Ashes to Ashes 1x01

8/7/2019 Ashes to Ashes 1x01

1/68

EXT. MODERN LONDON - LONDON CITY LANDSCAPE - DAY 1. 08351 1

The city. Glass spires. Chrome. Winking lights. Incessantnoise. 2008 glory. We SMASH CUT from location to gleaminglocation.

MOLLY (V.O.)(12 yrs old)

My name is Sam Tyler. I had anaccident and I woke up in 1973. WasI mad? In a coma? Back in time?Whatever had happened, it was likeId landed on a different planet.If I could figure out why I washere then maybe I could get home... Yeah, whatever. That is solame.

CUT TO:

I/E. ALEXS CAR - STREETS - DAY 1. 08362 2

MOLLY DRAKE, bright, confident Catholic schoolgirl, riflesthrough her mothers case files. DI ALEX DRAKE at the wheel,struggling to programme her sat-nav.

ALEX(only half-serious)

Return the classified document,thank you ... What did Evan getyou? Molly ...?

MOLLYA Blackberry.

ALEXIll get you some more while youreat school and you can make abirthday crumble.

MOLLYMum .... what we were talkingabout, I will look after it and ...

ALEXAnd feed it crackers every day?Thats what parrots eat love,Polly want a cracker?

MOLLY giggles - gives her mums seat a teasing punch.

ALEX (CONT'D)Did your dad ...?

MOLLY

No. Hes in Canada with Judy.(changing the subject)So this guy, Taylor ...

Ashes to Ashes - Episode 1 - Shooting Script: PEACH - 31/08/07 1.

(CONTINUED)


2/68

ALEXTyler. He died April last year.

MOLLYSchizo? Delusional? Whats theGerman one ..?

ALEXHe was a decent man and he was agood copper ...

MOLLYNo good to you then. We know howyou like them.

(makes spazzy face)Is he going in THE BOOK?

ALEX

DCI Tylers getting a book tohimself ...

RADIOCharlie 75. Maam? South Bank,outside Tate Modern. Gunman hastaken female hostage. Trojan unitsare assigned.

ALEXShit! Molly, pass me the thing ..

She is trying to reach the siren in MOLLYS foot-well.

MOLLYIll do it ..

ALEXGive it to me ...

CUT TO:

EXT. ALEXS CAR - MOVING FAST - DAY 1. 08373 3

MOLLY clamps the siren-light onto the roof.

CUT TO:

I/E. ALEXS CAR - MOVING FAST - DAY 1. 08384 4

ALEX puts her foot down, siren wailing.

Case file slides on the back seat - photo attached of Sam -DCI SAM TYLER: Prolonged Deep Coma - Outcome; Suicide.

CUT TO:


CONTINUED:2 2


3/68

EXT. TATE MODERN - DAY 1. 08405 5

ALEX leaves MOLLY to go in a street behind the looming brickgallery.

ALEX

Stay put babes.

MOLLYMum, dont go ...

ALEXPart of growing up is knowing whento do what youre told.

CUT TO:

EXT. CITY - SOUTH BANK SIDE - DAY 1. 08436 6

Hassled OFFICERS keep back a nervous crowd of ON-LOOKERS.

ARTHUR LAYTON is middle-aged and down at heel with a scaracross his left cheek. He has a petrified BUSKER hostage. Gunto her head.

ALEX pushes through the ON-LOOKERS. Tate Modern dominates theskyline one side and the gleaming city dominates the other.

POLICE SERGEANTArthur Layton. He took her money.She put up a fight. He pulls aruddy gun!

LAYTONS eyes are constantly searching the concourse -desperate for a means of escape.

ALEX moves closer.

POLICE SERGEANT (CONT'D)Wait for armed backup.

ALEXDont need it.

She bares her jacket - revealing to LAYTON that she wears noholster. The SARG rolls his eyes - give me strength.

MOLLY hurries up. Loiters anxiously at the back of the crowd,unnoticed.

LAYTON is amazed as ALEX approaches. Hes clearly desperatebut theres an underlying intelligence in him.

LAYTONStop! This is my show!

ALEXArthur? Im DI Alex Drake.


(CONTINUED)


4/68

MOLLY turns at the sound of clattering feet - THREE POLICEMARKSMEN are charging down the concourse carrying state-of-the-art rifles.

Ashes to Ashes - Episode 1 - Shooting Script: PEACH - 31/08/07 3A.

CONTINUED:6 6

(CONTINUED)


5/68

LAYTONI dont care! Stop staring at me!

ALEXLet her go and well talk.

LAYTONI just wanted cash. You lot turnedthis into a three-ringed circus!

ALEXI help people who are trapped. Ihelp them find an escape route.

MOLLY panics as she watches the MARKSMEN angling around thecrowd to take up position. Laser-sights snapped on.

LAYTON

I dont like people staring at me.

ALEXThats fine. Im averting my eyes.If you let her go, we candiscuss...

LAYTONIll kill you. Dont doubt it.

ALEX smiles at LAYTON - its a smile you can trust.

ALEXIm not asking you to give up yourhostage. I know thats important toyou. But take me instead.

LAYTONI dunno ... This is my show.

ALEXAbsolutely.

LAYTON pushes the relieved BUSKER away. Switches the gun toALEXS face.

ALEX (CONT'D)Smart move. Good for you Arthur.

She takes another step closer.

LAYTONWait! I .. I know you! Cant be ...The last time I saw you, you werethis little girl ... Youve gotyour mothers eyes, Alex.

ALEXYou .. You cant have .. You knewmy mother?!


CONTINUED: (2)6 6

(CONTINUED)


6/68

LAYTONI knew both your parents.

(smiles)Im happy. Hope youre happy too.

ALEX

What?


CONTINUED: (3)6 6

(CONTINUED)


7/68

He lunges at ALEX.

MOLLYMUM!!!

She comes out of nowhere. Breaking through the cordon before

the SERGEANT can reach her.

MOLLY runs towards ALEX with THE DOTS OF THREE LASER-SITESDANCING ON HER BACK.

ALEXDONT SHOOT!! THERES A CHILD!!

Panic. ON-LOOKERS start screaming. A laser site skips acrossALEXS face as she reaches for MOLLY.

Confusion. MARKSMANS trigger finger itches.

ALEX reaches to grab MOLLY. Another hand gets there first.LAYTON. He pulls MOLLY to his chest. Backs away towards theriver.

The MARKSMEN dont know what to do. Both LAYTON and MOLLY aresmothered in laser light.

LAYTON drags MOLLY down the steps towards the riversidebeach. The MARKSMEN inch forward. ALEX cant stand it -runs towards the steps just as MOLLY rushes into her arms.

OFFICERS blaze past them but the beach already seemsdeserted.

CUT TO:

EXT. TATE MODERN WALKWAY - DAY 1. 08507 7

ALEX and MOLLY watch police officers tear off in alldirections - manhunt.

ALEXEvans going to take you home.Molly ... I have to write a stack

of reports now. Sweetheart. Mols.

MOLLYDont worry about the parrot.

ALEXAlready got him. A blue macaw.

MOLLY(gabbling)

Really? Im going to call him Yuriafter Yuro Gagarin who was the

first man in space. He was aRussian ...


CONTINUED: (4)6 6

(CONTINUED)


8/68

She folds into her mothers arms. ALEX rocks her gently andwhispers sssshhhhhh ...

MOLLY (CONT'D)You couldve got killed in front of

me!

ALEXThat was not going to happen.

MOLLY(pushing away)

It happened to you when you were myage!

ALEXI told you to stay in the car! Itsa hard, screwed-up world Molly. But

if you learn to trust me, I canhelp you get through it.

She strokes MOLLYS hair.

A good-looking man in late middle-age walks towards themcautiously. Kind eyes. Expensive clothes. An aura of strengthand civility. This is EVAN WHITE.

MOLLYEvan!

She almost throws herself into his hug.

EVANIts all right scrap. How about Iget us a cake? A seriouslypatronizing chocolate one. Yeah?

He looks over at ALEX and mouths, you okay? She nods with agrateful smile and ushers him on his way. He tips her a winkand leads MOLLY away.

EVAN (CONT'D)I can pretend I know who Shakira is

and you can make fun of me ...

ALEXMolly! Well blow those candles outtogether. All right?

MOLLY glances back. ALEX blows her a kiss and MOLLY catchesit.

EVANCome on scrap.


CONTINUED:7 7

(CONTINUED)


9/68

He puts his hand supportively on MOLLY as they walk awayalong the walkway. ALEX feels like shit.

CUT TO:

I/E. ALEXS CAR - TATE MODERN - DAY 1. 08548 8

ALEX drops into the drivers seat. Places a mobile call.

ALEXDI Alex Drake, clearance Delta-one-six. Put me through to theSuperintendent.

She waits and waits - playing thoughts over in her mind.

ALEX (CONT'D)(soft singing)

Im happy. Hope youre happy too ..

