looks on from a desk, appalled.
RAY
Rorkes Drift. 4,000 bloodthirsty Zulus
attacking 150 British soldiers.
ALEX
Should we perhaps try and solve a
murder?
RAY
Eleven Victoria Crosses were awarded
to the British defenders, the most
ever received in a single action by
one regiment.
From out in the corridor we hear massed Zulu voices (well, we

hear our CID extras).
RAY (CONT’D)
(Sings)
“Men of Harlech stop your dreaming,
can’t you see their spearheads
gleaming? - “
CHRIS
Can I be Michael Caine?
RAY
(Posh Officer Accent)
Here they come, chaps!
CID Officers burst through the doors waving umbrellas as spears.

(CONTINUED)
16 CONTINUED: 16
RAY (CONT’D)
First rank. FIRE!
Some CID Officers go down.
SHAZ
(To Alex)
Pathetic, aren’t they?
RAY
Second rank. FIRE!
More CID Officers go down.
GENE HUNT comes in behind them. And he is not amused. Everyone

freezes.
RAY (CONT’D)
Guv.
Everyone gets back to work.
GENE
I’ve come across some stone-wallers
before, Bolly, but this lot are First
Division.
ALEX
They’re doing the whole Civil
disobedience thing, hoping we won’t be
able to isolate the killer from the
herd.
GENE
We need something to shake them up.
(To Ray)
Go back to the drinking club and see
if we’ve missed something.
(Indicating Shaz)
Take the plonk with you.
SHAZ
About that, Guv. Do you remember
saying that I could join CID when -
GENE
Now!
RAY and SHAZ hurry out of CID.
GENE (CONT’D)
(To Alex)
What have you got?
ALEX indicates TSITSI.

(CONTINUED)
16 CONTINUED: 16
ALEX
Tsitsi. She’s very agitated, I think
she knows something.
GENE
Good. I think it’s time she had a chat
with Uncle Gene.
ALEX looks over at TOBIAS.
ALEX
Be gentle with her, she’s had a hell
of a life.
GENE
The very thought.
(To Tsitsi)
Zitty! You’re in with me.
CUT TO:
17 INT - DRINKING CLUB - DAY 2 17
The drinking club is deserted now, just the remains of Scenes Of

Crime tape.
SHAZ rights some of the chairs that CID upturned, as she walks
in with RAY.
SHAZ
I just wish Chris would stand up to
the Guv. Just once.
RAY
It’s not in his nature. You can’t ask
a Labrador to become a Rottweiler.
SHAZ
I don’t believe that. People can
change.
RAY
Not Chris.
RAY is standing by the blood-stain on the wooden floor.
RAY (CONT'D)
If you stabbed someone over here, what
would you do with the knife?
SHAZ
Dunno. Depends if I was hiding what
I’d done from the others or not.
(CONTINUED)
17 CONTINUED: 17
RAY
They’re all in on it. Boozy argument
gets out of hand.
SHAZ
That drunk in the morning?
RAY
They’re Africans. Stab, stab, down he
goes. Lots of screaming, panic. What
do you do with the knife?
SHAZ
Make a run for it, lob it in the canal
out back?
RAY
Broad daylight, might be seen.
SHAZ takes a step forward.
SHAZ
I think it’s really holding Chris
back. What if I was to -
RAY is behind the bar, takes down a pint glass.
SHAZ (CONT’D)
What are you doing, Ray Carling?
RAY
Having a sneaky pint.
RAY goes to pour a pint from a wooden barrel but nothing comes
out. He moves the barrel, can hear the sloshing of beer.
RAY (CONT’D)
Must be blocked.
RAY is suspicious.
SHAZ
Anyway, as I was saying, Chris must
take control of his own destiny. He’s
in denial -
RAY
Denial? Isn’t that a river in Egypt?
RAY laughs and laughs. SHAZ just stares at him, not impressed.
RAY (CONT’D)
(Belfast accent)
It’s the way I tell ‘em.
(CONTINUED)
17 CONTINUED: 17
RAY takes out a flick-knife.
SHAZ
They’re illegal!
RAY
So call the police.
RAY taps the barrel with the knife. The front of the barrel
sounds empty. Odd.
He finds a join and puts the blade down it. An entire section of
the barrel comes away.
RAY (CONT’D)
What have we got here?
In the empty compartment RAY and SHAZ find passports, cheque-

books, money, laminated security passes etc
RAY (CONT’D)
A one-stop illegal immigration shop.
SHAZ
Ray.
SHAZ points at a bloody rag. RAY reaches in and takes it out.
RAY opens it to reveal a small kitchen knife.
SHAZ (CONT’D)
Bingo.
CUT TO:
ALEX is interviewing TOBIAS.
ALEX
Tobias, I can only guess at the
experiences you have gone through in
South Africa. I have the profoundest
admiration for your struggle. This may
sound trite but I argued against
apartheid at my school’s inter-house
debating society. And I very nearly
won.
(A Beat)
Does sound a bit trite.
TOBIAS says nothing, just fixes ALEX with his calm, deep eyes.
(CONTINUED)
18 CONTINUED: 18
ALEX (CONT’D)
I know what you’re doing. You’re
creating a conversational vacuum that
you think my white liberal guilt will
fill with inane chatter and banalities
almost completely without punctuation
or coherent syntax and thus take the
heat off what we’re meant to be
talking about. Which is murder.
(Breathes)
Not going to happen.
TOBIAS says nothing.
ALEX (CONT’D)
(Lowers her voice)
It will all end beautifully, Tobias.
In seven years time Nelson Mandela
will be released and will become the
first democratically-elected President
of South Africa.
A flicker from TOBIAS. Can she see the future or is she a

nutter? For the first time, someone has got under his skin.
ALEX (CONT’D)
I want you to be there on that
wonderful day, Tobias. Not rotting in
a London prison. But you have to help
me.
CUT TO:
TSITSI is shaking as GENE HUNT hammers in to her.
GENE
I don’t care what happened to you in
South Africa. I don’t care what will
happen to you when I send you back.
TSITSI
No, please -
GENE
I imagine they’ll wire you up like a
lightbulb and plug you into the mains.
TSITSI starts to cry.
TSITSI
Please don’t send me back.
GENE smashes his fist down on the table, making her jump.
(CONTINUED)
19 CONTINUED: 19
GENE
Who killed Oliver Ndlovu?!!
TSITSI puts her hand over her face, weeping.
GENE (CONT’D)
Was it Tobias?
(Gentler)
You can tell me, he can’t get to you
here.
The door opens and RAY is there.
RAY
Quick word, Guv.
GENE
You can say what you like in front of
Titty, we’re old friends.
RAY holds up an evidence bag with the knife in it.
TSITSI recoils at the sight, as if she’s been punched. Not

missed by GENE.
GENE (CONT’D)
Take your dress off, Tsitsi.
TSITSI
What?
GENE
Dress. Off.
Even RAY thinks this is going too far.
RAY
I should go and get Shaz, we’re not
allowed to -
TSITSI just shakes her head.
GENE
(Serious)
Take your dress off, Tsitsi, or you’re
on the next flight to Johannesburg.
Very upset, Tsitsi takes her dress off.
She is wearing a white vest over her underwear and it is soaked

