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Series One episodes: 1.01 | 1.02 | 1.03 | 1.04 | 1.05 | 1.06 | 1.07 | 1.08 |
Interior of SAM's flat. We see a rotary-dial phone on a table. SAM's left hand moves into shot, holding a torn piece of paper with the words "Hyde 2612" scribbled on it. SAM Look, I— I know this is the right number. It's Hyde 2612. SAM is sitting by the table on which he keeps his telephone. He clutches the piece of paper as he speaks. OPERATOR's VOICE I'm sorry, sir. There's still no answer. Frustrated, SAM slams down the receiver. We see an old-fashioned portable AM radio in the foreground. A male voice begins to speak — first lost in radio static, then becoming gradually more intelligible. It sounds exactly like radio personality Jimmy Savile. JIMMY SAVILE's VOICE ....How's about that, then? Wow! Well, the big news is that they've found the cause of Sam's prolonged coma. Ooh! SAM's hands are still resting on the receiver. He looks up warily, listening. JIMMY SAVILE's VOICE Now then, guys and gals, there's a tumour in the temporal lobe of Sam's brain. SAM walks over to the radio. JIMMY SAVILE's VOICE They thought it was a clot, but how's about that, a clot it is not. Wow! And it may be operable. Double wow! SAM kneels in front of the radio and stares at it intently. JIMMY SAVILE's VOICE Now then, as it happens, we hear today if Sam is strong enough for the operation. But if he is, our very good friends here at the hospital say they can cut out the tumour. SAM's expression becomes hopeful. He lifts his hands towards the radio. SAM Cut it out. CUT IT OUT! (drums his hands on the table in front of the radio for emphasis) Fix it for me, Jim! JIMMY SAVILE's VOICE And here she is with a request for the lad himself, the gorgeous Ruth Tyler. SAM Mum? The voice on the radio changes. It's RUTH TYLER, Sam's mother. As she starts to speak, Sam grasps the radio set, picks it up, and carries it into the middle of the room. RUTH's VOICE Sam. Sam. They need to be sure you're strong enough to go through with this operation. SAM I'm alive in here, Mum. I'm strong enough. RUTH's VOICE But the surgeon, Mr Morgan, says this is the best window of opportunity they have. SAM sits down on his chair, the radio still clasped in his hands. SAM Morgan. (wonderingly) Morgan? Frank Morgan? RUTH's VOICE Sam darling, I've never given up on you. I know that wherever you are, you're fighting to get back to us. (static) Don't stop fighting, Sam. (static) SAM strikes the radio set with the flat of his hand, then shakes it. SAM Mum! More static. Suddenly the telephone rings. The static from the radio continues. SAM stares at the phone, then snaps off the radio and puts it down. He picks up the receiver. SAM Hello? MORGAN's VOICE Sam. It's Frank Morgan. Are you alone? Yes? SAM Yeah, yeah, I'm alone. MORGAN's VOICE Sam, I know you know what you're doing, but we need to step up a gear. We need to end this. SAM And then I can... I can come home? MORGAN's VOICE Of course. (pause) We let him slip. Just when we had him in our sights. What's our next move? SAM is not sure how to answer. SAM Right. Um. Yeah... MORGAN's VOICE Sam, we're down to our last window of opportunity. The sooner we complete the operation... MORGAN has said the magic word. SAM Yes, yes. The operation. MORGAN's VOICE ...The sooner you can come home. It's time. You must destroy Gene Hunt and his whole rotten department. The phone disconnects with a click and begins beeping. SAM (to himself) I have to destroy Gene Hunt. And then I can come home. * * * * * OPENING CREDITS * * * * * The Cortina is careering wildly down a Manchester side street. GENE at the wheel again. SAM You're not above the law, you know, Gene. I should do you for speeding. GENE Oh, shut up, Dorothy. Front view of the Cortina as it speeds along. GENE is in the driver's seat as usual, with SAM gripping the handle on the passenger side. CHRIS and RAY are in the back seat. The car reaches the end of the street, but its progress is halted... GENE What the bloody hell! ...by a brass band on parade. GENE is aghast. SAM steals a look at him. In the back seat, CHRIS and RAY begin singing along to the music. The marchers double back and continue to block them. SAM is now smiling. GENE puts the car into reverse. GENE Sod this. GENE reverses the Cortina, then throws it into a left-hand turn. The car heads down a brick road that is criss-crossed with clotheslines on which laundry has been hung to dry. Two women with laundry baskets scatter for their lives as GENE drives through. GENE Get out of the way, you bitches! The women shout angrily after him. WOMAN Bastard! GENE Go on a diet, you lardy cow! In the back seat, CHRIS holds up a lacy black underwire brassiere. He pushes it towards SAM. RAY Boss? Is this your bra? Festooned with laundry, the Cortina finally makes it onto a main road and disappears from view. * * * * * The Cortina arrives at a disused-looking railroad yard. There are several uniformed policemen about. GENE and his men head for a gap between two rusty tank wagons. RAY Guv. RAY draws GENE's attention to the location of the corpse. The dead man (DANNY CROUCHER) is slumped against a brick wall, his chest spattered with blood. RAY Guv, it's Danny Croucher. GENE Oh, shit. SAM So, what, you knew him? CHRIS Yeah, he came to see us in the pub the other night. Was in a right old to-do. GENE Danny Croucher was a face worker at the Egerton colliery. Decent bloke, no previous. Got himself caught up in the planning of this wages heist. Knew he'd done wrong, came to us for help. RAY The plan is to hit the wages somewhere en route from the NUM bank to the colliery pay office. SAM So... miners are planning this? GENE The whole thing's being masterminded by career blaggers. Don't know who. Danny was hired through another miner, acting as a go-between. CHRIS And Danny was too scared to give us his name. SAM So if Danny Croucher was grassing up a professional blag... why didn't you offer him protection? GENE 'Cause I thought if we pushed him back out on the street, exposed-like, it might draw out our blaggers. There is an awkward silence. GENE Well, it almost worked, didn't it! SAM Oh, d'you hear that, Danny? It nearly worked! GENE I'm going to find his killer! Chris, Ray — find me somebody who knows something. RAY Yes, guv. GENE Listen, we may still have a blag on our hands. So we need to keep this quiet. So we can turn in a solid lead. SAM It's too late, it's over. (looks down at DANNY's body) You failed. This man came to you for help. GENE stares at the sky, face grim, and says nothing. SAM glances again at DANNY, shoots a dark look at GENE, and walks off. * * * * * Police headquarters. From the squad room, DCI MORGAN can be seen moving about GENE's office. GENE and SAM stride through the doors. GENE pauses in the doorway and sniffs. GENE Smells like a tart's boudoir in here. MORGAN comes towards them with a cardboard carton in his arms. He is soberly dressed in a dark suit, dark tie and white shirt. In fact he looks strikingly like an undertaker. MORGAN (affably) Just removing my clutter, Chief Inspector. GENE You'd rather look in the filing cabinet, that's where I keep all my severed heads. MORGAN I shan't detain you any further. GENE Well, wipe your feet on the way out. Some of us have got a job to be getting on with. GENE pushes past MORGAN. SAM steps forward. SAM D'you need a hand with that, sir.? Not waiting, SAM takes the box from MORGAN. The carton contains file boxes, some file folders; it's entirely paperwork. MORGAN Thank you very much. They exit GENE's office and move through the squad room. SAM Look. You said on the phone that this was our last window of opportunity to complete the operation. They leave the squad room and move down the corridor. SAM I just want to clarify a few things. Other members of the station are continually passing SAM and MORGAN, and ignoring them both. MORGAN Expose that foetid man as the criminally negligent copper he so obviously is. Is that clear enough? SAM Criminally negligent? That shouldn't be too hard. MORGAN glances behind them. A uniformed officer comes into view and then moves off. MORGAN exhales audibly. MORGAN This isn't the time or the place, but are you saying you have something for me? SAM glances behind himself in turn. No one is