LAYTON sits up in the back seat and rests his gun against theback of her neck. He puts on reflective sunglasses.

LAYTONStart the car.

CUT TO:

EXT. THAMES - RIVER BOAT - DAY 1. 09049 9

LAYTON pushes ALEX along a rusted gangplank towards theflaking hulk. The horizon across the river is dominated bythe Millennium Dome.

LAYTONYoure my ticket out, Alex.

(using her mobile)Hello, remember me? Layton ... Yeah... I got a piece of your past hereso youre gonna have to listen ...Tim and Caroline Prices daughter.

ALEX

How did you know my parents?!

LAYTONAnd Im gonna tell her the truthabout how they died .. And yourlifell be in ashes mate ... So now

we talk about how you get me out ofthis mess. Think about it.

He clicks off the phone and drags her inside. The boat iscalled Di.

CUT TO:


CONTINUED: (2)7 7


10/68

INT. RIVER BOAT - DAY 1. 090510 10

They enter the dank. Leaking vessel.

ALEXIm on your side Arthur. Those

officers were itching for aFatality Outcome ...

LAYTONI used to be somebody.

ALEXWho did you call? What could myparents have to do with this?Theyve been dead a long time.

LAYTON

I had an empire going, back in theday. Dealers on every corner.Coppers in my back pocket.

ALEXSo things went wrong. Do you wantto talk about that? You feeltrapped. I understand. Let me helpyou.

LAYTON smiles. Cruel turn of the mouth. Sounds of waterslapping incessantly against the hull.

Phone rings. LAYTON snaps it open. Listens. His smile falls -this is bad news.

LAYTONOkay .. Thats a pity ... hmmmm ..Right.

ALEX watches his gun hand drop limply. She senses aresolution. Moves forward.

ALEXIts over. Give me ...

LAYTONFine ...

AND HE LIFTS HIS GUN AND SHOOTS HER IN THE HEAD.

She sees it! Sees the BULLET COMING TOWARDS HER. Has thatmoment to comprehend her fate. A micro-second before thebullet hits her -

SMASH CUT:



11/68

EXT. SOUTH BANK - DAY (MEMORY)11 11

ALEX blowing a kiss. MOLLY catching it.

SMASH CUT:

EXT. STREET - CAR BOMB - DAY (MEMORY)12 12

A FORD ESCORT BLOWN TO SMITHEREENS.

SMASH CUT:



12/68

EXT. GRAVE - DAY (MEMORY)13 13

A LITTLE ALEX at her parents graveside - Tim and CarolinePrice.

SMASH CUT:

KALEIDOSCOPE OF MEMORIES14 14

A tumble of images from ALEXS life. School photos. Holidaysin the sun. Mum swinging her around in the garden.

More and more until they are a blur.

SMASH CUT:

INT. BLACK ROOM15 15

The painted CLOWN from Bowies Ashes To Ashes video. Peakedhat. Doleful stare.

MUSIC: Im happy. Hope youre happy too ...

SMASH CUT:

BLACKNESS16 16

A SCREAM slices the air.

SMASH CUT:

INT. RIVER BOAT - BROTHEL - DAY 1. 091517 17

ALEX jolts awake. Wearing a short red skirt, white blousewith puff sleeves and with her hair lacquered to within aninch of its life.

Panicky, she feels her face - is she bleeding?

Around her, New Romantic music fills the boat which is nowdecked in red and white satin. End of an all-nighter.Ultravox bounces off the walls. Garish HOOKERS dance withYOUNG MEN in silvery suits. The whole atmosphere is one of

decadence and youthful abandon. Even the HOOKERS look likethey might be having a good time.

ALEX staggers to her feet. A GUY in a pastel shirt tries togrope her and she shoves him away.

CUT TO:

EXT. RIVER BOAT - THAMES - DAY 1. 091618 18

Ultravox swells. ALEX runs out of the boat, now called TheLady Di.

There is no Millennium Dome to dominate the skyline.


(CONTINUED)


13/68

UNIFORM OFFICERS push past her, raiding the boat. The fashionof their uniforms fractionally different from today.

ALEXHelp me, Ive been shot ..

She is ignored.

CUT TO:

EXT. STREET - DAY 1. 091719 19

ALEX runs into the alley. The area has quickly turned into arabbit warren of shadows and looming warehouses.

Poster on the wall advertises Adam Ants new album. AdamAnts arms are crossed in defiance.

ALEX fingers her red clothes, noticing them for the firsttime. What the hell ..?

Into the street charges EDWARD MARKHAM. He has been one ofthe punters in the brothel. Brash. Young. Bouffant highlightsthat bounce as he moves. Striped shirt under an expensivejacket. Coke powder around his nose. Harrow school in mannerand accent.

MARKHAMDid you call them in you evillittle tart?

ALEXWhat?!

He pushes her against the wall. She is too shell-shocked toresist.

MARKHAMYoull regret that sweetie.

Cue: Rolling drums. Banshee war-cry. Adam And The Ants -Prince Charming.

An Audi Quattro screams into the alley. Heads directlytowards a stack of dustbins. At the last second it swerves toavoid them. Brakes inches from ALEX and MARKHAM.

Three men emerge. DS RAY CARLING - pink Fred Perry t-shirt,aviators. DC CHRIS SKELTON - two-tone drainpipes and a wedgiehaircut.

DETECTIVE CHIEF INSPECTOR GENE HUNT - silvery grey suit overa crisp white shirt. Tie hung low and sulky.

Dont you ever? Dont you ever? Stop being dandy showing us

youre handsome?

All three draw whopping great Magnums.


CONTINUED:18 18

(CONTINUED)


14/68

GENEToday my friend your diary entry

will read Took a prostitutehostage and was shot by three armedbastards.

ALEX(she recognizes that turnof phrase)

What?!

MARKHAM pulls ALEX in front of him.

RAYGuv! He could have a gun!

GENE, RAY and CHRIS cock their Magnums.

ALEX(to MARKHAM)Dont let this get out of control..

GENEDont upset him love, this is onebloke you dont want letting hisload off.

ALEX(frightened/on auto)

Think! You need to be smart. If youchose a path of self-destructiondriven by .. by illogical pride anddelusional self-importance you willenjoy only a fleeting sense ofpower before being shot and killed.It is vital that you over-ride theneed to obtain what can only be afictitious glory and a misleadingillusion of free-will.

RAYIs it me or are toms gettingsmarter?

ALEX(idea)

A Fatality Outcome is what theseofficers want ...

MARKHAMFatality Outcome?

(sees an angle)Youre right.

MARKHAM steps away, hands in the air.

MARKHAM (CONT'D)Im unarmed.


CONTINUED:19 19

(CONTINUED)


15/68

CHRISYoure going down you scum!

MARKHAMThis will not amount to a hill ofbeans Mr Hunt.

GENE rabbit-punches him in the gut and MARKHAM falls. HisWalkman skitters across the ground. RAY picks it up.

ALEXHunt ...?

GENEBlimey, if that skirt was hitchedany higher I could see what youdhad for breakfast. Ray, cuff thisnancy berk. Chris, look after the

lady, shes the classiest prozzieIve seen all week.

ALEXDC .. Chris Skelton?

CHRISRoger that.

ALEXDS .. Ray .. Ray Carling?

RAY wraps up the Walkman giving her a suspicious look. Shetries to focus but her world is swimming.

ALEX (CONT'D)Gene .. Hunt?

GENEMy reputation proceeds me.

He stares at her - intense. ALEX faints.

CUT TO:

EXT. SOUTH BANK - DAY (MEMORY)20 20

MOLLY catching ALEXS kiss. Caught in a halo of light.

RAY (V.O.)Cracking pair of puppies.

CUT TO:

I/E. AUDI - CITY STATION - DAY 1. 093521 21

ALEX opens her eyes, flanked by RAY and CHRIS in the back of

the Audi. Both have been ogling her breasts.


CONTINUED: (2)19 19

(CONTINUED)


16/68

ALEX flies out of the car. Around her, stroppy HOOKERS andprotesting PUNTERS are being led into the station - allconcrete and dark glass. The forecourt is loaded with chunkyPolice Rovers.

ALEX

Okay .. focus. This is a sub .. sub-conscious construct induced bysevere cranial trauma ... There yougo, that was easy ...

HOOKERFascist pig!

GENEWe only need a statement love ...

The HOOKER spits at GENE. He looks angry but hurt. Turns on

ALEX.

GENE (CONT'D)You too.

ALEXI can hear ... I can hear the windin the trees ...

GENEStreuth, shes gonna break intosong.

She touches the Audi almost cautiously.

ALEXFull sensory hallucination ...

She caresses the Audi.

RAY(horny)

I dunno .. look at the way shestouching that car.

ALEXThis happened to him! To HIM! Itcouldnt happen to me!

RAYYou all right darlin?

ALEXMolly needs me .. Have to go ...

