Life on Mars - 1x01

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INT.
SAM’S APARTMENT - LIVING ROOM - DAY 1/1 07:08 1 1
Close-up - photograph. A small boy - 4 or 5 wearing an
oversized policeman’s hat. Freckles. Toothy grin.
Reflected in the glass of the photo - a dozen separate News
24 items explode onto a plasma screen.
The widescreen
TV spews up a giddy-making cocktail of current
affairs. These images usher in a fast set of very
contemporary TITLES.
The TV with Dolby 5.1 dominates one half of the apartment and
holds the attention of SAM TYLER . This room with its beams
and varnished wooden floor has been converted from some vast
Victorian factory.
SAM himself is smart, lithe, mid-30’s.
If he were a flavour
he’d be spearmint. He is talking into his mobile and
negotiating the News 24 menu simultaneously. Girlfriend MAYA
cradles her coffee, watching him.
SAM
If we get the go-ahead I want base-
point to be at the cross-roads ...
MAYA
Sam ..
He doesn’t appear to hear her.
SAM
.. the suspect was positively id’d
by the victim of the assault.
Afterwards I want SOCO
through
every inch of the house. And I’m
going to apply for the right to
hold him for 72 hours if necessary
... Yes, I’m expecting to get it
...
MAYA
Sam?
He snaps the phone shut. Holds up two identical blue ties.
MAYA
The blue one.
SAM
Good choice.
MAYA
Sam, can we ...?
His phone rings. He shrugs - sorry. Has to take it.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 1
1

SAM
(into mobile)
Sam Tyler ...
MAYA
walks sadly out of the room.
He glances at her as she leaves - feels bad about avoiding a
conversation. Turns his attention back to the phonecall.
SAM
We’re heading out there now...
(dialogue continues over top of sc
2) I want the Exclusion Zone to run
from the junction to the end of the
street. We’re not losing this one
because of sloppiness.
INT.
SAM’S APARTMENT - BATHROOM - DAY 1/1 07:09 2 2
MAYA
sits on the loo (seat down) with her own phone. She can
hear SAM babbling ten to the dozen outside. She finishes
leaving a phone message.
MAYA
Don’t know if you can understand.
Maybe at some point we can sit down
and talk.
She finishes the call. Cups her hand over her face.
SAM (O.S.)
Maya ? Heads up. We’re on.
EXT.
STREETS - CARS - DAY 1/1 10:40 3 3
Three unmarked Police cars tear past a row of defining 21st
century shops - typical of a modern, vibrant city, turning
off into a residential street.
EXT.
VICTORIAN TERRACES - DAY 1/1 10:41 - CONTINUOUS 4 4
A white van caked in grime - “Heating Services”. In the grime
are written these words - Rooney
Is God .
One of Manchester’s modern buildings (the Halle perhaps)
rises up in the background - steel and glass.
GO WIDE - CID spill out of the cars. Everyone as neat and
sharp as SAM. All look to SAM - these next few minutes are
crucial.
They run to an unloved house at the end of the terrace.
(Muffled rock music from the house next door.) SAM clocks the
music. MAYA
rings the bell. Dogs yap within.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 2
2
CON
TINUE
D : 1 1

SAM
Colin Raimes? Police. Please open
the door.
OFFICERS move forward with the battering ram but SAM motions
for them to hold back. He knocks. Almost polite.
SAM
Mr
Raimes we have a warrant to
enter the house and to remove
property in compliance with the
Criminal Evidence Act ..
Noise from round the back. Flower-pot knocked over.
EXT.
REAR OF HOUSE - DAY 1/1 10:42 5 5
COLIN RAIMES ( 30s / skinny / ginger
hair / tracksuit) is
already clambering over the back wall. MAYA
is the first to
reach him. He kicks her in the throat. She steps back,
gagging. RAIMES goes over. CID struggle to follow but SAM
takes the wall athletically.
EXT.
STREETS - DAY 1/1 10:42 - CONTINUOUS 6 6
RAIMES running with frenzied vigor. SAM in pursuit. Like a
sprinter - piston arms, set jaw.
RAIMES darts between moving cars. SAM does the same -
matching madness for madness. RAIMES cuts down an alley. SAM
stops. Scans houses opposite.
Crosses the street and goes over a gate. Over another garden
wall just as RAIMES is running by. SAM leaps onto RAIMES who
throws him off with a scream of rage. SAM reaches into his
belt and whip-cracks his baton to full extension. RAIMES
grabs a dustbin
lid - gladiator’s shield.
TWO BOYS watch them.
RAIMES swings the lid. SAM side-steps and lashes out with the
baton which RAIMES deflects.
BOY 1
(to RAIMES)
Smash his face in!
RAIMES giggles - king for a day.
SAM
Colin, this is going to look very
bad on your arrest report.
RAIMES lunges at him. SAM parries and swings his baton into
the back of RAIMES’ legs. RAIMES crumples. The BOYS boo. SAM
holds him down.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 3
3
CON
TINUE
D : 4 4

SAM
(cont’d )
Colin Raimes I am arresting you on
suspicion of abduction and murder.
You do not have to say anything but
it may harm your defence ...
SCENE 7 OMITTED 7 7
EXT. POLICE STATION - DAY 1/1 11:17 7A Pt 7A Pt
Gleaming squad cars lined up outside a modern day terrorist
proof Police Station. Two POLICEMEN stationed outside. SAM
returns to the station .
He
swipes his security fob for immediate clearance into the
station - which it must be said more resembles the entrance
to an expensive private clinic than an inner city cop-house.
INT. CORRIDOR POLICE STATION - DAY 1/1 CONTINIOUS 7A pt 7A pt
Sam walks down the corridor playing his voicemail
off the
mobile. Maya is waiting for him a little way ahead.
MESSAGE (MAYA)
“I’m moving out. I can’t live with
you any more Sam. Don’t know if you
can understand. Maybe at some point
we can sit down and talk. ”
SAM is hurt but he doesn’t have time or space to indulge it.
Maya watches. He doesn’t even glance her way. He snaps his
mobile shut and starts walking. Maya hands him a fresh shirt.
He rips off the cellophane, strips to the waist and puts on
the clean shirt.
SCENE 8 OMITTED 8 8
INT.
POLICE INTERVIEW ROOM - DAY 1/1 11:19 9 9
Rapid montage - DAT
machine loaded, CCTV
aligned, lap-top
booted. SAM sets out pens and pad. Squares them with the edge
of his desk. Tightens his tie knot.
TIME JUMP: SAM and MAYA
on one side. RAIMES on the other
flanked by his LAWYER, SOCIAL WORKER and PSYCHIATRIST. Twin
DAT
decks and CCTV
record everything. (During the scene we
cut sporadically to CCTV POV. )
We zoom in on COLIN who looks up into camera.
SAM takes off his state-of-the-art watch.
SAM
Interview commeneced
at 11.19am.
The suspect will state his name.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 4
4
CON
TINUE
D : 6 6

RAIMES
Colin Raimes.
SAM
Also present are the suspect’s
Lawyer, Social Worker and
Psychiatrist .
COLIN is rocking in his chair and rolling a fag.
SAM
This is a no-smoking room.
The PSYCHIATRIST gives the LAWYER a look.
LAWYER
My client is advised by his
psychiatrist to rely on certain
auto-motive props.
SAM
Look at these photos Colin. Lauren
Chester. Strangled to death in
November last year. No sexual
assault. Kidnapped. Held for around
30 hours. Strangled with bootlace.
The photos show explicitly the thin welts running around the
victim’s throat. RAIMES looks away, groaning.
PSYCHIATRIST
You’re upsetting him ...
RAIMES
Terms and conditions ... You need a
hair cut ...
SAM
Bettina Mitchell. Attacked last
Saturday. You said; “fight me and
you’ll end up like Lauren.”
He slides his lap-top round to face the group - a computer
identikit
that is uncannily like RAIMES.
SAM
Look at this j-peg.
The ID picture
that Bettina gave us.
MAYA
places the ring-binder on the desk. Trump card.
SAM
It’s your diary Colin. Found it in
your room.
(reads from lap-top)
From the diary; “I killed her.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 5
5
CON
TINUE
D : 9 9
(MOR
E )

She’s been killed. I’m a killer. An
ace killer.” That particular entry
is not awash with ambiguity. Dated
November 4th; a
day after the
murder.
PSYCHIATRIST
Colin’s a first-rate fantasist
..
SAM
So let’s talk about the night of
the abduction; November 2nd.
Something twigs with the SOCIAL WORKER who immediately refers
to her Palm Pilot.
SAM
Where were you on ..?
SOCIAL WORKER
Hold on, November 2nd?
SAM
Correct.
SOCIAL WORKER
He was at our drop-in centre.
SAM looks up slowly from the lap-top. MAYA
chews her lip.
SOCIAL WORKER
Some kids had thrown fireworks at
him. He was distressed. We brought
him into the centre.
MAYA
looks to SAM who is boiling inside.
LAWYER
I think we’re done.
SAM and MAYA
try to hide their crushing disappointment.
SCENE 10 OMITTED 10 10
INT.
PROFILING CENTRE - DAY 1/1 13:23 11 11
High-tech, darkened room. TV screens run multiple suspect
interviews - each gives his name, (HARRY BENFIELD , DAVID
WESTON, MICHAEL SLAVIN , BARRY RICHARDS, BRENDAN CAIN)
the
last one is COLIN. Forensic results and criminal profiling
data spill out of other screens. SAM stands over a CIVILIAN
OPERATIVE who has a fingerprint digitized on the computer
screen. MAYA
enters. Hangs back.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 6
6
CON
TINUE
D : 9 9
SAM
(con
t 'd)