there. He hesitates, then speaks. SAM A man was murdered today. The guv'nor used him as bait, when he should've been protecting him. MORGAN Hunt does things his way, and people get hurt. Or killed. (pause) Document the handling of this enquiry. We need hard evidence, Sam. I want written reports and tape recordings of Hunt's methods. SAM (a little breathlessly) So that's what it takes to get me home... yeah? Des— destroy Gene Hunt? MORGAN He's out of control, Sam. Like a cancer. The sooner we cut him out... MORGAN is saying all the right things. SAM now knows where this is going. SAM ...The sooner I can leave. MORGAN nods, then moves forward to pluck the carton from SAM's arms. MORGAN If you're strong enough to go through with this operation. SAM I'll get the evidence you need. If that's what it takes. And then you can bring me home. MORGAN (whispering) Good. MORGAN gives SAM an unreadable look, then walks away. SAM heaves a sigh of relief. He looks through the vertical blinds at his colleagues in the squad room. SAM (voiceover) None of you are real... and Gene Hunt is a tumour in my head. Once it's removed... We see SAM watching from the other side of the glass, his eyes narrowed. The blinds are throwing horizontal bands across his face, like a mask. SAM (voiceover) ... You'll be gone. Nothing. SAM returns to the squad room. GENE is speaking to a witness. GENE Just so's we understand each other, sir, you'd better start finding me some face-parts. Now we know a vicious bastard's working with the miners on a wages blag, and he may well know you're in here talking to us. So this is in your own interest, okay? GENE looks across at SAM, who is wearing an expression of barely concealed disdain. GENE What?! SAM looks away. GENE Grab 'em by the balls, and their hearts and minds will surely follow. That is policing. CHRIS Hey, guv, look at this. CHRIS, grinning happily, holds up the composite sketch of a suspect. CHRIS It's Bruce Forsyth! The sketch does look amazingly like the host of "The Generation Game". SAM glances at it, then at GENE. SAM Our definitions of policing may vary marginally. GENE And yours is? SAM "Serve the public trust, protect the innocent, uphold the law." GENE Training college? SAM RoboCop. (pause) You can't uphold the law by breaking it. Chris indicates the witness sitting next to him. CHRIS Nah, it's a waste of time, this, guv. This joker hasn't seen a sausage. He knows nowt about the miners' blag. GENE Right, well, nick him then for wasting police time. WITNESS Eh? SAM So one man dies, and you threaten another, just because you haven't got a lead. You know, I find— SAM catches himself. He laughs incredulously. SAM Yeah. Unbelievable! Unbelievable! I'm doing it again. Trying to change you. What's the point? I tell you what, just forget I said anything. GENE Thank you. I will. Right! Let's start interrogating miners. Pull in Don Sykes, he's never far from trouble. SAM glowers. * * * * * Lost Property, in half-darkness. SAM walks through the shelves, looking for a place to hide his tape recorder. He sets it down, then halts abruptly as the lights flicker. An electronic beeping is heard: a heart monitor. WOMAN's VOICE He's ready for his pre-med now. Another woman's voice is heard. It is SAM's mother, RUTH TYLER. RUTH's VOICE Sam, you need to keep fighting. Stay strong for the operation. SAM I'm strong enough. Put me under the knife. (quietly) For God's sake, don't you let me down again. ANNIE enters the room, sees SAM, and smiles. ANNIE What are you doing in here? SAM Waiting. Uh... (gesturing at the file ANNIE is holding) Waiting for this, as it goes. SAM takes the file from ANNIE, looks at it for a moment, smiles at ANNIE, and seems to recollect himself. SAM Sorry. I'm... it's just I'm looking forward to getting this over with. ANNIE Why is that? SAM Annie. I have to go away. Soon. ANNIE For how long? Holiday? SAM shakes his head. SAM It's, uh... family and friends. But I— I was wondering, before I go... I'd like to spend more time with you. ANNIE is beginning to realise that this is serious. ANNIE Really, Sam. what's this all about? Where are you going? SAM Far away. Footfalls are heard, then GENE's VOICE. GENE Off you jolly well trot, love. Boys' Brigade meeting. ANNIE leaves as GENE and his men enter. GENE Take a seat, Mr Sykes. GENE pushes a middle-aged man (DONALD SYKES) onto a chair. SAM stealthily pushes the Record button on the concealed tape recorder. GENE We know you miners are working with pros on a wages blag. It's my guess that you're the bridge man, and I want a name. Who's the evil bastard behind this? RAY Our bet is that you hired Danny Croucher for this robbery. Danny got scared, he came to us. You told your boss, and your boss shot Danny in cold blood. SYKES I ain't talking. GENE Who shot Danny? Talk. SYKES is silent. GENE nods to RAY, who strikes SYKES in the mouth with a brutal right cross. SAM steals a look at the shelf to ensure that the tape recorder is recording. In the meantime, SYKES is panting. SYKES You can do what you like. I'm saying nowt. GENE Ray, get two sets of cuffs. Let's get creative. RAY grins. Abruptly, the camera reveals that he is cuffing SYKES's right hand to the chair arm. SAM Guv, you have just used unnecessary restraint on a suspect by handcuffing him to a chair. GENE What are you, the narrator? (to RAY) Hold him. RAY grasps SYKES's jaw. The man's mouth is already covered in blood. SAM For what it's worth, you're contravening several human rights laws. GENE And I've told you before, human rights are for human beings. (to SYKES) Who's running this blag? Give us the name. SYKES I don't know the main man. It's all done over the phone with his lads. I'm not a squealer. GENE Bing! Wrong answer. RAY pulls hard at SYKES's mouth with both hands. SYKES cries out in pain. GENE You, my friend, are three steps down the food chain from a maggot. SYKES continues to cry out and struggle. SAM, whose expression has been grim up to this point, is now visibly appalled. He winces, looks away, then back. GENE And I have no problem watching a maggot twisting about on a hook with its guts spilling out. SYKES (muffled) Don't, please! I'll tell you! I'll tell you— RAY pulls one hand away. SYKES speaks more intelligibly. SYKES I'll tell you, okay? I'll tell you his name. GENE There's a good maggot. * * * * * SAM is alone in his flat, transcribing the tape recording of SYKES's interrogation. The television is on in the background. SYKES's VOICE Leslie Johns. His name is Leslie Johns. RAY's VOICE The cop-killer? GENE's VOICE Right, Sykes, where do I find Leslie Johns? SYKES's VOICE I can't tell you, they'll kill me. (sound of a fist hitting flesh) Aaugh! GENE's VOICE If you don't tell me, I'll kill you. SAM snaps the machine off. Suddenly the lights brighten and dim. The television turns to snowy static. Then, abruptly, it begins beeping as the screen displays a cardiac readout: SAM's heartbeat. SAM watches the television anxiously as we hear a MAN's VOICE, presumably the surgeon. It sounds very much like DCI MORGAN. MAN's VOICE Scalpel. Ready for first incision. Here we go. That's it. SAM You're operating. It's begun. MAN's VOICE Let's hope he's strong enough. SAM I'm strong enough, Mr Morgan. You cut that cancer out. There is a knock on the door. The lights flicker and come back to full strength, and the beeping stops. ANNIE's VOICE Sam? SAM looks at the television. The cardiac display has vanished; it's back to static. SAM turns off the television and hesitates. ANNIE's VOICE Sam? SAM goes to the door and opens it. ANNIE is outside, smiling at him. ANNIE The guv was looking for you. Sykes won't stop talking. SAM The wonders of torture. ANNIE Anyway, he'll— he'll brief you tomorrow, so... SAM regards her. After a beat, he smiles back. SAM Do you want to come in? ANNIE nods and enters the room. ANNIE So you haven't started packing yet? For your "great escape"? SAM has shoved his hands into his trouser pockets, almost bashfully. He looks down, then gazes at ANNIE for a long moment. SAM Look, we both know... I've never belonged here. ANNIE I don't know... I thought it was all working out. I felt, for the first time, like... we were all part of a team. I'm amazed that you want to leave that. (pause) This. SAM shakes his head. SAM I told you before. I don't hate everything