A Rover pulls into the forecourt. ALEX decides to stepwilfully in front of it.

GENE DIVES AT HER, THROWING HER CLEAR. They roll. Wind up ina tangle with him on top of her.


CONTINUED:21 21

(CONTINUED)


17/68

GENEDont do that. Do you know what thepaperworks like on suicides?

She tries to stand. Her legs buckle. She is weak andvulnerable and he takes a gruff pity on her. Scoops her up in

his arms. Looks at her in his grip - she is rather beautiful.And in a swoon. He likes them like that.

ALEXGet off me ...

GENE(gently)

Shut up.

He carries her towards the station. Over the threshold.

ALEXDont .. take me in there ... notin there ...

Too late.

CUT TO:

INT. CITY STATION - CID - DAY 1. 093722 22

ALEX crashes through the doors on her own two feet. Formicaand desk lamps. Electric typewriters. Sheena Easton jostlingfor wall-space with Kevin Keegan and Trevor Francis. HOOKERSand PUNTERS being processed by smoking DCs who drink her inlike beer. ALEX marches into GENEs office which bears the *legend on the door - The Manc Lion.

CUT TO:


CONTINUED: (2)21 21


18/68

INT. CITY STATION - CID - GENES OFFICE - DAY 1. 093823 23

Film posters on the wall - Outlaw Josey Wales and EveryWhich Way But Loose. Plus a commemorative calendar for theengagement of Prince Charles and Lady Diana Spencer.

A cumbersome Acorn computer beeps on his desk. GENE followsALEX whilst RAY and CHRIS peer through the window after them.ALEX studies the LED display on the computer.

GENEI dont normally let prozzies into

my office unless its a party.

ALEXJuly 1981. Jesus! This is the year *.. Mum and dad died ...

GENEWhat of, confusion?

Her fingers fly across the computer keyboard.

GENE (CONT'D)Dont pretend you know how to flythat thing.

ALEXTheres nothing on this hard-drivebut the time and date?

GENEPong. I got Pong.

SHAZ knocks and enters. A WPC who mostly handles clerical.Early 20s, razor-sharp fringe a la Jo Catherall from HumanLeague. A crucifix around her neck. Very London.

SHAZGuv, I .. Mary Magdalen! You lookawful! Here you go ..

She offers ALEX a Tab Cola.

GENETab? Not this one Shaz. Airs andgraces. Likes a drop of Bollybefore shell get her knickers off.

CUT TO:


ALEX rushes out of the office. Everyone is watching. *


(CONTINUED)


19/68

ALEX *I know how this all works! The mind *fashions conduits to the real *

world... *

She goes to a ringing phone. *

ALEX (CONTD) *I need to find out if Im inhospital or ... if Molly knows

whats happened ...

GENENo, you need to give me a ruddystatement. Now!

He wrests the phone from her hand. They tussle. Until ALEX *spots something on the desk. She gasps and sinks to her

knees. To RAY and CHRIS it looks like she is going down onthe Guv. VIV chuckles.

CHRISGod, I love toms.

ALEX stares at the little plaque on the desk - DI Drake.

ALEX crawls back against the far wall. She clutches her headand fights the rising tide of sheer panic. They watch her.GENE drags her to her feet.

GENECome on ...

A warrant card falls from her coat. He picks it up. Studiesit without reacting. Passes it back to her.

ALEX faces the department, stoic and shocked. The room isawash in sweaty testosterone, fag smoke and menace.


CONTINUED:24 24

(CONTINUED)


20/68

GENE (CONT'D)Well .. as you know weve been

waiting on a new DI. Alex Drake.


CONTINUED: (2)24 24

(CONTINUED)


21/68

RAYIs he here?

ALEX holds up her warrant card as if in a daze.

RAY (CONT'D)

Whats that hooker doing with ..?Oh no.

GENEWelcome on board Inspector.

CHRISI knew an Asian prozzie reckonedshe could do amazing things with aping pong ball. No surprise, theChinese are good at table tennisarent they.

(beat)Whys this tart got a warrant card?

CUT TO:

OMITTED - CONTENT MOVED TO SC 24.25 25

INT. CITY STATION - CID - KITCHEN - DAY 1. 101026 26

ALEX is hunched over the portable TV. She punches buttons.Gets the animated title sequence to Rainbow.

ALEXOh God ...

Zippys big yellow face fills the TV frame.

ALEX (CONT'D)Yep, I know how this goes ...Voices .. I hear voices .. Come onZippy, talk to me ...

Nothing. She punches on the News - Kenneth Baker reporting onthe aftermath of race riots. GENE enters, middle of anargument with his team.

GENEI dont want anyone filling intheir arrest diaries! Got that?

COCKNEY DC (O.S.)Aint done me diary since last weekGuv.

GENEGood. Ill fill it in for you. Justas soon as Ive decided what you

were doing. And what were youdoing? In that brothel? Eh?


CONTINUED: (3)24 24

(MORE)

(CONTINUED)


22/68

Undercover? Or were youmoonlighting?


CONTINUED:26 26GENE (CONT'D)

(CONTINUED)


23/68

ALEXLets assume the former.

GENE starts making a brew. Stares at the news - mention ofrace riots. Shots of Police behind plastic shields.

GENENever anything on.

ALEX(shocked)

Racial tension. Anti-police demos.Lord Scarman compiling his reporton institutionalized corruption

within the Met ...

GENEYoure choking on a dictionary.

Should I perform the HeimlichManoeuver?

ALEXThe public hate you.

GENEThey hate us, Inspector.

TV News - Lord Scarman promises that in the wake of thesummer riots his report on the Police will be tough, thoroughand wide-ranging.

These images sicken and worry GENE. He turns off the tv.

GENE (CONT'D)Twat in the cells is EdwardMarkham. City trading ponce.Heads up a city drug dealership.Wanna sit in?

ALEXRun along Gene and do whateversub-conscious recessional forms do.

She brackets the name Gene with a gesture.

GENEDont waggle your fingers when yousay my name.

ALEXSam got voices out of the TV ..

GENESam?

ALEXTyler. I knew him.


CONTINUED: (2)26 26

(CONTINUED)


24/68

GENEPoor sod. Explains a lot.

ALEXIve been studying him and now Ive.. God, Ive assimilated his

fantasies.. I write aboutcolleagues whove undergone unusualtrauma.

GENEAnd working with me is regarded asunusual trauma?!

ALEXWhy are you down here?

GENE

Transferred from GMP a year ago. Idont mind. Im a happy-go-luckybloke; scum is scum everywhere.

ALEXAnd why am I here?

GENEYou put in for it.

ALEXYoure taller than I imagined.

GENEIm bigger in every department.Wanna brew?

He digs a Flake out of his jacket pocket.

ALEXDo you know two lawyers; Carolineand Tim Price?

GENEI know a bird in Woolwich who can

stick a flute down her knickers andplay Good Ship Lollipop.

ALEXIm here to see them before theydie, arent I? God, I never knew Ihad such a predictable sub-conscious.

GENE(unwrapping the Flake)

Eh?


CONTINUED: (3)26 26

(CONTINUED)


25/68

ALEXFreud 1.0.1. Next thing you knowIll be getting bog-standard sexual

metaphor ...

GENE scowls in bafflement and sucks on the Flake.

CUT TO:

INT. CITY STATION - INTERVIEW ROOM - DAY 1. 105027 27

RAY opposite MARKHAM and his BRIEF. ALEX stands by the doorlooking dazed. She clutches a set of files which she has beenhanded - fingers through them distractedly.

GENE enters with ERIC, a scrawny, twisted young man withhollow eyes.

GENEI assume you two know each other.Of course you do. This is EricPhelps. Hes one of your clients,Mr Markham. What? Dont say youvenever met. Then again, you are atopposite ends of the chain.

MARKHAM(to LAWYER)

Make a note; slander.

GENEEric had a trial for the Hammers,didnt you Eric. But the old drugstook their toll and he lost hisplace in the squad. He used todream of playing for West Ham. Nowhe drops his pants and takes it upthe Bakerloo for a days worth ofgear. Off you pop son.

ERIC is taken outside.

GENE (CONT'D)

Feel good making money out ofhonest, working-class kids? Turningem into ghosts and rent-boys ...

The BRIEF goes to speak but MARKHAM silences him.

MARKHAMYou have no evidence and accordingto this senior female officer,mirabile dictu, you weredeliberately looking for a, what

was it, a Fatality Outcome.

Blowing my head off. Ipso facto, mycase rests.


CONTINUED: (4)26 26

(CONTINUED)


26/68

GENE throws a dark look back at ALEX.

RAYThats crap. And some of it was inKlingon. If wed actually wanted to

murder you wed come over your

house in the middle of the night...

GENETake no notice of the Sergeant.

(a glance again at ALEX)Hes upset. His old mums very illin hospital.

RAY - what???

GENE (CONT'D)

(loaded)For the record, he will now retractthat remark.