OPERATIVE taps in info. Print vanishes. Appears a second
later accompanied by a selection of comparative prints.
OPERATIVE
Nothing new in with this weal and
loop configuration.
SAM
Okay, let me try some bi-lateral
cross-referencing here.
He pulls a chair up to a computer screen on the other side of
the room. On the screen are microscope images - strange
filaments. MAYA
joins him.
SAM
Colin Raimes isn’t our man. We’ll
go back to our best lead; the
fibres found under the fingernails
of the victim. Definitely
synthetic.
MAYA
leans forward to study the fibres on the screen.
MAYA
I think there’s more to be had from
Raimes. Let’s lean on him.
SAM
And be sued for harassment
of a
schizophrenic? He ’s a fantasist.
It’s in his psyche-evaluation ...
MAYA
Screw the psyche-evaluation.
You used to believe in
gut feeling
What happened?
SAM
Nothing.
MAYA
What’s going on in there
Sam?
(taps his head)
SAM
I can’t think about this now.
She watches him engrossed in the flickering gobbledygook on
the screen.
MAYA
Would it help if we interfaced bi-
laterally , cross-referencing our
professional and domestic lives?
Would that make it easier for you
to talk about us splitting up?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 7
7
CON
TINUE
D : 11 11

He spins round to face her and just for a moment she thinks
he is
going to talk about his feelings.
SAM
I’m going to stand you down from
this case Maya . It’s not productive
given our personal problems ...
MAYA
All right, look, forget us .. I
have a theory about Raimes. About
why he kept the diary ...
SAM
I’ve made my decision.
MAYA
Don’t you even want to know what
I’m thinking? My feeling ...
SAM
Painters have feelings. Poets have
feelings. Look around you, what
good are feelings in this room?
MAYA
swallows down her rage. Nods. Okay then. She leaves. SAM
swivels back to his computer fast.
SCENE 12 OMITTED 12 12
SCENE 13 OMITTED 13 13
INT.
POLICE STATION - CORRIDOR/CID - DAY 1/1 13:30 14 14
SAM swipes to let himself out through the security doors. A
PC struggles to get a coffee from a dispenser. Rattles the
machine. Sam pauses to run his fingers over it. Sam reaches
for water from the cooler then turns to the dispenser and
gives it a light precise tap. A cup drops into the tray just
as his mobile goes off.
SAM
Maya , what are you doing?
MAYA
(OVER MOBILE)
I’m following my feelings sir .
Raimes isn’t just a fantasist.
I
think he’s trying to impress
someone.
SAM
Where are you?
MAYA
(OVER MOBILE)
What if Raimes knows the killer?
What if he’s going to go bragging
about hi .. arres
...
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 8
8
CON
TINUE
D : 11 11

SAM
Social Services will hit the roof
if you ... Where are you? Maya ?
MAYA
(OVER MOBILE)
.. Tailing him ... I .. in the..
SAM
You’re breaking up.
MAYA
(OVER MOBILE)
.. someone there. Someone waiting.
Raimes is heading towards Satchmore
Road... going to speak to the ...
SAM
No. Maya ? No. I’ll send back-up.
Maya ?
The line is dead.
SCENE 15 OMITTED 15 15
EXT.
PLAYGROUND - DAY 1/1 13:50 16 16
SAM’s Jeep pulls up. Close up of a sign - Satchmore
Road.
SAM walks through the desolate space. He crosses the
playground to where a couple of COPPERS are standing near a
swing. Maya ’s blouse hangs off the swing . Unmistakably hers.
A single fleck of blood spoils the material.
SAM is horrified to the core yet his every sinew of his being
fights to hold SAM TYLER
in check.
SAM
(softly)
Preserve the scene and call in SOCO
please. Whoever the killer is ..
he’s taken her.
I/E. SAM’S JEEP - DAY 1/1 14:00 17 17
SAM at the wheel - distressed but keeping a lid on it. “Life
On Mars” plays softly over his i-pod.
He brakes hard. The
music floats around him as he tries to marshal his thoughts
and feelings. He steps out of the car. Leans against it to
pull in some clearing air. He is close to tears.
He steps back to compose himself. A car smacks into him at
speed and in half a second SAM is thrown down the street like
a scarecrow full of straw. It’s shockingly sudden.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 9
9
CON
TINUE
D : 14 14

EXT.
MANCUNIAN ROAD - DAY 1/1 CONTINUOUS 18 18
High shot. SAM is thrown in a tangle across the tarmac. “Life
On Mars” builds on the soundtrack.
EXT.
WOODS - NIGHT - FLASHBACK 19 19
FLASH SHOTS - Woods at night. POV
of a young boy - looking
down at his own page-boy shoes pushing through the grass -
brass buckles catching the moonlight.
Looking up through the dancing branches at the stars.
Magical. Serene. The boy’s hands reach up for the stars in
the sky.
TOTAL BLACKNESS. TOTAL SILENCE.
EXT.
ROAD - DAY 1/2 14:20 20 20
SAM unconscious on dusty ground. He is wearing a dated brown
leather jacket and bell-bottom cords. “Life On Mars” can
still be heard playing. SAM lifts his head. The music is
coming from the 8 Track playing in the Ford Granada that he
is lying beside. The door is open. SAM heads towards the car.
A COPPER arrives. There is something about his uniform that
isn’t quite right. He also has a large radio transmitter
around hi s neck . COPPER helps SAM to his feet.
COPPER
What happened? Did you not see the
signs?
SAM realizes that he is standing in roadworks. A development
plot for the very same road he was driving on moments ago. A
road which now seems to be in the process of being built.
COPPER
Do you remember what happened sir?
[Beat] Sir, can you tell me what
happened?
SAM gawps
at the beige Granada.
SAM
This .. This isn’t my car. I was
driving .. I was driving a jeep..
COPPER
You were driving a military
vehicle?
He removes paperwork from the car.
SAM
Just hang ... what’s going on?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 10
10

COPPER
Can I ask if you’ve been drinking?
SAM
I’m not drunk.
COPPER
Says here you’re on transfer from C-
Division
in Hyde. Detective
Inspector.
SAM
What? I’m a DCI.
What the hell are
you ..? I need my mobile.
COPPER
Your mobile what?
SAM
My phone.
COPPER
You brought your own telephone from
Hyde?
The COPPER unstraps the bulky Pye
Pocket Phone from his
shirt.
COPPER
Eight-
Six-Zero to Alpha
One.
Hello?
SAM has had enough. He strides away from the scene.
COPPER
No, hang on sir! Come back .. sir!
SAM breaks into a trot. He crosses the street. Above him
looms a giant billboard with an artist’s impression of the
Mancunian Way and the words ‘Opening Soon’.
COPPER
Come back here!
SAM breaks into a run.
EXT.
SAM’S RUN - DAY 1/2 CONTINUOUS 21 21
SAM pelting through streets of old terraces. Collapses
against a lamp post. Becomes aware of the cars parked nearby -
Hillmans , Vauxhalls , Austins.
He catches a glimpse of himself
in the chrome hub cap of one
of the cars. He crouches down to study his reflection and
notices the change in his image for the first time.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 11
11
CON
TINUE
D : 20 20

He rifles through his pockets and pulls out a police ‘badge’ -
a leather wallet containing a card with the name SAM TYLER .
SCENE 22 OMITTED 22 22
EXT.
POLICE STATION - DAY 1/2 14:50 23 23
SAM stands sweaty and panting staring in astonishment at
numerous black bicycles that are lined up outside. A Morris
Panda car pulls out.
INT.
POLICE STATION - FRONT DESK - DAY 1/2 CONTINUOUS 24 24
Sweaty, dizzy and disorientated , SAM staggers into the tatty,
poorly lit reception. No security swipe here. A road safety
poster on the wall - squirrel with thumbs up. Tufty Says
Follow The Code .
The WPC
on the front desk is a formidable creature with the
voice of a welder - PHYLLIS. She watches a PC wrestling a
drunk. Shouting and swearing and bouncing off walls.
PHYLLIS
Get your ducks in a line Tony!
DRUNK and PC collide with people waiting. SAM is appalled.
PHYLLIS marches out from behind the desk and yanks the
DRUNK’S trousers down to his ankles.
PHYLLIS
Stop playing silly beggars or the
kecks
come down an’ all. Got it?
Legs bound by his trousers, the DRUNK is hauled off.
SAM
Where’s the Custody Sergea ...
PHYLLIS
The Whatty-what-what?
SAM
Who ARE you?
PHYLLIS
Barbarella , Queen of the Galaxy.
PHYLLIS is distracted. SAM sneaks past in background.
INT.
POLICE STATION - CORRIDOR - DAY 1/2 CONTINUOUS 25 25
SAM hurries through the station, continually dumbfounded by
the changes.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 12
12
CON
TINUE
D : 21 21

SAM
Water cooler. Where’s the ...?
These doors have security acc ...
Where’s the swiper?
Never mind. He sees a PC struggling to get a cup out of the
coffee machine. SAM gives the machine his customary tap but
it doesn’t work this time. He sets off again. Encounters a
bedraggled WPC
sponging blood off the walls. He marches on.
Pushes through dirty swing doors -
INT.
POLICE STATION - CID - DAY 1/2 CONTINUOUS 26 26
A DOZEN CID stop and stare. Most are smoking. The air is
opaque with it. Page 3 girls jostle for space with crime
scene photos. Desks over-flow with ash-trays, coffee cups and
paperwork. Most officers are dressed in cheap suits flecked
with dandruff flurrys.
The younger ones sport tight-fitting
leather jackets. They look pallid and cynical. They are all
and I mean ALL chewing gum.
Every fibre of SAM’S being tries to assimilate this. A
gangly, affable DC (CHRIS SKELTON ) approaches.
CHRIS
DC Chris Skelton .
Plod’s bringing
in your stuff. One of the girls’ll
sort out your RTA.
Don’t sweat it
if you’ve had a couple of stiff
ones. Blimey , you look like you
gone ten rounds with Big Henry .
SAM pushes by.
CHRIS
Someone needs to take a look at you
Boss. You’re as white as a ginger
bird’s arse.
DS
RAY CARLING
There’s that nice little plonk
on
the next floor. Cartright?
CHRIS
She could kiss it better.
SAM
(loud )
Shut up !
Their good humour fades. SAM is standing with his back to an
office which has the blinds down.
SAM
I don’t know who the hell you lot
think you are but this is my
office. Right here.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 13
13
CON
TINUE
D : 25 25
(MOR
E )