in blood.
(CONTINUED)
19 CONTINUED: 19
TSITSI
(Upset)
CUT TO:
GENE looks at the haul of passports etc on his desk as ALEX, RAY
and CHRIS look on.
GENE
(Excited)
This isn’t just a drunken murder. This
is a fully-fledged, one-stop ANC cell.
ALEX
I’ll phone Special Branch.
GENE
No, you won’t.
ALEX
Guv. We have to. If we suspect any
link to a potential terrorist -
GENE
There’s a big fish here and he’s ours.
RAY
He? I thought it was the girl who
killed him.
GENE
She’s just a kid, she’s not the prize.
GENE looks out into CID, sees TOBIAS having his fingerprints
taken.
GENE (CONT’D)
A sprat to catch a mackerel.
(To Chris and Ray)
Get Tsitsi up from the cells, tell her
the South African police want to talk
to her, then drag her through CID.
ALEX
What are you up to?
21 INT - CID - DAY 2 21
RAY and CHRIS lead the hysterical TSITSI through CID.
GENE and SHAZ there.
(CONTINUED)
21 CONTINUED: 21
GENE
(To Chris)
Let the others go.
(To Shaz)
Get this girl a brief. A good one.
TOBIAS sees at once that TSITSI is in trouble. He speaks Zulu to

her and we won’t understand it:
TOBIAS
(To Tsitsi, in Zulu)
What’s happened?
TSITSI
(In Zulu)
They’ve got the knife. They know it
was me! They’re sending me back!
GENE
Oi! Speak English!
TOBIAS
(To Tsitsi, in Zulu)
Go to Harare, tonight. They will look
after you. Promise me! Tonight!
GENE
Get her in the cells!
TOBIAS
(To Tsitsi)
Promise me!
TSITSI
(Confused, in Zulu)
I promise.
Just before RAY can drag TSITSI away TOBIAS stands in front of
GENE HUNT:
TOBIAS
I did it. I killed Oliver Ndlovu.
Everyone stops, looks at TOBIAS.
GENE
(Suspicious)
Why?
TOBIAS
He was a hothead. Talking of armed
struggle, of bringing violence to the
streets of London. I couldn’t let that
happen.
(CONTINUED)
21 CONTINUED: 21
ALEX
I don’t believe you.
TOBIAS
I was peeling potatoes when he came at
me. It was self defence.
ALEX
I saw the body. That wasn’t self
defence.
GENE
(Indicating Tsitsi)
What about her clothes? They’re
covered in blood.
TOBIAS
She tried to revive him. They were
lovers.
GENE considers.
GENE
Bring him into my office.
RAY roughly pushes TOBIAS into GENE’S office. TSITSI hates

seeing him treated like this.
TSITSI
No!
CUT TO:
TOBIAS is forced to look at GENE’S desk, covered in passports,

money, forged visas etc.
GENE
What can you tell me about this little
lot, Tobias?
TOBIAS gives nothing away.
TOBIAS
You’ll let the girl go?
GENE
Illegal passports - forged visas -
laundered money.
TOBIAS
I’ll tell you about it all.
(CONTINUED)
22 CONTINUED: 22
GENE
Everything?
TOBIAS
Everything.
GENE picks up several laminated security passes.
GENE
What are these?
TOBIAS
We run a cleaning company. It gives
our people work.
GENE
You’ll spill the beans on all of that?
Full confession.
TOBIAS nods.
ALEX
This isn’t right, Guv. He’ll say
anything to get Tsitsi off.
GENE
Sprat. Mackerel.
ALEX
What if she is the murderer?
GENE
(Proud)
Little Jimmy Keats might need to
revise his report.
CUT TO:
23 INT - CID/CORRIDOR - DAY 2 23
RAY and SHAZ are walking down a corridor in CID.
RAY
I’m not saying I agree with apartheid.
But what I’m saying is look at the
rest of Africa - bunch of corrupt
murderers. It’s like Liverpool but
with sunshine and elephants.
SHAZ
You are the most prejudiced,
intolerant man I know.
(CONTINUED)
23 CONTINUED: 23
RAY
(Proud)
I bet you say that to all the boys.
They open a door to an office.
RAY (CONT’D)
Right, let’s get this report typed up
and -
They both stop in their tracks at the threshold to the room.

Terrified.
For the room has gone, to be replaced by stars. Infinity. A

terrible silence.
RAY (CONT’D)
What does it mean?
SHAZ
(Really frightened)
I’m scared, Ray.
RAY’S fingers find hers and entwines them.
RAY
It’s alright. I’m here.
SHAZ
We’re all going mad.
CHRIS
(OOV)
Oi!
RAY and SHAZ turn at the noise of CHRIS’s angry voice, see him
striding down the corridor towards them.
CHRIS (CONT’D)
What the hell do you think you’re
doing?
RAY and SHAZ look back into the room. The stars have gone, to be
replaced by the old, scruffy office.
CHRIS (CONT’D)
I’m talking to you two. What is going
on?
RAY takes his hand out of SHAZ’S.
RAY
Nothing.
(CONTINUED)
23 CONTINUED: 23
SHAZ
How can you say that? You saw what I
saw!
CHRIS
My best mate and my... I don’t believe
it.
SHAZ
Something is wrong, Chris! We saw... I
don’t know. Stars. The edge of the
world.
(To Ray)
Tell him.
RAY nods. Just not able to talk about it.
SHAZ (CONT’D)
Tell me you’ve seen ‘em too, Chris.
CHRIS
I’ve seen all I need to see. You’re
both nutters, you deserve each other.
CHRIS turns and walks away from them, really upset.
SHAZ
Chris!
CUT TO:
TSITSI is standing in GENE’S office.
ALEX standing there.
GENE
(To Tsitsi)
A man died and another man owned up to
it. Which means you are free to go.
ALEX
Did you kill Oliver, Tsitsi?
TSITSI
No.
GENE
Give it a rest, Bolly.
ALEX
Tsitsi, if you’ve got something to
say, say it now.
(CONTINUED)
24 CONTINUED: 24
TSITSI looks guilty, but shakes her head.
GENE
(To Tsitsi)
Don’t shag it up, you owe him that.
GENE looks up to see the upset CHRIS come into CID.
GENE (CONT’D)
(Waving him in)
Chris!
CHRIS comes into the office.
GENE (CONT’D)
Show this young lady the way out.
CHRIS
Guv.
GENE
(To Tsitsi, very serious)
Tell your terrorist friends to get out
of my manor or I’ll chase them down
like rats. Understand?
CHRIS leads TSITSI away.
GENE (CONT’D)
(Pleased)
Jobs a good ‘un, Bols.
ALEX
You can’t be sure it wasn’t her. You
certainly can’t be sure it was Tobias.
GENE
He’s giving me an entire ANC illegal
immigrant centre. He’s the prize.
ALEX
But what about the “truth”?
GENE
Grow up, Bolly.
Crossing with JIM KEATS, who strides into the office.
GENE (CONT’D)
Jimbo! My mood has improved. Murderer
apprehended, international incident
avoided, terrorist leader in the
cells.
(Looks at Alex)
And on something of a promise.
(CONTINUED)
24 CONTINUED: 24
ALEX
In your dreams.
JIM KEATS
I’m glad you’re in a good mood, Gene.
GENE
If you need to know how to spell
“stupendous” in your D&C report, just
give me a shout.
KEATS stands aside to let a well-dressed man in his thirties

