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Source: Wikipedia
Credits alternate with shots of a convoy of shiny police cars, some marked, some not, at least 6 of them. They stop outside a row of terraced houses and DCI SAM TYLER gets out of the first one with MAYA ROY. He goes up to the door of one of the houses and knocks.
Source: Wikipedia
SAM
Colin Raimes, open the door please, police! Mr Raimes, we have a warrant to search the house and remove property in compliance with Criminal Evidence Act.
As RAIMES doesn't answer, one of the uniformed policemen with SAM opens the door with a portable battering ram. SAM goes in. The house is empty, but SAM, jumping up to see over a brick wall, sees RAIMES running away down the alley behind it. He leaps over the wall and chases. RAIMES runs into another garden and through another house, out into the road, only just avoiding being hit by a car. SAM is still chasing him and finally tackles him to the ground in another alley. Some local kids are watching, enjoying it.
KID
Smack his face in!
Source: Wikipedia
RAIMES stands up, holding up a dustbin lid as a shield. SAM takes an extendable truncheon from a pocket.
SAM
This is gonna look very bad on your arrest report, Colin.
RAIMES rushes at SAM, who leaps out of the way, then knocks RAIMES to the ground. The kid groans, disappointed, as SAM cuffs RAIMES.
CUT TO-
SAM arrives at the police station.
CUT TO-
An interview. Someone puts in a tape and presses record. SAM lines up his pens.
SAM
Interview commenced at 11.19am. The suspect will state his name.
RAIMES looks up at the camera above him. We see it zoom in on his face.
RAIMES
Colin Raimes.
SAM
Also present are the suspect's lawyer, psychiatrist and social worker. Look at these photos, Colin.
He shows him a pile of photos of bodies. RAIMES looks repulsed.
SAM
Lauren Chester. Murdered, in November last year. Kidnapped, no sexual assault, starved and held for thirty hours. Strangled with bootlace.
PSYCHIATRIST
You're upsetting him.
SAM
Bettina Mitchell, attacked last Saturday. You said "Fight me and you will end up like Lauren".
He shows RAIMES a computer photofit, which resembles him. RAIMES looks scared.
Source: Wikipedia
SAM
This is the ID picture that Bettina gave us.
MAYA hands SAM a bag. SAM holds it up to RAIMES.
SAM
This - is your diary. We found it in your room.
He tosses it across the table to RAIMES who grabs it protectively.
SAM
From the diary, quote. "I killed her. She's been killed. I'm a killer, an ace killer." That particular entry is not awash with ambiguity. Dated November the fourth. The day after the murder.
Source: Wikipedia
PSYCHIATRIST
Colin's a first rate fantasist.
SAM
So let's talk about the night of the abduction, Colin. November the second.
SOCIAL WORKER
Hold on, November the second?
SAM
That's correct.
Source: Wikipedia
SOCIAL WORKER
He was at our drop-in centre. Some kids had thrown fireworks at him. He was distressed. We brought him to the centre.
LAWYER
Think we're done.
SAM's horrified.
CUT TO-
SAM sitting at his desk, re-watching the video of the interview. MAYA stands behind him, watching.
RAIMES (on screen)
Colin Raimes.
SAM
Colin Raimes isn't our man. We'll go back to our best lead.
The picture on the computer screen changes to a picture of someone's hand.
SAM
The fibres found underneath the fingernails of the victim. Definitely synthetic.
MAYA
I think there's more to be had from Raimes. Let's lean on him.
Source: Wikipedia
SAM
What, and be sued for harrassment of a schizophrenic? He's a fantasist.
The picture changes to even closer up of a single fingertip. Several fibres cling to the nail.
Source: Wikipedia
SAM
It's in his psych evaluation.
MAYA
Well, screw his psych evaluation. You used to believe in gut feeling, what happened?
SAM
Nothing.
The picture changes to one of a ruler. MAYA taps SAM on the head.
MAYA
Sam, what is going on in there?
SAM shakes her hand off.
SAM
Look, I can't think about this now, okay?
MAYA looks slightly hurt. SAM turns away from his computer to look at her. She gives him the tiniest of smiles. SAM sighs.
SAM
I'm gonna stand you down from the case, Maya. It's not productive. Given our... personal problems.
MAYA
Look, just... just forget about us. Um.. I have a theory about Raimes, about why he kept a diary.
SAM
I've made my mind up.
MAYA
Don't you even want to know what I'm thinking? My feeling is that-
SAM
Look around you. What use are feelings in this room?
MAYA stares at him, then stalks off. SAM gets back to his work.
CUT TO-
SAM gets a cup of water from the cooler and starts making his way back across the office. His phone rings. He digs it out of a pocket, looks at it, prepares himself and answers.
MAYA (on phone)
Why are you shutting me out?
SAM
What you doing?
MAYA
I'm following my feelings, Sam. I think there's more to Raimes. I think he's trying to impress someone. What if he knows the killer?
Source: Wikipedia
SAM
Hang on, if Social Services find out that- where are you, Maya?
MAYA
I'm tailing Raimes.
SAM
You're breaking up.
MAYA
I'm at the junction- someone's there. Raimes is heading up towards Satchmore Road. I'm gonna go and-
SAM
No! Maya, no! Listen, I'll send back-up.
There's a scream and the phone goes dead.
CUT TO-
SAM arrives at Satchmore Road, according to the sign on the fence where his car stops. There are a lot of people, police and police tape. SAM goes into a play area. On a swing, which is still swinging slightly, is MAYA's shirt, with specks of blood on it. Another man, presumably also CID stands behind him. In the background, a helicopter can be heard.
Source: Wikipedia
SAM
Preserve the scene. Call in SOCO, please. Whoever the killer is, he's taken her.
He walks away.
Source: Wikipedia
CUT TO-
SAM driving a silver Jeep, crying and trying not to. He slams his hand on the steering wheel several times, angry, helpless and distraught. Another car cuts him up and he brakes violently so as not to hit it. He stops the car and takes off his seatbelt. Life on Mars by David Bowie is playing.
Source: Wikipedia
SAM takes a deep breath and tries to calm himself. He opens the car window, then gets out. Under the open car door, we see another car right in the background turning onto the road. SAM leans on his car. We see that all this is happening on a small road underneath the Mancunian Way motorway. The music is playing on an iPod in the car. SAM takes a deep breath, lets go of his car - and is hit by a speeding car coming. He rolls over the top of it and lands in the road behind it as it screeches to a stop. No one gets out of the car.
CUT TO-
A bizarre sideways shot of SAM lying in the road with the car in the background. There is a very loud heartbeat. SAM opens his eyes. There is a flash of bright light. His fingers twitch and his eyes slide shut again. There is a lot of noise in the background, among it, sirens and the floaty sound of Life on Mars playing. There's a flash of white light and a close-up on SAM's nose and closed eyes.
Source: Wikipedia
VOICE
Charge to two hundred joules. Stand clear.
There's another flash of white light. Now we see bright sunlight through the leaves of a wood, the beep of hospital machines and a voice, a young voice whispering "where are you", and Life on Mars. Then we see a pair of black shoes with large shiny buckles. A snapped twig, an arm in a black sleeve, a glimpse of something red and then another white flash. SAM's eyes open. There is a rhythmic beep in the background. Several more white flashes then-
CUT TO-
SAM sits up, open mouthed, wide-eyed, just as the chorus of Life on Mars kicks in, loudly. Slowly, he stands up. He is in a patch of wasteground,in front of a brick-built factory on a grey cloudy day. In front of him are several piles of rubbish, some of them smoking. It looks like something's recently been demolished.