RAYYeah. Im .. God, hope she pullsthrough.

The BRIEF starts writing.

GENECocaine and H are flooding intothis city. Youre behind it.

Again the BRIEF looks to speak but MARKHAM interrupts him.

MARKHAMYoure living in a fantasy world MrHunt.

ALEX picks a photo out of the file that hits her like a boltof lightening - Arthur Layton!

ALEXWhere do you keep the most advanced

radio in this station?

Before GENE can answer, she bolts from the room.

CUT TO:

INT. CITY STATION - SURVEILLANCE CENTRE - DAY 1. 105928 28

CHRIS shows ALEX a room of dexion shelves filled with radiosand VCRs.

CHRIS

Like Tomorrows World isnt itboss, maam.


CONTINUED:27 27

(CONTINUED)


27/68

ALEX inspects the Betamax machines and issues a laugh. CHRIShits eject. The Betamax whirrs and whirrs.

ALEX pulls down a radio, tries to talk into it.

ALEX

I have to know whats going on OutThere Chris. Im unconscious andI need reviving.

CHRISYeah, I get that at weekends.

Finally, FINALLY the Betamax top-loader pops up, ready.

CUT TO:


GENE is hunched over the phone getting an ear-bashing fromhis Chief Super.

GENE.. Yes sir, but this Markham ... Ofcourse we werent going to shoot anunarmed man .. Difficult times, yessir ... Im just trying to do myjob. Yes sir. Yes sir ...

GENE replaces the phone slowly. Face is a grey mask.

CUT TO:


CHRIS returns. SHAZ catches his eye and they share a grin. Hehands SHAZ the Walkman they impounded from Markham.

CHRISSony. Nabbed it off that drugdealer we nicked in the whore-house.

SHAZThats so sweet.

RAY accompanies MARKHAM and his BRIEF. GENE walks behind,eyes like hot coals. MARKHAM notices his Walkman.

MARKHAMI couldve sworn that was mine.

RAYWell youre mistaken. Sir.

MARKHAMYou know Mr Hunt in the city welook for a good investment.


CONTINUED:28 28

(MORE)

(CONTINUED)


28/68

Like the chap who invented theWalkman, you have to know theres anew market ready to explode. Thats

my job. I see an exciting product.Kapow!

(gives a sniff)

Its all about the future. And youknow what? I dont think the futureincludes you.

He runs a fingertip under SHAZS chin and tugs playfully atthe headphones before swaggering out.

RAYIt wouldve been a sound nick.Fatality outcome?! Christ!

COCKNEY DC

Got a good pair of honkers on herthough.

RAYWomen DIs should look like BettyTurpin crossed with HMS Ark Royal.They shouldnt look shagworthy.You cant give a person who getsperiods that much responsibility.

GENE boils over - marches out.

CUT TO:

INT. CITY STATION - SURVEILLANCE CENTRE - DAY 1. 113031 31

ALEX is getting nothing but static and the odd flurry ofPolice chatter.

ALEXTalk to me! Somebody!

She throws the radio at the wall. GENE blazes in - brimstone.Before he can say a word, she launches at him.

ALEX (CONT'D)Whats so special about you Gene?When good coppers go under, why doyou appear?!

GENEIts my aftershave. And stop

waggling your bloody fingers whenyou say my name!

(pushes her away)Weve got the makings of a drugepidemic in this city. I had the

chief supplier in my sights and YOUgave him room to slide loose!


CONTINUED:30 30MARKHAM (CONT'D)

(CONTINUED)


29/68

ALEXMarkham? Hes not your king-pin.

(off his frown)Any cursory psyche-assessment wouldshow he doesnt possessdelegational inclinations.

GENECome again, I dont speakHindustani.

ALEXTop-flight crime bosses expecttheir minions to do all the donkey

work. They expend their energy onlywhen absolutely necessary. Crimelords do not gloat in Policestations Gene. They do not pay

for expensive lawyers and then doall the talking themselves. Andthey are not out to impress flatfoots like you.

GENEThis lardy-de-dah, Heinz Wolff,Great Egg Race posh bollocks meantto impress me?

ALEXJust look at me; Im trained to getinside the criminal mind. Now Imstuck in my own. With you. Woopee.

They blaze at each other. She is overcome by the sheerreality of him. Breaks into a dry laugh.

GENEAre you laughing at me?

ALEXNo. I just ... I never thought it

would seem this real. Sam alwayssaid what amazed him most was ...

(places her hand on hisheart)

Beating. Incredible.

GENE gropes her left breast.

GENEFandabbydozy. Now then BollingerKnickers, you gonna kiss me orpunch me?

She turns away, appalled. It is then that she sees the

Betamax cassette. Labelled LAYTON.

CUT TO:


CONTINUED:31 31


30/68

INT. CITY STATION - SURVEILLANCE CENTRE - MOMENTS LATER - DAY32 321. 1133

ALEX and GENE playing the tape. ALEX intent. GENE bemused.

Tape - fuzzy images of LAYTON talking outside his junk shop.

ALEX is amazed. Its him. Younger. Wearing a David Bowie t-shirt (Scary Monsters) under a white linen jacket.

GENEArthur Laytons a tinker with a

minor record. We flipped him over;he keeps his eyes open, we dontbang him up.

ALEXHe has to be crucial to this,otherwise why is he in here?

Freeze frame: Layton.

CUT TO:


ALEX spins over the white board. She is almost manic in herintellectual vigor as she scrawls her theories on the boardin marker. CHRIS and SHAZ watch her. She winces as a painstrikes the side of her head.

CHRISBoss? I mean Maam?

ALEXLets break it down.

(points to side of herhead)

I was shot. The result of that actwas my arrival in this .. thisdystopia.

She scrawls Dystopia on the board.

CHRISDystopia. I had that once. Couldnteat solids for a week.

SHAZAh, babeee ...

ALEXMy mind creates a dark, twistedplace for me to go to. My brain isin severe trauma so it will notexpend unnecessary energy creating

people I dont need. Thereforeeverything here is significant.


(CONTINUED)


31/68

She writes Everything is significant.

ALEX (CONT'D)Now, I am an empirical person. Ibreak everything down and I studyit. That is how I solve problems.

SHAZSo your head has made up a puzzlefor you to solve because thats thebest way ...

ALEXThats the way Ill get strong. I

must constantly analyze.

She writes Analysis at all times.

CHRIS nudges SHAZ - well done. Then it dawns him he hasntthe first idea whats going on.

CHRISHang about .. Analyze what? Why you

were shot?

ALEXThe moment it happened, I saw thebullet and I thought this is itAlex. This is how it ends.

CHRISLike this was your destiny. LikeBen Kenobi in Star Wars.

She writes Destiny on the board.

ALEXWhere does this leave me?

She steps back from the board. Each line of writing is underthe previous line. And thus the capital letters of eachsentence spell - D - E - A - D.

ALEX begins to perspire. Her breathing jags. She cant takeher eyes off those four letters. She picks up the Betamaxcasette labelled LAYTON.

SMASH CUT:

INT. RIVER BOAT - DAY (FLASHBACK)34 34

LAYTON fires the gun directly at her! At US!

SMASH CUT:

INT. CITY STATION - CID - DAY 1. 121734A 34A

ALEX tries to clear her head.


CONTINUED:33 33

(CONTINUED)


32/68

CHRISMaam?

ALEXIm not dea -

ALEX gasps as a sharp searing pain slices through her head.

A FLASH OF THE ASHES CLOWN - staring at her dolefully.

She collapses.

CUT TO:

OMITTED35 35

OMITTED36 36

INT. CITY STATION - CID36A 36A

MOLLY walks in to an empty CID!

MOLLYHello?

ZIPPY springs up from behind a desk with a policemans capon.

ZIPPYYoure under arrest!! Ha ha!

He breaks into his recognizable Zippy laugh.

ZIPPY (CONT'D)Who are you then, eh?

Before MOLLY can reply, GEORGE appears dreamily beside him.

GEORGEIts all right Zippy, Mollys mynew friend.


CONTINUED:

(CONTINUED)


33/68

ZIPPYPoor old Molly! She must be veryhard up for friends! Ha haa!!Wheres my truncheon? I want atruncheon!

GEORGE holds up a truncheon. Waggles it.

ZIPPY (CONTD)Give it to me George.

He snatches the truncheon.

MOLLYIm looking for my mum.

ZIPPYWell I havent seen her.

GEORGESorry but I havent either.


CONTINUED:36A 36A

(CONTINUED)


34/68

MOLLYBut its my birthday. We have acake and presents and Im waitingfor her to come.

GEORGE

She must be so far away Molly. Sofar that you couldnt even see herthrough the biggest giantesttelescope in the world.

ZIPPYYes. Yes. Thats right George.Forget your mum Molly, shes nevercoming back.

Paint the whole world with a rainbow!