into GENE’S office.
GENE (CONT’D)
Who the hell are you?
JIM KEATS
DCI Brian Flowers, Special Branch.
GENE
Special Branch. My cup runneth over.
FLOWERS
The dead man, Oliver Ndlovu.
GENE
What about him?
FLOWERS
He was one of ours.
ALEX and GENE exchange a look.
CUT TO:
25 INT - CID - DAY 2 25
Later.
FLOWERS is taking centre stage as ALEX, GENE and KEATS look on.
FLOWERS
His real name is Peter Sarpong. He was
originally from South Africa but had
lived in London for five years, worked
for us for three. We started hearing
rumours that the exiled ANC was
gathering bomb-making materials.
ALEX
(Surprised)
In London? That didn’t happen.
(CONTINUED)
25 CONTINUED: 25
JIM KEATS
In March last year a bomb went off in
the ANC’s offices in Patton Street.
ALEX
That did happen. It was the South
African Secret Service - the guy
confessed to it all at the Truth And
Reconciliation trials...
ALEX (CONT’D)
The what?
GENE
Ignore her. We all do.
ALEX
The explosives were brought into the
country in diplomatic bags.
FLOWERS Is starting to get very suspicious of ALEX’S knowledge.
FLOWERS
You seem to know a lot about all of
this.
ALEX
(Hurriedly)
Just guessing.
JIM KEATS
The point is the ANC have been
plotting their revenge ever since.
Sarpong figured that out.
ALEX
Which was why he was killed?
JIM KEATS
The President of South Africa, P.W.
Botha, is due in London for secret
talks with the Prime Minister.
FLOWERS
Sarpong thought the ANC knew about
Botha and were preparing to
assassinate him. Somehow they found
out Peter was undercover, tortured him
-
ALEX
No torture marks on his body.
FLOWERS
And then executed him.
(CONTINUED)
25 CONTINUED: 25
GENE
His wounds were the result of frantic
stabbings, not an execution. I don’t
buy it.
FLOWERS
I’m not really interested in what you
buy, DCI Hunt.
GENE bristles at this.
JIM KEATS
The point is Special Branch have lost
one of their own and they’ll be taking
the accused off our hands.
GENE
Will they now?
ALEX
(Suspicious)
And what will happen to him?
FLOWERS
That’s none of your business. Miss.
ALEX
(Defiant)
Ms.
Doesn’t sound very defiant said out loud.
GENE
(Considers)
Where’s your request form? Form HX77,
I believe.
FLOWERS
What?
JIM
Just hand him over, Gene.
GENE
Do everything by the book at
Fenchurch. Get me HX77, signed and
dated, and I’ll consider your request.
(To Jim)
Gonna be one hell of a last chapter,
Jimbo.
CUT TO:
26 INT - CID - DAY 2 26
RAY, CHRIS and other CID OFFICERS are emptying suitcases from
the shebeen, bag, boxes etc and searching through them.
An anxious ALEX paces around as GENE looks on:
ALEX
The ANC never waged a terror war
outside of Africa.
GENE
Yet. Which means it will be one bloody
big feather in our cap if we foil a
terrorist attack on another head of
state.
(Loud)
Find me a smoking gun!
ALEX wanders over to where RAY is emptying a suitcase.
RAY
(To Alex)
Oh I spoke to my mate in Manchester.
Apparently they had a fire in the
records office a couple of weeks ago.
ALEX
And all the epaulet records were
destroyed. Quelle surprise.
SHAZ comes into CID with a report.
SHAZ
Forensics on the knife, Guv. No
prints.
RAY
There’s no explosives here, Guv.
GENE
Keep looking. When you’re done search
Tobias’ flat - he’s a crafty old sod
so be thorough. Chris.
CHRIS comes over.
GENE (CONT’D)
I want you to stay in CID tonight.
Tobias Ndbele is our prisoner and he
stays in our cells, understand?
CHRIS
Guv.
(CONTINUED)
26 CONTINUED: 26
GENE
Nobody comes in, nobody goes out. I’d
trust an estate agent before I trusted
Special Branch.
(Cheering, to Alex)
Bra opens at the front or back, Bols?
ALEX
You will never ever ever know. Guv.
CUT TO:
ALEX packs up her things, ready to go home.
Just CHRIS left behind his desk, ready for a long night.
ALEX
Good night, Chris.
CHRIS
Ma’am. Guv. Ma’am.
ALEX notices that CHRIS isn’t his normal cheery self.
ALEX
Everything alright, Chris?
CHRIS
Why wouldn’t it be?
ALEX
Just asking.
ALEX moves towards the door.
CHRIS
Have you ever had the feeling that
things are falling apart, ma’am? That
the world as you know it is about to
end and nothing will ever be the same
again?
ALEX is surprised - and touched - by this from CHRIS. She is

about to respond when the door opens and JIM KEATS is standing
there.
JIM KEATS
(Cheery)
DI Drake. Can I borrow you for a
moment?
(CONTINUED)
27 CONTINUED: 27
ALEX
(Glances at watch)
Well, I -
JIM KEATS
Just for a minute. In my office.
CUT TO:
28 INT - JIM KEATS’ OFFICE - NIGHT 2 28
ALEX follows KEATS into his office.
ALEX
We’ve found no evidence to support
Special Branch’s allegation that -
KEATS turns on ALEX. It’s out of character and makes ALEX jump.
JIM KEATS
Do you think this is a game? Some
flirty, silly little game being played
out by me and you and Hunt?
ALEX
No, I don’t think it’s a game. But -
JIM KEATS
Sam Tyler lost his life. By all
accounts an extraordinary man, his
life was taken from him. Murdered.
ALEX
We don’t know that for sure.
JIM KEATS
Yes, we do. In our hearts we know
that. Now all I have asked of you is
to take that final step, to find out
from Hunt’s own mouth how he did it,
where he did it, why he did it.
ALEX
(Flustered)
It’s not that easy.
JIM KEATS
Actually, it is. It’s about being a
solution to a problem - a despicable
problem - or being part of the problem
itself.
(CONTINUED)
28 CONTINUED: 28
ALEX
I’m having dinner with DCI Hunt this
evening. I hope to find out the truth
then.
KEATS looks at her, considering.
JIM KEATS
Last chance, Alex. If you don’t have
the courage to do it I’ll find someone
who has.
ALEX
I have the courage.
JIM KEATS
Get. Him.
ALEX walks away from KEATS, knows his patience with her is
coming to an end.
CUT TO:
29 INT - CID/GENTS - NIGHT 2 29
THE ASSEMBLY - NEVER NEVER
GENE is staring into the mirror, staring into his own self, his
face lathered with shaving foam. Then his RAZOR cuts through the
foam
CUT TO:
30 INT - ALEX’S FLAT - NIGHT 2 30
ALEX stands in her underwear, staring into her mirror. Then

splashes her face with water.
CUT TO:
GENE buttons up the buttons of a fresh shirt.
CUT TO:
ALEX peels a new pair of stockings over her legs.
CUT TO:
GENE buffs his cowboy boots.
CUT TO:
ALEX wriggles into her skirt.
CUT TO:
GENE dabs his cheeks with BLUE STRATOS aftershave.
Then, as an optimistic afterthought, sprays some inside his

shirt.
CUT TO:
ALEX dabs her cheek with TRAMP.
And opens a button of her blouse and dabs her cleavage.
CUT TO:
37 INT - CID/GENE’S OFFICE - NIGHT 2 37
GENE is suited-and-booted. Now he takes a long glug of Scotch

from his flask, looks out of his window.
CUT TO:
ALEX throws back a glass of red wine. Take a deep breath. Now or
never.
She looks out over London’s night scape.
CUT TO:
It’s quiet in CID. Just SHAZ and CHRIS sitting on her desk,
close together.
SHAZ
You don’t really think anything was
going on between me and Ray?
(CONTINUED)
39 CONTINUED: 39
CHRIS
I don’t know what to think any more.
SHAZ
A misogynist with a moustache. Don’t
float my boat, babes.
CHRIS looks at her, believes her completely.
CHRIS
What’s happening, Shaz?
SHAZ
I don’t know.
CHRIS
I hear a whistle and I jump out of my
skin....
SHAZ
It scared you?
CHRIS considers. Nods.
CHRIS
I don’t know why.
SHAZ takes CHRIS’ hand in hers.
SHAZ
We’ll be scared together then.
CHRIS smiles at SHAZ.
CHRIS
Go home, Shaz. You look tired.
SHAZ
You’ll be alright here?
CHRIS
I’ll be fine.
CUT TO:
40 INT - JIM KEATS’ OFFICE - NIGHT 2 40
KEATS sits at his desk. He writes the name “SHAZ” on one of the
Betamaxes. Then puts it on top of the other two that already
read “CHRIS” and “RAY”.
He seems very happy with himself.
CUT TO:
41 INT - LUIGI’S - NIGHT 2 41
It’s a quiet night in Luigi’s, quiet and dark and romantic.
GENE HUNT sits magnificently beneath the mural, eyes nervously