Source: Wikipedia
CUT TO-
SAM walks towards a car. It's not the one he was driving early. It's a good thirty years older and blue. Life on Mars is now more muted. He peers in the window of the car. The music is now coming from an eight track inside. SAM stares at it. We hear footsteps. SAM apparently doesn't. A man in an old-fashioned police uniform appears in the window opposite SAM.
POLICEMAN
What happened?
Startled, SAM falls to the floor, then he's up again, staring at the policeman through the car.
POLICEMAN
Did you not see the signs? Do you remember what happened, sir?
They both stand up straight and look at each other over the top of the car instead.
POLICEMAN
Sir? Can you tell me what happened?
He walks round the car. SAM is utterly bewildered.
Source: Wikipedia
SAM
This uh... this is - I - what - this - I'm - this is not my car. I was.. I was driving a jeep.
POLICEMAN (disbelieving)
You were driving a military vehicle.
SAM looks puzzled, but lets it go. There are more important things that don't make sense.
SAM
Hang on. What's going on?
The policeman takes a pile of paper from the car. SAM leans on the roof of the car, puts his head down.
Source: Wikipedia
POLICEMAN
Says here you're on transfer from C Division in Hyde.
SAM looks up.
POLICEMAN
Detective Inspector.
SAM
What? I'm a DCI.
He looks at the other man.
SAM
What the 'ell are you?
He looks the policeman up and down, then shakes his head and checks his pockets.
SAM
I need my mobile.
Source: Wikipedia
POLICEMAN
Your mobile what?
SAM turns and gives him a "duh" look.
SAM
Phone!
The policeman takes out his radio. SAM walks away.
POLICEMAN
860 to Alpha - hang on, sir, come back. 86 - sir, come back!
SAM sprints away and comes across a huge poster. A painting of the Mancunian Way, with Manchester as lots of gleaming white tower blocks in the background. The words "Coming Soon!" and "Manchester's Highway in the Sky" are written across it. We see behind it, the scene of demolitian that's soon going to be a construction site.
Source: Wikipedia
CUT TO-
SAM walking along the road, moving in circles rather than in the conventional straight line route, bumping into people all over the place. He's completely lost, frightened and baffled. He steps straight into the road, apparently not seeing the car coming until it almost hits him, and only barely then. At the other side, he leans on a brown Beetle, then catches sight of his reflection in the metal side of its wing mirror. Something's not right. And now SAM realises what he's wearing. A pale yellowish shirt with a big collar, a silver pendant, leather jacket and - he looks down - dark brown cords and brown ankle boots with Cuban heels. He feels something in a pocket of his jacket. Takes it out - it's his police badge, which certifies that he is indeed, now only Detective Inspector.
CUT TO-
The police station. From the outside, it looks exactly the same, but instead of shiny silver cars, most of the policemen are coming or going on bikes.
CUT TO-
SAM opens the office door. Whereas it used to be white, with a hint of blue, clean and clinical, it's now dark and dingy. The ceiling looks like a multi-storey car park. SAM stands in the doorway and stares. A man (who always reminds me of Paul McGann in Doctor Who and whose name is LYTTS) steps back out of the way, staring at SAM. There are concrete pillars all over the place, and absolutely mountains of paper. Very slowly, SAM walks through the room. Everyone stares at him. It's like being in a bizarre dream. SAM snaps out of it when he accidentally knocks a heap of files off a desk. Now he's suddenly very aware that everyone's looking at him. A man steps forward. He's young, with floppy dark hair, wearing a strange suit and smoking a cigarette.
Source: Wikipedia
CHRIS
Er... DC Chris Skelton.
He holds out a hand. SAM stares at it. CHRIS withdraws the hand and adjusts his jacket instead.
Source: Wikipedia
CHRIS
Plod's bringing in your stuff. One of the girls'll sort out your RTA.
He sees an odd look on SAM's face.
Source: Wikipedia
CHRIS
Hey. Don't sweat it if you've had a couple of stiff ones.
SAM narrows his eyes at him. CHRIS battles on.
Source: Wikipedia
CHRIS
Blimey. you look like you've ten rounds with Big Henry. Someone needs to take a look at you, boss. You're as white as a gingerbird's arse.
RAY
Hey, there's that nice little plonk on the next floor. Cartwright.
SAM rubs his face.
CHRIS
Oh aye. She can kiss it better.
SAM
Shut up.
SAM holds up a finger, but he doesn't know what to say or do. He looks at RAY, older than CHRIS or SAM, with very pale blue eyes and a moustache, then walks around his desk to stand in an empty patch of floor. Behind him, absolutely everyone's watching. CHRIS follows him. SAM turns and looks at him.
SAM
I don't know who the hell you lot think you are, but this is my office.
He points to the floor to emphasise this.
SAM
Here. This is- this is a door!
He points to an empty bit of air.
SAM
Right here! And my desk - is here!
He points to his feet. Looks around, struggling to keep his temper.
SAM
Where's my desk?
No one answers.
SAM
Where's my *desk*! Chair!
Gestures to the non-existant chair.
Source: Wikipedia
SAM
PC terminal!
RAY
Who? You want a constable up here?
SAM spreads his hands in frustrated anger.
SAM
Alright, what the bloody hell's going on here? This is my department! What have you done with it?!
CHRIS
Shh.... keep it down boss.
There's a loud and unpleasant coughing in the background.
RAY
Too late.
Behind SAM is an area sectioned off with fake walls. A silhouette can be seen moving through the glass windows. The door opens and a man comes out. This is DCI GENE HUNT. He's about RAY's age, largeish, with a non-descript shirt, trousers and loose, hideously patterned tie. He has a cigarette in his mouth and every time he appears, throughout the series, will have either a cigarette or a glass of whisky. He leans on the doorframe. SAM looks him up and down.
SAM
Okay. Alright. Surprise me. What year is it supposed to be?
The man looks at him.
Source: Wikipedia
GENE
Word in your shell-like, pal.
He grabs SAM by the collar and hauls him into the little office. He slams him against a filing cabinet. SAM throws his hands off him.
SAM
Big mistake!
GENE grinds his cigarette under his foot.
GENE
Yeah? What about this?
He punches SAM in the stomach. Behind them, the rest of the office watches, laughing and enjoying the theatre. GENE slams SAM against the cabinet again.
Source: Wikipedia
GENE
They reckon you've got concussion. But I couldn't give a tart's furry cup if half your brains are falling out. Don't *ever* waltz into my kingdom acting King of the Jungle.
SAM
Who the hell are you?
Source: Wikipedia
GENE
Gene Hunt, your DCI, and it's 1973. Almost dinner time. I'm 'avin' 'oops.
Source: Wikipedia
CUT TO-
SAM sitting in a chair, his back to the rest of the room,arms wrapped around himself. A television is on, showing an advert for locking and protecting your car. There's a phone beside him. Furtively, he grabs it, goes to dial and discovers its a rotary. He gets one number in and then is interrupted.
Source: Wikipedia
OPERATOR
Operator.
SAM (completely thrown)
What?
OPERATOR
Operator.
SAM
No, I want a mobile number.