about this place. He puts his hand gently over ANNIE's heart. She looks down at it, then sighs very quietly. ANNIE Hasn't stopped yet. SAM It's amazing. ANNIE Well, I'm fond of it. She puts her hand over SAM's heart in turn. ANNIE Snap. SAM regards her intently. ANNIE Yours is racing! It's roaring! You should see a doctor. SAM smiles faintly at this. SAM That's a good idea. She takes her hand away. A beat. SAM Listen, Annie. Whatever time I have left here, I'd really like to spend it with you. ANNIE You don't have to go. SAM How can I stay here with you? (shaking his head) It's impossible. ANNIE stares incredulously at this, then shakes her head in turn. ANNIE God, you're like a riddle, you are. Just as I think I understand you... like a mist you move away from me again. SAM's hands are back in his pockets. He is abashed. ANNIE Why would you have to go? Just like that? (snaps her fingers) SAM I can't tell you. You wouldn't understand. ANNIE Try me. SAM stares at her. There are no words for what he wants to say. SAM Spend the night with me, Annie. Just once. No questions, no answers. Just you... and me. ANNIE One night. SAM I can't stay here forever. ANNIE I can't... stay... for one night. They both look down. ANNIE walks to the door and pauses to look back at SAM, who keeps his back towards her. Biting her lip, ANNIE leaves. At the sound of the door, SAM closes his eyes for a long moment SAM (whispering) Gone. SAM puts his hands over his face. Suddenly he strides to the door and throws it open. SAM Look, Annie, wait— To his horror, the TEST CARD GIRL is standing outside his door. TEST CARD GIRL Knock knock. SAM is on the floor, gasping in terror. SAM Jesus! He crawls backwards until he is up against the opposite wall. The TEST CARD GIRL glides towards him. SAM (babbling) This, this is it, isn't it, Morgan's operating, isn't he... TEST CARD GIRL Very serious. Very nasty. SAM (pleading) It has to be done— TEST CARD GIRL But i t's a very messy job, Sam. Are you strong enough? SAM's eyes are closed against this frightening vision. Suddenly there is an Unreality Flash and he sees a cascade of other images, too fast to comprehend. SAM hears one gunshot after another. ANNIE is running and shouting his name. The TEST CARD GIRL reappears. Then GENE is fleeing someone, falling in agony. Another gunshot. SAM stares in disbelief. A MASKED MAN holding a shotgun strides towards him menacingly. SAM (to himself) Stay strong. None of this is real. TEST CARD GIRL They can't feel pain, can they? None of this is real. SAM None of this is real — I'm coming home. Stay strong — none of this is real — I'm coming home— TEST CARD GIRL Not long now. SAM No — Stay strong. None of— He opens his eyes. The doorway is empty. SAM (faintly) None of this is real. SAM exhales, a single short breath, and looks about uncertainly. Then he sighs heavily, blows out his breath in a puff, and covers his face with his hands. * * * * * The squad room. GENE opens a file and refers to it as he speaks. GENE As of last night, this sting's gone into top gear. SAM is tense. He moves his forefinger over his mouth and looks up at GENE in a half-glower. GENE Now Don Sykes has kindly offered us the name of the Mister Big behind this robbery. Gene holds a mug-shot photograph out to SAM, who takes it. GENE Leslie Johns. Career blagger. One of Britain's most wanted. Specialises in high-risk jobs, lots of firepower involved. Racks up casualties, doesn't care. SAM surreptitiously moves the tape recorder across the desk so that it's closer to GENE. Concealing the recorder is an issue of "Just Jugs". GENE And to top it all off, he's a cop-killer. RAY Bastard. GENE So, we need to stop him before there's any more bodies. ANNIE, RAY and CHRIS regard a photograph of a dead man, presumably the cop who was killed by JOHNS. GENE Now. Leslie Johns has never met Don Sykes. So, I'm going to pose as Sykes and I'm going to meet him and find out the details of this wages robbery. Then, we place officers in key positions. That way we can nab him during the raid red-handed, and stop the vicious bastard killing again. SAM Can I remind you that this is a ruthless armed gang, led by a psychopathic cop-killer? He's dangerous. The team look at him, unimpressed. SAM (continuing) We need fully trained firearms officers. GENE I'll tool the lads up! SAM Without official sanction, this is illegal, guv. GENE Since when has catching evil scum become illegal? There is a murmur of assent from the team. SAM puts up his hands in defeat. SAM You're right. Your gaff, your rules. You nab Johns any way you see fit. GENE stands to leave, then catches sight of the magazine on top of the tape recorder. GENE This my copy of Just Jugs? SAM slams his hand onto the magazine just as GENE begins picking it up. SAM Yeah. GENE What are you doing with it? SAM There's an interview with Kingsley Amis... He rolls his eyes slightly, aware of how ridiculous this sounds. GENE stares at him. SAM ...That I really want to read. GENE Kingsley...! You know, the saddest thing is... I believe you. SAM smiles wanly. As GENE leaves, SAM slides the magazine over to expose the controls and switch off the tape recorder. He passes his hand over his face. * * * * * Exterior of brick building. GENE is undercover. He walks towards a man. It's one of the blaggers. SAM's VOICE Bloody hell, he looks like Andy Capp. CHRIS, RAY and SAM are watching from around a corner. CHRIS Undercover stakeouts and that. This is what I signed up for. SAM It's not the Famous Five, Chris. The blagger goes into the building. GENE, still outside, lights a cigarette. CHRIS Oh, don't spoil it, boss. RAY Wasting your breath, Chris. He's never stood shoulder to shoulder with us... and he never will. SAM doesn't respond to this. He watches as the blagger and another man, JOHNS, exit the building. JOHNS gives GENE a narrow look. RAY There he is. Leslie Johns. Let's just kick him to death now. He'll not be mourned. SAM Easy does it, Sergeant. GENE and JOHNS, beyond earshot, exchange some words. JOHNS enters the building. GENE flicks away his cigarette and follows him inside. RAY Guv's in like Flint. Looks like we're on. SAM indicates, with a jerk of the head, that they're done. The three cops move off. * * * * * We see a blackboard on which someone has sketched in chalk. It's a simple map of a train track, showing the colliery, a tunnel, signal lights, and a bridge. GENE's hand reaches down and moves a tiny model train along the "track". GENE Right, the plan is, the train carrying the wages will be stopped somewhere en route to the colliery. Johns and his gang of six, including meself, strike immediately. The wages are then transferred into Johns's van. He then takes a hostage, for security. It's what he does. RAY Soon as he thinks he's in the clear, he'll top 'em. GENE Remember, we're dealing with a psycho. Right, Ray and Sam, you'll take the place of the NUM security and ride with the wages. You up for a bit of play-acting, Raymundo? RAY Doddle, guv. It's not Hamlet. SAM That's good, because... Hamlet is a tragedy. RAY Trust you to know that. (under his breath) Poof. SAM slowly shakes his head. He goes back to taking notes. GENE Chris and Annie, you'll be on board as train staff. ANNIE and CHRIS exchange a look. GENE Sorry, Cartwright, but they'll be expecting a bird. ANNIE Are you sure this is the only way to nail him, guv? GENE Of course it is! I don't do this for me health, you know. (raises his voice) I know we're dealing with a cop-killer, but I have a responsibility to this city. And I will move heaven and earth to stop this man. Now, he doesn't play by any rules. Nor should we. SAM and GENE regard each other for several beats. Finally, SAM drops his gaze. His expression is unreadable. * * * * * SAM, carrying an umbrella, is walking up a lonely road in the rain. He is holding a manila envelope under his leather jacket. He gets into the passenger side of a four-door saloon car. In the driver's seat, DCI MORGAN is watching him expectantly. MORGAN What have you got? SAM He's planned an undercover sting to catch Leslie Johns. He's sending in regular DCs without firearms backup. MORGAN nods almost imperceptibly. SAM holds up a cassette tape, then a file folder. SAM A tape recording. A full written report. MORGAN Thank you. He puts the file folder in