(points into thin air)
There’s a door .. here. My desk.
Here.
He looks down to see on the desk a calender girl photo - all
tits and arse.
SAM
Where’s my desk? Where’s my desk ?
Chair. PC terminal ...
RAY
Who? You want a constable up here?
CHRIS
I don’t know a PC Terminal. There’s
a PC Tellman
...
SAM
What the hell is going on? This is
my department! What have you done
with it. ...?!!
CHRIS
Ssshhh!
Keep it down Boss.
RAY
Too late.
Movement from within the office. Blinds twist open and a pair
of dark eyes blaze out. SAM steps back.
DCI
GENE HUNT emerges like a bear from a cave. Leather jacket
and Texan cord tie. He shoves an Embassy No6
into his mouth.
SAM
(calming himself)
All right. Okay .. surprise me,
what year is this supposed to be?
GENE grabs SAM’S arm, steers him into the office.
GENE
Word in your shell-like pal.
INT.
POLICE STATION - GENE’S OFFICE - DAY 1/2 CONTINUOUS 27 27
SAM wrestles free and rounds on GENE.
SAM
Big mistake!
GENE
Yeah? What about this?
He pushes SAM violently against the pre-fab
wall which
trembles.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 14
14
CON
TINUE
D : 26 26
SAM
(con
t 'd)

Clock, shelf, dartboard, darts trophies and notice-board all
fall off the wall. GENE leers into SAM’S face. SAM grips
GENE’S collars.
SAM
Get off me ..
GENE
They reckon you got concussion.
Well I don’t give a tart’s furry
cup if half your brains are falling
out. You don’t ever
waltz into my
kingdom acting the king of the
jungle.
SAM
Who do you think you are?
GENE
Gene Hunt . Your DCI.
And it’s 1973.
Almost dinner time. I’m having
hoops.
GENE’S face is inches from him. Quiet, gravelly menace.
INT.
POLICE STATION - CID - DAY 1/2 15:25 28 28
CLOSE UP on a chunky wood panel TV in the corner of the room,
a public information film from the Central Office of
Information ( COI ). The scratchy footage shows a dodgy
man
loitering in a residential street. Curious neighbours
follow
his every move through net curtains.
SELF-IMPORTANT VOICE OVER
Who’s the stranger? Who’s the
stranger? Who’s the stranger?
(beat for effect) Who’s the
stranger in your
street?
A wobbly caption card appears asking the public to be
vigilant about strangers in the area.
CONTINUITY ANNOUNCER
That was a public information film.
Someone jabs off the telly.

Bustle, noise, radios playing.
Wads of gum thrown from hand to hand. Huge cast-iron
typewriters thumping away. SAM sits amongst it all looking
grey and lost.
His gaze drifts down to The Mirror lying on the desk .
Headline - Anne: No Romance - Saturday, March 3rd
1973.
RAY is making a collection. OFFICERS put coins into a Man
City football sock.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 15
15
CON
TINUE
D : 27 27

RAY
DS
Burt’s retirement fund.
GENE
Here we go lads. Hands in pockets.
Rattle your loose change for me.
Dig deep. Coins only. No buttons.
(Beat) Get your hands off that,
son. That ain’t your money you’re
shaking.
SAM fumbles for the big grey telephone. He takes a moment to
remember it then starts dialling a number.
OPERATOR
Operator.
SAM
What? I’m trying to reach a mobile
number. 07700 900 813 ..
OPERATOR
Is that an international number?
SAM
I want to connect with a Virgin
number. A Virgin ...
OPERATOR
Don’t you start that sexy business
with me young man. I can trace this
call ...
SAM slaps the phone down.
A sound - like the wheezing of a hospital ventilator. SAM
looks for its source. Hears another noise - the distant ping
of what, for all the world, could be a heart monitor. The
phantom sounds are swallowed up by bustle.
CHRIS puts down the phone and hurries over to GENE who is
lighting yet another smoke.
CHRIS
Just had a shout; that bird
reported missing two days ago?
She’s only been done in down
Satchmore
Road.
SAM
Satchmore?
That’s where Maya ...
SAM sways and wipes his palms over his face - what is
happening to him?
GENE
Suzi
Tripper?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 16
16
CON
TINUE
D : 28 28

CHRIS
Rung her neck like a Christmas
turkey.
OMITTED 29 29
INT.
POLICE STATION - CID - DAY 1/2 15:35 30 30
GENE is on his way out of the office.
GENE
Right, I gotta
get down the pub and
give a statement to the papers. And
if I don’t get a move on they’ll
all be half cut. (to SAM) You’re in
charge.
SAM just stands there.
CHRIS (TO SAM)
Boss?
The team congregate around the table. They wait on
SAM who
stands like a fool before them. SAM has no idea what to say
or do.
SAM looks up. A beat.
CHRIS
So should we...start?
SAM shrugs. Why not?!
CHRIS lays out personal effects from a plastic bag,
interspersed with bites from his fried egg sarnie.
It should
be noted that RAY doesn’t appear to like SAM much.
RAY
Suzi
had been dead a couple of
hours when she was found. No sign
of sexual assault.
He shrugs - what else is there to say? CHRIS feels the need
to expand when RAY doesn’t go on.
CHRIS
This is what she had on her.
He puts out a few items of make-up. A necklace. Egg yolk
drips onto her purse.
CHRIS
Bloody hell.
A few laughs.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 17
17
CON
TINUE
D : 28 28

RAY
So then? Boss? Anything you wanna
...?
SAM
Ummm.
Right. Yes. Right. You
haven’t visited.. visited the crime
scene?
CHRIS
What, where she was found?
SAM
Uhh .. yes.. where she was... Have
you preserved the crime scene?
RAY
Body’s on the slab.
SAM
Her body should have been dusted
for prints on site.
RAY
How the hell are you gonna
get dabs
off skin Boss?
SAM
You are so
right. How can you?
What’s the matter with me?
CHRIS
We did take some prints off her
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
A fortnight?!!
CHRIS
Motive doesn’t seem to be robbery.
There’s 27p
in her purse plus a
couple of Green Shields.
SAM
They could’ve taken the notes.
Who’d bother with 27p?
CHRIS
I would.
SAM
No store cards? Credit cards?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 18
18
CON
TINUE
D : 30 30

RAY
Yeah right. We’re looking for the
killer of Jackie Onasis.
CHRIS
After pub closing time she stayed
in the car park with a couple of
fellas
but that’s cool.
SAM
C-Cool? Why?
CHRIS
We know ‘em. Loaders
from the canal
wharf. They’re all right.
[GRINS]
She was in the carpark giving ‘em a
downhill racer.
CHRIS mimes skiing - or if you prefer, he mimes a woman
jacking off two blokes at the same time.
SAM
So you’re not going to take
statements?
RAY
It’s not them
Boss .
SAM considers this. The team wait, swapping glances. RAY
smirking.
SAM
(softly)
Wake up.
INT.
MORTUARY - DAY 1/2 16:15 31 31
Cold. Dank. Dingy. SAM, CHRIS and RAY stand around the upper
body of Suzi
Tripper. Her skin is pale and clear save for the
ugly cord marks around her throat. ( The same injuries we saw
in the Lauren Chester photographs in 2005 .)
SAM stares at Suzi’s
body - making connections in his fevered
mind.
RAY
He didn’t shag her. Didn’t rob her.
So what’s the motive?
SAM
Garroted with thin cord. No other
attack marks. Nothing in or around
the mouth. What have you learnt
from the stomach contents?
RAY shrugs.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 19
19
CON
TINUE
D : 30 30

SAM
Well.. Uh
Chris, have a look.
CHRIS reluctantly lifts the sheet on Suzi
SAM
In the post-mortem file.
CHRIS
She wasn’t fed for at least a day
before she was killed.
SAM
And found in Satchmore
Road.. Oh
come ON! ENOUGH!
He runs to the wall and kicks it. Slaps it.
SAM
End! Stop! Over! Finish! ENOUGH!
SAM turns suddenly and flattens his back against the wall. He
begins to notice the wall he is standing against. He feels
the moist brick. Even sniffs the air.
SAM
The wall’s wet .. Smell the
preserving agent. Soap in the tray.
Sandwich on the side. Half-eaten.
Ham. Someone whistling outside ....
CHRIS
Boss .. you gotta
get some rest.
That crash has right done your head
in.
SAM
My head ...
SAM crosses to Suzi.
He lifts up her hand - long nails. SAM
scrabbles behind him until he finds tweezers on the tray. He
pokes around under the nails.
CHRIS
You just need a large scotch and a
bit of kip.
SAM pulls a thin cotton strand from under a nail. ( This
identical to the forensic evidence located on Lauren Chester
in 2005. ) He stares and stares at it until his whole body is
trembling.
SAM
(softly/awe)
It’s him. He’s killed before.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 20
20
CON
TINUE
D : 31 31

RAY
We’ll get a plonk
to give you the
once-over.
INT.
POLICE STATION - SIDE ROOM - DAY 1/2 1 8:15 32 32
WPC
ANNIE CARTRIGHT
tips SAM’S head back abruptly a peers
into his pupils. ANNIE is late 20’s
with a face that lets you
know there’s a good mind whirring away.
She gives his head a
savage twist.
ANNIE
No broken bones then. Do you feel
like you’re going to heave up?
SAM
I’m a bit nauseous.
ANNIE
You’ll do. You’ve had hangovers
worse.
SAM
Are you a doctor?
ANNIE
I’m about as qualified as Dr
Kildare. I’m part of the Women’s
Department.
SAM
What?
ANNIE
Lost kiddies.
Hysterical
girlfriends. Concussed DIs.
Don’t
they have plonks
in Hyde? Go on
sir, off you jolly well trot.
He crosses to the window.
ANNIE
What now?
SAM
What’s your name?
ANNIE
WPC Cartright .
SAM
Your first name?
ANNIE
Uhh
.. Annie.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 21
21
CON
TINUE
D : 31 31