CUT TO:

INT. FLAT - NIGHT 1. 210037 37

ALEX jolts awake.

ALEXIm not .. Im not ... [dead]

She finds herself on a black leather sofa in a chrome andshag-pile pad. She is utterly disorientated. Italian music

wafts up from below, faintly. ALEX staggers to the bedroomand clicks on the light.

Comes face to face with the ASHES CLOWN.

ASHES CLOWN(with MOLLYS voice)

Mummy? Youre going to miss mybirthday.

(dry rasping voice of theCLOWN)

All my birthdays.

ALEX screams.

CUT TO:

INT. FLAT - DAY 2. 080038 38

ALEX flies awake again. Again she is on the black leathersofa but now sunlight is streaming through.

ALEXNew day ... In here Alex. In here.Back home ... it may be no time atall...

She raises the blinds and looks out on THE 1981 CITYLANDSCAPE.


CONTINUED: (2)36A 36A

(CONTINUED)


35/68

She looks around her flat - leather upholstery, fibre-opticplant, stereo-system. She opens the wardrobe to see a few

mens shirts.

A stack of Beta tapes on the smoked glass coffee table -Dirty Harry, Magnum Force, The Professionals. And

amongst them, the tape she was holding when she collapsed -Laytons tape.

ALEX (CONT'D)Destroy the nightmare. Arrest youand reclaim control of my owndestiny. Home in time for cake.

(gritted)Wait for me Molly, Im coming toyour party.

CUT TO:


GENE is pouring over a map of the Isle Of Dogs with RAY. SHAZis flirting with CHRIS whilst spraying herself with a

mountain of hairspray. ALEX enters, blazing with purpose.

CHRISLike the flat maam? Luigi lets ususe it ...

ALEXWPC Granger ...

She gags on a cloud of Harmony hairspray.

CHRISHey, Is she or isnt she?

ALEXShe .. ahem .. She definitely is.You know youre responsible for theice-caps melting.

SHAZ

Am I? Fab.

ALEXIm serious, I ... Forget it,death to all polar bears. Now, WPCGranger ...

SHAZCall me Shaz.

ALEXCan you get me ...

SHAZOr Shazzer.


CONTINUED:38 38

(CONTINUED)


36/68

ALEXShaz get me a change of clothes. Ineed to change out of red beforeChris De Burgh writes a song about

me.(they dont get the joke)

Chris, I need to see yourintelligence on Arthur Layton.Address, contacts, past offences.

CHRIS gets on to it.

GENEI know what youre doing.

ALEXReally. Whatever.

GENEWhatever ... what?

ALEXWhat?

GENENew broom. Swings in.

ALEXSweeps in ...

GENEComes in, looking to make a quickcollar. Impress the troops.

ALEXI know he doesnt look like muchbut Layton is behind this. Becausethats why Im here.

GENE(jabs the map)

We have monitored the drugs traffic

across the division. Movement,deals, payments, everything. Thecentre is here; financial district.Markham is a right banker. He knowshow to hide the drug money in anynumber of accounts.

RAYWere on the verge of a major bust

maam. Like that Operation Popadum.

CHRIS

Here you go boss, maam; ArthurLayton.


CONTINUED:39 39

(MORE)

(CONTINUED)


37/68

This is his business in Shadwell.Past convictions for fencing stolengear.

ALEXLook at your map Hunt. Its a web.

Thing is the spider isnt sittingin the middle. Hes hiding on theedge.

She jabs her finger at the Shadwell district.

MIX TO:

EXT. JUNK YARD - DAY 2. 103040 40

Bricked yard filled with pieces of car, bikes, grandfatherclock parts, etc. ALEX lets herself in with CHRIS in tow.

CHRISGuvs right; Laytons just a downat heel fella scratching a living...

ALEXNo, he becomes that. One day. Butnot now. Trust me.

She is intrigued by the three expensive outboard boat enginespropped against the wall.

CHRISSorry maam but .. the Guv, hethinks youre trying to undermineus like ...

ALEXRelax Chris, I know how thisgoes; Hunts the bullish one, Raysthe misogynistic one, youre thenervous one, blah blah blah. Idont care. I am going to stopArthur Layton because that could be

the mental trigger to get me out ofhere. Okay?

CHRISRoger that.

(beat)Im not nervous. Im cautious.

LAYTONCan I help you love or are youlooking for business?


CONTINUED: (2)39 39CHRIS (CONT'D)

(CONTINUED)


38/68

She turns. And there he is. Right there before her. LAYTON!Still wearing the Scary Monster t-shirt. No scar on his facethough.

SMASH CUT:

INT. RIVER BOAT - DAY (FLASHBACK)41 41

LAYTON firing the gun at her head.

SMASH CUT:


ALEX places a hand to her head.

CHRISMr Layton, Police ...

ALEXYoure under arrest.

LAYTONArrest? What for?

ALEXIm .. Im stopping you. I knowyou!

LAYTONWhat?

ALEXChris, cuff him. Do it!

CUT TO:

INT. CITY STATION - INTERVIEW ROOM - DAY 2. 115543 43

ALEX and GENE opposite a baffled LAYTON. GENE resentsbringing him in. ALEX is trying to remain focused but she isscared - it hurts being this close to the man who shot her.

LAYTONYoure joking!

ALEXYou have a network of dealers and

money-launderers under your controlincluding Edward Markham.

LAYTONIm a barrow-boy with a shop!

ALEX

Youre under arrest and you are ..Youre staying here.


CONTINUED:40 40

(CONTINUED)


39/68

GENEAs much as it pains me, I think we

may need something that can stickin court. Youre staying hereprobably wont do it. Mr Layton, doyou have an appointed brief?

LAYTONIll get one.

ALEXThats right. Let others handle it.The strategy of a powerful man withnothing to prove.

GENEA powerful man would bring hisbrief in with him!

A knock and RAY enters eagerly.

RAYGuv. Weve got a breakthrough.

GENERight.

(out of his chair)Off you go Layton.

LAYTON smirks and gets his jacket.

CUT TO:

INT. CITY STATION - CORRIDOR - DAY 2. 115744 44

ALEX blazes after GENE and RAY.

RAYWe put crime squad onto Markhamlike you said. He made nineseparate phone calls from phoneboxes in the City district. Allphone cards.

GENEPhone cards?! Flash git!

RAYHe then picked up a message fromsome railway arches near TowerBridge. Something got him rattled.

ALEXI know what got Markham rattled.

She looks down the corridor as a timid LAYTON is escorted offby a PC.


CONTINUED:43 43

(CONTINUED)


40/68

ALEX (CONT'D)We pulled his boss in. He waschecking to see if he could closethe supply line down.

CUT TO:


They stride back into CID.

ALEXLayton is a control freak. Being inthe driving seat is essential tohis emotional stability.

GENEWhered you learn this hippy shit?

ALEXLangley.

CHRISNear Macclesfield.

ALEXVirginia. Secondment to the CIA.

A few discreet wooos from around the room.

SHAZHere you go maam, fresh clotheslike you wanted.

ALEXThats great Shaz.

SHAZGot em off a lady who was killedby a Timothy Whites van.

ALEX smiles weakly.

ALEXPull in Markham again. Shake the

web. Laytonll hate that.

GENEPsychiatry.

ALEXPsychology.


CONTINUED:44 44

(CONTINUED)


41/68

GENESame thing.

GENE pauses, everyone waits. He makes a decision.

GENE (CONTD)

Boys and girls, it is preciselytwelve of the clock.

His digital watch beeps the hour. A succession of otherCasios do the same. ALEX looks bemused, even more so when herown Casio does the same!

GENE (CONTD)By twelve-thirty I want Markham andhis suspected accomplices incustody.

CID spring into action. GENE drags out a hip-flask and pauseswith the nozzle to his lips. His eye has caught a public infoflyer on the bulletin board - Worried About Your Drinking?

ALEX clocks the look in GENES eye. Is it regret? Fear?Anger? He takes a defiant gulp of booze.

Cue: The Clash: Police On My Back.

CUT TO:

OMITTED46 46


CONTINUED:45 45

(CONTINUED)


42/68

OMITTED47 47

OMITTED48 48

INT. CITY STATION - CID FRONT DESK - DAY 2. 150049 49

MARKHAM and other CITY TRADERS are slammed against the frontdesk by GENE and RAY. ALEX follows close behind. MARKHAMturns to GENE.

MARKHAMTwo arrests in two days. Ill havelost my job with the bank ...


CONTINUED:46 46

(CONTINUED)


43/68

GENEDiddums. Youre a smart boy, youllget another job. Then Ill see toit that youre arrested there anall. Youll be unemployableMarkham.

MARKHAMAll right then. Time to talkturkey.

GENEGobble away.

MARKHAMJust you, Hunt.

GENE nods and leads MARKHAM into the interview room, leaving

RAY and ALEX outside.

CUT TO:

INT. CITY STATION - CORRIDOR - DAY 2. 150550 50

ALEX and RAY - both feeling left out in the cold.