OPERATOR
What?
Source: Wikipedia
SAM
A mobile number. 0770 813-
Source: Wikipedia
OPERATOR
Is that an international number?
Source: Wikipedia
SAM
No, it- I....I need you to connect me to a Virgin... number. Virgin mobile-
OPERATOR
Don't you start that sexy business with me, young man. I can trace this call.
Source: Wikipedia
She hangs up. SAM puts the phone down, and as he does, he hears the high-pitched whine of a defibrillator being charged, then a voice echoing in the distance, like on a loudspeaker. Suddenly the whine clears and he hears another voice, also echoey but a lot closer.
VOICE
Let's get a second line in. It's an emergency and cross-match blood down. He's slipping into unconsciousness. Sam? Can you hear me?
SAM puts his hands over his ears, mystified. The noise stops. SAM takes his hands away. Its back to just the background office noise. SAM glances behind him, covered his ears again, then rubs his face, sighs and leans forward. CHRIS appears. GENE stops in the act of walking past behind SAM.
CHRIS
Just had a shout. That bird who went missing a couple of days ago? She's only been done in down Satchmore Road.
SAM sits up suddenly.
SAM
Satchmore? That's where Maya...
GENE
Susie Tripper.
CHRIS
Yeah. Wrung her neck like a Christmas turkey.
SAM looks horrified. GENE starts putting his coat on.
Source: Wikipedia
GENE
Right. I've gotta get down the pub and give the papers a statement and if I don't get a move on, they'll all be half-cut. (to SAM) So, you're senior officer, you're in charge.
He leaves. Slowly, SAM turns around. They're all gathering around a desk, a bright light flaring above their heads.
CHRIS
Boss? Shall we make a start?
SAM comes forward.
RAY
Susie'd been dead for a couple of hours when she was found. No sign of sexual assault.
CHRIS
This is what she had on her.
He holds up a string of beads, then drops them on a magazine on the desk. SAM looks to the skies. CHRIS holds up a bottle of nail varnish, which joins the beads. He takes a bite out of a burger he has in the other hand, and goo drips out of it onto the stuff.
CHRIS
Oh, bloody hell!
He tries to wipe it off the magazine with his hand and then with his elbow.
RAY
So,then, boss? Anything you wanna...?
They're all looking at him expectantly.
SAM
Right. Yeah. Right. Have you, er.... visited the... crime scene?
CHRIS
What, where she was found?
SAM
Yeah, where she was found.
CHRIS looks confused.
Source: Wikipedia
SAM
Have you.. preserved the crime scene?
RAY
Body's on the slab.
SAM
Body should have been dusted for prints on site.
Source: Wikipedia
RAY
How the hell are you gonna get dabs off skin?
SAM looks at them. RAY is apparently serious.
SAM
You're so right, yeah, how can you? What's the matter with me?
Source: Wikipedia
CHRIS
We did take some prints off a... a shoe, I think it was. They've been sent down to Scotland Yard, so we should hear back in a fortnight or so, if there's a match.
SAM looks up at him.
SAM
A fortnight?
Source: Wikipedia
CHRIS
Er, motive doesn't seem to be robbery. There's 27p in her purse, plus a couple of green shields.
Source: Wikipedia
SAM
Well, he might have taken the notes. I mean, who's gonna take 27p?
CHRIS
Well, I would.
The others nod in eager agreement.
Source: Wikipedia
CHRIS
Erm, after pub closing time, she stayed in the car park with a couple of fellas, but that's cool.
SAM
Cool, is it? Why?
Source: Wikipedia
CHRIS
Well,we know 'em. Loaders from canal wharf. They're alright. Now she was in the car park, and she was giving them Downhill Racer-
He mimes this action. Looks like skiing. Everyone laughs, except SAM, who's stony-faced.
Source: Wikipedia
SAM
So you're not gonna take statements?
RAY steps forward.
RAY
It's not them, boss.
SAM, who's been leaning his arms on the desk, stands up straight, takes a few steps away.
SAM (whispers to himself)
Wake up.
CUT TO-
The morgue. It's in complete darkness, apart from the light streaming atmospherically though big windows at one end. RAY, CHRIS, SAM and the pathologist, OSWALD, are standing around it.
RAY
He didn't shag her. He didn't rob her. So what's the motive?
SAM looks from RAY to CHRIS to the body, then shakes his head, trying to snap out of it.
SAM
Er....garrotted with a... thin cord. No other attack marks, nothing in or around the mouth. What have you learnt from the stomach contents?
They say nothing.
SAM
Well, er... Chris, have a look.
Reluctantly, CHRIS steps forward. The two of them start to lift the sheet.
SAM
In the file, in the post-mortem file.
CHRIS
Right.
SAM sinks down, his forehead in his hands.
CHRIS
She wasn't fed for at least a day before she was killed.
SAM manages an "I don't believe this!" laugh which is more like a breath, and looks up at CHRIS between his fingers. CHRIS closes the file. SAM is looking up at him, grinning scarily.
SAM
And she was found in Satchmore Road.
CHRIS nods. SAM laughs. He's finally had enough.
SAM
Come on! Enough! Come on! Stop it now! Enough!
He reels away from the body, and slaps himself on the head several times.
SAM
Stop! End! Finish! Come on!
He throws himself against the white tiled wall behind him and groans loudly.
SAM
Okay!
He's leaning in the corner of the two walls, arms out on either wall.
SAM
Walls wet, er, I can smell the preserving agent, er... soap in the tray, er...
RAY glances at CHRIS.
SAM
Ham sandwich, half-eaten-
He clicks his fingers by both ears, then slaps himself on the head again, trying to wake up.
SAM
I can hear somebody whistling outside.
He comes back to the body again, clicking his fingers over and over again, slaps himself on the head and looks at RAY and CHRIS.
CHRIS
You need to get some rest, boss.
SAM rests his forehead on the table, then he looks up at the body next to him. Something catches his eye. He takes something off the trolley next to it, then kneels down next to the table.
Source: Wikipedia
CHRIS
You just need a large Scotch and a bit of a kip.
All SAM's attention is focused on the victim's hand. With a pair of tweezers, he very carefully off some fibres.
SAM (to himself)
It's him. He's killed before.
Source: Wikipedia
RAY
We'll er... get a plonk to give you the once over.
SAM looks up.
CUT TO-
In GENE's office, SAM's neck is twisted violently by a pretty young woman. This is WPC ANNIE CARTWRIGHT. SAM yells in pain as his neck crunches.
ANNIE
No broken bones then.
He rubs his nearly broken neck.
ANNIE
Do you feel like you're gonna heave up?
SAM
I feel a bit nauseous.
ANNIE
You'll do. You've had hangovers worse.
She goes back over to the desk and begins putting things back in the First Aid box.
SAM
Are you a doctor?
Source: Wikipedia
ANNIE (laughs)
I'm about as qualified as Doctor Kildare. I'm part of the Women's Department.
SAM
The what?
Source: Wikipedia
ANNIE
Don't you have plonks in Hyde? Go on, sir. Off you jolly well trot.
SAM doesn't go. ANNIE looks at him quizzically.
ANNIE
What now?
SAM
What's your name?
Source: Wikipedia
ANNIE
WPC Cartwright.
SAM
No, first name.
She looks surprised, somewhat pleased.
ANNIE
Annie.
SAM
I was *four* in 1973, Annie. Hit me.