on the door.
LUIGI
Mr Hunt. A pleasure to see you.
GENE
The pleasure is all yours.
LUIGI notices that GENE has made an effort.
LUIGI
Senor Hunt is on a date?
GENE
I am not on a date. I am meeting a
colleague for a meal and a
professional chat.
LUIGI
(Winks)
I know enough about restaurants and
men to know a date when I see one.
GENE
And I know enough about Italians and
vats of boiling cooking oil so -
GENE stops speaking. For into the restaurant has stepped a most
beautiful woman. Her name is ALEX DRAKE.
LUIGI takes it all in. It pains him to think all this is for
GENE HUNT.
GENE (CONT’D)
A glass of champagne for the lady,
Luigi.
LUIGI mutters off.
LUIGI
A lovely pearl. Unspeakable swine.
ALEX and GENE are alone.
GENE
You’ve scrubbed up alright, Bolly.
Alex. Bolly.
(CONTINUED)
41 CONTINUED: 41
ALEX
Thank you. You don’t look too bad
yourself.
GENE pulls ALEX’s chair out.
CUT TO:
42 INT - CID/CELLS - NIGHT 2 42
CHRIS sits in the cell with TOBIAS. He hands him a pack of

cigarettes.
CHRIS
Why did you do it, Tobias? Why did you
kill him?
TOBIAS lights a cigarette, inhales.
CHRIS (CONT’D)
Or are you covering for the girl? But
why would you do that? If they send
you home...
TOBIAS
If they send me home I die.
CHRIS
So why?
TOBIAS
What time is it?
CHRIS
Eight thirty.
TOBIAS shakes his fist in triumph, breaks into a huge smile.
CHRIS (CONT’D)
Can’t see what you’ve got to smile
about.
TOBIAS
Tsitsi is on the eight fifteen to
Harare. She’s safe now.
CUT TO:
GENE pours ALEX a glass of wine as they eat their meal, the
atmosphere quiet, delicate.
(CONTINUED)
43 CONTINUED: 43
ALEX
Have you noticed how strange the
atmosphere is in CID?
GENE
It’s a nut house. Always has been.
ALEX
No, it’s more than that.
(Quoting)
“Things fall apart; the centre cannot
hold;
Mere anarchy is loosed upon the
world”.
GENE
Pam Ayres?
ALEX
W.B.Yeats.
GENE
It’s Viv. They’re missing Viv.
ALEX watches GENE as he takes a swallow of wine.
ALEX
You miss him too, don’t you?
GENE
He was the quiet centre of things. The
middle of the wheel.
ALEX
And now the spokes are coming off.
GENE
Bloody hell. This is like having a
date with Leonard Cohen.
ALEX
We may have had our differences in the
past -
GENE
Differences? All we are is difference,
Bolly.
ALEX
Like “Tom And Jerry”.
GENE
“Eric And Ernie”.
(CONTINUED)
43 CONTINUED: 43
ALEX
“Abelard And Heloise”.
GENE
“The Saint And Greavsie”.
ALEX smiles.
ALEX
(Pointed)
It hurts you so much, losing one of
your own.
A beat.
GENE
Say it, Alex.
ALEX
Say what?
GENE
There’s an elephant in the room, I
just heard it clear its trunk. Let’s
get it out of the way.
A beat as ALEX looks at GENE.
ALEX
Did you or did you not kill Sam Tyler?
CUT TO:
INT - TOBIAS’ FLAT - NIGHT 2
RAY puts his shoulder to the door.
CUT TO:
CHRIS sits in the cell with TOBIAS.
TOBIAS
I was a teacher. I didn’t have much
but I had more than most. I kept my
head down, did what I was told.
CHRIS
Why are you telling me this?
TOBIAS
There was a school strike, all my
students were at the demonstration.
They fired into them.
(CONTINUED)
44 CONTINUED: 44
CHRIS
They must have had a reason.
TOBIAS
They were black, that was their
reason.
CHRIS
Or Communists. I don’t understand
everything that’s happening down
there, but... sometimes you have to do
bad things for the greater good.
TOBIAS
They were children.
CHRIS
Look, if this is about you justifying
a murder -
TOBIAS
One of my students got shot in the
head. Through the eye. I held her in
my arms as she died and I swore that I
would not live my life like a dog,
shivering in fear of what its master
might do.
Angle on CHRIS, taking this in.
TOBIAS (CONT’D)
Better a dead lion than a live rat, my
friend.
CUT TO:
45 INT - TOBIAS’ FLAT - NIGHT 2 45
RAY - smoking - is overseeing his PCs who are starting to search

the flat.
RAY
Come on, you lazy buggers. Get it done
and we’ll all be home in time for
“Sportsnight”.
RAY picks up a photograph of TOBIAS in fatigues, somewhere in

the African bush. Photographs of family, of Tobias’ pupils.
RAY (CONT’D)
(Sings)
“Men of Harlech stop your dreaming,
can’t you see their spearheads
gleaming? - “
(CONTINUED)
45 CONTINUED: 45
There is a poster of MANDELA on the wall. RAY takes out a pen

and starts to draw a cartoon penis on it. But the pen goes
straight through. Which is odd.
RAY rips down the poster to reveal a hole in the wall, crudely
hacked out
He reaches in and takes out a metal box, opens it. We don’t see
what he sees but his eyes widen and he stubs out his cigarette
on Mandela’s face.
RAY (CONT’D)
Kaboom.
CUT TO:
GENE and ALEX, as before.
GENE
Sam Tyler was a friend of mine. Bloody
irritating friend most of the time, it
has to be said. But I learnt more from
him than anyone else I’ve ever known.
He was strong, decent, brilliant
copper. The day he left my life...
GENE is emotional, can’t finish the sentence.
ALEX
What happened?
GENE
He’d been acting strangely for a
couple of weeks. And Sam Tyler strange
was very strange indeed.
ALEX
He was happy here, everyone says so.
He had Annie, he had you.
GENE
I asked him what was wrong but he
wouldn’t tell me. Said he couldn’t
tell me.
ALEX
What did you do?
GENE
He said he had to leave. He asked me
to help him fake his own death. So we
set fire to his car, pushed it into
the river.
(CONTINUED)
46 CONTINUED: 46
ALEX sits back, frustrated, doesn’t know what to think.
ALEX
Sam asked you to commit an illegal act
and you just did it?
GENE
I wasn’t happy doing it. I didn’t want
to lose him.
ALEX
(Getting close)
Then what? What happened next, Gene?
GENE
I never saw him again.
ALEX
I want to believe you, I really do.
GENE
Here’s how it works. A friend asked me
to do something. I asked him why and
he said it would be better for me if I
didn’t know. He asked me not to
mention it again, just to help him. So
I did.
ALEX looks at GENE, so wants to believe.
GENE (CONT’D)
It’s called trusting a friend, Alex.
It’s called faith. It’s something you
haven’t learned yet.
LUIGI hovers up.
LUIGI
Senor, Senorina. Some coffee? Brandy?
GENE
(Perks)
Brandy?
GENE looks at ALEX - how does this go now?
ALEX
Just the bill, thank you, Luigi.
LUIGI moves away.
GENE is disappointed, assumes the evening is at an end.
GENE
You’re the feminist. You can pay half.
(CONTINUED)
46 CONTINUED: 46
ALEX
(To Gene)
Get your coat. You’ve pulled.
Wow. GENE stands up.
He’s not pleased to see an out-of-breath RAY come crashing into