RAYYou knew Tyler, didnt you.


CONTINUED:49 49

(CONTINUED)


44/68


45/68

RAY (CONT'D)Tyler didnt listen to the Guv andlook what happened. If youre smartyoull learn that being where theGuv is .. is the right place to be.

GENE throws open the door. RAY and ALEX are expectant.MARKHAM sidles past GENE and adjusts his tie. He walks offdown the corridor alone. *

GENEHes giving us the whole network.We drum him out of town forever.

ALEX *You let Markham walk? Thats just *plain wrong Gene. *

GENE *Therell be no more drug-addicts *made here. *

(looking to distract) *How about lunch?

RAY *Lunch!

ALEXLunch? Its gone six!

RAYLunch time!

RAY and GENE walk away. ALEX shakes her head and marches off. *

CUT TO: *


CONTINUED: (2)50 50

(CONTINUED)


46/68

*

OMIITED. SOME CONTENT MOVED TO SC 50.51 51 *

OMITTED. SOME CONTENT MOVED TO SC 51.52 52


ALEX barges the door open and walks through the yard. LAYTONis shining up an antique sabre. He glances up.

ALEXIm going to stop you, you bastard!

LAYTONI dont like people looking at me.

ALEX

Why? What are you afraid of?

LAYTONIm not afraid. Are you?

He heads towards his shop, allowing the sabre to scrapehorribly along the hard stone ground.

LAYTON (CONTD)You should be Miss Drake. Theres alot to be afraid of here.

Ashes to Ashes - Episode 1 - Shooting Script: PEACH - 31/08/07 39A-40.

CONTINUED: (3)50 50

(CONTINUED)


47/68

ALEXIll .. Ill get you.

LAYTONBut whos gonna get you, in theend?

He slams the shop door on her. Gone. She backs away. And itis then that she notices a tatty notebook sitting besideLaytons chair in the yard. She picks it up and flicksthrough it - lists of numbers - 0527 / 1844.

Something moves in the corner of ALEXs eye. She turns with astart: the ASHES CLOWN?

CUT TO:

EXT. STREET CORNER - DAY 2. 184754 54

ALEX steps into the deserted street. The ASHES CLOWN standsfifty yards away. Fixed. Still. Looking at her.

And then quite suddenly he starts to run full pelt towardsher. ALEX turns and flees in panic. The CLOWN is gaining.

Fury seizes her. She stops and whirls to face him.

ALEXGo AWAY!

But the street is empty again. ALEX suddenly hates thisplace. Hates this bloody red skirt. She starts tearing at itangrily.

CUT TO:

INT. LUIGIS - NIGHT 2. 200055 55

Trestle tables covered in plastic checked table-cloths. CIDhave taken over. Carafes of wine passed about. Music blaringfrom the sound system. LUIGI is a tired-looking man. Hesmiles politely for his guests.

CIDWhats a-matter you. Hey! You gottano respect! Oh its a-not so bad.Its a-nica place. Ah, shut uppa yaface!

LUIGI drags out a smile.

CHRISHey! Luigi. Whats the shortestbook in the world?

LUIGIYes, you told me this one lastnight Chris ...


CONTINUED:53 53

(CONTINUED)


48/68

CHRISItalian Book of War Heroes.

LUIGISi, molto divertente .. very funny...

GENE swigs his lager. He remains somberly on the periphery.

ALEX walks in. She has put on the clothes Shaz gave her andlooks fabulous in jeans and a white leather jacket. GENEknows two things in that moment - one: he must shag herbrains out. Two: he never will.

GENE pours her a glass of wine. She takes a sip. Shudders.

GENEOn the house.

ALEXI think it dripped off the house.

He finds this funny. She has to smile - a tired, oh shitsmile. She drains the glass and waits for another.

CUT TO:

THE SAME - LATER - NIGHT 2. 220056 56

CID are arseholed. RAY pours a champagne tower. GENE and ALEXsit alone, both pissed, ALEX trying to get his attention.

GENEI love lunch.

ALEXYou know Ive invented this

world...

GENEI invented something once; thebruise-free groin slap.


CONTINUED:55 55

(CONTINUED)


49/68

ALEXSo ... lets hear it .. Your wife..?

GENEMrs Hunt left me.

ALEXAnother man?

GENEYoure half-right.

ALEXA woman?! Shes a lesb -

GENEDont say that word! Things like

that ... belong in films not in thehome!

ALEXSam died. Your wife left. No wonderyou moved ...

GENEDont. Start. Im the Manc Lion me.Says so on my door.

LUIGI brings out pasta. CID cheer.

RAYNice one Luigi! And keep the AstiSpimanti coming!

ALEXYoure not keeping me for sevenyears. Im going home. I have mydaughters birthday party to getto.

GENEYoure pissed.

ALEXYoure a bloody figment.

GENEYoure very pissed.

ALEXIm going to be sick.

GENEIm not surprised.

CUT TO:


CONTINUED:56 56


50/68


ALEX falls into the sofa. Restaurant thrums below.

ALEXDont let me do this on my own

Hunt.

GENEWell its always more fun with two.

ALEXI need your help ...

GENEEveryone does.

Shes drifting into a drunken slumber but he presses on.

GENE (CONT'D)Theyre sharpening the axe forcoppers like me. But Ill tell youthis darlin, until the lastsecond, Ill be out there making adifference.

She turns over. The notebook falls onto the carpet. He picksit up.

GENE (CONT'D)Whered you get this?

ALEXLayton ... junk yard ...

In an uncharacteristically sensitive gesture, he covers herwith a blanket. Flips through the pages of the notebook.

CUT TO:


A few stragglers. Very pissed. GENE slumps down next to RAY.

He still has the book.

GENEWhat do you make of these numbers?

RAYFlight numbers? Codes? Dunno.

GENEAnd this .. on here, Charlie.

RAY

Thats what they call cocaine.


(CONTINUED)


51/68

GENEThought it was a perfume.

CHRIS cranks up the music. LUIGI is ready to kill himself.

GENE (CONT'D)

Oi! Chris! Lets clear out. Let thewoman sleep.

LUIGIIn nome del Dio, grazie seniorHunt.

CHRISGrassy-arse Luigi. Grassy-arse.

LUIGIYes Chris, that is a Spanish joke.

GENEHave a drink Luigi.

LUIGINo senior Hunt, I go upstairs toshoot myself.

CID laugh.

CHRISGrassy-arse.

GENE casts a look upstairs.

CUT TO:

INT. FLAT - DAY 3. 080059 59

ALEX is alone. She turns in her sleep. MOLLYS little headpokes out from under the blanket, nudging her.

ALEX(half-asleep)

Molleee ... go back to your own bed

...

She opens her eyes with a sudden start.

ALEX (CONT'D)Molly!

She flings off the blanket. The sofa is empty. MOLLY is notthere. The cold dread of loss squeezes her heart.

CUT TO:

OMITTED60 60


CONTINUED:58 58


52/68

EXT. CITY BACK STREET - DAY 3. 103061 61

CHRIS and SHAZ in a Ford Fiesta. CHRIS sports his aviators,sausage roll wedged in his mouth. SHAZ jumps back in the carbeside him, nervous but a bit excited.

SHAZI should be in uniform.

CHRISNo, youre with me. Youreundercover.

SHAZUndercover? On a secret operation?Pretty blimin glamorous isnt it,your life.

CHRIS(mouthful of sausage roll)Oh aye.

ALEX (RADIO)Chris. You in position?

CHRISRoger that maam. You said wedsquare this with the Guv overbrekkie.

ALEX (RADIO)No time for that. I have to nailLayton now. Crime squad gave us thedrop-point for Markhams messages,you at it?

CHRISYes.

ALEX (RADIO)Message in place?

CHRIS spies the envelope taped to the wall opposite. Grins at

SHAZ who gives the big thumbs up.

CHRISShaz has just set it up.

ALEXIf Markham takes the bait...

CHRISHell read the fake message to meetat Laytons place. We follow him.


(CONTINUED)


53/68

ALEX (RADIO)We have reasonable connection. Wearrest Layton. I go home

CHRISRoger that maam.

He clicks off the radio. Shifts in his seat.

CHRIS (CONTD)I need a jimmy riddle.

He dives out of the car. SHAZ puts on her newly acquiredWalkman and checks her lipstick in the rear-view mirror,humming Tainted Love to herself.

She doesnt notice the dark car that pulls up further downthe road.

A car crammed with BIG GEEZERS.

CUT TO:

OMITTED SOME CONTENT MERGED WITH SC 61.62 62

OMITTED63 63

OMITTED64 64


ALEX grabs her radio again, checking back in.

ALEXChris...?

Static. She shakes the radio. GENE strides through irritably.

GENEWhats all this about a stingoperation?

ALEX

Oh for Godssake .. I need to arrestLayton?! Do you understand?