the back seat of the car. SAM There, I've done my bit. When can I go home? MORGAN Well, hang on. I need a credible officer to take the stand against Hunt. You'll have to bear witness. SAM Look, I have done everything I can from my end. Now it's up to you to complete this operation and get me home. MORGAN Well, that's only half of it, Sam. We're not only dismantling "A" Division, we're rebuilding it in our image. That was always the plan. SAM is exasperated and baffled. SAM What "plan"? MORGAN Metropolitan Accountability and Reconciliation Strategy. MORGAN shows SAM a file folder that bears the lettering: MORGAN (continuing) Taking on malpractice and corruption in the Force. We have to prove to the public that we're exorcising the cancer. SAM's head snaps up at this. SAM Yeah. Yeah yeah yeah. But we're not talking about boffing up a few local bobbies here, are we, Mr Morgan? There's a lot more at stake. SAM taps his forehead meaningfully. MORGAN smiles at him. SAM Hah? SAM taps his forehead again, then waves his hands for extra emphasis. SAM Yeah? MORGAN is now somewhat mystified. MORGAN Sorry, Sam, I don't think we're quite on the same sheet of paper. What exactly are you saying? SAM I know why you're really here. MORGAN gives a short, confused chuckle. MORGAN So why am I really here? SAM can't believe that he has to explain this. In the background, as he speaks the next words, we hear soft peals of thunder. SAM (speaking in slow, simple sentences) Okay. I'm in a coma. In the future. This is not real. You are the surgeon who is going to bring me home. Now that I've given you the power to destroy Gene Hunt. Who is the cancer that is holding me here in this ... place. MORGAN's smile has vanished. He looks away, as if thinking how to respond. Then he looks back at SAM. MORGAN's expression is now speculative. MORGAN You're in a coma, in the future? SAM grins. At last MORGAN is acknowledging what's really going on. SAM It's a good one, isn't it. MORGAN is smiling again. MORGAN Well, this explains a lot. It must be the crash. SAM Crash? MORGAN (explaining) You had an accident on... on the way to "A" Division all those months ago? MORGAN sees that SAM doesn't know what he's talking about. MORGAN I did think about aborting the operation at the time, but all the indications were that you were coping, you'd successfully gone undercover. (looking quizzically at SAM again) Do you remember your original brief? SAM looks blankly at him. MORGAN Do you remember your real life back in Hyde? Now SAM is frowning and shaking his head. This conversation is making no sense whatsoever. SAM Of course not. Because this is not real! MORGAN sighs. MORGAN You have amnesia, Sam. SAM (smiling patiently) I'm in a coma... Frank. MORGAN You hear voices? You hear doctors and nurses telling you to come home soon? SAM's smile has vanished. Another loud peal of thunder echoes. MORGAN (continuing) Look, this is the real world, Sam. But this has happened to you before. * * * * * MORGAN and SAM are walking side by side through a graveyard. It's Victorian-era onward, from the look of it. The clouds above them are dark. SAM Where are we going? MORGAN I'm afraid this isn't going to be very pleasant, Sam. Your parents died in a coach crash. SAM stares at him. SAM No, they didn't. MORGAN You were twelve. Remember what happened? You closed down. Week in, week out. Sitting bolt upright on your hospital bed. Silent, still. They said it was like a waking coma. SAM No, I... I don't... MORGAN And then you came back. Stronger. SAM Wait, wait, wait. I don't know where you've got this from, but this is total bullshit. MORGAN Sam, you told me about what happened to you when you were a child. We shared all of this during your appraisal. SAM Look, look. I was involved in a coach crash, when I was twelve. Yeah, I broke my arm. But nobody else was hurt. And yes, I did spend a little bit of time in hospital, but... MORGAN nods towards something in front of them, indicating that SAM should look. As SAM glances across, MORGAN's hand comes up to rest on SAM's shoulder. They are both looking at the following headstone: SAM What? Who are these people? SAM looks at the names again, uncomprehending. MORGAN They're your parents. MORGAN is deadly serious. SAM The last time I looked, my name was Tyler. MORGAN Sam, you must remember. You are DCI Sam Williams of "C" Division, Hyde. SAM (angrily) My name is Tyler! Now I've had enough of this shit! This is a dream, and I have done what I need to do to wake up! He takes one last, disbelieving look at the headstone again, then stares at MORGAN. SAM walks off — and then, as we hear a peal of thunder, his eyes catch sight of two more gravestones. As he reads them, SAM's face is bewildered: MORGAN This is where we created your fake life for the undercover operation. SAM (shaking his head) I met ...Vic Tyler. MORGAN Really? Where is he? SAM (hollowly) He's gone away. MORGAN And your mum? Ruth? SAM looks again at the "Ruth Tyler" headstone. SAM I don't know. No— No, wait, she— she spoke to me. I heard her on, on, on— on my radio... He is beginning to realise the implications of this. MORGAN She's in your head, Sam. You've lost your memory, and replaced it with your undercover identity. SAM No. No. You — you're in my head. MORGAN sighs. This isn't going well. SAM (continuing) Because I'm being saved by some brilliant surgeon in the future somewhere. MORGAN Sam. You have an amazing mind, but it's damaged. Look at their graves. SAM looks at them again: "Ruth Tyler" and "Vic Tyler". MORGAN They don't exist. It's all in your head. SAM is done with arguing. He shakes his head and walks away from MORGAN. Then he sees one last gravestone, and is instantly transfixed: MORGAN (very quietly) Sam. Sam? It's 1973. SAM shakes his head. SAM No, this is— uh— this can't be. This is not— this is not real. No... no. He walks away, then breaks into a run. MORGAN Sam, wait! (shouting after him) Don't ruin the operation now! * * * * * The deserted squad room... and we have the first of several Dutch tilts, indicating SAM's disorientation. He runs toward a file cabinet and yanks open a drawer labelled "STAFF FORMS". Opening another drawer, SAM finds a file marked "TYLER" and pulls it out. Its contents spill on the ground and SAM fumbles through them in a panic, searching frantically. He finds a single A4 sheet and holds it up. We hear the sound of a heartbeat. MORGAN Sam. SAM brings his hand down from his face, but otherwise does not respond. His face contorts. MORGAN I'm so impressed, Sam. With everything that's happened ... you've done your job, you've held it together, you've earned their respect. Once we're done with all this, we take control of "A" Division, police it progressively. You'll be working right alongside me. SAM closes his eyes. MORGAN That's what you've always wanted. SAM breathes out — a small, anguished puff of air — in response. It's almost a laugh. SAM What I've ... always wanted... MORGAN (reminding him) Running the city the right way. SAM looks down. A tear has collected on the end of his nose. He breathes in — it's a half-sob — then wipes at his face. SAM If this is real... then Gene has a life. What's going to happen to him? MORGAN He'll be pensioned off. SAM's eyes close in pain. He shakes his head. Then he stands and faces MORGAN. SAM It'll kill him. MORGAN looks at him warily, but says nothing. SAM There must be thousands of officers like Gene Hunt out there, why, why— MORGAN interrupts. His tone is calm, logical. MORGAN We only need make an example of one. SAM But he gets results. You can't deny that. MORGAN Oh, he's impressive... in his way. And so were the dinosaurs. Hang in there, Sam, I need you. SAM is shaking his head. MORGAN steps closer to him, and speaks into SAM's right ear, almost whispering. MORGAN And you can still have what you want. You can still come home. But "C" Division in Hyde is not the home SAM wants. He looks bleakly at MORGAN. MORGAN (continuing) To people who appreciate you. SAM turns away, his hand back on his mouth as if to hold back his pain. He leans against the file cabinet. Another Dutch tilt. SAM's world is in pieces now. SAM I need more time. I can't think—! SAM's face contorts again as he fights back tears. MORGAN steps closer again. MORGAN You can't uphold the law by breaking it. It's