SAM
I’m sorry if I’m being a pain
Annie. You’ve got better things to
do.
ANNIE
(awkward)
Yeah .. now you’re taking the rise.
But he isn’t and she can see it.
ANNIE
Why don’t you get some fresh ..
SAM
Who’s Tony Blair?
ANNIE
Someone you’ve nicked?
SAM
Victoria Beckham?
She sighs and puts away her first aid bag.
SAM
Rupert Murdoch? Ricky Gervais?
I
was four
in 1973.
[BEAT]
Hit me.
ANNIE
Don’t tempt me.
SAM
Go on.
ANNIE
You’ve been in an accident ...
SAM
Hit me.
He gives up. Turns away. She suddenly punches him in the
kidneys.
SAM
Ah! Shit!
Damn! Ah!
ANNIE
Sorry sir.
GENE throws open the door - clocks SAM bent double.
GENE
Good girl, prostate probe and no
jelly.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 22
22
CON
TINUE
D : 32 32
(MOR
E )

Why don’t you call it a day Tyler .
Chris’ll
drive you to your place.
SAM
My place ?
GENE
They gave us an address.
(beat)
Unless of course you’re getting a
taste for it in here.
SAM
We can’t stop now.
GENE
[final] Nothing else we can do
tonight.
EXT.
POLICE STATION - NIGHT 1/2 1 8:30 33 33
CHRIS walks SAM to his (CHRIS’S) car.
SAM
This guy kills and then he .. what
.. waits another 30 years? Is that
why I’m here? Because that’s when
he first struck? Does that make
sense?
CHRIS
Yeah, loadsa
sense.
SAM
Maya
thought Colin Raimes knew the
killer. Raimes ... Forget it, he’d
still be in nappies
...
ANNIE
I can take him home.
She is standing with a STUDIOUS GUY, NEIL, in glasses who
hangs back, staring at SAM. ANNIE is wearing a simple leather
skirt and looks much younger out of uniform.
SAM
Can you smell that? Fish and chips?
Amazing! I can almost taste the
vinegar!
He bursts out laughing.
CHRIS
Take him, he’s your’s.
CHRIS is only too happy to get in the car.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 23
23
CON
TINUE
D : 32 32
GEN
E (con
t 'd)

ANNIE
This is Neil.
NEIL
(emphatic)
Sam.
SAM
What?
NEIL
Sam.
SAM is disturbed by the way that NEIL is almost looking right
through him.
ANNIE
Do you want me to take you home ?
SAM doesn’t answer. ANNIE waves him away and turns to go.
SAM
Help me?
She looks back at him. He is unabashed and vulnerable.
INT.
FLAT - NIGHT 1/2 1 9:05 34 34
SAM is appalled by the brown, spartan
flat. His new home? .
ANNIE is carrying some shopping.
ANNIE
This is it.
SAM
(Aghast)
Oh my God.
ANNIE
It’s not so bad is it?
She
goes to the kitchen
leaving SAM to examine the hideous
wallpaper and the general strange 70’s-ness
of it all. He
looks around for a bed, realises
there is a fold out bed on
the wall.
He
clicks on the telly.
Nothing. He waits. Still nothing. He
turns away. With a mighty THONK
the tv
bangs into life -
Richard Baker reading the news. SAM panics and jabs it off
again.
SAM
I’m not crazy. I’m not!
She brings him
a beer. He s tudies the bottle.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 24
24
CON
TINUE
D : 33 33

SAM
I had an accident and then I woke
up 32 years in the past. That
either makes me a time-traveller, a
lunatic or I’m lying in a hospital
in 2005 and none of this is real.
ANNIE
32 years in the future; that’s
where you’re saying you’re from.
SAM
Maya
.. she’s my girlfriend ..
she’s been kidnapped. By the killer
who strangled Suzi
Tripper
yesterday. It’s the same man.
ANNIE
I think you should go to the
hospital and ask them to check you
for concussion.
SAM
(CONT’D)
He’ll hold her for a day and then
... It’ll be like Lauren Chester in
2005. Like Suzi
Tripper here in
‘73.
You see? It’s the same killer
in both times!
And I can’t help
her.
ANNIE
Paranoid delusion brought about by
your accident . It’s not concussion,
it’s psychological..
SAM
Pretty fancy talk for a WPC.
ANNIE
I studied psychology at university.
Durham. (a beat)
I’m just saying 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
So you’re in hospital somewhere and
I’m a hallucination?
SAM
Do I really need 10ps
for the
meter?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 25
25
CON
TINUE
D : 34 34

ANNIE
You’ll have to work this out on
your own.
He stands in front of her. Close.
SAM
Thank you .. you know .. for
talking to me about this without
calling the men in white coats.
She is affected by his proximity.
ANNIE
I’m just keeping you distracted
while they get a big net.
(serious)
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.
He reaches out and places his hand over her chest. She is
excited by the sudden contact. He closes his eyes.
ANNIE
Yes, it’s beating.
She pulls herself together, batting his hand away.
ANNIE
I’ve got to go.
SAM
Where?
ANNIE
What do you care? I’m not real. As
soon as I walk out that door, puff,
I’m gone. Here I go.
She opens the door.
ANNIE
Ready? Steady?
She shuts the door behind her. Silence. He waits. Flings it
open. ANNIE is standing right there.
ANNIE
Get some rest.
He closes the door on her. The lights in the flat go out.
ANNIE (O.S.)
10ps.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 26
26
CON
TINUE
D : 34 34

INT.
FLAT - NIGHT
1/2 23:58 35 35
Dreary, muted fanfare announces the start of Open University
on the TV.
SAM is slumped in the big draylon
chair holding a beer and
half asleep. The GOATEED PRESENTER steps into screen.
GOATEED PRESENTER
In Module 3 we noted that the
collective Pythagorean angles
embedded in our x to n ratio could
be derived from the simple numinary
a as the constant 10 and depicted
thus ...
Inexplicable diagram appears on screen.
GOATEED PRESENTER
But what concerns us most is
regulating his breathing. That is
why we have to keep the
endotracheal tube in place. I have
to stress to you that Sam is in low
responsiveness but not in a
persistent vegetative state ...
SAM’S eyes snap open. He is blown away by what he is hearing.
GOATEED PRESENTER
.. although he has suffered severe
cranial trauma. But The Glasgow
Scale does put him at a deep level
of coma.
The GOATEED PRESENTER is peering out of the TV screen as
though peering down into the eyes of a person lying on a bed.
SAM
You’re talking about me! I’m not in
a vegetative anything! Look at me!
I’m here! I can hear you!
SAM comes down to the TV.
GOATEED PRESENTER
At times however he moves, murmurs,
has motor response as though caught
in some sort of powerful REM sleep
from which he can not wake. This
gives us some hope despite the
brain-stem bruising ...
SAM
Hey! I’m here! Does this look like
low responsiveness to you?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 27
27

GOATEED PRESENTER
All we can do is monitor and wait.
(clicks his fingers)
Sam. Sam? Sam Tyler ?
SAM
(overlapping)
Wait? I’m BUPA!
Get me out of here!
CUT: SAM opens his eyes with a start. He is sitting in the
chair and must have nodded off. The GOATEED PRESENTER is
still burbling on about angles and numinaries.
GOATEED PRESENTER
(In the background)
In Module 4 we will be studying
what happens when the numinary
is
in flux. So the constant a becomes
an elliptical variant. You can
prepare for this module by reading
the annotated chapter entitled
“Variant Numinaries ” in the
accompanying module pack ...
SAM
I’m here! Don’t leave me .. I’m
here ...
He sinks to his knees before the TV. Punches another channel.
The test card pops up. Girl in a smock at the blackboard with
a clown doll and a green balloon. Smiling out at him. And the
test tone slicing through his head.
INT. SAM’S FLAT DAY 1/3 06.45 35 A 35 A
Morning light seeping through. SAM asleep fully clothed on
the bed. He blinks. For a second it was all a bad dream. Then
he sees the wall paper in front of him. He sees the clothes
on the bed. He sits bolt upright with a start as the awful
truth hits him here!
He gets off the bed and prepares to hit the day.
SCENE 36 OMITTED 36 36
INT. POLICE STATION - CORRIDOR - LOST & FOUND - DAY 1/3 36 A 36 A *
11.00 *
SAM walks through the door into the corridor. He hesitates, *
unsure of what he’s doing here and of what lies ahead. He *
changes his mind and turns to go, but the doors behind him *
crash open. Sam spins around to see GENE with CHRIS in tow. *
GENE *
Bloody hell, I’ve seen road *
accidents more cheerful. *
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 28
28
CON
TINUE
D : 35 35
(MOR
E )

(beat) Where are you today? Here or *
planet of the Clangers? *
SAM doesn’t respond. *
CHRIS *
Didn’t know if you were gonna
show *
Boss. *
SAM *
Where else could I go? *
GENE *
Well we’re honoured. We’ve pulled *
in a bird, Dora Keens. She was the *
last person to see the victim *
alive. *
SAM *
She a suspect? *
GENE *
No, just a pain in the arse. *
SAM *
(resigned) *
All right, brief me in full. What *
do I need to know? *
GENE *
She’s a pain in the arse! *
GENE and CHRIS come to a halt outside the Lost and Found *
Room. SAM Looks at the Lost And Found sign on the door.
SAM
(wry)
So you’ve handed her into lost
property?
A look between GENE and CHRIS.
CHRIS
We could use the canteen but she’s
a right mouthy bird, this one.
SAM
What? We’re interviewing her in
here?
GENE
Thick walls.
SAM doesn’t like the way he says that.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 29
29
CON
TINUE
D : 36 A 36 A
GEN
E (con
t 'd)

INT. POLICE STATION - LOST AND FOUND ROOM - DAY 1/3 11.00 37 37
CONTINUOUS
The room is a trove of bric-a-brac. Umbrellas, stacks of
handbags and purses, a padre’s black bicycle. Sitting behind
a table is a skinny girl, DORA, who hides like a sparrow
inside her big coat adorned with Bob Dylan
badges. The place
is now an ad hoc interview room.
GENE
You had a drink with Suzi
the night
she died, didn’t you Dora.
GENE sits down opposite DORA, SAM sits down beside GENE and
CHRIS sits at the back with notebook and pencil but doesn’t
appear to be writing anything down. The room is bare. No
tape. No video.
DORA
I know you. From the picket line.
You put the boot into my old man.
GENE
Happy days.
DORA
Sod off.
GENE
Can’t love. This is my esteemed
colleague, DI Tyler .
He motions for SAM to take over. SAM on the spot.
SAM
Uhh
.. hi Dora. I want you to call
me Sam.
CHRIS looks up from his notebook.
DORA
You really a copper?
SAM
Possibly.
DORA laughs. GENE scowls at SAM and lights up.
SAM
When was the last time you saw
Suzi?
DORA
In my dreams.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 30
30