the restaurant.
RAY
Guv! I’ve got something for you.
GENE
So has DI Drake and I have a feeling
hers will be more interesting.
RAY
Wanna bet?
RAY slams the box of dynamite down on the table.
CUT TO:
47 INT - CID/INTERVIEW ROOM - NIGHT 2 47
TOBIAS is sitting behind the desk, looking a little less in

charge than previously, the box of dynamite on the desk in front
of him. There is an obvious gap where two sticks of dynamite are
missing.
GENE, RAY and CHRIS opposite from TOBIAS.
GENE
Time to start talking, Tobias, or it’s
a one-way ticket to Robben Island. My
patience is at an end.
TOBIAS
I don’t understand. There was a hole
in my wall?
GENE
Don’t take the piss. Where is the
dynamite, who is it meant for?
ALEX
It’s clear that some is missing,
Tobias. We need to know where it is.
TOBIAS
I don’t know where it is.
GENE
Liar!
(CONTINUED)
47 CONTINUED: 47
CHRIS
We don’t know he’s lying. He said
himself there were different factions.
What if he’s been set-up and -
GENE
(To Chris)
Shut up!
CHRIS shuts up. Humiliated.
GENE (CONT’D)
I want answers. Now. Or I’m handing
you over to your Afrikaner mates to
make Boerewors out of you.
TOBIAS
I told you, the movement was starting
to split. There were hothead elements
who wanted to bring the struggle to
the streets of London -
GENE
The hothead Oliver, you mean. The one
you said you murdered when you found
out he was Special Branch.
TOBIAS does not pretend ignorance.
TOBIAS
I don’t believe in violence.
GENE
You stabbed a Special Branch Officer
to death! Where is the missing
dynamite?
TOBIAS
I don’t know!
The door opens and JIM KEATS and FLOWERS come into the room.
GENE
(Angry)
I am working here!
They are followed by another man in a suit. DE VILLIERS.
GENE (CONT’D)
Who the hell is he?
DE VILLIERS
(South African accent)
My name is Anders De Villiers. You’ve
got something I want.
(CONTINUED)
47 CONTINUED: 47
TOBIAS visibly stiffens when he sees DE VILLIERS.
FLOWERS
Running around London with a box of
dynamite. Bloody amateurs.
GENE
We found it, didn’t we? More than you
did.
JIM KEATS looks in the box, takes out a stick of dynamite.
JIM KEATS
A little bit more than a murder now,
Gene.
GENE
If you’d let me get on with my work
I’d -
FLOWERS
Bit out of your league, Hunt.
(To Tobias)
You’re coming with us.
ALEX
I don’t think so.
CHRIS
He’s our suspect, he stays here.
DE VILLIERS looks at them with amused contempt.
DE VILLIERS
Got you wrapped around his little
finger, hasn’t he? He does that.
(To Tobias)
Howzit, Joshua? How are you doing, my
friend, been a long time.
TOBIAS says nothing.
CHRIS
Joshua?
DE VILLIERS takes out a collection of photographs from his

briefcase and lays them out on the desk.
They show bloody, horrible images of the aftermath of a bomb in

a South African shopping arcade.
DE VILLIERS
This is a shopping mall in Pretoria,
South Africa.
(MORE)
(CONTINUED)
47 CONTINUED: 47
DE VILLIERS (CONT'D)
Or what was left of it after your
Freedom Fighter friend here was
finished.
The images are hard to look at and TOBIAS makes no attempt to

deny them.
DE VILLIERS (CONT’D)
Women, children. White, coloured,
black.
CHRIS
(Shocked)
When was this?
FLOWERS
Ten years ago.
CHRIS
(Weak)
People change.
JIM KEATS
Enough talk. He belongs to Special
Branch now.
GENE is hesitating.
ALEX
Guv. They’re upset about their man
being killed, he won’t stand a chance.
JIM KEATS
We need to find that explosive.
RAY hurries into the room.
RAY
I think we just found it. A bomb’s
gone off at the South African Embassy.
TOBIAS looks astonished. Then drops his head into his hands.
CUT TO:
48 EXT - LONDON STREETS - NIGHT 2 48
The AUDI screams down dark, deserted London streets.
SPECIAL AKA - FREE NELSON MANDELA
CUT TO:
49 INT - AUDI - NIGHT 2 49
GENE is driving, staring ahead.
ALEX next to him in the passenger seat.
RAY in the back.
CUT TO:
The AUDI powers on.
21 years in captivity
Are you so blind that you cannot see?
Are you so deaf you cannot here? Are
you so dumb you cannot speak? Freeeee,
Nelson Mandela...
CUT TO:
CHRIS watches with sadness, with quiet anger, as the PC takes

TOBIAS back to the cells.
Their eyes meet for a moment but CHRIS stares stonily back.
CUT TO:
52 INT - SOUTH AFRICAN EMBASSY - NIGHT 2 52
The bomb blast has darkened walls, destroyed furniture.
GENE, ALEX and RAY crunch over the shattered glass.
JIM KEATS, FLOWERS and DE VILLIERS are already there, surveying

the damage.
DE VILLIERS
(Angry, to Gene)
You people did this! YOU!
ALEX
Where’s Botha?
FLOWERS
Still at Heathrow. He’s flown straight
back to South Africa.
GENE
Any fatalities?
(CONTINUED)
52 CONTINUED: 52
FLOWERS
One. We think she was a cleaner.
RAY is having problems shaking a smashed photograph of PRESIDENT

P.W.BOTHA off of his foot.
FLOWERS (CONT’D)
The bomb went off before the timer was
set, otherwise it would have been a
lot worse.
RAY
Bit amateurish for international
terrorists.
ALEX
(Weary)
They were never international -
DE VILLIERS
Now you bastards know what it is we’re
fighting. And we’re fighting it for
you! To stop the Communists -
ALEX
(Losing it)
Oh shut your face, you racist git.
A stunned silence.
JIM KEATS
I suggest we all try and keep calm.
DE VILLIERS
This never gets out. Never! If people
back home thought the ANC had the
power, the gall to attack the
President -
FLOWERS
I give you my word. We’ll leak the
papers a story about a gas explosion -
DE VILLIERS
I want no publicity for these
bastards!
DE VILLIERS turns on GENE, spitting with anger.
DE VILLIERS (CONT’D)
(To Gene)
I want your prisoner.
(CONTINUED)
52 CONTINUED: 52
ALEX
He’s not a prisoner. We have something
called “innocent until proven guilty”
in this country.
DE VILLIERS goes right up to GENE.
DE VILLIERS
I want him.
GENE
Tough. I’ll find out what happened
here - who did it, how it was
organised.
TWO AMBULANCE MEN take the covered body of the CLEANER out of
the building on a stretcher.
ALEX
One moment.
A laminated security card is on top of the covered corpse and

ALEX picks it up:
ALEX (CONT’D)
(Stunned)
Tsitsi.
CUT TO:
TOBIAS is slumped forward.
CHRIS is angry.
CHRIS
Is this down to you, “Joshua”? Are you
behind this?
TOBIAS shakes his head, weary.
TOBIAS
Tsitsi was just a child. Her father
was killed by the security forces, her
mother is in exile in Zimbabwe, it
wasn’t safe for her at home. But she
wasn’t political, just a long way from
home in a cold city.
CHRIS
She was a terrorist. She was planting
a bomb when it went off.
TOBIAS looks at CHRIS with something close to pity.