what you've always said. (urgently) Gene Hunt is breaking the law. He's a man building his own gallows. All we're doing is... handing him the wood. SAM We can't let him put those officers in danger. MORGAN reaches into his coat pocket and pulls out a black mobile radio. MORGAN (handing it to SAM) Here.The latest thing. It's a mobile radio. I'm on channel four. You just say the word, and we can be there with full armed backup to get your officers out safely. SAM has turned to face MORGAN. SAM (tearfully) And then? MORGAN And then we arrest DCI Hunt for gross professional negligence and corruption. SAM takes this in. His expression is defeated. MORGAN (whispering) Good luck, Sam. You're almost done. SAM meets his eyes, not speaking. MORGAN walks out. The camera Dutch-tilts crazily in the opposite direction. SAM glances at the radio, then at MORGAN's departing back, then out at nothing. His face is filled with grief. * * * * * SAM enters the Railway Arms. We see him looking over at GENE and his team: ANNIE, RAY and CHRIS. GENE (to his team) Right, now this is serious, okay? We're going to be crossing a line here. But whatever happens, I want you to know I'm going to be right in there with you. We're going to stop this bastard from killing more innocent people. SAM walks towards the team. He is still a few feet away from them. It feels like a thousand miles. RAY (raising his glass) To the guv! ANNIE and CHRIS To the guv! GENE Good luck. GENE looks squarely across at SAM and raises his whisky glass. Behind SAM, NELSON is watching all of this closely. SAM hesitates, then chimes in. SAM To the guv. GENE smiles slightly and moves out of shot. NELSON leans across the bar and speaks to SAM's back. NELSON I see a darkness in you, Sam. SAM glances at his happy colleagues, then looks narrowly at NELSON. He is becoming angry. SAM Oh, you can see into me, can you, Nelson? NELSON returns SAM's gaze levelly. He is not impressed. SAM Well, come on, then. Am I mad? Huh? Is this real? Come on! I just want to know the truth. Now amused, NELSON smiles. NELSON We all want that, Sam. What's real, what's not. I see folk who walk about in a sunken dream 'cause they feel nothing. Are they alive? SAM (heatedly) I wake up every morning and I tell myself, "I am alive." NELSON When you can feel, then you're alive. When you don't feel... you're not. SAM is not best pleased by this response. Grimly, he finishes the whisky in his glass. He looks across at GENE and the team, then back at NELSON. Then SAM walks quickly out of the pub. * * * * * SAM is back at his desk in the squad room. He is fiddling with a transistor radio, trying to bring in the reception. All he gets is static. SAM (to the radio — and to the world of 2006) One word. That's all I'm after. Tell me... I'm imagining all of this. Tell me I'm not imagining all of you. Through the static, we can make out a few unremarkable words from the shipping forecast. ANNIE comes through the door, spots SAM, and comes over to his desk. ANNIE It's only just gone six. I didn't know you like the shipping forecast. SAM turns off the radio and stares at it. ANNIE Anyway. How come you left the pub so quickly last night? Suddenly SAM looks terribly vulnerable. SAM Will you— will you— He stands, moving toward ANNIE. SAM Will you just— hold me. Please. ANNIE puts her arms around him. SAM clutches at her desperately, as if he were a drowning man and ANNIE his only lifeline. SAM (closing his eyes) This must be what it feels like to be mad. ANNIE (alarmed) Tell me what's hurting you. SAM I can't. ANNIE You're going to leave us, aren't you? SAM pulls back so that he can look at ANNIE's face. A beat. SAM I was always going to leave you. He drops his arms and steps away from her. SAM I mean...We both wondered why I'd never fitted in around here. Well, it turns out— SAM is half-smiling at the strangeness of what he is saying.
ANNIE's face is at first disbelieving, then upset. ANNIE What? SAM You've got to believe me. I didn't know I was betraying you. (a beat) Now I'm so confused. I feel like I felt the first day I walked in here. RAY's VOICE Boss? SAM turns to find that CHRIS and RAY are standing behind him. They are both grinning broadly. CHRIS Not disturbing you two, are we? Eh? SAM This sting... is madness. I'm stopping it. We shouldn't be going in there like this. I don't want anybody to get hurt. CHRIS Too late. Guv went to see Johns last night. He's undercover now. SAM Last night? That wasn't part of the plan! CHRIS Got itchy feet, I suppose. SAM (turning to ANNIE) You see? This is just the type of thing that we're trying to stop. CHRIS Who's trying to stop? SAM looks at ANNIE, deliberating, and she nods slightly towards RAY and CHRIS. SAM I'm, er... I'm working in conjunction with... "C" Division in Hyde. CHRIS What? SAM I'm undercover. Here. RAY You've been spying on us? All along? SAM is completely lost for words. SAM No, no, I... I didn't, I— I— RAY All this time. I knew it. I bloody knew it! SAM I'm trying to save your lives here. I am not your enemy! RAY Cut the crap! You've been our enemy since day one. SAM (hushed) This is not easy for me, you know. CHRIS I looked up to you, Sam. I always tried to take on board the things you said. SAM winces at this. SAM Chris— CHRIS And all this time you've been laughing at us behind our backs with your fancy Hyde mates. SAM No. No. No. N-no. Th— this... I don't know which way is up any more, you know? I can't explain this. RAY You don't have to. We get it. Well, you can't stop the guv's plans. He's undercover now, risking his life for this city again! (off SAM's stare) Leslie Johns will be expecting two guards on that train, so you'll have to be there. But I'll tell you this: if the guv goes down... we all go down. Chris. RAY strides off. CHRIS gives SAM a chilling look, then follows, angrily slamming a phone to the floor as he goes. SAM watches them leave, then turns to ANNIE. She crosses her arms, not looking at him. SAM Annie... ANNIE (unsteadily) That's why you're going away, isn't it. (takes a deep breath) I bet some days you can hardly face yourself in the mirror. All your doubts and worries... (half laughing, half crying) And to think I actually felt sorry for you! ANNIE's hand is over her mouth, her breathing ragged. Then, with a sob, she slaps SAM across the face as hard as she can. ANNIE It hurts, doesn't it! That's because it's real! ANNIE leaves in tears. SAM rubs his face slowly. He is now expressionless. He leans over his desk, placing his weight on his hands. * * * * * A train platform. A sign reads "FAIRFIELD ST. DEPOT". RAY and SAM are in brown boiler suits. SAM carries a clipboard. SAM Here we go. No histrionics. Remember, the less we say, the less change we have of getting caught out. RAY (bitterly) Tricks of the trade? A SECURITY CLERK comes up to them, accompanied by two porters with trolleys. He is perhaps a supervisor, since he's wearing a tie under his overalls. SAM All right, mate? Transferring wages to the colliery. He hands the clipboard to the SECURITY CLERK, who looks suspicious. SECURITY CLERK I don't know you two. Where's your D7? SAM taps the clipboard without speaking. The SECURITY CLERK signs the form, then hands the clipboard back to SAM. As this happens, we hear a train pulling into the station. SECURITY CLERK Load up. SAM Ta. SAM puts the clipboard and a cricket bat onto one of the porters' trolleys. All five men head for the front of the train. CHRIS is in blue conductor's garb, and he swings the door of the train open. ANNIE is inside. She exits and stands next to the train. She stares at SAM. SAM Do you want a hand with that? CHRIS No, I can manage, thanks. CHRIS's expression is unfriendly. So is ANNIE's. CHRIS sets down a ramp as SAM and RAY come forward with their trolleys. ANNIE Right, load 'em up. Get on with it, chop chop! CHRIS Yeah, come on. Chop chop! SAM and RAY roll the trolleys onto the train, moving them into a secure, caged section. CHRIS and ANNIE follow them on board. A whistle blows twice. A linesman waves a flag to signal to the driver that the train can depart. Inside the train, SAM addresses RAY. SAM Good work. RAY Shut up. RAY leaves the "cage". SAM crosses his arms. He looks over at his colleagues. No one speaks. * * * * * Exterior shot of train leaving the station. * * * * * Interior