CONTINUED:61 61

(CONTINUED)


54/68

GENEFor keeping a notebook?

ALEXWhat happened to the Manc Lion?!

GENEHes about to have his bollocks cutoff by Lord ruddy Scarman!

He reaches for his hip-flask. She pulls it out of his way.

ALEXDont hide in there. If you letthis go you are empowering Laytonand even more lives will be atrisk!

CUT TO:

EXT. CITY BACK STREET - DAY 3. 103266 66

SHAZ finishes with her lipstick. A hand taps on the carwindow, SHAZ winds it down as MARKHAM leans in grinning.

MARKHAMThink youll find that Walkmans

mine sweetie.

Across the street: CHRIS returns to see SHAZ dragged from theFiesta by some nasty looking GEEZERS crammed into suits.MARKHAM is with them, standing out a mile in pastel shadesand highlights.

CHRISShaz! SHAZZER!!

SHAZDont hurt me .. Chris ..?!!

CHRIS runs forward but is met by a blow to the stomach. Hesags to his knees.

MARKHAMDid I spoil your little plan?Secret notes and special meetingpoints? This some feeble idea ofentrapment.

CHRISLeave her ...

MARKHAM gives him a kick in the ribs. SHAZ screams.


CONTINUED:65 65

(CONTINUED)


55/68

MARKHAMPerhaps we need to take out alittle corporate insurance, just to

make sure the deal runs smoothly.

They drag SHAZ to the car.

SHAZCHRIS! Dont let them take me!

CHRIS tries to get up but it hurts too much.

CHRISShaz ....

The car tears away. CHRIS punches the ground in tearfulfrustration.

CUT TO:


ALEX picks up her coat. Shes done all she can. What good instaying?

ALEXI cant do this on my own.

CHRIS bursts in, furious and desperate.

CHRISIs every radio in this poxy nickbusted?! They took her!

RAYWho?

CHRISShaz! They took Shaz! Markham andsome big bastards! Hes still outthere.

ALEX

Its insurance. They take herhostage. Layton brings in hisshipment.

RAYJimmy, mobilize all units in thearea. Chris, give us a descriptionon the vehicle ...

CHRISIf she dies, its your fault maam.

ALEXI wasnt the one did the deal withthe Devil.


CONTINUED:66 66

(CONTINUED)


56/68

CHRISHow do we stop em?

ALEX turns almost inevitably to look at Genes office. Theothers are drawn in the same way. ALEX realizes she has nochoice - enters his office - out of sight behind the blinds.

Other DCs congregate around CHRIS and RAY. They wait.

ANGLE ON GENES DOOR - The Manc Lion.

GENE kicks the door open with a bang. Stands, framed.

GENEFire up the Quattro.

The Clash again! Magnificent Seven.

CUT TO:

EXT. DRIVING SHOT - DAY 3. 111867A 67A

The Quattro carrying ALEX and GENE streaks over CAMERA. Andthis time it crashes through a stack of dustbins in its hasteto ride to the rescue.

VIV (O.S.)Guv, weve just had confirmation:the car registration that Chrisgave us; its in Laytons name.

CUT TO:


Quattro swings to a screaming halt as The Clash accompany.

GENE and ALEX jump out and are greeted by a dejected RAY andCHRIS.

RAYForget it mate, hes scarpered.

CHRIS kicks over some junk in impotent fury.

CUT TO:

INT. QUATTRO - DAY 3. 1122.68A 68A

The Quattro screams away from the junk yard. GENE holds theradio. ALEX reads LAYTONs notebook.

ALEX(reading notebook)

This is on a twenty-four hourclock. Theyre specific times.

Charlie. Charlie. Why put thename of the drug so prominently inhis book?


CONTINUED:67 67

(CONTINUED)


57/68

GENEViv - Give me everything youve goton Arthur Layton.

VIV (O.S.)There isnt much Guv - bit of

surveillance. Some at his yard,some at the docks.

ALEX(remembering her own fate)

He keeps boats.

GENEViv, whats the name of his boat?

VIV (O.S.)Looks like The Prince Charlie, Guv.

GENECharlie! Those times in the diaryare tide times! Our Laytonsshipping in the drugs on one of hisown boats.

(grabbing radio)Raymondo, call the cavalry, wereheading to the river.

ALEXI could kiss you.

GENEDont hold back.

CUT TO:

OMITTED69 69


CONTINUED:68A 68A


58/68

EXT. THAMES - DAY 3. 114570 70

Looming warehouses. The Audi screams to the riverbank. Policecars screeching up. UNIFORM spilling out along with CID. GENEand ALEX leave the car together. He tosses her a gun. Shechecks the barrel.

ALEXWhat?

GENEYou. Holding that. In leather.Gives me the horn.

(to team)Three units. Ill lead the firstunit. Well attempt to flush theminto the arms of the second unitled by my esteemed lady colleague.

Uniform will mop up.

CHRISSo which units which?

GENEUniform can be C-Team. DI Drake

will lead B-Team.(no irony)

Im the A-Team.

ALEXGod have mercy.

CUT TO:

EXT. THAMES - FURTHER ALONG THE BANK - DAY 3. 115071 71

ALEX leads several DCs into position. She scans further downthe river - it all seems oddly still and peaceful.

ALEXRadio silence everyone.

COCKNEY DC

You okay maam? Youre smiling.

ALEXAm I? I just ...

(slight nervy grin)... havent done this in a while.

She doesnt want to admit this but shes excited.

CUT TO:



59/68

EXT. THAMES - QUAY - DAY 3. 121572 72

GENE, RAY and CHRIS move into position behind some stacks ofconcrete. GENE peeks around the side of the blocks andsquints through binocs.

POV: MARKHAM supervising the unloading of several crates. Hismen carry machine-guns.

CUT TO:


ALEX scans the water with her binocs. She can see distantactivity amongst the drug-dealers.

ALEXI need Layton alive. Understand? I

need him. Hes my destiny.

The COPPERS gawp at her.

ALEX (CONTD)(embarrassed)

Thats not helping. Sorry

CUT TO:

EXT. THAMES - QUAY - DAY 3. 123574 74

GENE watches from hiding. A big car draws up. MARKHAM goes tothe window which glides down in anticipation. MARKHAM talksto the hidden man within the car.

MARKHAM beckons a COHORT who brings SHAZ into view. SHAZ isdishevelled and trembling.

CHRISS blood boils. He goes to step out, gun raised. GENEholds him back.

MARKHAM cracks open a crate and removes a kilo bag. Passes itinto the car. Laughter from the man within the car. He stepsout. We see its LAYTON, looking every inch the 80s drug

dealer in his sub-Miami Vice suit.

GENES eyes burn with a hellish indignation.

MARKHAM is really enjoying himself. His GANG congregatearound the coke crate, laughing and pushing each other. SHAZis ignored.

CHRISIve had it!

(steps out)This is the Police! Youre

surrounded!


(CONTINUED)


60/68

GENEShit!

(into radio)The A-Team are going in!

CID burst out of the shadows, guns raised and hollering.

GENE (CONT'D)Put your hands in the ....

THE GANG TURN AND START FIRING AS ONE WITHOUT BLINKING. CIDdive for cover as MACHINE-GUN FIRE PEPPERS THE VICINITY.

CUT TO:


ALEX and the other OFFICERS hear the distant report of gun-

fire further down the bank. This is it! ALEX follows theaction through her binocs.

CUT TO:

EXT. THAMES - DOCKS - DAY 3. 123776 76

GENE and RAY are pinned down.

CHRIS can see MARKHAM moving back near to SHAZ. CHRIS makes abreak for it, bullets snapping at his heels. He dives behinda second concrete stack. Its no use, he cant get closeenough.

LAYTON suddenly grabs SHAZ as hostage. He pulls her towardshis car as the others get in.

GENE sees this. Stands up and SHOOTS THE CAR. THE BONNETFLIES UP IN A BURST OF SMOKE AND FLAMES. The GANG MEMBERSscatter, throwing their guns aside.

GENE(radio)

All Teams! Theyre heading your wayon foot!

CUT TO:


ALEXHunt do you read me?

(grits her teeth)B-Team to A-Team. Do you read me?

ALEX starts off along the quay-side. Alone.

She comes face to face with LAYTON and SHAZ! LAYTON drawsSHAZ to him and puts the gun to her head.


CONTINUED:74 74

(CONTINUED)


61/68

SHAZMaam? Im sorry for the trouble.

ALEXNo trouble Shaz.

(to LAYTON)

Hello again Arthur. Quite theMachiavellian arent you.

LAYTONIm in charge, if thats what you

mean.

ALEXSo what happened? When does it allgo wrong for you?

LAYTON

What?

She makes a point of not staring at him.

LAYTON (CONT'D)This is my show. You are not gonnafollow me or Ill kill her.