SAM looks lost. Wants to give up. Notices the way GENE is
looking at him. Fuck
it, why should he give him the
satisfaction?
SAM
All right ... I want you to stow
away this counter-productive
attitude Dora because it isn’t
helping anybody. How did Suzi
seem
to you that night? Did she talk
about meeting anyone?
DORA
She was horny.
SAM
Did you see her get into an
argument with a stranger ...?
DORA
You got lovely neat hair. Were you
in the Army?
SAM
You think I need this shit?
He stands. DORA looks unnerved. GENE looks impressed. SAM
rocks on his feet. Pulls himself together. Sits.
SAM
Let’s start again ...
DORA
I know the answer. It’s blowing in
the wind.
GENE sweeps her tea cup and her fags off the table. Then he
throws over the table. DORA screams and jumps back. SAM jumps
back also - horrified.
GENE
I’m done with this game. Let’s play
another. Let’s play hopscotch. Pin
the tail on the donkey? You pick
Dora.
The walls are closing in on SAM.
DORA
I wanna
lawyer!
GENE
I wanna hump
Britt Eckland.
What we
gonna
do?!
SAM panics and bolts.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 31
31
CON
TINUE
D : 37 37

INT.
POLICE STATION - STAIRWELL - DAY 1/3 CONTINUOUS 38 38
SAM staggers onto the stairs. Drags in deep draughts.
INT.
POLICE STATION - LOST AND FOUND ROOM - DAY 1/3 11:20 39 39
SAM braces himself as he returns to find the room empty.
There’s an acrid smell and a conspicuous puddle on Dora’s
side of the room. A cleaner, JUNE , arrives and tackles the
mess with a mop and bucket. CHRIS joins SAM.
SAM
What...did she say?
CHRIS
Uhhh ...
SAM snatches the notebook - pages of tree sketches.
INT.
POLICE STATION - CELLS - DAY 1/3 11:30 40 40
PC unlocks a sobbing DORA from the cells. SAM arrives to join
a smug GENE who is lighting up.
GENE
Your dad’s waiting to take you
home. Long live the revolution.
SAM
What the hell did you do to her?
GENE
Oh you know, usual. Then banged her
up for obstruction. Kids eh.
SAM
Where I come from you’d be looking
at suspension.
GENE
(buoyant)
Really? For making a breakthrough?
At 11.20 she saw Suzi Tripper
heading away from the pub followed
by a tall bloke with long hair.
SAM
It’s not human hair under those
nails. It’s synthetic.
GENE
Chris told me what went on in that
mortuary.
SAM
I need a drink.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 32
32

He tries to push past GENE who grabs his arm tightly.
GENE
First sensible thing you’ve said
since you got here.
INT.
RAILWAY ARMS - DAY 1/3 12:50 41 41
A smoke-filled utilitarian pub. Led Zep
on the jukebox. Man
City flags on the wall. A few off-duty UNIFORM at the bar
waiting to be served. GENE and SAM enter. GENE leans on the
counter next to UNIFORM.
GENE
Ain’t uniform got its own boozer?
You have to rubber-heel mine?
UNIFORM take that as their cue to leave.
The place is run by a colourful
Rastafarian called NELSON .
NELSON
DCI Hunt , mon
brave .
SAM is stunned at NELSON ’S splendid get-up.
NELSON
You catchin’
flies brother?
SAM
So what part of my subconscious do
you hail from?
NELSON
looks to GENE dead-eyed then cracks up laughing.
NELSON
I likes. I likes.
GENE
Nelson ’s a good bloke. And some
times in some places on some
enchanted evenings he can be my
eyes and ears. Ain’t that right
Tonto.
NELSON
I don’t know what you is talkin’
about ... kimusabi.
He and GENE enjoy the cryptic joke.
NELSON
What’s your poison?
GENE
Tan and bitter. Sam?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 33
33
CON
TINUE
D : 40 40

SAM
Diet Coke.
Nonplussed glances from NELSON
and GENE.
SAM
Just testing. Pint of bitter.
GENE
Give it up then.
SAM
The killer is either wearing thick
gloves of some sort or he’s using a
bag or something made from coarse
material. Gets under their nails.
GENE
You can’t know that from one stiff.
SAM
I’ve seen another ... I’m telling
you ... Oh forget it! This is all
bull anyway. You’re just a thug
crawled out of some dark little pit
in the back of my mind ..
GENE
Yeah? Gonna
report me upstairs?
SAM
See you Gene. Give my regards to
the Id ...
He walks towards the door. Suddenly a pair of large hands are
on him. SAM bats the hands away and braces himself.
SAM
ALL RIGHT! LET IT BE NOW! RIGHT
NOW!
GENE blazes at him. Is he going to strike? SAM shoves him.
The entire pub looks on, dumbstruck.
SAM
Come on.
GENE glares. Then sighs and lights a cigarette.
GENE
You’re new and you got something
big crammed up your jacksie
but
that’s okay. You’ll learn.
My team’s
tight Tyler . I never give
up and I go for the maximum
sentence.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 34
34
CON
TINUE
D : 41 41
(MOR
E )

But there isn’t a n officer under me
I wouldn’t take a chisel in the
guts for. “I may be the Sheriff but
I’m a Deputy to the Law.” Now I
don’t mind if you wanna
take a
swing at me Deputy. 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
(panting / hyped)
With what I know, I could find this
killer.
GENE draws deep on his smoke and weighs it up.
GENE
Prove it.
OMITTED 42 42
INT.
POLICE STATION - COLLATOR’S OFFICE - DAY 1/3 CONTINUOUS 43 43
GENE, SAM and PHYLLIS enter.
GENE
If I’d known you were going to
bring us all the way here Phyllis,
I’d have asked you to hold my hand.
PHYLLIS
You try and hold my hand and you’ll
never play the ukulele again.
GENE
God you are a magnificent woman.
PHYLLIS
Hello Sid.
The room is little more than a dingy stock cupboard with
dexion
shelving rising to the ceiling on all sides. A bare
light bulb dangles from above. Each shelf groans under the
weight of faded, mildewed box-files. SID MORTON is shuffling
a cardex. 70s. Twitchy. Doormouse.
SID
Two at a time.
PHYLLIS
I’ll leave you boys to it then.
SID
Mr Hall , what brings you down here?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 35
35
CON
TINUE
D : 41 41
GEN
E (con
t 'd)

GENE
Hunt
Sid. My man here’s got some
questions for you.
SAM
This is ... it? No wonder we never
knew he was killing them thirty
years ago. Are these in any order?
SID
Excuse me young ‘un.
I’ve got a
system here that’d
give the British
Library a run for its money.
SAM
All right, here’s the list of
criteria with cross-reference
points. Let’s get on with it.
SID looks daunted by the list.
SID
Cross what ?
SCENE 44 OMITTED 44 44
INT.
POLICE STATION - CORRIDOR - DAY 1/3 16:30 45 45
SAM is caked in dust, hair in clumps. Look of extreme
determination on his face. He grabs CHRIS who is passing.
Leads him away.
INT.
POLICE STATION - COLLATOR’S OFFICE - DAY 1/3 CONTINUOUS 46 46
CHRIS looks morosely at two huge mounds of paper.
SAM
Match the carbons with their
originals. Concentrate on
statements taken in the last year.
You know what you’re looking for?
CHRIS
Indecent assault, related sexual
offences involving young ...
SAM
You got it. Pay particular
attention to..?
CHRIS
Everything.
SAM
Fibres.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 36
36
CON
TINUE
D : 43 43

CHRIS
Fibres. Sorry, I thought it was a
trick question.
SID
And don’t mess up my system.
SCENE 47 OMITTED 47 47
EXT.
POLICE STATION - DAY 1/3 17:00 48 48
SAM watches the world go by - but what world? He pinches
himself, sees the skin redden. Pinches himself harder until
it really hurts.
INT. FLASHBACK - PROFILING ROOM 2005 48 A 48 A
MAYA ’S face as she peers at the fibres on the screen. (As per
Sc
11).
EXT. POLICE STATION - DAY 1/3 CONTINIOUS. 48 B 48 B
SAM is unnerved. He turns and walks back into the station.
INT.
POLICE STATION - CID - DAY 1/3 17:20 49 49
SAM is briefing the team. Everyone either smoking, slurping
tea or eating a Mars Bar. In some cases all three. SAM is
using a blackboard to chalk up notes. GENE sits to one side,
allowing him centre stage.
SAM
To predict
what this killer might
do next
you have to understand what
he’s thinking and feeling. That’s a
very powerful thing to be able to
do.
RAY
So’s pulling a rabbit from a hat.
ANNIE is heading out.
SAM
Annie? Annie! PC .. WPC Cartright.
She freezes. All heads turn to her. ANNIE withers. Shit.
SAM
You’re familiar with this case
aren’t you?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 37
37
CON
TINUE
D : 46 46

ANNIE
(where is this leading?)
Uhhh
... yes sir. I know the case.
SAM
Can you help me out here please?
He glances to GENE who scowls but keeps his own council.
SAM
Please?
ANNIE shuffles over to join him.
CHRIS
Oh I get it, she’s your lovely
assistant.
SAM
WPC Cartright
has a BA in
psychology.
RAY
Come on then Bamber , give us our
starter for ten.
SAM
The victim was n’t
gagged. That
seems odd.
ANNIE is like a hare in the headlights.
SAM
Why didn’t he gag her Annie?
RAY
Oh forget the mind-reading act,
let’s get to the striptease.
SAM can see ANNIE is riled by their laughter. She grits her
teeth. He waits.
ANNIE
Because he needed to .. needed to
see her mouth. Her lips.
[ laughter
dies in the room]
We have to see the things we value.
It’s .. It’s why we put trophies on
shelves. It’s called “the jackdaw
trait”.
GENE glances self-consciously at the darts trophies in his
office.
SAM
Put yourselves in the mind of this
man. You’re lonely.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 38
38
CON
TINUE
D : 49 49
(MOR
E )