shot of train. SAM is leaning against a window and looking out. He glances at RAY. SAM Make sure we secure Johns before he has a chance to take one of you hostage, okay? Silence. CHRIS and ANNIE are avoiding SAM's gaze. RAY is looking at him sourly. SAM Okay? RAY The guv says we don't nick 'em until they get their hands on a substantial load of cash. SAM And how are we supposed to know when that is? RAY We wait for the nod. (a beat) He's in charge here. SAM I didn't start this. It was Hunt. Now, if anything goes wrong... SAM takes MORGAN's mobile radio from his pocket. SAM (continuing) ...I can radio in for armed backup. RAY And your Hyde mates will ride in on their big white chargers, will they? The others smirk. Then they hear brakes squealing. SAM pulls the door window down and puts his head out to look. The train is slowing down as it approaches a tunnel. SAM They've thrown the signal. This is it. Now, just be careful, okay? From the interior of the train, we see four GUNMEN approach the door. Their faces are hidden by balaclavas and they are all pointing shotguns toward SAM and his team. ANNIE What's going on? The FIRST GUNMAN fires a warning shot. ANNIE screams. FIRST GUNMAN This is a robbery! Open the door! ANNIE opens the door. ANNIE Please, don't hurt us. ANNIE backs away as they enter. She is truly frightened. FIRST GUNMAN Don't give us cause to. (to his men) Right, Sykes, get up there. Start the chain. The SECOND GUNMAN enters the train. It is GENE, undercover as "SYKES". He gestures at SAM and his team with his gun. GENE (as gunman) Right, play pass the parcel. Move it! The FIRST GUNMAN moves past them and goes towards the front of the train. FIRST GUNMAN Put your backs into it, now! GENE (as gunman) Move it! FIRST GUNMAN's VOICE (offscreen) Faster! Come on! SAM and the others hurriedly hand down the metal boxes containing the wages. Two of the GUNMEN take the boxes from the train. GENE (as gunman) Let's keep it calm. Lovely. They keep unloading the boxes. GENE (quietly, as himself) Keep calm and wait for my signal. SAM meets GENE's eyes for a moment. Then he hurries to the door to hand the THIRD GUNMAN another box. Suddenly we hear loud static. SAM fumbles at his pocket in a frantic effort to mute what we now realise is the mobile radio. The static continues. It's loud enough to be heard by the gunmen outside the train. ANNIE and CHRIS exchange panicked looks. GENE glances over at SAM, startled. THIRD GUNMAN What's that? The mobile radio slips from SAM's grasp and falls with a thud onto the floor of the train. As this happens, the static resolves into a man's voice. It sounds like MORGAN. RADIO VOICE ...Four, come in... THIRD GUNMAN It's a police radio! Shocked, SAM looks back at GENE. The GUNMEN instantly realise what is going on. THIRD GUNMAN Bloody Sykes! You bastard! GENE Take cover! THIRD GUNMAN It's a stitch-up! SAM quickly kicks the ladder away from the train door and slams the door shut. Gunshots are fired. We now see events only from the point of view of the CID team inside the train car. ANNIE kneels and pulls a chain into the car. SAM now has the mobile radio in his hands and is trying to work it. GENE has taken off his balaclava. GENE Where the hell did that radio come from! A gun blast hits inside the car, sending a shower of sparks down onto SAM. He winces and ducks. We hear ANNIE scream. GENE flinches. There is complete pandemonium. SAM (shouting into the radio) Morgan! GENE Morgan?! Another gunshot, more sparks. ANNIE screams. SAM tries again. SAM Morgan! GENE What's going on? RAY He's stitched us up, guv! He's working for them at Hyde. They're trying to bring you down, bring us all down! A window is shot out. GENE ducks to avoid a spray of broken glass. GENE Shit! SAM Morgan, get us out of here! There is no answering voice on the mobile radio. The gunshots continue. The FIRST GUNMAN shoots at them from a forward carriage. GENE Sam! Tell me this isn't true. Gunshots are hammering into the side of the train. The situation is desperate. SAM shouts over to GENE. SAM You can call me a traitor if you want, guv, but I'm the one who can get us out of the shit that you dropped us in. ANNIE is cowering beside SAM, who now screams into the radio. SAM MORGAN!! GENE Well, it looks like lover boy isn't coming. CHRIS, on the other side of the "cage", is whimpering quietly in terror. GENE (continuing) It won't be enough for him! He wants to kill us! ...Sod this! GENE fires out the window. CHRIS whimpers more loudly. He holds his revolver helplessly in his hands. CHRIS Oh God — please — just make them stop. ANNIE (shouting across the car at him) Chris, it'll be all right! SAM We're like sitting ducks here! Another gunshot. ANNIE and SAM cringe against each other. Off camera, CHRIS is sobbing. SAM They're going to keep firing until there's no train left! RAY It's all your fault, you Judas! Do something! RAY fires his revolver out the window. SAM looks at ANNIE, who is cowering beside him. He's finally had enough. He stands. SAM Okay, I will. Sam moves towards a secondary door. GENE shouts at him. GENE Where the hell are you going? SAM We need backup, and I'm going to go and get it. RAY You're just trying to save your own skin! ANNIE looks up pleadingly at SAM. ANNIE Sam! ANNIE's voice is pitched high with fright. She grasps SAM's arm. SAM I promise you I won't leave you. ANNIE stares up at SAM. GENE Let him go, then. We'll cover you. * * * * * Exterior of train. The far side of the train is in semi-darkness. SAM slips outside, his revolver at the ready. He runs the length of the train, unseen by the GUNMEN, and runs into a tunnel marked with the number "41". SAM Morgan! MORGAN! * * * * * Interior of tunnel. We see SAM as a small figure silhouetted against the tunnel's mouth. He makes his way further into the darkness. The gunfire from the train is very loud. SAM steps over the tracks and walks into the blackness... then looks up, startled, to see DCI MORGAN suddenly standing in front of him. SAM Morgan! Thank God. I've been trying to get you on the radio. MORGAN Come on! Let's get you out of here. SAM What? Where's the backup? MORGAN There is no backup, Sam. SAM What do you mean, there's no backup? MORGAN Use your head. What better way to ruin Hunt forever? He's responsible for a botched illegal sting, and put his officers in mortal danger. SAM is utterly shocked. He looks back at the mouth of the tunnel. Gunshots and shouting are still audible from the train. SAM And you would let them die to prove a point? He looks at the train, then back at MORGAN. SAM is now frantic, horrified, tearful. SAM Because they are going to be killed in there! MORGAN He put his men on the line. SAM With himself at the front! More gunshots. SAM looks out at the train again, then back at MORGAN. SAM We can't leave them in there! They're trapped in there! MORGAN Somebody will hear the shooting and raise the alarm, eventually. (off SAM's look of despair) You've done your job, Sam! And you've done it brilliantly. You were strong... SAM looks at him in horror. MORGAN (continuing) I knew you would be. Come on. Hyde is waiting. SAM is panting with emotion. He shakes his head. Then he spins as he hears a loud gunshot and an answering scream from ANNIE. SAM points his gun towards the tunnel entrance. More gunshots. CHRIS No! I've had enough! I don't want to be a policeman any more! Don't shoot! A GUNMAN takes aim. There is a loud report. CHRIS falls, clutching his right shoulder. There is a flash of white light. CHRIS lies motionless on the ground. Another white flash. ANNIE's VOICE Chris! Suddenly ANNIE is kneeling next to CHRIS, trying to roll him over. A white flash. She lifts CHRIS in her arms and tries to pull him towards the tunnel. SAM is frozen inside the tunnel, pointing his revolver, not shooting. He turns back towards MORGAN. SAM No— But MORGAN is not there. SAM We've got to help them! — Morgan! More gunfire. SAM clutches uselessly at the mobile radio. SAM Morgan! RAY's VOICE Come on, you bastards! Come on! Bastards! SAM is still frozen at the tunnel's entrance. He sees RAY shoot at the GUNMAN on the embankment above him. The GUNMAN takes careful aim. There is a loud report and we see smoke coming from his gun. RAY recoils as he is hit, flung backward against the train. A white flash. ANNIE screams. Behind