ANNIE laughs.
ANNIE
Don't tempt me.
SAM stands up and comes closer.
SAM
Go on.
He gestures to his face, expecting her to slap him.
ANNIE
You've been in an accident.
SAM gives up. The moment his back is turned, ANNIE's fist connects with his kidneys. SAM groans and doubles over as ANNIE grabs him.
SAM
Shit!
ANNIE
I'm sorry, sir.
GENE opens the door. He stands in the doorway and gazes at the scene before him. SAM, bent over, groaning loudly, ANNIE behind him apologising.
Source: Wikipedia
GENE
Hey, good girl. Prostate probe and no jelly.
ANNIE lets go of SAM, who's still groaning.
GENE
Why don't you call it a day, Tyler? Chris'll drive you to your place.
SAM
My... place?
Source: Wikipedia
GENE
Yeah, they gave us an address. Unless, of course, you're getting a bit of a taste for it in here, hmm?
SAM gives ANNIE a sideways look. She half-laughs and turns away to finish putting the stuff away.
CUT TO-
SAM and CHRIS walking through the car park.
SAM
This guy kills, then, what, he waits another thirty years? Is that why I'm here, because that's when he first struck? Does that make sense?
CHRIS
Yeah. Loads of sense.
Source: Wikipedia
SAM
Maya thought that Raimes knew the killer. Colin Raimes! No, no, he'd still be in nappies.
He stops. ANNIE is standing in front of him, out of uniform now and smiling.
ANNIE
I can take him home.
CHRIS
Take him. He's yours.
He walks away. ANNIE smiles. Behind her, a man with a beard and glasses gets out of a car.
ANNIE
This is Neil.
SAM looks at him.
NEIL
Sam. Can you hear me? Sam?
Now SAM doesn't know what's going on.
SAM
What?
ANNIE
Do you want me to take you home?
SAM stares at her. He's suddenly dazed. She walks towards the car.
SAM (desperately)
Help me.
CUT TO-
ANNIE unlocks the door to a dark room and goes in, SAM following. She puts the light on. Hideous green-brown-grey flower-patterned wallpaper, a lumpy bed which folds out of a wooden box the size of a chest of drawers, an armchair and a small wardrobe are in the room. SAM stands in the doorway and looks at it all.
ANNIE
This is it.
She closes the door. The inside of it is a hideous olive-green. ANNIE hands SAM the key. He still stands, staring.
SAM
Oh my God.
ANNIE laughs.
ANNIE
It's not so bad, is it?
SAM puts the key on the bed-box. He grabs the foot of the bed and lifts it. It rattles a lot and looks very unstable. He looks at the television. The sort that still had buttons on. He switches it on. BBC News is on.
Source: Wikipedia
TV
Mr Enoch Powell has called for an increase in taxation to deal with inflation. Mr Powell called for an autumn budget-
He switches the TV off again.
SAM
I'm not mad. I'm not.
ANNIE comes back from the kitchen side of the room and hands him a bottle of beer. SAM looks at it and laughs.
SAM
I had an accident and I woke up 33 years in the past. Now, that either makes me... a time-traveller or... a lunatic, or I'm lying in a hospital bed in 2006 and none of this is real.
He puts the beer down on his little table.
ANNIE
33 years in the future? That's where you're saying you're from?
SAM
See, Maya - that's my girlfriend - she's been kidnapped by the same killer who strangled Susie Tripper yesterday.
ANNIE
I think you should go to a hospital and ask them to check you for concussion.
SAM rubs his face.
SAM
He'll hold her for a day, and then-
He breaks off.
SAM
Don't you see? It's the same killer in both times.
Source: Wikipedia
ANNIE (calmly)
Paranoid delusion, brought about by the accident. It's not concussion. It's psychological.
SAM
Pretty fancy words for a WPC.
ANNIE
I studied psychology at university. I'm just saying, I think it's a medical thing and you should sign off sick and see somebody.
SAM
What if you're my mind telling me this is real?
ANNIE laughs.
ANNIE
You'll have to work this one out on your own.
SAM
Thanks. You know, for listening to what I had to say and then not calling the men in the white coats.
ANNIE
DI Tyler, you don't seem like the rest of them, and you're clever enough to know that what you're saying can't be true.
His hand creeps towards her chest and slowly, he lays it flat over her heart. ANNIE lets him.
ANNIE
Yes, it's beating. I have to go.
She quickly walks past him.
SAM
Where?
ANNIE
What do you care? I'm not real. As soon as I walk out that door, poof, I'm gone. Here I go. Ready, steady-
She walks out and closes it behind her. SAM comes forward, then opens it. She's gone. Then her head pops round the doorframe, smiling.
ANNIE
Get some rest.
She leaves again. SAM closes the door.
CUT TO-
A close-up of the TV screen. A man with a beard is giving a lecture.
Source: Wikipedia
LECTURER
In module 3, we noted that the collective pythagorian angles embedded in our X-to-N ratio could derived from the simple numenary "A" as the constant 10 and depicted thus. But what concerns us most is regulating his breathing. That is why we have to keep the endotrachial tube in place.
Now we see SAM is sitting in one of the chairs in front of the TV, fast asleep.
Source: Wikipedia
LECTURER
I have to stress to you that Sam is in low responsiveness-
SAM opens his eyes at the sound of his name.
LECTURER
But is not in a persistant vegetative state although he has suffered a severe cranial trauma. But the Glasgow scale does put him at a deep level of coma.
SAM sits forward in the chair, mouth open, as the TV appears to be talking about him.
SAM
Hey! You're talking about me! I'm here, I can hear you, look at me, I'm here!
LECTURER
At times, however, he moves. Murmurs.
SAM drops to the floor and scrambles, on hands and knees, towards the TV. He puts both hands on the screen, as if he's trying to put them through it.
LECTURER
Has motor response as though caught up in some deep REM sleep from which he cannot wake.
The lecturer is coming closer to the camera. SAM's trying desperately to make him see him.
LECTURER
Well, this gives us some hope, despite the brain-stem bruising.
SAM (shouting)
Hey! Hey! I'm here! Look at me, does this look like low responsiveness to you?! I'm here!
The lecturer comes closer still.
LECTURER
Sam?
He snaps his fingers.
LECTURER
Sam?
SAM
I can hear you, I can hear you!
LECTURER
Sam Tyler?
SAM
Yeah, yeah!
Now the lecturer is so close to the camera that he's gone out of focus. SAM pats at ths screen, but the man inside it can't hear him. He starts to step back.
SAM
Wait! No! Wait, don't leave me, I'm in BUPA! Please don't leave me!
The screen goes dark, then lights up again with nothing but the test card.
SAM
No! No, please, I'm here! Don't leave me here!
Now he's crying, almost hysterical. He drapes himself over the TV.
SAM
Please! Please! Please don't leave me!
CUT TO-
It seems to be early morning. SAM is now in bed. He hears noises and sits up. He sighs and lets his head drop.
CUT TO-
SAM comes into the police station. He looks through the window from the corridor into the office, closes his eyes for a moment in resignation, shakes his head and turns to leave, just as GENE and CHRIS come out of the office.
GENE
Bloody hell, I've seen road accidents more cheerful. Where are you today, here or planet of the Clangers?
SAM looks puzzled.
CHRIS
Didn't know if you were gonna show, boss.
SAM
Where else could I go?