And in your dream s
there’s a girl.
And she’s got these
big eyes and
ruby lips.
Coppers just don’t talk this way and it has an odd effect on
CID. Some are suspicious. Others casually intrigued. GENE
isn’t sure what to make of SAM but he can see the impact he
is having.
SAM
One day you can’t take it . You find
that girl and you bring her home.
You don’t gag her. You need to see
those ruby lips. Why won’t they
smile at you? Then it’d be just
like the dream. Perfect. But you
can’t bring yourself to kiss her.
ANNIE
He’d get embarrassed .. angry ..
(warming to the theme)
He’d start to blame the girl. It’s
her fault. She’s taunting him just
by being there.
SAM
You can’t take it. You strangle her
using bootlace.
And then the whole
cycle starts again with another
girl. Only this time you’re sure
you’ll be brave enough to kiss her.
ANNIE
Only he won’t be.
A moment’s ponderous silence.
CHRIS
(cheeky grin)
I look at your lips all the time
Cartright , d’you
think I should
turn myself in?
The group guffaw. ANNIE turns puce.
GENE
I think you should trot along now
sweetheart, before I have to hose
this lot down.
ANNIE
Yes sir.
SAM
Thank you ...
She hurries out of the room.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 39
39
CON
TINUE
D : 49 49
SAM
(con
t 'd)

CHRIS
How you gonna
know what he’s
thinking?
SAM
By looking at similar cases. By
talking to experts . By building a
profile. Where I come from it’s
standard procedure before arrest.
If you fail to prepare, be prepared
to fail.
A moment of profound silence.
RAY
Confucius
say, “bloody hell.”
A round of laughter. The phone rings and CHRIS goes to answer
it.
GENE
Put a sock in it, now!
Instant quiet.
GENE
How would he keep her quiet without
gagging her?
SAM
I don’t know.
CHRIS
Sorry Guv , Dora Keens .. the bird
you locked up ..? It’s her old man.
GENE
I’ll take it here.
(snatches phone)
Mister Keens? ... Your daughter was
what? ... Locked up?! ...
Infringement of human what? ....
She’s not run away Mr
Keens , she’s
probably at a mate’s
.. No I’m
sorry there’s been a mistake here
Mr
Keens, you’ve come through to
Traffic .... Gotta
go, someone’s
parked on a double-yellow.
Hangs up. CID cheer. SAM shakes his head in amazement.
GENE
All right, this nutter
may have
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.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 40
40
CON
TINUE
D : 49 49
(MOR
E )

Let’s not wait until another skirt
winds up dead.
The team are goaded into action. SAM looks to GENE for
approval.
GENE
And let’s just hope we’ve not been
led up a blind alley.
SAM fumes but keeps it to himself.
INT.
POLICE STATION - CORRIDOR - DAY 1/3 17:40 50 50
SAM is having no luck getting the drinks dispenser to deliver
his tea. He doesn’t notice RAY draw alongside. RAY’S tone is
casual but loaded.
RAY
Thought you had the magic touch.
SAM
I press tea and I get Bovril.
RAY
New machine in’t
it.
(beat)
We had a machine here for years.
Got bashed to buggery. Cracked.
Dented. Patched up with Sellotape.
Then the plastic went all yellow.
Didn’t look too snazzy. But it did
the job. Tea from the pot, hot to
trot. Then they replaced it for no
good reason. Flashing lights and
formica
tray. Latest range.
SAM
I assume this diatribe is going
somewhere Ray.
RAY
New don’t mean improved is all.
RAY suddenly kicks the shit
out of the dispenser. Cup rattles
into holder and fills with tea.
RAY
You can get tea from just about
anything if you know how to ask.
SAM looks stunned. RAY holds one great fist over the machine
as if ready to punch it.
RAY
Sorry Boss, how many sugars?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 41
41
CON
TINUE
D : 49 49
GEN
E (con
t 'd)

RAY offers him a humourless smile and walks on.
SAM leans against the wall. Squeezes his eyes tight shut.
INT.
MONTAGE FROM 2005 - FLASHBACK 51 51
FLASH IMAGE - The multiple video interviews with suspects
from 2005. COLIN RAIMES and others, saying their names.
And a sudden image of MAYA looking into his eyes.
And a sudden more shocking image of her blood-flecked blouse
on a swing.
INT.
POLICE STATION - CORRIDOR - DAY 1/3 CONTINUOUS 52 52
BACK TO SAM - he regains his wits. Drags out his note-pad and
starts scribbling names madly.
INT.
POLICE STATION - COLLATOR’S OFFICE - DAY 3 18:00 53 53
SAM sits cross-legged on the floor with CHRIS and SID. All
are surrounded by an Alpine range of papers.
SAM
Look for these names cropping up in
any box in the room . Priority.
CHRIS
Priority. Wilco.
SID
So where did you get these names
from?
SAM
Call it inspiration.
INT.
RAILWAY ARMS - DAY 1/3 19:15 54 54
CID are getting slaughtered at the bar. SAM is hunched over
NELSON ’S private telephone which he has put on the bar. SAM
watches RAY collect ing
coins in the now very heavy Man City
sock.
RAY
DS
Burt’s retirement fund. Coins
only.
He makes certain that SAM sees he has his eye on him. The
OPERATOR comes back on the line.
OPERATOR
Sorry sir, I’ve checked and there’s
no Maya Roy listed in that area.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 42
42
CON
TINUE
D : 50 50

SAM
Then try the number again ...
OPERATOR
I have no Maya
...
SAM
Just try again! Just. Just ...
He slams the phone down. NELSON
is watching him, concerned.
Can really see the pain in SAM’S face.
NELSON
You’s not a happy man.
SAM
Not really .. no. Thanks for the
phone.
NELSON
dismisses it - no problem. SAM rustles him up a
genuine smile.
ANNIE is drinking with another WPC.
He approaches her.
ANNIE
Go away.
He notices the way those same PCs
she was once laughing with
are now eyeing her suspiciously.
SAM
I’m sorry if I put you on the spot
but I needed help.
ANNIE
Yes, you do. Need help.
SAM
I don’t know why I’m here and I
don’t really know where “here” is.
But maybe solving this case is a
key to getting out somehow.
ANNIE
It’s hard for us to get on in the
force, you know? You shouldn’t have
told them about my degree.
SAM
It’s nothing to be ashamed of, you
are who you are.
ANNIE
That’s rich coming from a bloke who
has no flippin’
idea who he is!
He turns to go.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 43
43
CON
TINUE
D : 54 54

ANNIE
I hope you’re right about this lead
of yours. I’m telling you Sam, if
you mess Hunt
about you’ll wish you
were 30 years away.
SAM nods and walks to the bar. Watches ANNIE leave.
SAM
Large whisky please Nelson .
NELSON
Your day just don’t get no better.
SAM
Never had a day like it.
NELSON
Drink ain’t gonna
fix things. What
am I sayin’?
I runs a pub! ‘Course
it’ll fix things!
His laugh is infectious. SAM has to grin.
SAM
Nelson , I’m lost. Really lost.
NELSON ’S grin fades away. The man looks sober and serious.
His eyes fix steadily upon SAM. Suddenly NELSON
looks like a
man you can trust. And when he speaks, the broad Rasta
lilt
is gone. NELSON
has a soft, firm Lancashire brogue
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.
SAM doesn’t know what to say - NELSON ’S accent change has
thrown him.
NELSON
Keep it to yourself, eh.
Folks just
feel happier with the other Nelson .
SAM nods respectfully - once. Drinks his drink and turns to
go.
NELSON
Good luck.
INT. SAM’S FLAT - DAY 1/4 07.08 54 A 54 A
SAM is asleep on his bed. He wakes up and finds himself
surrounded by sheets of paper. He’s been making notes (the
notes he gives Annie in Scene 56).
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 44
44
CON
TINUE
D : 54 54

SCENE 55 OMITTED 55 55
EXT.
POLICE STATION - DAY 1/4 10:10 56 56
SAM slaps a pile of notes into ANNIE’S arms.
SAM
Look at this. Wrote them up last
night. They’re my notes from the
real world. Films .. music ... wars
... Just check out the detail ...
ANNIE
Don’t tell me, atom bombs over
Moscow.
GENE strides towards him, lighting up.
GENE
Discussing psychology with your
little friend?
ANNIE heads out on patrol.
SAM
Excuse me, I was in the middle of a
conversation ...
GENE
Now you’re in the middle of another
one. I want Chris out of the
Collator’s den. It’s a waste of
flippin’
time.
SAM
No it isn’t.
GENE
Sorry, did that sound like a
question?
SAM
I can find the killer. I can find
this man ...
GENE
You know what? I think you’re
trying to show me up.
SAM
You don’t scare me Hunt . And you
don’t impress me. You’re all wind
and fag smoke.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 45
45

GENE
So you think I don’t know how to do
my job? It’s an interesting point
you raise. Allow me to retort.
He pushes SAM under his chin with the flat of his hand. SAM
smacks his arm away. He swings a punch at GENE. GENE catches
it, twists his arm, pulls him in close and thumps the side of
his face. SAM drops to his knees.
GENE
Better?
He walks away leaving SAM in utterly fazed shock.
EXT.
HIGH STREET - DAY 1/4 11:15 57 57
SAM strikes out. ANNIE (on patrol) breaks away from her
partner to catch him up.
ANNIE
Where are you going?
SAM
I can’t deal with this place.
ANNIE
So you’re just giving up?
SAM
Somewhere out there Maya
needs me.
(looks around him)
My mind can only invent so much
detail. So I’m going to walk until
I can’t think up any more streets
or faces.
He points down the High Street and we see it for the first
time a 70’s
high road complete with red telephone boxes,
Wimpey
and old-fashioned Woolies
and Timothy Whites.
ANNIE
I had a nephew and he .. he fell
off a pier and .. and he couldn’t
remember the names of things.
Couldn’t tell you what .. what an
apple was or a pencil. And do you
know what, he stopped believing in
them. He didn’t believe that food
had taste. Or that cars got you
from A to B. And he said it was
like .. life was a play with
rubbishy props. But then he got
better and everything seemed real
again.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 46
46
CON
TINUE
D : 56 56