RAY, GENE takes aim and fires at the GUNMAN. We see the GUNMAN fall. MORGAN's VOICE (quietly) You've done it, Sam. There is the sound of a heartbeat. MORGAN's VOICE It's over. SAM looks back. He sees GENE and the others limping towards him as a GUNMAN pursues them, shotgun in hand. GENE Tyler! SAM hesitates, haloed against the light. He is torn. The GUNMAN blasts at GENE, who clutches at his leg and nearly falls. A white flash. ANNIE's VOICE Sam! Help us! Another gun blast. This time GENE falls and does not get up. A white flash. MORGAN's VOICE One simple move and you're home. SAM (shouting into the light) Home? You mean— SAM turns toward the tunnel entrance as he hears, indistinctly, GENE's shouting and then ANNIE's voice screaming at him. ANNIE's VOICE Sam! GENE's VOICE Give us backup, Tyler! ANNIE appears at the tunnel entrance. ANNIE Help us! SAM hesitates again. He is desperately confused. MORGAN's VOICE (whispering) Come back to us. GENE's VOICE Tyler! SAM gazes upwards at the light. He is in distress. There is a white flash. He winces, then squints. Another white flash. Everything fades to pure white. We hear a WOMAN's VOICE — presumably that of his mother. WOMAN's VOICE Sam darling. Come back to us. Sam. Please come back. Her words in 2006 overlaps with ANNIE's in 1973: ANNIE's VOICE Sam! Please come back! * * * * * From the whiteness, SAM's face slowly appears. He is lying in a hospital bed, an oxygen tube in his nostrils. His eyes are shut and he looks peaceful. A heart monitor briefly beeps in the background. We see SAM's eyes open slowly. There is a quick succession of white flashes,. then a blurred shot of a hospital ceiling. More white flashes. SAM's eyes are still half closed, his eyelids trembling. A white flash. SAM's eyes open all the way: they are hazel-green. We see a blurry image of MORGAN standing above him. A white flash. SAM's eye, more alert now. White flashes. MORGAN is still blurry but appears to be smiling at someone to his left. SAM's gaze moves to see who this is; it's a blurry white-haired figure that we later recognize as his mother, RUTH TYLER. She holds her hand over her mouth. We see white flashes, then hear the sound of a metallic screech. Someone else's hands are gripping the metal sides of SAM's hospital bed. SAM looks up to see that it is MORGAN. A white flash. Now SAM's eyes are closed again. MORGAN's VOICE Sam. SAM's eyes open slowly. MORGAN's face is less blurry now as it leans towards him. There's the sound of a heart monitor beeping steadily. MORGAN I'm Frank Morgan. More white flashes. SAM looks groggily at MORGAN. A white flash. SAM looks at the ceiling. MORGAN I'm your surgeon. I've managed to relieve the swelling which is... (he pauses, looking pleased with himself) ...it's why you've woken up. We now see the hospital bed on which SAM is lying. SAM is wearing a short-sleeved hospital gown. His mother, RUTH TYLER, is standing at SAM's right, silently looking down at him. MORGAN is at SAM's left. In the background, a hospital employee appears to be monitoring readouts on some medical equipment. MORGAN I'm afraid that the tumour was too deeply embedded to be removed. It is, however, totally benign. SAM's eyes close drowsily. MORGAN's VOICE It's amazing that I got you back at all. MORGAN's face is in shot again. MORGAN Quite an achievement. MORGAN leaves SAM's bedside. We hear the heart monitor beeping. SAM moves his head towards MORGAN, who pauses and turns back towards him. MORGAN meets SAM's gaze and holds it for several beats, then smiles strangely * * * * * Through a corridor window, we see SAM standing in what is now clearly a fully private hospital room. He is alone. SAM puts on his suit jacket, then adjusts his cuffs. He leaves the room and pauses outside the door. We see the sign on SAM's room: HYDE WARD 2612. He takes a deep breath, straightens the knot on his tie, looks up and down the hall. SAM's expression is bleak. He walks down the hall. * * * * * SAM is standing outside on the street. It's sunny and the trees are lush; it's a beautiful day. A siren wails distantly. The camera pulls back and we see that he's standing on a bridge overlooking a panorama of contemporary Manchester. The cityscape is startlingly futuristic in contrast to 1973. SAM leans his elbows on the railing and looks out as a throng of pedestrians passes behind him, oblivious. * * * * * Exterior of police station. SAM walks past a modern panda car brightly painted in silver, blue and yellow. There are no bobbies on bicycles. Distantly, a car alarm whoops. SAM walks up the stairs towards the police station. He becomes smaller and smaller as he disappears into the distance. SAM's VOICE My name is Sam Tyler. * * * * * Interior of police station. SAM is speaking into a hand-held miniature tape recorder. He is looking out a window: a black silhouette against a panorama of office buildings. SAM I had an accident and I woke up in 1973. * * * * * We see water falling and realise that it's a fountain, possibly close to the police station, possibly not. SAM is sitting on a bench, looking very alone, as people walk past him on the street. SAM's VOICE I had no idea if I was mad... A different camera angle. SAM is staring out. It's not clear if he sees the people walking by. Most of them seem to be talking on mobile phones. SAM's VOICE ...or if I was in a coma, or... if I'd gone back in time. * * * * * SAM is silhouetted against the station window again, still speaking into his tape recorder. SAM It was like I'd woken up on a different planet. * * * * * We see Sam outside again, walking past a fountain, his hands in his pockets. SAM's VOICE But I knew that if I could find out the reason... that I could get home. * * * * * SAM is silhouetted against the station window again, still speaking into his tape recorder. SAM DI Sam Ty— SAM checks himself. He lowers the tape recorder. A long pause. Then SAM raises it again. SAM DCI Sam Tyler, Greater Manchester Police. SAM clicks off the recorder and looks at it for a moment. He pops the tape out. A woman, OFFICER 1, comes up behind him. They are both in silhouette. We see a wide-screen television at left, showing a weather report. OFFICER 1 You wanted me to deliver something to Psych Evaluation Division? SAM Yeah, thanks, um... SAM puts the tape in an envelope. He is still looking out the window. OFFICER 1 You okay? SAM Yeah. Yeah. There's this officer, she's, uh, collecting— (sighs) Collecting stuff from colleagues who've... who've suffered— trauma. (turns to look at OFFICER 1) You know. Anyway, it's good to talk about it, actually. SAM hands the envelope to OFFICER 1. SAM Thanks. OFFICER 1 leaves. * * * * * We now see SAM from the exterior of the building as he looks out the window. He turns back towards the room, and we realise that he's no longer in the police station, but in RUTH TYLER's living room. SAM smiles and sits down on the sofa next to RUTH, then looks at his mother intently. SAM I went someplace, Mum. RUTH looks at him, listening. She is a kind-looking woman in her early sixties. As SAM speaks, her expression is one of mild incomprehension. SAM And every day, I woke up in that place, and I told myself, "I'm alive." We briefly see RUTH and SAM through what look like bars, but are probably the railings of an upper landing. SAM And I was. In some ways, more than I've ever been. SAM gives a short out-breath, almost a laugh. He looks away. SAM You know, a... a barman... SAM laughs outright at this, looks down. SAM A barman once told me that you know when you're alive. Because you can feel. A beat. The animation in his face drains away. SAM And you know when you're not. Because you can't feel anything. His expression becomes earnest. SAM I made a promise, Mum. I made a promise to someone who I care about very much. RUTH smiles in response to this. She thinks she knows what SAM is asking for. RUTH Then they've got nothing to worry about. 