GENE
Well, we're honoured.
He puts an arm across SAM's shoulders and propels him down the corridor.
GENE
Right, we've pulled a bird in, Dora Keynes. She was the last person to see the victim alive.
SAM
Is she a suspect?
GENE
No, just a pain in the arse.
He stops. SAM rubs his face.
SAM
OK. Alright. Brief me in full. What do I need to know?
GENE
She's a pain in the arse.
SAM
What, so you've handed her in to Lost Property?
He points at the door GENE's about to walk through. A sign on it says "Lost & Found"
CHRIS
Well, we could use the canteen, but she's a right mouthy bird, this one.
SAM
Hang on. You're gonna do the interview in there?
GENE (simply)
Thick walls.
SAM
Okay.
He follows GENE inside. A girl is sitting at a table.
GENE
You had a drink with Susie the night she died, didn't you, Dora?
DORA
I know you. From the picket line. You put the boot into my old man.
GENE
Oh, happy days.
DORA
Sod off.
GENE
Can't, love. This is my esteemed colleague, DI Tyler.
SAM sits down opposite her and crosses his arms. She does the same.
SAM
Er... hi, Dora. I want you to call me Sam.
DORA
You really a copper?
SAM
Possibly. When was the last time you saw Susie?
DORA
In me dreams.
SAM glances behind him at GENE.
SAM
How did she seem, that night? Did she - did she mention meeting anyone?
DORA
She was horny.
SAM
Did she get into an argument with a... stranger.
DORA
You know the answer. It's blowing in the wind.
She laughs. Before SAM can make any sense out of this, GENE has come over and shoved the table away. Both of them leap to their feet.
GENE
I'm done with this game. Let's play another. Let's play hopscotch or pin the tail on the donkey, you pick, Dora.
DORA
I want a lawyer.
GENE
I wanna hump Britt Ekland, what are we gonna do?
SAM, looking shocked, walks out.
CUT TO-
SAM in the canteen. He rubs his forehead, almost trembling, then gets up and leaves.
CUT TO-
DORA in a cell. She looks round as GENE opens the door.
GENE
Your dad's waiting to take you home.
SAM is standing in the corridor as DORA leaves.
SAM
What the hell did you do to her?
GENE
Well, you know. The usual. Then banged her up for obstruction. Kids, eh?
He clicks his tongue.
SAM
Where I come from, you'd be looking at suspension.
GENE
Really, what, for making a breakthrough? At 11.20, she saw Susie Tripper heading away from the pub, followed by a tall bloke with long hair.
SAM
The hair under those nails is not human, it's synthetic.
GENE
Yeah. Chris told me what happened in the mortuary.
SAM nods.
SAM
I need a drink.
He goes to walk away. GENE grabs his sleeve.
GENE
That 's the first sensible thing you've said since you got here.
CUT TO-
A pub. Two policemen in blue shirts are drinking at the bar as GENE and SAM come in. GENE grabs them by the back of the shirt.
Source: Wikipedia
GENE
Haven't uniform got their own boozer? You have to rubber-eel mine?
They leave. The landlord turns around. He's a skinny Jamaican man by the name of NELSON.
NELSON
Ah, DCI Hunt, mon brave.
He looks quizzically at SAM.
Source: Wikipedia
NELSON
You catching flies, brudder?
SAM looks at NELSON.
SAM
Which part of my subconscious do you hail from?
NELSON laughs.
NELSON
I like you. I like you.
Source: Wikipedia
GENE
Nelson's a good bloke.
NELSON
What're your poisons?
Source: Wikipedia
GENE
Tan and bitter. Sam?
SAM
Diet Coke.
They both look at him.
SAM
I'm just joking. Pint of bitter.
He looks at the ceiling and sighs.
GENE
Give it up then.
SAM
Alright. The man you're looking for is either wearing thick gloves of some sort, or he's using... a bag, or something, made of coarse material, gets under the nails.
GENE
You can't know that from one stiff.
SAM
I've seen another. Look, I'm telling you-
He groans.
SAM
What does it matter anyway? None of this is real! You're just some... thug who crawled out of some dark little pit in the back of my mind.
GENE
Then report me.
Source: Wikipedia
SAM
See you, Gene. Give my regards to the id.
He goes to leave. GENE grabs his shoulders and SAM spins around, throwing GENE's hands off him again.
SAM
Alright! Right now! Let it be now! Come on!
GENE laughs. SAM's at least two inches smaller and about half as wide.
Source: Wikipedia
GENE
You're new. And you've got something big crammed up your jacksie, but don't worry, you'll learn. I may be the sheriff, but I'm a deputy to the law. Now, I don't care if you want to take a swing for me if it makes you feel good, but what I do ask is that you don't hide anything from me. So, have you got a hunch about this case?
SAM
With what I know, I could find this killer.
GENE
Prove it.
CUT TO-
SAM comes out into the corridor at the station, dusting off his sleeves and hair. The jacket is gone and his sleeves are rolled up. He marches up to CHRIS, who's sitting in a chair, reading a magazine, grabs him, and marches him away.
CUT TO-
The collators den. SAM holds a notebook up to CHRIS.
SAM
Look for these leads cropping up in any box in the room.. Priority.
CHRIS
Priority. Will call.
Another man comes in, carrying a stack of paper.
MAN
So where did you get these names from?
SAM
Call it inspiration.
He leaves. The man hands the stack over to CHRIS and disappears.
CUT TO-
SAM stands in front of a rolling blackboard in the office.
SAM
To predict what this killer might do next, we have to understand what he's thinking and feeling. Annie? You're familiar with this case, aren't you?
ANNIE, at the back of the room, looks surprised and nervous at being addressed in front of the entire room full of CID officers.
ANNIE
Er... yes, sir.
SAM
Could you help us out here, please?
Shyly, ANNIE comes forward.
Source: Wikipedia
SAM
WPC Cartwright has a BA in psychology.
There's a mocking murmur around the room and then laughter.
SAM
Now the victim wasn't gagged. Why didn't he gag her, Annie?
RAY
Forget the mind-reading act. Let's get down to the strip-tease.
There's an approving laugh.
ANNIE
Because he needed to...
She thinks about it.
ANNIE
He needed to see a mouth. The lips. We have to see the things that we value.
SAM
Now put yourselves in the mind of this man. You're lonely. Every night, you dream of this girl and she's got big eyes, and red, ruby lips. So you go out and you find that girl, and you bring her home. But you don't gag her, 'cause you want to see those ruby lips. But you can't bring yourself to kiss 'em.
ANNIE
You get embarrassed. Angry. You'd start to blame the girl. It's her fault. She's taunting him just by being there.
SAM
And then one day, you just snap. Strangle her, using bootlace, and then the cycle starts all over again, with a different girl. And this time, you're positive you're gonna be brave enough to kiss her.
ANNIE
Only you won't be.
SAM nods.
CHRIS
I look at your lips all the time, Cartwright. D' you think I should turn myself in?
The men laugh. GENE strolls forward.
GENE
I think you'd better trot along now, sweetheart, before I have to hose this lot down.
ANNIE
Yes, sir.
She leaves.
SAM
Thank you.
GENE
How would he keep her quiet without gagging her?
SAM
I don't know.
GENE
Alright. Maybe this nutter moved to the area recently. Maybe he's on day release from the loony bin. Maybe there's a new face in the local boozers, let's find out, let's not wait for another skirt to wind up dead. And let's just hope we haven't been led up a blind alley.