(CONTINUED)
53 CONTINUED: 53
TOBIAS
She fell in love with Oliver.
Hopelessly in love. And then we found
out he was a traitor -
CHRIS
(Correcting)
A British police officer.
TOBIAS
Tsitsi flew at him, stabbed him...
CHRIS
Why did you cover for her?
TOBIAS
Because I‘ve had my life, Chris, and
hers was ahead of her.
CHRIS
Why did you kill those people?
A beat.
TOBIAS
I was younger. I was angry that my
people were degraded - I’m still
angry. But now I want to persuade them
out of their wrongness, not to kill
them out of it.
CHRIS
You had nothing to do with the bomb?
TOBIAS
I give you my word.
A beat as CHRIS looks at him. Despite everything, he believes

him.
CHRIS
What will happen when they send you
back?
TOBIAS
You know what will happen.
CHRIS
Are you frightened?
TOBIAS
Frightened? Yes, of course. But I’m
weary, too. The struggle makes you
very weary.
(CONTINUED)
53 CONTINUED: 53
Out on CHRIS, despite everything, impressed with this man.
CUT TO:
GENE, ALEX, JIM KEATS, FLOWERS and RAY come into CID. It’s empty
at this time of night.
Just SHAZ at her desk.
JIM KEATS
I don’t like it any more than you but
this is now an international incident.
(Pointed)
Not something Fenchurch East really
needs at this moment.
GENE
I don’t care about your report, Keats.
JIM KEATS
Yes, you do - that’s what all this
posturing has been about.
FLOWERS
I don’t think you understand the
enormity of this, Hunt. This is not a
squabble with a colleague, this is not
even a squabble with Special Branch.
This is another State.
GENE considers. Then beams.
GENE
What a magnificent thought.
Even ALEX has to hide a small smile.
GENE (CONT’D)
Piss off out of my station, Flowers.
FLOWERS
(Hardening)
You’re an idiot, Hunt. I’ll let your
Commander know that, too.
FLOWERS turns and leaves CID.
JIM KEATS
(To Gene)
You make my job so easy.
(CONTINUED)
54 CONTINUED: 54
GENE
The prize is still mine. Now we get it
to talk.
ALEX
Shaz. Why haven’t you gone home?
SHAZ
I did but I couldn’t sleep - dunno
why. Thought I’d see how Chris was.
GENE
Where is the Caped Crusader?
CHRIS comes in, tired after a long night.
CHRIS
Here I am, Guv.
GENE
Go and bring Tobias up from the cells.
CHRIS
I can’t do that.
GENE looks at CHRIS.
GENE
Why not?
CHRIS
He’s not there.
GENE
What do you mean, he’s not there?
ALEX
Where is he, Chris?
CHRIS
I don’t know.
GENE
I realise it’s been a long night and
you’re not the brightest, but -
CHRIS
I let him go.
A stunned silence.
JIM KEATS
You let him go?
(CONTINUED)
54 CONTINUED: 54
CHRIS
Yes, sir.
JIM KEATS
You idiot! You have released a
murderer. A terrorist.
GENE walks over to CHRIS, very angry, very quiet.
GENE
You let him go. Although I expressly
gave orders to the contrary?
CHRIS
Guv. He was never going to get a fair
trial in South Afrrica, probably no
trial at all. So -
SHAZ
(Really impressed)
Baby.
JIM KEATS
This is the ship you run, Hunt. No
discipline, no loyalty. No clue.
RAY
(Stunned, to Chris)
What were you thinking of?
ALEX
Look, maybe Chris shouldn’t have done
it but -
GENE
(To Chris)
You dared to disobey me?
CHRIS
I didn’t join the police force to be a
party to State murder.
GENE
You joined the police force to wipe my
arse, Skelton! You joined the police
force because no one else would bloody
have you!
CHRIS
You released Tsitsi, Guv, cos you
wanted a big score. She killed the
Special Branch guy, she set the bomb -
(CONTINUED)
54 CONTINUED: 54
GENE
You dare talk back to me? You
pathetic, inept, snivelling turd.
ALEX
That’s enough -
GENE
(To Chris)
You don’t have opinions. You don’t
make decisions. Do you understand?
CHRIS
I understand what you’re saying, guv.
I just don’t happen to agree with it.
RAY just winces. Knows this isn’t going to end well for CHRIS.
RAY
(Wincing)
Alright, Chris. Guv, I’ll get a
message out to uniformed and we’ll -
GENE
You don’t agree?
CHRIS
No, sir.
JIM KEATS
(To Gene)
You can phone the Commissioner. You
can explain why you let a terrorist
loose on the streets of London.
A beat as GENE looks at CHRIS.
Then his fist pumps into CHRIS’ stomach, doubling him up in

pain.
ALEX
For God’s sake.
SHAZ runs to CHRIS, who waves her away.
GENE turns his back on CHRIS, speaks to JIM KEATS:
GENE
Give me an hour, we’ll pick him up.
JIM KEATS
You can’t keep this quiet, you idiot!
Flowers is on to the Commissioner even
as we speak!
(CONTINUED)
54 CONTINUED: 54
CHRIS has struggled upright.
CHRIS
Guv. Turn around.
GENE
Did someone just speak?
CHRIS
Turn around, you bastard.
An intake of breath from everyone.
ALEX
This isn’t helping anyone. Ray’s
right, we’ll -
GENE turns around and looks at CHRIS with a sneer.
GENE
What did you call me?
CHRIS doesn’t answer. His jabs are quick, powerful, hurting

GENE.
RAY
Chris!
GENE throws a punch back. Grabs CHRIS in a bear-hug.
ALEX
Stop it!
SHAZ
Stop it, Chris!
GENE and CHRIS wrestle and roll around CID, smashing into desks,
upturning chairs.
Angle on JIM KEATS as he watches. Is that the tiniest smile on

his lips?
ALEX
Gene! Stop!
But the fight continues, CHRIS hanging on for dear life but not
giving in. They are on the floor now, rolling around.
ALEX finds the vase, throws out the funeral flowers, and empties
the nasty water onto GENE and CHRIS.
It’s enough to momentarily stop them and then RAY, ALEX and SHAZ
drag the two men apart.
GENE and CHRIS stare at each other, panting.

(CONTINUED)
54 CONTINUED: 54
JIM KEATS
(Sarcastic)
Impressive. Very impressive. I think
I’ll go and finish my report.
GENE
(Quiet, to Chris)
Get out.
CHRIS turns and leaves CID.
CUT TO:
55 INT - CID/JIM KEATS’ OFFICE - NIGHT 2 55
An angry JIM KEATS is pounding at his type-writer, writing his

report.
A sheepish ALEX appears in the doorway.
JIM KEATS
This place is a disgrace. A mockery.
ALEX
We’re better than this. It’s just that
Chris -
JIM KEATS
What do you want, I’m busy?
ALEX
I don’t think Gene Hunt killed Sam
Tyler.
A beat as Jim looks at her.
JIM KEATS
And how did you come to that
conclusion?
ALEX
I asked him.
A beat. Then KEATS laughs out loud.
JIM KEATS
You asked him?
ALEX
Yes. And I believe him.
JIM KEATS
And what about the evidence? The
falsified murder scene;
(MORE)
(CONTINUED)
55 CONTINUED: 55
JIM KEATS (CONT'D)
the falsified police reports; the
destroyed evidence; the photographs;
the grave -
ALEX
We don’t have a grave.
KEATS just stares at her. Then seems to relax.
JIM KEATS
Close the door on your way out.
ALEX
I work with him. I have to believe
him.
JIM KEATS
He’s polluted you. Just like the
others.
ALEX
No, he hasn’t.
KEATS opens the door, wants her out of his office.
JIM KEATS
You disappoint me, Alex. Now get out.
CUT TO:
The mood in CID is sombre as SHAZ, RAY and the OTHERS tidy up
after the fight.
RAY and SHAZ glance in at the office.
CUT TO:
57 INT - CID/GENE’S OFFICE - NIGHT 2 57
GENE stands and stares out of the window of his office.
CUT TO:
58 EXT - ALLEYWAY - NIGHT 2 58
An upset, shaken CHRIS walks along a street. His face is bloody

and puffy from the scrap.
Then he hears that WHISTLE again! Loud. Insistent.
CHRIS runs after the source of the noise.
It’s just a BOY, blowing on a whistle.