SAM
Follow the Yellow-Brick Road.
And off he goes.
ANNIE
Well what’ll
you find? Mist? Big
cliff? A white door?
SAM
Don’t know.
He stops to look into a RECORD SHOP.
SAM
I used to come here. I bought my
first
(Embarrassed) Gary Newman ,
Cars .
INT.
RECORD SHOP - DAY 1/4 CONTINUOUS 58 58
The Aladdin’s
cave that you so rarely find in modern times.
KIDS with lots of hair leafing through boxes of albums and
45’s
or listening on large headphones. ANNIE follows him in.
SAM walks as though in a trance.
ANNIE
I’m going to call DCI Hunt .
SAM
What’s he going to do, push me down
the stairs and say I walked into a
door? He doesn’t need me. Doesn’t
want me. And I certainly don’t need
.. him ...
He hesitates. Something has caught his attention. He walks
towards the back of the shop.
ANNIE
Sam? What is it?
SAM’S attention is fixed upon the sound-proofed box
at the
back of the store. Through the single window a DUDE is
listening to something by T-Rex.
You can barely hear it
outside the box.
SAM opens the door and a wave of Marc Bolan flies out. SAM
pushes a dude out of the way. SAM pushes off the needle.
SAM studies the walls of the booth.
ANNIE
What are you doing?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 47
47
CON
TINUE
D : 57 57

SAM
He doesn’t gag them. He wants to
kiss them so he doesn’t gag them.
But if they shout out, he could be
caught. How’s he going to keep them
quiet?
The sound-proof wall is tatty. Clumps of fibrous padding hang
in wispy strands from the wall.
SAM
Strands of material under their
nails and on their skin. But it’s
not wool. Rough. Synthetic.
SAM tears a clump out of the sound-proofed wall. Fibrous
strands in his hand.
INT.
POLICE STATION - CID - DAY 1/4 11:50 59 59
SAM flies into the room clutching a hand full of the sound-
proofing. GENE and the others look up from their conflab.
GENE is still simmering from their previous head-to-head.
SAM
I know where the fibres come from.
Sound-proofing! He’s trying to
muffle the room to hide the cries!
He dumps a wad of fibres onto the table.
GENE
Dora Keens’s coat was found on
rough ground an hour ago. Sleeve
was torn. She was last seen
shouting at a bloke loitering in
the street at about 9.40pm.
SAM is shocked.
GENE
Stuff the collator’s office. We
gotta
get out on the streets. Coz
by your reckoning we only have a
day to find her.
EXT.
STREET - DAY 1/4 12:10 60 60
The Cortina bounces onto the curb. A GANG OF KIDS look
impressed. DCI
GENE HUNT
and DI
SAM TYLER climb out. One is a
tank in a camel hair coat. The other is a squared-away pedant
in faded brown jacket. But fuck
it, despite their
disagreements they actually look like some sort of
partnership.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 48
48
CON
TINUE
D : 58 58

GENE
(to KIDS)
Anything happens to this motor and
I come over your houses and stamp
on all your toys. Got it?
KIDS nod - in awe.
GENE
Good boys.
Across the street PCs
begin door-to-door enquiries. The hunt
is on.
MONTAGE 61 61
Door to door in an area that reminds us possibly of the
Victorian terraces that SAM first raided in 2005.
A series of front doors opened on GENE and SAM. Between them
they fill a doorway.
GENE
All right love? CID.
Another door.
SAM
We’re looking for this woman. Dora
Keens. Approximately five foot two.
Curly -brown hair. Hazel eyes. Fake
topaz necklace. Political badges.
Another door.
GENE
Short, skinny bird in a big coat.
Lots of gob.
EXT.
ANOTHER STREET - DAY 1/4 13:15 62 62
SAM walking, dejected, Gene eating a hotdog. Low point for
both of them.
GENE
I’m gonna
get heartburn coz
of you.
SAM
I know this road. I used to have a
godparent lived here. What was her
name?
GENE
Right, we’ll do the Paki
shop at
the end of the street and head
back.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 49
49
CON
TINUE
D : 60 60

Sam looks at Gene, can’t quite believe he’s just said that.
GENE
Straight up, how long’s she got?
SAM
He could do her tonight.
They cross to the car guarded by several KIDS.
GENE
Excellent job gentlemen.
He tosses out 5ps.
A bulky Pye
radio squeals for attention in the front seat of
the car. GENE drags out the mike. Blows into it.
GENE
Hunt ? What?
CHRIS
(over radio)
I need to ..... Willi ...
Somethin ... a name that he might
... Do you reckon?
GENE
Chris! Move about a bit.
CHRIS
(over radio)
Tell DI Tyler
we've found one of
his names in Sid’s office. We found
one!
GENE looks to SAM.
INT.
POLICE STATION - COLLATOR’S ROOM - DAY 1/4 13:40 63 63
SAM and GENE return - men on a mission. CHRIS hurries towards
Sam.
CHRIS
It’s one of the names you asked me
to check. Raimes. I only found the
carbon. It was a statement she gave
three months ago. Woman in her
50’s. Mrs
Raimes ....
SAM
Beryl Raimes?!
CHRIS
You gave me the name Colin Raimes
so I thought there was a
connection.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 50
50
CON
TINUE
D : 62 62

SAM
She’s his grandmother. This carbon
is smudged. I can’t tell what she
came in for.
GENE
Why’s this Mrs
Raimes important?
SAM
Because we interviewed her grandson
... Look, it’s a hunch. Okay?
GENE
Let’s bring her in.
SAM
Maybe I should talk to her.
GENE
Why?
SAM
I don’t want her .. flustered.
GENE squints at him - what the hell?
INT.
POLICE STATION - GENE’S OFFICE - DAY 1/4 14:20 64 64
Later. Sun is setting outside and everyone is aware that the
day is waning. MRS
RAIMES is in her 50’s.
Smoker. Typical
working class grandma. Sunny disposition. Not all there. She
sips her tea from the saucer.
MRS
RAIMES
Ooh
that’s lovely. What nice boys
you are.
Entire CID investigation team are standing in a semi-circle
around her.
GENE
Custard Cream Mrs
Raimes?
MRS
RAIMES
Ooh ta.
SAM
Mrs
Raimes, you made a complaint to
the Police three months ago.
MRS
RAIMES
I saw a lady policeman. Nice girl.
No life for ‘em is it.
SAM
You came to complain about a
neighbour.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 51
51
CON
TINUE
D : 63 63
(MOR
E )

That’s why we have a statement from
you on file. But we don’t know who
it was or what exactly it was about
because our copy got smudged.
MRS
RAIMES
You got Garibaldis?
GENE
Chris! Garibaldis!
CHRIS hurries off to look in a drawer.
SAM
It was only three months ago. Think
back.
MRS
RAIMES frowns, looking troubled.
SAM
Please. Think hard.
MRS
RAIMES
I forget stuff. Head like a sieve.
SAM
Mrs
Raimes, it could be very
important. It could be
vital
that
you remember exactly why you came
to see us three months ago. Was it
a nextdoor neighbour
you were
worried about? Someone in your
street? Someone visiting?
MRS
RAIMES
I ... I ...
SAM
(annoyed)
Someone upset you. They did
something bad or selfish or
dangerous. Now come on ...
MRS
RAIMES is seizing up, unnerved by SAM’S tone.
SAM
Mrs
Raimes, think!
GENE
Pink wafers.
MRS
RAIMES
Hmm?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 52
52
CON
TINUE
D : 64 64
SAM
(con
t 'd)

GENE
I love pink wafers. I love those
boxes of wafers you get at
Christmas.
MRS
RAIMES
Ooh
they are lovely. Expensive
mind.
GENE
They are, aren’t they.
MRS
RAIMES
I sometimes get ‘em in for me
grandson.
GENE
Bet that takes a bite out the
housekeeping.
CHRIS returns with a packet of Garibaldis.
GENE
Chris, run down to the canteen. See
if they got any pink wafers.
CHRIS
Now Guv?
One look from GENE sends him on his way.
SAM
Uhh
.. is this helping ..?
GENE
Fig Rolls.
MRS
RAIMES
I love ‘em pet.
GENE
You want another cuppa?
MRS
RAIMES
Grand.
GENE
And don’t you go worrying yourself
about this neighbour
business, it’s
not important. Not important at
all.
MRS
RAIMES smiles gratefully. SAM looks baffled.
GENE
D’you
have sugar love?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 53
53
CON
TINUE
D : 64 64

MRS
RAIMES
The lad next door. Number 20 .
The room holds its breath.
GENE
(blithe)
Oh yeah? What about him my love?
MRS
RAIMES
He’s a builder or something. Works
odd hours an’ all. Well he’s
playin’
his record player all
night. Bash. Crash. Bam.
And he’s
not even local. He’s from down
south somewhere.
GENE
That’s not on is it.
SAM
(disappointed)
And that’s why you came in. To make
a complaint about the noise from
his stereo.
MRS
RAIMES
And it did the trick pet.
He still
lives there, but you can’t hear a
thing now.
SAM shoots a look to GENE. Then suddenly before the assembled
team of baffled CID, SAM and GENE are running for the door.
GENE
(shouts over shoulder)
Back-up to 20 , Kennel Road, NOW!
I/E. CORTINA - DAY 1/4 14:30 65 65
GENE drives like a maniac. SAM holds on for dear life.
PHYLLIS VO
(through radio)
Suspect is Edward Kramer.
GENE
We may need uniform back-up. Got
that Phyllis?
SAM
You will tread carefully ...
GENE’S look says “remember who you’re talking to.”
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 54
54
CON
TINUE
D : 64 64