CUT TO-
The pub. SAM is talking on the phone.
OPERATOR
Sorry sir, I've checked and there's no Maya Roy listed in that area.
SAM
Then try the number again.
OPERATOR
I have no Maya Roy listed.
SAM
Well, just try again!
OPERATOR
There's no need-
SAM
Forget it.
He puts the phone down. To NELSON-
SAM
Large whisky, please.
NELSON
Drink ain't gonna fix things.
He pours the whisky.
NELSON
What am I saying? I run a pub! Of course it'll fix things!
SAM smiles. NELSON laughs.
SAM
I'm lost, Nelson. Really lost.
NELSON glances up the bar, then speaks more in a lower voice, dropping his Jamaican accent in favour of a Manchester one, which he tends to use when he talks to just SAM.
NELSON
You're not lost, pal. You're where you are. And you have to make the best of it. It's all you can do.
He leans closer.
NELSON
Keep it to yourself, eh? Folks just seem happier with the other Nelson.
SAM nods, drinks the whisky, and goes.
NELSON
Good luck.
CUT TO-
SAM wakes up. He's on his bed and buried under pieces of paper, obviously having fallen asleep in the middle of something, rather than deliberately. He looks at his watch and sits up, picking up all the paper.
CUT TO-
SAM and ANNIE talking outside the station.
SAM
Look at this. These are my notes from the real world. I made them last night. Films. Music. Wars. Just check out the detail.
GENE appears behind them.
Source: Wikipedia
ANNIE
Don't tell me. Atom bombs over Moscow.
GENE peers at the paper.
GENE
Discussing psychology with your little friend?
ANNIE leaves.
GENE
I want Chris out of the collators den. It's a waste of flipping time.
SAM
No it isn't.
GENE
Er, sorry, did that sound like a question?
SAM
I can find this killer.
GENE
Do you know what, I think you're trying to show me up.
SAM
You don't scare me, Hunt.
GENE
It's an interesting point you raise. Allow me to retort.
He goes to hit SAM. SAM blocks it and tries to hit back but GENE grabs his arm, twists it up behind his back and punches fairly gently in the side so he falls to his knees with a grunt. GENE puts his hands on his shoulders, bends over and speaks closer to SAM's ear.
GENE
Better?
SAM groans. GENE pats him on the shoulder and leaves.
CUT TO-
SAM walks along the road. As he comes round a corner, ANNIE sees him.
ANNIE
Where are you going?
SAM
I can't deal with this place.
ANNIE
So you're just giving up?
SAM
Look, somewhere out there, Maya needs me. My mind can only invent so much detail, you know, so I'm gonna walk til I can't think up any more faces, or streets. I mean, this is just-
He holds out his hands. There are no words to describe the scene.
ANNIE
Just what?
SAM
This is madness.
He walks away. ANNIE skips after him and makes him stop.
ANNIE
I've got a nephew, and he fell off a pier, and he couldn't remember the name of things.
SAM sighs.
ANNIE
Couldn't tell you what an apple was, or a pencil. And you know what? He stopped believing in them. Then he got better. And everything seemed real again.
Source: Wikipedia
SAM
Follow the yellow brick road.
ANNIE
And what will you find? Mist? A big cliff? White door?
SAM shakes his head.
SAM
I don't know.
Then, behind ANNIE, he spots Vinyl Heaven, a record shop. He walks towards it and looks in through the window.
Source: Wikipedia
SAM
I used to come here! I bought my first... Gary Numan. Cars.
He goes inside and begins to look at the records.
ANNIE
I'm gonna call DCI Hunt.
SAM
What's he gonna do? Throw me down the stairs? Say I walked into a door? He don't want me around, and he doesn't need me. And I certainly don't need him.
Something gets his attention.
ANNIE
Sam?
He goes over to the back of the shop, where there's a man in a small room, listening to loud music, which can't be heard until SAM opens the door. He shows the man the badge, and the man leaves. SAM goes inside and switches the music off.
ANNIE
What are you doing?
SAM
He doesn't gag 'em. He doesn't gag 'em 'cause he wants to kiss 'em, but if they shout out, he's gonna get caught, in't'e, so what's he gonna do? Strands of material underneath their nails and on their skin.
He's picking at the wall and now he pulls off a lump of soundproofing.
SAM
But it's not wool. It's rough. Synthetic.
He runs out, leaving ANNIE behind.
CUT TO-
SAM goes back into the office, holding up the lump of soundproofing.
SAM
I know where the fibres come from. Soundproofing! He's trying to muffle the room to hide the cries.
GENE
Dora Keynes' coat was found on rough ground, what, an hour ago?
RAY
Yes, guv.
GENE
Sleeve was torn. She was last seen shouting at some bloke loitering in the street, about 9.40pm. So, stuff the collators office, we need to get out on the street because by your reckoning, we only have a day to find her.
CUT TO-
Some kids playing in the street as GENE's car comes screeching round the corner. GENE and SAM get out.
GENE
Anything happens to this motor and I come over your houses and stamp on all your toys, got it?
The kids nod.
GENE
Good kids.
SAM looks at him, then smiles at the kids.
CUT TO-
A woman opens her door to reveal SAM and GENE on the doorstep.
GENE
Hello, love. CID.
CUT TO-
Someone else opens another door. SAM holds up a photo of DORA.
Source: Wikipedia
SAM
We're looking for this woman, Dora Keynes. Approximately five foot two, curly brown hair, hazel eyes, fake topaz necklace.
CUT TO-
Another door. SAM holds up the photo. GENE snatches it from him.
Source: Wikipedia
GENE
We're looking for a short skinny bird, wears a big coat, lots of gob.
CUT TO-
The kids playing in the street in front of the car. GENE comes past, eating a burger.
GENE
Excellent work, ladies and gentlemen.
He flicks some coins into the air. The kids chase after them, shouting "Thank you!" in high-pitched voices. The car radio is crackling. GENE grabs it and pulls the handset outside the car.
GENE
Hunt, what?
It's staticky and hard to make out, but it's CHRIS's voice.
CHRIS
I need to speak -- I Tyler -- told me to let him know -- name from his list.
GENE
Chris, move about a bit.
It becomes clearer.
CHRIS
Tell DI Tyler we've found one of his names in the collators office. We've found one!
CUT TO-
The collators den. CHRIS takes a file off a shelf and shows it to SAM.
Source: Wikipedia
CHRIS
It's one of the names you asked me to find. Raimes. I only found the carbon. It's a statement she made three months ago. Woman in her fifties. Mrs Raimes.
SAM takes the paper.
SAM
Beryl Raimes.
CHRIS
You gave the name Colin Raimes. so I thought there was a connection.
SAM
Yeah. she's his grandmother.
Source: Wikipedia
CUT TO-
BERYL RAIMES is sitting in the office, surrounded by policemen, with a plate of biscuits next to her, drinking tea from the saucer.
BERYL
Oh, that's lovely. What nice boys you are.
Source: Wikipedia
GENE
Do you want a custard cream, Mrs Raimes?
BERYL
Ooh, ta.
She takes a biscuit.
SAM
Mrs Raimes. You made a complaint to the police, about three months ago?
BERYL
I saw a lady policeman. Nice girl. No life for them, is it?