'Cause you always keep your promises. SAM meets her eyes for a split-second, then looks down. * * * * * Interior of a boardroom at the police station. It's all very modern and impressive. There is a meeting and everyone there seems intently interested — except for SAM, whose chair is pushed back from the table. He's slouching. A male officer, OFFICER 2, is speaking to the group. OFFICER 2 The question is, whether we have real grounds to move for a statute on 48-hour turnaround... SAM is clenching a pen in his right hand. He's got the thousand-mile stare going on. He doesn't seem to be listening. OFFICER 2 ...In violent cases. Unless you can isolate psychotic tendency and have that verified... OFFICER 2's VOICE dissolves into an echo and begins to fade. The camera holds close on SAM's distant expression. He clicks his pen once. Twice. Three times. OFFICER 2 ...What do you feel, Sam? SAM clicks his pen. Then, slowly, he looks across at OFFICER 2. There is no change in his expression. OFFICER 2 Sam? SAM's eyebrows go up. It's obvious he wasn't listening. SAM Sorry. OFFICER 2 Is it unethical to move for 48-hour custodial without formal charge... SAM rests his chin on his hand, then rubs his face as though he's having trouble staying awake. Then he puts his hand over his mouth. OFFICER 2 ...In violent cases that may require detailed psychoanalysis? SAM pulls his hand down from his face. He opens his mouth, then pauses as he takes in the people around the table. There is dead silence. The other officers are regarding him intently, but with a strange lack of animation. SAM Um... OFFICER 2 Sam. Look at your hand. SAM looks down at his left hand, which is tightly gripping a metal object of some kind, perhaps the spine of a clip binder. The sharp end has cut his thumb open. It's bleeding. SAM drops the metal piece and looks at the blood. SAM (in a low voice) I can't feel it. OFFICER 2 What? Faintly, in the background, we hear the opening words of David Bowie's "Life on Mars". It becomes gradually louder. SAM Er... sorry. Excuse me. SAM gets up and leaves the table. * * * * * The roof of the police station. SAM's back is to the camera. He stands in the centre of the roof, regarding the skyline. * * * * * From the blackness, SAM emerges. He's wearing his brown boiler suit from 1973. His expression is determined. ANNIE Sam! Help us! Behind them, one of the gunmen pulls off his balaclava. It's LESLIE JOHNS. He moves forward GENE Tyler! He's going to kill us all! JOHNS cocks his shotgun. GENE No. Calmly and deliberately, SAM fires. There is a loud report. JOHNS recoils, staggering. ANNIE looks over at SAM. We see that she, RAY and CHRIS are all just inside the tunnel entrance. They all look up at SAM, who fires again. With the second shot, JOHNS drops to the ground. He sits up slightly, then falls back motionless. GENE Now you're just showing off. SAM looks at ANNIE. SAM You okay? ANNIE gasps in relief, nods, and wipes her eyes. SAM I told you I wouldn't leave you. GENE Oh, lucky us. SAM I'm sorry. GENE Sorry? Is that it? SAM reaches to help GENE up. SAM Come here. GENE Get off, I'm not a fairy! A very small smile crosses SAM's face. * * * * * Interior of the Railway Arms. SAM comes through the front door, smiling. NELSON walks up to him. NELSON Hey. Nice to have you back, mon brave. NELSON claps SAM on the elbow. SAM Good to see you, Nelson. SAM pats NELSON's shoulder in return. NELSON responds with a thumbs-up and begins walking toward the bar. NELSON What you having? SAM Scotch. Large one. SAM looks very happy. He approaches the bar, grinning even more when he spots PHYLLIS on one of the barstools. CHRIS is sitting next to her. SAM In fact... make it a bottle. CHRIS and PHYLLIS look up at this. PHYLLIS Seeing as you're buying, boss, I'll have a port and lemon. SAM smiles across at NELSON and hands him a note. CHRIS Boss. That stuff I said, um ... I was angry in there... I'll pay for the phone. SAM holds up his hands to indicate that CHRIS should stop. SAM Chris. He puts out his hand. SAM You're going to make a good copper. CHRIS looks startled at this, then delighted. CHRIS (shaking SAM's hand) Really? He looks around proudly at PHYLLIS. CHRIS That's fantastic. NELSON puts a pint of beer in front of CHRIS, who is now doing a second take. CHRIS What do you mean, "going to make a good copper"? SAM Just... have a drink. SAM lifts his whisky to his mouth. PHYLLIS looks at CHRIS and cackles. In the meantime, RAY has come up behind SAM. He's wearing a sling on his left arm. SAM puts his glass down on the counter and turns to face RAY. RAY I got shot because of you! SAM I know. (a beat) I'm truly sorry, Ray. RAY Still. (suddenly confiding) I met a bird. Medical bird. SAM Called nurses. RAY Big tits, arse like two Cox's Pippins in a bag. SAM smiles. This is RAY, all right. SAM She sounds enigmatic. RAY No. She was from Barnsley. Speechless, SAM retreats to his whisky. Then he looks around the room searchingly. PHYLLIS notices this. PHYLLIS Go and find her, then. SAM (still looking) Who? PHYLLIS I'm not just a sex goddess, you know, boss. Got a pair of eyes in me head! Go. She jerks her head towards the door. After briefly putting his arms to PHYLLIS's shoulders in a half-hug, SAM heads out of the pub. * * * * * Exterior of pub. SAM is walking down the street. ANNIE, coming around a blind corner, almost walks into him. ANNIE (smiling) Ohh... Are you okay? SAM nods. They regard each other, smiling. ANNIE (off his look, laughing) What? SAM looks into her eyes searchingly for a long moment. SAM Tell me. ANNIE Tell you what, Sam? SAM Tell me what I should do, Annie. ANNIE realises that SAM really means it this time. A long beat. ANNIE Stay. SAM raises his eyebrows slightly. There must be more. ANNIE Here. Forever. SAM smiles. A heartfelt smile. SAM All right then, I will. It's as simple as that. ANNIE blinks, moved. GENE (yelling up at them) Tyler! Put that soppy plonk down and get in. SAM and ANNIE pull apart slightly, then look over at GENE. They can't stop smiling. GENE Blagger in Archer Lane. Shots fired. Lovely. GENE looks over at RAY and CHRIS, who have just emerged from the pub. SAM and ANNIE continue to smile at each other. GENE (looking back at RAY and CHRIS) You two tarts, get in! And you, flash-knickers. It's a call to arms. SAM becomes serious. SAM You shouldn't be driving with that leg. GENE Well, I am. SAM You were shot. GENE And so will you be if you don't get in, now move it! SAM circles the car and hops into the front passenger seat. ANNIE, RAY and CHRIS pile into the back of the car. MORGAN's VOICE (static) It's no good. He's slipping away from us. (sound of sirens) Sam? Sam? SAM shakes his head. SAM God, I hate that channel. SAM reaches forward and changes the tuning on the radio until he finds a station with music. It's playing "Life on Mars" by David Bowie. SAM laughs. SAM That's better. He takes a deep breath. GENE What are you doing, Raymundo? RAY has the rear door propped open as he smokes. RAY (mumbling) I'm getting the door shut. SAM (to GENE) I should be driving, you know. GENE regards him scornfully. GENE You drive like my Aunt Mabel. SAM If you injure somebody in this car, it's technically a criminal offence. GENE Oh shut up, you noncy-arsed fairy boy. GENE puts the car in gear. SAM looks contentedly at GENE, then out at the brick road ahead of them. We watch as the car pulls away from the kerb. SAM's VOICE Such elegant banter! The camera shows the Cortina from above, but disconcertingly at right angles, so that it drives into the distance from left to right. SAM's VOICE Try to keep it under seventy. Oh, and radio in for uniform. GENE's VOICE I don't need plod getting in the way! The camera gradually tilts so that the scene is right way up. The Cortina is nearly at the end of the road. SAM's VOICE It's procedure. From some distance down the street, several CHILDREN appear and begin skipping towards the camera. SAM's VOICE You're not above the law, you know, guv. The CHILDREN draw nearer. There are five of them: two girls in the front, a girl and boy holding hands, and a lone girl behind them. GENE's VOICE What are you on about, Tyler? The two girls skip past the camera. GENE's VOICE I am the law! The girl and smaller boy, holding hands, rush past. We see that the last girl is the TEST CARD GIRL, holding her clown doll. She runs up to the camera. SAM's VOICE Yeah ... in your dreams. The TEST CARD GIRL halts, looking pensively at the camera. She tilts her head slightly, as if deciding something, then reaches forward. There is the popping sound of an old-style television set being turned off. LYRIC (David Bowie) Is there life on Mars? END
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