SAM
We don’t even have a warrant yet.
EXT.
NUMBER 20
- DAY 1/4 14:50 66 66
Outside KRAMER’S house. GENE kicks the door in.
SAM
Congratulations, you’ve just
invalidated our search.
GENE
That’s disconcerting.
INT.
NUMBER 20
- DAY 1/4 CONTINUOUS 67 67
House is a sty. Carpets ripped up. Food tins and sour milk.
Pipes resting against the wall. Rolls of lagging stacked up.
SAM
Pipe-lagging.
GENE
Police! Kramer! Edward Kramer!
SAM
Ssh!
What’s that?
A thumping noise. Very muffled.
INT.
NUMBER 20
- BEDROOM - DAY 4 CONTINUOUS 68 68
Like a teenage boy’s bedroom. Posters of Frank Zappa
and
Cream on the walls. Walls which have been covered with egg-
boxes and swathed in rolls of bushy, fibrous pipe-lagging.
Even over the windows.
The stereo plays loudly in the corner. GENE switches it off.
SAM runs to the bound DORA who is crunched up against the
lagging in terror.
SAM
It’s okay. Police. Dora? Remember
me? We’ve found you. We’ve found
you.
A dishevelled young man with wild hair steps into the room
carrying some sandwiches. EDWARD KRAMER. He clocks the
coppers. GENE is on him like a ton of bricks.
EXT.
NUMBER 20
- DAY 1/4 CONTINUOUS 69 69
COPPERS drag a subdued KRAMER to a waiting Panda car. SAM
emerges .
He sees a grimy van parked in the street . ‘HEATING SERVICES’.
Different van from 2005 but the same company.
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55
CON
TINUE
D : 65 65

On the van is scrawled - George Best Is God .
In the next garden a skinny LITTLE BOY with ginger
hair
stands staring at him - a four year old COLIN RAIMES. Those
piercing eyes blaze with fire at SAM then turn with real
affection towards KRAMER. KRAMER gives the boy a wink.
MRS
RAIMES is being brought home.
MRS
RAIMES
(to the small boy)
Get inside Colin.
SAM hears this - haunts him.
GENE emerges.
SAM
That’s Raimes’ house. Maya was
right, he knew the killer. We were
one house away.
WIDE SHOT. Pull back to reveal that they are in the same
street that he and MAYA raided. A tower block in the
background.
INT.
POLICE STATION - CORRIDOR - DAY 1/4 15:20 70 70
SLO
MO - Cool as hell. Cream play “White Room” as DI
SAM
TYLER
and DCI
GENE HUNT
lead KRAMER to his cell. Stride for
stride. A team to be reckoned with in spite of themselves.
The whole of CID
are looking at them with respect. CHRIS
catches SAM’S eye and gives him the thumbs-up. Nice going.
INT.
POLICE STATION - GENE’S OFFICE - DAY 4 15:30 71 71
GENE loosens his tie and pours a scotch.
SAM
Kramer is never going to trial.
He’s certifiable.
GENE
Naw , jury’ll
send that creature
down forever.
SAM
(holds up a letter in a
baggy)
This is the doctor’s report from
his last address in Watford. We
found it in the house.
GENE takes the letter out of its evidence bag with his bare
hands.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 56
56
CON
TINUE
D : 69 69

SAM
It says he’s seriously disturbed.
He’ll go to a high security
hospital ...
GENE
And be mollycoddled, indulged and
be a good boy and get out in 20
years. He’ll still only be 40 odd.
Then you know as well as I do that
he’ll kill again.
SAM
With the right treatment even a man
like this can be rehabilitated.
GENE
He’s evil.
SAM
I don’t believe in evil.
GENE
Is that your gut-feeling?
SAM looks a little guilty - denying his feelings. Then a new
thought hits him.
SAM
(penny starts to drop)
Hang on. He goes to a psychiatric
unit. He gets out in say .. 2003?
2004?
GENE
Maybe. Maybe he tries to be good
for a while. But then there’s that
itch he has to scratch.
SAM
Oh my God ... That’s why he doesn’t
kill for so long! That’s why
there’s a thirty year gap! We put
him away in hospital and he gets
out in 30 years. Then he kills. And
then he kidnaps Maya !
GENE
What you on about?
SAM paces. He has made the connection to Maya ’s situation.
GENE
Look, forget the ruddy doctor’s
note. If the jury know they’re
trying a cold-blooded killer, it’s
life.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 57
57
CON
TINUE
D : 71 71

SAM
You told me you were a deputy to
the Law.
GENE
The Law is putting bad people away.
You wanna
show a court that note?
SAM
They’ll see it anyway. His medical
records will be sent up from
Watford ...
GENE
Watford? I don’t even know where
that is! I’m not getting anything
sent from any sodding where! This
piece of filth has been nicked in
my
division. I decide what happens
next.
(off SAM’S look)
Fine, you got principles. So in 30
years when some poor bird’s been
kidnapped and murdered you can tell
them all about how you had to show
a jury that little note.
CHRIS
(pokes head in)
Uhh Guv
.. Burt’s back. Want me to
get the retirement fund?
GENE nods, goes to leave. SAM grabs his arm.
GENE
What? Wanna
have another pop at me?
Or do you wanna
get me suspended?
If you like you can try your hand.
(beat)
And as for this note, I’m making it
your call.
GENE walks out. SAM looks at the letter. It’s an anguished
decision. He finally screws it into a ball.
Through the window he watches DS
BURT nervously take his
desk. He’s about 27.
GENE is handed the Man City sock fat and swollen with coins.
BURT jumps to his feet as GENE starts to swing it. He sweeps
everything off BURT’S desk in one blow.
GENE
You got your doubts Burt, take it
to a priest. In here I’m Wyatt Earp
crossed with Jesus Christ.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 58
58
CON
TINUE
D : 71 71
(MOR
E )

You ever report me to the S.O
again
and this will be your retirement.
Get it?
GENE empties the sock of coins across BURT’S desk. Everyone
takes back the money they put in.
GENE looks back at SAM. Reckless. Scary. Magnificent. He
strides to his office, pausing at SAM’S ear. Realizes SAM has
screwed up the doctor’s note.
GENE
Welcome to the team.
SAM
Thanks. Guv.
GENE gives him a nod - moment of respect. Marches on.
SCENE 72 OMITTED 72 72
INT. POLICE STATION - CANTEEN - NIGHT
20.45 73 73
SAM sits completely alone in the canteen whilst a small ARMY
OF CLEANERS wash the tables and floors around him. One of the
cleaners, JUNE , is wiping his table.
JUNE
Are you okay Sir?
SAM nods and JUNE
moves on to wipe the next table.
SAM
(quietly)
I’m sorry Maya . I don’t know how to
reach you.
NEIL
Sam.
SAM looks over. NEIL again - standing staring at him. SAM can
hear the faint hiss of the ventilator.
NEIL
Sam. Can you hear me? Can .. you ..
hear .. me? My name is Neil. I’m a
hypnotherapist.
I am speaking
directly to your subconscious. At
this moment I am sitting beside you
in your bed on the IC ward of St
James’s Hospital.
SAM
I .. I .. What are you ...?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 59
59
CON
TINUE
D : 71 71
GEN
E (con
t 'd)

NEIL
If I am reaching you and you can
hear me then I know that you can
wake up. I choose to believe that
you can hear me.
SAM
I can hear you. I thought I was
back in ... I’m in a coma, yes? And
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 say and you will be
waking up with your family and
friends around you. Your mobile
hasn’t stopped ringing. Your
family’s all here
Sam . Maya
is
here.
SAM
Maya ?! Maya ! Maya
.. you’re okay!
NEIL
She’s safe. If you can hear me then
I know that will give you strength.
SAM
I’m coming back. Tell her I’m
coming back ...
EXT. POLICE STATION - ROOF - NIGHT
20.49 74 74
ANNIE bursts out of the service door and onto the asphalt.
SAM is on the edge of the roof, a fifty foot drop behind him.
He is excited and energized.
ANNIE
Sam! Come away from the edge.
SAM
It’s okay, I know the answer. I’m
in a coma. But I’m going to take
the definitive step I need to wake
up.
He turns to face the drop.
ANNIE
Neil’s my ex.
He glances back.
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60
CON
TINUE
D : 73 73

ANNIE
He did psychology with me. I told
him all about you. He .. He read
those notes you made.
SAM
There was nothing in the notes
about a mobile phone.
ANNIE
What?
SAM
This is just my mind trying to keep
me here..
ANNIE
He’s playing games with you. He’s
like that. Just .. look down.
Carefully.
SAM peers down. NEIL waits in the street, bouncing anxiously
from foot to foot.
NEIL
(shouts up)
P-Please
don’t jump. Sorry. I’m
sorry. Baaad
joke.
ANNIE
Come away from the edge. There’s
nothing to wake up from.
SAM
I refuse to accept that.
He lifts one leg, grinning and thrilled.
NEIL
Please no ! Don’t do it !
ANNIE climbs up onto the ledge with him.
SAM
What are you doing?
ANNIE
We all feel like jumping sometimes
Sam. Only we don’t. Because we’re
not cowards, you and me.
SAM
This is my mind ...
ANNIE
Sometimes I feel like running away
too.
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61
CON
TINUE
D : 74 74
(MOR
E )

I think “hang on, I’ll never be
more than a plonk
with a girl’s
truncheon.”
She holds out her stubby truncheon. Despite his predicament,
SAM has to smile.
ANNIE
But at least while we’re here we
have the hope
of making a
difference. Maybe you’re here for a
reason. To .. To make a difference.
(beat)
Give me your hand.
She reaches out and carefully takes his hand.
SAM
What’s that on your hand? Grit ..
ANNIE
Sand. I was running up here and I
fell against the fire bucket.
SAM
Why would I imagine that? Why would
I bother to put that kind of detail
in?
ANNIE
You wouldn’t. There’s a real sand
bucket and I really fell into it.
SAM stares at her. And she smiles a bashful, hopeful smile
that suggests she feels a connection to him. And in that
moment he feels it to.
SAM
(whisper)
What do I do Annie?
ANNIE
Stay.
He stares at her.
THE PICTURE FADES INTO A WHITE DOT IN THE CENTRE OF THE
SCREEN. THE DOT WE ALL REMEMBER FROM SEVENTIES TV’S.
Sound of ventilator. Then SILENCE.
END OF EPISODE ONE
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 62
62
CON
TINUE
D : 74 74
ANN
IE (con
t 'd)
X