SAM
You came to complain about a neighbour. That's why we have a statement from you on file. The only trouble is, we don't know who it was, or what it was about because our copy got smudged.
Source: Wikipedia
BERYL
Have you got Garibaldis?
GENE
Chris, Garibaldis!
SAM
It's only three months ago, Mrs Raimes. Think back. Please. Think hard.
BERYL
I forget stuff.
SAM
Mrs Raimes, it's very important. It could be vital that you remember exactly why you came to see us three months ago. Was it a next-door neighbour who you were worried about, or somebody in your street, somebody visiting, someone upset you. They did something bad, or selfish, or dangerous.
The woman is looking scared. GENE glares at SAM.
SAM
Please, come on, think.
Source: Wikipedia
GENE (suddenly)
Pink wafers.
BERYL
Huh?
GENE
I love pink wafers. You know, all of those packets of wafers you get at Christmas.
BERYL
Ooh, they are lovely. Expensive, mind.
GENE
They are, aren't they?
BERYL
I sometimes get them in for my grandson.
GENE
I bet that takes a bite out the housekeeping, eh?. Chris, run down the canteen, see if we've got any pink wafers.
CHRIS, who has only just returned with the Garibaldis, is in the process of offering them to BERYL. GENE jerks his head in the direction of the door. CHRIS departs.
CHRIS
Now, guv?
SAM
Hang on. Er, sorry, Is this helping?
GENE
Do you want another cuppa?
BERYL
Grand.
GENE pours her another cup of tea.
GENE
Eh. Don't you go worrying yourself about this neighbour business. It's not important at all. Sugar, love?
He stirs a spoonful of sugar into her cup.
BERYL
The lad next door. Number twenty.
She pours the tea into the saucer.
GENE
Oh yeah? What about him, my love?
Source: Wikipedia
BERYL
Oh, he's playing his records all night. Bash! Crash! Bam! And he's not even local.
SAM
So that's why you came to see us. To complain about the noise from his stereo.
BERYL
It did the trick, pet. He still lives there, but you can't hear a thing now.
It dawns on SAM and GENE at the same time. They look at each other, then, in a great hero moment, they jump over the desk together and out the door.
GENE
Back-up to 20 Kemmel Road, now!
The rest scatter.
CUT TO-
The car. GENE is talking on the radio.
RADIO
The suspect is an Edward Kramer.
GENE
We may need uniformed back-up, have you got that?!
SAM
You will tread carefully. We don't even have a warrant yet.
CUT TO-
GENE bashes in the door. SAM gives him a pained look and they both go in. There is music playing. They go into a room lined with fuzzy soundproofing material. Sunlight comes in from random holes cut in the planks over the window. GENE switches the music off. SAM pulls at the stuff on the walls.
Source: Wikipedia
SAM
Pipe lagging.
GENE
Kramer! Police!
SAM
Whoa, whoa, what you doing? Shh.
They hear the sound of someone gasping, scared. Through the doorway, in another soundproofed room, there is a shape hidden behind a pile of the stuff.
SAM
Dora? Dora?
He kneels down beside her, stroking her face.
SAM
Dora, it's alright, it's alright, it's alright, it's police, police, we're the police, it's okay, love, we've got you, we've got you. It's okay, it's okay.
He unties her hands. KRAMER wanders in. He's pretty young, with long wavy brown hair.
GENE
Kramer, come here!
He grabs him and throws him against the wall, kicks, punches and throws him until the boy collapses to the ground.
CUT TO-
Outside the house. Uniform take KRAMER away. SAM hands DORA over to them as well.
SAM
It's okay.
KRAMER, now in a police car, looks out of the window. A creepy little ginger kid is standing on the step of the house next door, watching. They wave to each other. BERYL comes along with a policewoman.
BERYL
Get inside, Colin.
It's only now that it dawns on SAM. In his mind's eye, he sees RAIMES being interviewed, then he sees the little kid again. One and the same. The kid goes inside. GENE comes out of KRAMER's house.
SAM
That's Raimes' house. Maya was right, he knew the killer. We were one house away.
As the police car leaves, the scene is almost identical to the scene at the very beginning.
CUT TO-
GENE and SAM come back into the station, with KRAMER cuffed between them, to a hero's welcome as they bring him down the corridor.
CUT TO-
GENE's office. GENE takes a bottle of Scotch from a filing cabinet.
Source: Wikipedia
SAM
Kramer'll never go to trial, you know that, don't you? He's certifiable.
GENE
Nah. Jury'll send that creature down forever.
SAM takes a piece of paper out of his pocket.
SAM
This is a doctor's report. We found it in the house. It says he is "seriously disturbed". He's going to a high-security hospital.
GENE takes the report.
Source: Wikipedia
GENE
What, and be mollycoddled, indulged, be a good boy, he'll be out in twenty years. He'll still only be forty odd. You know as well as I do, he'll kill again.
SAM
Hang on.
He leans on GENE's desk. It's dawning on him. With a look of growing realisation, he stands up properly again.
SAM
Oh my God.
GENE is just staring at him, not having a clue what's going on.
SAM
That's why he doesn't kill for so long. We put him away for in hospital, he gets out in thirty years, and then he kills. And then he kidnaps Maya.
GENE
What are you on about? Forget the bloody doctor's note. If the jury know they're trying a cold-blooded killer, it's life.
SAM leans on the desk again.
SAM
Look, listen, you told me you were a deputy to the law.
GENE
The law is putting bad people away and you wanna show a court that note?
SAM looks down at the desk between his hands.
GENE
Fine. You got principles.
He finishes his whisky and goes to walk out. SAM grabs his arm as he passes.
SAM
Hang on, hang on, hang on.
GENE
What, you want another pop at me? You wanna get me suspended? If you like, you can try your hand. And as for this note, I'm making it your call.
He pushes the note back at SAM and walks out. SAM looks at it. He thinks hard. And finally, he screws it up. GENE, watching from outside, comes back in. SAM holds out his fist with the ball of paper in it, then drops it into the bin. GENE puts his hands in his pocket and comes over.
GENE
Welcome to the team.
Source: Wikipedia
SAM
Thanks. Guv.
He leaves.
CUT TO-
The canteen. Two cleaners are just finishing up.
CLEANER
I'll get the lights, love.
The other one, JUNE, comes over to where SAM is sitting at a table on his own.
JUNE
Are you okay, sir?
He nods. The lights go out and she goes. He rubs his eyes and then sighs.
Source: Wikipedia
VOICE
Sam.
He jumps, looks up. There's suddenly a man sitting opposite him. It's NEIL.
NEIL
Can you hear me? My name is Neil. I'm a hypnotherapist. I'm speaking directly to your subconscious. At this moment, I'm sitting beside you in your bed, in the IC ward of St James's Hospital. If I am reaching you-
SAM looks behind him.
NEIL
- and you can hear me, then I know that you can wake up.
SAM
I can hear you. I'm in a coma, yeah? You can help me.
NEIL
Whatever you may be experiencing isn't real, Sam. You can escape. You only need to take that definitive step. Do as I tell you and you will be waking up with your family and friends around you. Your mobile hasn't stopped ringing. Maya is here.
SAM (whispering)
Maya.
NEIL
She's safe. If you can hear me, I know that will give you strength.
SAM's half laughing in relief. He nods.
SAM
I'm coming back. You tell her.
He jumps up.
SAM
I'm coming back.