(CONTINUED)
58 CONTINUED: 58
CHRIS
You should be in bed!
The BOY runs off.
CHRIS turns and runs smack into... TOBIAS!
CHRIS (CONT’D)
You?
CUT TO:
SHAZ and RAY drinking at a table. But there’s none of the usual
joy or vivacity.
GENE is on his own, quiet and subdued.
ALEX comes into the restaurant, crosses with LUIGI, who is not
happy.
LUIGI
Senorina. Try and cheer them up, my
customers are slitting their necks.
ALEX walks over to GENE.
ALEX
Every police officer in London has got
Tobias’ description, all ports and
airports have been alerted.
GENE looks over at SHAZ and RAY.
GENE
Pam Ayres was right. Things fall
apart.
ALEX
They’ll be ok.
GENE
If I can’t look after my own people
then I’m nothing. Viv. Chris.
ALEX
(Pointed)
Sam.
GENE looks at her, weary.
GENE
Are you never going to stop on this?
(CONTINUED)
59 CONTINUED: 59
ALEX
Keats thinks you killed him. He’s
never going to give up.
GENE
I don’t care about Keats, I care about
you. If you don’t believe me...
A beat.
GENE (CONT’D)
... then what’s the point?
GENE looks deep in ALEX’S eyes, she So wants to believe.
CUT TO:
60 EXT - LONDON/THAMES - NIGHT 2 60
CHRIS and TOBIAS sit together, the river running beneath them.
TOBIAS has a hood up, pulled forward.
CHRIS
Why were you following me?
TOBIAS
I wanted to thank you. I was weary and
you gave me life.
CHRIS
(Touched)
You shouldn’t be here. Every cop in
London is looking for you.
TOBIAS
They won’t find me.
(Indicating Chris’ face)
What happened to you, my friend?
CHRIS
The rat became a lion, Tobias.
TOBIAS
Does it feel good?
CHRIS
(Down)
Not especially.
TOBIAS puts his hand out and CHRIS shakes it.
CHRIS (CONT’D)
(Touched)
What are you going to do?
(CONTINUED)
60 CONTINUED: 60
TOBIAS
Back to the struggle.
The sound of a POLICE SIREN.
CHRIS
You should go.
TOBIAS
The woman you work with, the tall one -
CHRIS
DI Drake.
TOBIAS
She said something. About Mandela
being free in seven years. How can she
know a thing like that?
CHRIS
(Smiles)
She knows all sorts of things, does
Alex Drake. I sometimes think she can
see into the -
CHRIS turns back to TOBIAS but he has gone. CHRIS looks all
around but there is no sign of him.
CUT TO:
GENE walks over to RAY and SHAZ’s table, ALEX following.
GENE
What’s in that glass, Shaz?
SHAZ
Water.
GENE
Good God, woman. And you want to be in
CID.
SHAZ
(Pointed)
I’m not sure that I do any more.
GENE
He went against orders.
SHAZ
You’ve been riding him for months,
humiliating him -
(CONTINUED)
61 CONTINUED: 61
RAY
You have been a bit hard on him, guv.
CHRIS
It won’t happen again.
Everyone turns at the sound of CHRIS’s voice.
CHRIS is standing there. Battered and bruised maybe but with a

strength and determination we haven’t seen before.
LUIGI takes in the tense atmosphere, notices the battered faces

of GENE and CHRIS - this could be trouble.
CHRIS (CONT’D)
(To Gene)
You’re the best DCI I’ve ever met and
I’ve been proud to have worked under
you. But I’m not going to be your
doormat any more, Guv. Those days have
gone.
GENE
Have they now?
CHRIS
Buy me a drink and I’ll say no more
about it.
A beat. They all look at GENE - how is this going to pan out?
GENE
Luigi. Buy Mr Skelton a drink.
LUIGI
(Relieved)
Si, Senor.
Relief all around.
CHRIS puts his hand out to GENE.
He considers it for a moment. Then ignores it and instead pulls

CHRIS into a man-hug.
Nobody has seen GENE do this before and it warms the cockles of
our battered crew.
ALEX, especially, is taken by this gesture of GENE’S.
CHRIS breaks off, sees SHAZ come smiling up to him:
SHAZ
Baby, I’m so proud of you.
(CONTINUED)
61 CONTINUED: 61
CHRIS beams with happiness. Then it happens. Everything freezes

for CHRIS.
He looks straight at us, hears the faint music of a pub interior

and “Life On Mars” on the pub jukebox. And a male voice
shouting: “What’ll you have, mon brave?”.
Then all is noise and voices again as CHRIS is back:
CHRIS
I heard music.
RAY and SHAZ share a look.
SHAZ
Did ya, babes?
RAY
(Uncomfortable)
Ok, mate, keep it to yourself.
GENE
(Not understanding)
Luigi! These people want music!
LUIGI puts on the stereo:
CULTURE CLUB - “DO YOU REALLY WANT TO HURT ME?”
As SHAZ starts to dance with CHRIS, ALEX slips away.
CUT TO:
ALEX is alone in her flat, working through all the clues she
has, writing them down:
ALEX
The ghost. Who is he? What does he
want? The weather vane. The cottage.
Where is it? The stars...
A KNOCK at the door makes her jump.
ALEX pushes the evidence under the sofa, moves to the door and
opens it:
GENE HUNT is there, his hands festooned with bottles of Italian

lager.
GENE
I left the children playing.
(CONTINUED)
62 CONTINUED: 62
ALEX
You did well. With Chris.
GENE
We’ve got unfinished business, Bolly.
ALEX
Yes, we have.
ALEX opens the door wide.
CUT TO:
RAY, CHRIS and SHAZ are together at a corner table. A bit drunk.
CHRIS
What does it mean? The music.
RAY
It probably means nothing.
SHAZ
Of course it does. We’ve all heard it.
RAY
I don’t like weird stuff, it makes me
uncomfortable.
CHRIS
Mine sounded like a pub.
SHAZ
And ours.
RAY
I never thought insanity would sound
like a pub.
CHRIS
Did you hear the voice?
SHAZ and RAY look at each other and then at CHRIS:
SHAZ
Lots of voices, couldn’t make any out
in particular.
CHRIS
I could.
RAY
What was it saying?
(CONTINUED)
63 CONTINUED: 63
CHRIS
“What’ll you have?”.
RAY
You’re probably imagining it.
CHRIS
I’m not imagining it. And I’ll tell
you another thing about the voice.
SHAZ
You’re frightening me, Chris.
CHRIS
(To Ray)
You remember that black bloke who was
landlord of “The Railway Arms”?
RAY
Nelson. Of course I remember him.
CHRIS
It were him.
Out on RAY, stunned.
CUT TO:
GENE is on the sofa drinking beer out of a bottle, ALEX drinking

red wine.
GENE
So Fenchurch East lives to fight
another day.
ALEX
We’re all rattled. Viv’s funeral...
GENE
Chris stepped up to the mark. I wasn’t
sure he had it in him.
ALEX
We’ll be alright. We’ll all be
alright.
GENE
Will we, Bolly?
ALEX can see GENE is still troubled. She gets up, moves towards
the stereo.
(CONTINUED)
64 CONTINUED: 64
ALEX
Come on, let’s dance.
GENE
Gene Hunt does not dance.
ALEX
He doesn’t hug Chris Skelton, either.
ALEX takes a cassette out of a case. It’s spilling tape

everywhere.
GENE
Give it here, woman.
ALEX hands GENE the cassette and rewinds the tape with a pencil.
ALEX
(Surprised, touched)
Your hand’s shaking.
GENE
No, it’s not. Small earthquake in
central London, happens all the time.
GENE hands her the cassette, ready to play.
ALEX smiles at him, very endeared by his nerves. She goes to put
the cassette in.
ALEX
I’m shaking, too.
GENE
If we’re dancng, let’s get it over
with.
ALEX
Yes, sir.
ALEX presses “play” and we hear the distinctive opening bars of