Driving beat. The sound of an engine approaching over water.Queen on the soundtrack -

BOUNCING OVER THE WATER COMES A GLEAMING WHITE SPEED-BOATPRINCE CHARLIE - GENE HUNT AT THE WHEEL. TOWER BRIDGEFRAMING HIM IN THE BACKGROUND - THE MONEY SHOT!

Queen - Flash! Ah Ahhhh! Saviour of the Universe!

CHRIS stands to one side and RAY takes a position at theother. All are packing heat. GENE slams the boat into neutraland pulls out his machine-gun.

Flash! Ah Ahhhh! King of the Impossible!

ALEXSTAY BACK!

GENE doesnt appear to be in the mood to take advice.

LAYTONTell them to go fishing or I willblow her head off! Im runningthis!

ALEXI have to reclaim my destinyLayton. Somehow ...

LAYTONWhat?!


CONTINUED:77 77

(CONTINUED)


62/68

ALEX raises her gun to LAYTON.

ALEXYoure under arrest for drug-trafficking, for abduction and forshooting me in the head!

SHAZPlease maam ... please ...

ALEX cocks her trigger. LAYTON cocks his, ramming the gunagainst SHAZS head.

SHAZ (CONT'D)Oh Jesus and Joseph!

LAYTONStop him staring at me!

GENE is blazing a stare from the boat.

ALEXIm stopping you. This is not yourshow, its mine.

LAYTONNobody stares at me ...

GENEDRAKE!

LAYTONHes STARING!!

ALEXIm facing up to you. Im strongenough.

LAYTONStop him staring ....

ALEXIm strong enough to wake up.

LAYTONNOBODY STARES AT ME!!

LAYTON pushes SHAZ away.

GENE opens fire. RAY and CHRIS follow suit.

THE TOW-PATH EXPLODES WITH BULLETS THAT PICK AT THE GROUND.

ALEX dives back and covers SHAZ with her own body. A bulletricochets into LAYTONS face. He grabs his bloody cheek and

falls to the ground.


CONTINUED: (2)77 77

(CONTINUED)


63/68

ALEX crawls to him. Cuffs him. LAYTON is dazed and bleedingbut relatively unhurt.

ALEXYou told me you had an empire goingback in the day. Well Arthur,

youve had your day.(looks about her)

Hes under arrest!

She looks to the sky. Nothing. ALEX sags - utterly drained.She realizes that LAYTON is staring at her with dark boilinghatred.

GENE, RAY and CHRIS jump get out of the boat. CHRIS catchessight of MARKHAM trying to leg it away from the river. CHRISgives chase.

CUT TO:

EXT. DEAD-END - DAY 3. 124877A 77A

MARKHAM reaches a dead-end. Turns. Defiant. CHRIS aims hispistol.

MARHAMDont make me laugh. There arechaps who can pull a trigger andchaps who cant ...

CHRIS fires. MARKHAMS espadrille explodes in a geyser ofblood.

MARKHAMYou shot my bloody toes off!

CUT TO:

EXT. THAMES - DAY 3. 130078 78

The drug GANG are bundled into Rover Squad cars, including alimping MARKHAM. OFFICERS clap and pat each other on theback.

CHRIS approaches SHAZ who has a blanket around her.

CHRISHow you doing?

SHAZIm okay. Yeah. You?

CHRISAll in a days work.

SHAZYeah. Chris?


CONTINUED: (3)77 77

(CONTINUED)


64/68

CHRISWhat?

She suddenly hugs him fit to bust.

RAY looks over and sees GENE and ALEX walking towards them.

Two cops - stride for stride. GENE has the machine-gun slungDirty Dozen style over his shoulder. ALEX lets her pistolhang casually at her side.

ALEXWhat was that? In the boat? withthe machine-gun? Was that you beingcool?

GENEPardonez bloody moi but I justsaved YOUR LIFE!!

ALEXYou may have stopped me gettingback. I had to face this alone!

GENEListen Bolly knickers, you were asecond from death just now. Its anasty, vicious, messed up world outthere lady. But if you listen to meyou just might get through it.

They have stopped to face each other. Nose to nose. Ego toego.

RAY, CHRIS and SHAZ watch them and they can all see it - thespark between GENE HUNT and ALEX DRAKE.

RAYOh no.

GENEHere goes; you were right. Okay?About Layton. You have a way ofknowing how folk tick. Psychiatry.

ALEXPsychology.

GENESame thing.

ALEXI had a plan. I wanted to go home.

GENEWell your presence is required a

little longer. By me.


CONTINUED:78 78

(CONTINUED)


65/68

He turns and walks through the throng. COPPERS and FELONSpart to let him through.

Queen Flash - Just a man, with a mans courage. Dont youknow hes nothing but a man, but he can never fail. No onebut the pure of heart can find the Holy Grail. Oh Oooohhh.

ALEX marches angrily towards the car. She pauses at SHAZstill wrapped in her blanket.

SHAZThought I was going to die maam.

ALEXYoure still here. So am I.

SHAZI .. I saw my life passing in front

of my eyes. They say that, dontthey. Before you die, you see allthe mistakes youve ever made. Inthat last moment, somewhere betweenlife and death.

ALEX is haunted by her words.

CUT TO:


TV on - Close Down Clock. National Anthem.

ALEX is drinking brandy and hunched by the Police radio unitwhich she has brought home with her. Home? Well, at least fornow.

She fine-tunes the receiver. Nothing but static.

ALEXIt worked for him, why cant it

work for me?

MOLLY (RADIO)

Go to sleep.

She lets go of the radio as thought its hot.

ALEX(hope)

Molly?

ALEX looks up - there is the ASHES CLOWN on her TV set,speaking with Mollys voice.

ASHES CLOWN (TV)

Youve just been shot. A secondago.


CONTINUED: (2)78 78

(MORE)

(CONTINUED)


66/68

Youre lying on the wet ground.Dont fight to wake up. Itll hurttoo much.

On TV - a birthday cake. MOLLY stares at the cake.

ASHES CLOWN (CONT'D)Youll never make it to her party.

ALEXOh Molly ... Im so sorry ....

ASHES CLOWN (TV)All those memories ...

On TV - the Ford escort explodes in a fire-ball.

ALEX

Mummy ... Dad ....

On TV - back to the ASHES CLOWN.

ASHES CLOWNBut it doesnt have to hurt.

She crawls towards the CLOWN. Towards the TV. As she does,the room around her begins to dim. Her breathing slows. Hereyes lose their lustre.

Then suddenly ALEX gets a grip of herself - she reaches outand pulls the plug. The TV dies. She grabs her newly acquireddictaphone and paces with angry determination.

ALEX(records)

My name is Alex Drake. Ive justbeen shot and that bullet has sent

me to 1981. I may be one secondaway from life ...

FLASH - MOLLYS smiling face.

ALEX (CONT'D)

Or one second away from death.

FLASH - the ASHES CLOWN.

CUT TO:


ALEX(records)

They say that as you die you seeyour life flash before you. All

those mistakes and regrets thatform us.

SMASH CUT:


CONTINUED:79 79ASHES CLOWN (TV) (CONT'D)


67/68

EXT. STREET - CAR BOMB - DAY (FLASHBACK)81 81

Once again - THE FORD ESCORT BLOWN TO SMITHEREENS.

CUT TO:


ALEX winces at the terrible memory.

ALEX(records)

Well bring them on. My life canflash away as much as it likes. Iam not going to die. Im going tocome back to you Molly.

She blows a kiss into the air.

Music wafting up from the trattoria below - John Lennon -Imagine.

Imagine theres no Heaven. Its easy if you try. No Hellbelow us. Above us only sky. Imagine all the people, livingfor today ...

MIX TO:


Imagine continues. ALEX comes downstairs.

RAY is chatting up a BIRD. Other CID drinking and eatingspaghetti. LUIGI (knackered) cups his chin in his palms.

We pick out CHRIS and SHAZ sharing a quiet drink. Finding thecourage to look into each others eyes.

Imagine theres no countries. It isnt hard to do. Nothingto kill or die for. And no religion too. Imagine all the

people, living life in peace ...

MIX TO:

INT. CITY STATION - CID - GENES OFFICE - NIGHT 3. 000484 84

GENE - a lonely figure under a solitary lamp. Gun, holster,tie, Kouros and ciggies splayed across the desk before him.He looks at the picture of Sam on his bulletin board. Thengrabs his jacket.

You may say Im a dreamer. But Im not the only one ...

MIX TO:


ALEX bows her head.


(CONTINUED)


68/68

A wine glass is plonked before her and filled to the verybrim.

I hope some day you will join us and the world will be asone ...

She raises her head. GENE carries the bottle to anothertable. Doesnt look back but she appreciates the gesture.

FADE OUT.

END CREDITS ROLL AS GLOWING GREEN LED GRAPHICS ON A COMPUTERSCREEN.

END ON A WINKING GREEN CURSOR.


CONTINUED:85 85

Documents

Ashes to Ashes 1x01