He leaves the canteen.
CUT TO-
ANNIE comes up the metal steps onto the roof of the station. SAM is standing at the edge, looking calm and comfortable.
ANNIE
Sam? Come away from the edge.
SAM smiles.
SAM
It's okay. I know the answer. I'm in a coma. I'm gonna take the definitive step I need to wake up.
ANNIE
Neil's my ex.
SAM looks at her, surprised, but she hasn't changed his mind.
ANNIE
He did psychology with me. I told him all about you. He read all those notes you made.
Source: Wikipedia
SAM
There was nothing in those notes about a mobile phone.
ANNIE
What?
SAM
This is just my mind, trying to keep me here.
ANNIE
He's just playing games with you. Just - look down.
SAM looks cheerfully over the edge.
ANNIE
Carefully!
NEIL is standing at the bottom, shouting up at him.
NEIL
Please don't jump! Sorry! I'm sorry! Bad joke!
SAM sticks a foot over the edge.
NEIL
Please, no, don't do it! Sam! No! Don't do it!
ANNIE comes over the railing towards SAM. NEIL runs away. SAM sees ANNIE getting closer.
SAM
What you doing?!
ANNIE
We all feel like jumping sometimes, Sam. Only we don't. Me and you, because we're not cowards.
SAM
This is just my mind.
ANNIE
Maybe you're here for a reason. To make a difference. Gimme your hand.
SAM looks at it, steps closer to the edge, looks down, and then decides not to do it. He takes ANNIE's outstretched hand. She wraps her other hand around his.
SAM
What's that on your hands, is that grit?
Source: Wikipedia
ANNIE
Sand. I was running up here and I fell against the fire bucket.
SAM
See, why would I imagine that? Why would I bother to put that kind of detail in it?
ANNIE
You wouldn't.
SAM
What should I do, Annie?
ANNIE
Stay.
He looks up at the sky, wobbling slightly, ANNIE holding his arm tightly.
END
Out here in the fields
I fought for my meals
I get my back into my living
I don't need to fight
To prove I'm right
I don't need to be forgiven
Don't cry
Don't raise your eye
It's only teenage wasteland
Sally, take my hand
Travel south cross land
Put out the fire
And don't look past my shoulder
The exodus is here
The happy ones are near
Let's get together
Before we get much older
Teenage wasteland
It's only teenage wasteland
Teenage wasteland
Oh, yeah
Teenage wasteland
They're all wasted!
The golden light above you shows me where you're from
The magic in your eye bewitches all you gaze upon
You stand up on your hill and be bop all around you
They wonder where you're from oh yeah
They wonder where I found you
Oh my love it's a long way
Where you're from it's a long way
I tried to understand you, I tried to love you right
The way you smile and touch me always sets my heart alight
Your lips are like a fire burning thru' my soul
And people ask me where you're from
They really wanna know
Oh my soul it's a long way
Where you're from it's a long way
Magic woman wreckin' up my soul
Things you tell me have never been told
Magic woman I don't know
Electric before me I love you so I love you so
You're racing like a fireball dancing like a ghost
You're gemini and I don't know which one I like the most
My head is getting broken and my mind is getting bust
But now I'm coming with you down the road of golden dust
Oh my love it's a long way
Where you're from it's a long way
Yes I am a nature’s son and I’m the only one
I do what I want and I want what I see
You know it happens to me
I’m so free, I’m so free
Oh please ain’t your man
I have come this way
Do you remember the shape I was in
I had horns that bent
I’m so free, I’m so free
Do you remember the silver walks
You used to shiver and I used to talk
Then we went down to time’s square
And in the center been hangin round there
I’m so free, I’m so free
Yes I am mother nature’s son and I’m the only one
I do what I want and I want what I see
Could only happens to me
I’m so free, I’m so free
Oh, I’m so free oh, I’m so free oh, I’m so free
In the morining I’m so free
In the evening I’m so free
Yeah yeah yeah I’m so free
When I feel good I’m so free
When it’s in the morining I’m so free
When it’s in the evening I’m so free
I’m so free, I’m so free, I’m so free, I’m so free
Feels so good now, I’m so free, oh, I’m so free
Feels so good now, I’m so free, oh, I’m so free
It's a god-awful small affair
To the girl with the mousy hair
But her mummy is yelling "No"
And her daddy has told her to go
But her friend is nowhere to be seen
Now she walks
through her sunken dream
To the seat with the clearest view
And she's hooked to the silver screen
But the film is a saddening bore
For she's lived it
ten times or more
She could spit in the eyes of fools
As they ask her to focus on
(CHORUS)
Sailors fighting in the dance hall
Oh man!
Look at those cavemen go
It's the freakiest show
Take a look at the Lawman
Beating up the wrong guy
Oh man! Wonder if he'll ever know
He's in the best selling show
Is there life on Mars?
It's on Amerika's tortured brow
That Mickey Mouse
has grown up a cow
Now the workers
have struck for fame
'Cause Lennon's on sale again
See the mice in their million hordes
From Ibiza to the Norfolk Broads
Rule Britannia is out of bounds
To my mother, my dog, and clowns
But the film is a saddening bore
'Cause I wrote it
ten times or more
It's about to be writ again
As I ask you to focus on
(CHORUS)
Dring-dring-dring......
(Mind the phone)
Hey baby, what you gonna do
When the lights go up on you ?
What's your name, can I drive you home ?
Sweet woman, are you all alone ?
You're the one for me
I'm gonna keep you busy as a bee, could bee, could be
Rat bat blue
Now, get up woman, don't be slow
It's getting late and I wanna go
No cause for acting big
Got to love, got to live
Stick around with me
I'm gonna show you things you never thought you'd see,
you see
Rat bat blue
You're so fine
Get out ! You didn't understand
I'm a hard loving man
No way you can satisfy
The way you look, the way you lie
And when you shut the door
Make sure I don't see you 'round here no more
Rat bat blue
Alright
Stairway To The Stars by Blue Oyster Cult
You can have my autograph
I think I’ll sign it love to you
But should I sign it just for you
Stairway to the stars, I think I’ll write good health to you
Stairway to the stars, we got better things to do
You can drive my motorcar
It’s insured to thirty thou
Kill them all if you wish
Stairway to the stars, I think I’ll write good health to you
Stairway to the stars, we got better things to do
You can have my autograph
I think I’ll sign it good health to you
Upon the cast, your broken arm
Stairway to the stars, I think I’ll write good health to you
Stairway to the stars, I hope you heal up real quick
Stairway to the stars...
Come on, let’s get on outa here.
In the white room with black curtains near the station.
Blackroof country, no gold pavements, tired starlings.
Silver horses ran down moonbeams in your dark eyes.
Dawnlight smiles on you leaving, my contentment.
I'll wait in this place where the sun never shines;
Wait in this place where the shadows run from themselves.
You said no strings could secure you at the station.
Platform ticket, restless diesels, goodbye windows.
I walked into such a sad time at the station.
As I walked out, felt my own need just beginning.
I'll wait in the queue when the trains come back;
Lie with you where the shadows run from themselves.
At the party she was kindness in the hard crowd.
Consolation for the old wound now forgotten.
Yellow tigers crouched in jungles in her dark eyes.
She's just dressing, goodbye windows, tired starlings.
I'll sleep in this place with the lonely crowd;
Lie in the dark where the shadows run from themselves.