SPANDAU BALLET’s “TRUE”.
GENE
Got any Herb Alpert?
ALEX
No.
ALEX puts her arms around GENE. He puts his arms around her.
It’s awkward at first but they get closer, mould their bodies
together.
So true, funny how it seems;

(MORE)
(CONTINUED)
64 CONTINUED: 64
ALEX (CONT'D)
Always in time, but never in line for
dreams;
Head over heels when toe to toe
This is the sound of my soul,
This is the sound...
They dance slowly. Very close. They hear each others’ breathing.
And they both know what’s going to happen now.
GENE gently tilts ALEX’s chin until they are looking at each
other. Deep into each others’ eyes:
With a thrill in my head and a pill on

my tongue;
Dissolve the nerves that have just
begun...
And they kiss. Finally. Again, clumsy at first. Then lust starts
to bite and the hunger increases, fingers in hair, hands
exploring:
GENE
I want you, Alex Drake.
ALEX
Yes.
ALEX takes GENE’S hand and leads him to the bedroom when there
is a sudden BANG on the door that makes them both stand stock-
still:
ALEX (CONT’D)
Who is it?
No answer. Just the door BANGED hard again.
ALEX moves towards the door.
ALEX (CONT’D)
Go into the bathroom, I’ll get rid of
them.
GENE nods, goes into the bathroom and closes the door.
ALEX quickly readies herself, opens the door:
JIM KEATS is standing there.
JIM KEATS
Alex.
ALEX
This is not a good time.
(CONTINUED)
64 CONTINUED: 64
JIM KEATS
Is that right?
KEATS sees the empty bottles on the table.

I love this song.
CUT TO:
65 INT - ALEX’S FLAT/BATHROOM - NIGHT 2 65
GENE HUNT looks in the mirror as he listens to the voices next

door.
CUT TO:
JIM hands ALEX a brown envelope.
ALEX
What is it?
JIM KEATS
I got your photos developed.
ALEX takes out a raft of black & white photographs, obviously

from the same film:
ANNIE smiling, laughing; CHRIS and RAY in “The Railway Arms”.

Even a smiling GENE HUNT. And then - the last image - of a
cottage in a field - a weather vane - a village sign -
SMASH CUT TO:
The TV NEWS FOOTAGE - the weather vane - The GHOST looking

straight at her -
SMASH BACK TO:
ALEX is shocked to her core.
JIM KEATS
Farrington Mill, Lancashire.
(Glancing into the flat,
lowering voice)
Be careful, Alex. Be very careful.
KEATS leaves.
ALEX turns the photograph over. KEATS has written “I THINK WE’VE
FOUND OUR GRAVE”.
(CONTINUED)
67 CONTINUED: 67
She looks over at the bathroom door.
CUT TO:
CHRIS, RAY and SHAZ walk along the pavement, a bit drunk.
CHRIS
Look, I’ve got no truck with apartheid
-
SHAZ
Liar.
RAY
But if it’s so bad what’s Geoff
Boycott doing playing cricket there?
Answer me that.
SHAZ
You’re a racist, Ray.
RAY
I am not a racist -
CHRIS
You don’t like Welsh people -
RAY
But I wouldn’t like them no matter
what colour they were.
CHRIS
Good point -
SHAZ
It’s like 1953 in your heads, innit?
They turn a corner and stop dead in their tracks. CHRIS is

simply shocked to his core. The physical world has ended and in
front of him is silence and stars. Infinity. Nothingness.
CHRIS
My God.
SHAZ
It’s alright, Chris, I’m here. We’re
all here.
SHAZ stands between CHRIS and RAY, holds both their hands.
CUT TO:
GENE comes out of the bathroom. No sign of ALEX.
GENE
Alex.
(A beat)
ALEX!
CUT TO:
70 EXT - LONDON STREET - NIGHT 2 70
ALEX runs and runs. Distraught. The PHOTOGRAPH clutched in her

hand.
The last image of the episode: The PHOTOGRAPH of Sam Tyler’s

last resting place, far away in a Lancashire field.
I know this much is true;

This much is true;
I know, I know, I know this much is
true...
END OF EPISODE SEVEN

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SCRIPT TITLE

Name of First Writer

Based on, If Any

Stars. Infinity. Silence. Nothingness.

Then we slowly fade up the sound of people singing:

2 INT - CREMATORIUM - AFTERNOON 1 2

All of CID behind them, Viv’s grieving friends huddled together.

ALEX turns around to look at her COLLEAGUES and other members of

At the back of the church, on his own, impeccable and serious,

ALEX turns back to the front. The coffin is stuck on its

The VICAR stands at the front, useless, dithering.

GENE strides forward and manually shoves the coffin through.

He tugs the curtains closed, before returning to his seat.

ALEX is moved by this gesture.

3 INT - LUIGI’S - EVENING 1 3

GENE glugs from a glass of red wine.

RAY looks at CHRIS, they can feel the mood turning.

The glass SHATTERS in GENE’S grip, sending wine and glass

LUIGI wraps a bar towel around GENE’S bleeding hand.

4 INT - CID - NIGHT 1 4

ALEX looks at the photograph of the Ghost copper. The roll of

ALEX spins around, sees JIM KEATS standing there.

KEATS takes the photograph and looks at it.

ALEX so doesn’t want to believe it, but....

JIM KEATS (CONT’D)

KEATS picks up the roll of film, inspects it.

JIM KEATS (CONT’D)

KEATS pockets the film, smiles at her.

JIM KEATS (CONT’D)

Out on ALEX, torn between duty and love.

5 INT - CID/GENE’S OFFICE - DAY 2 5

The mood in CID is quiet and sombre as they return to work.

ALEX is putting some of Viv’s funeral flowers into a vase.

GENE HUNT is in his office, staring out of his window.

ALEX sees this, turns to RAY.

RAY shakes his head.

The sound of a loud, shrill POLICE WHISTLE rents the air.

CHRIS stands up, alarmed.

Two CID OFFICERS chuckle in, messing about with a POLICE

CHRIS sits down again, clearly troubled.

GENE looks up at this. Surprised, suspicious. Intrigued.

ALEX smiles as the door opens and RAY is standing there.

GENE gets up, heads towards the door.

ALEX follows GENE out.

6 EXT - LONDON STREETS - DAY 2 6

The AUDI screams down a London Street.

The Smiths - This Charming Man

7 INT - AUDI - DAY 2 7

GENE is driving. Fast.

ALEX in the passenger seat.

CHRIS and RAY chewing gum in the back.

And ALEX turns and steals a look at GENE:

When in this charming car

This charming man

Why pamper life's complexity

When the leather runs smooth

On the passenger seat?

8 EXT - LONDON STREETS - DAY 2 8

The AUDI swerves around a corner, heading east.