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.
TV spews up a giddy-making cocktail of current
affairs. These images usher in a fast set of very
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
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.
If we get the go-ahead I want base-
point to be at the cross-roads ...
He doesn’t appear to hear her.
.. the suspect was positively id’d
by the victim of the assault.
Afterwards I want SOCO
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
He snaps the phone shut. Holds up two identical blue ties.
The blue one.
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
Sam Tyler ...
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.
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.
SAM’S APARTMENT - BATHROOM - DAY 1/1 07:09 2 2
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.
Don’t know if you can understand.
Maybe at some point we can sit down
She finishes the call. Cups her hand over her face.
Maya ? Heads up. We’re on.
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.
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
They run to an unloved house at the end of the terrace.
(Muffled rock music from the house next door.) SAM clocks the
rings the bell. Dogs yap within.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 2
D : 1 1
Colin Raimes? Police. Please open
OFFICERS move forward with the battering ram but SAM motions
for them to hold back. He knocks. Almost polite.
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.
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.
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.
Smash his face in!
RAIMES giggles - king for a day.
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
D : 4 4
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 .
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
mobile. Maya is waiting for him a little way ahead.
“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
POLICE INTERVIEW ROOM - DAY 1/1 11:19 9 9
Rapid montage - DAT
machine loaded, CCTV
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
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.
The suspect will state his name.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 4
D : 6 6
Also present are the suspect’s
Lawyer, Social Worker and
COLIN is rocking in his chair and rolling a fag.
This is a no-smoking room.
The PSYCHIATRIST gives the LAWYER a look.
My client is advised by his
psychiatrist to rely on certain
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.
You’re upsetting him ...
Terms and conditions ... You need a
hair cut ...
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
that is uncannily like RAIMES.
Look at this j-peg.
The ID picture
that Bettina gave us.
places the ring-binder on the desk. Trump card.
It’s your diary Colin. Found it in
(reads from lap-top)
From the diary; “I killed her.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 5
D : 9 9
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
Colin’s a first-rate fantasist
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.
Where were you on ..?
Hold on, November 2nd?
He was at our drop-in centre.
SAM looks up slowly from the lap-top. MAYA
chews her lip.
Some kids had thrown fireworks at
him. He was distressed. We brought
him into the centre.
looks to SAM who is boiling inside.
I think we’re done.
SAM and MAYA
try to hide their crushing disappointment.
SCENE 10 OMITTED 10 10
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)
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
enters. Hangs back.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 6
D : 9 9
OPERATIVE taps in info. Print vanishes. Appears a second
later accompanied by a selection of comparative prints.
Nothing new in with this weal and
Okay, let me try some bi-lateral
He pulls a chair up to a computer screen on the other side of
the room. On the screen are microscope images - strange
Colin Raimes isn’t our man. We’ll
go back to our best lead; the
fibres found under the fingernails
of the victim. Definitely
leans forward to study the fibres on the screen.
I think there’s more to be had from
Raimes. Let’s lean on him.
And be sued for harassment
schizophrenic? He ’s a fantasist.
It’s in his psyche-evaluation ...
Screw the psyche-evaluation.
You used to believe in
What’s going on in there
(taps his head)
I can’t think about this now.
She watches him engrossed in the flickering gobbledygook on
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
D : 11 11
He spins round to face her and just for a moment she thinks
going to talk about his feelings.
I’m going to stand you down from
this case Maya . It’s not productive
given our personal problems ...
All right, look, forget us .. I
have a theory about Raimes. About
why he kept the diary ...
I’ve made my decision.
Don’t you even want to know what
I’m thinking? My feeling ...
Painters have feelings. Poets have
feelings. Look around you, what
good are feelings in this room?
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
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.
Maya , what are you doing?
I’m following my feelings sir .
Raimes isn’t just a fantasist.
think he’s trying to impress
Where are you?
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
D : 11 11
Social Services will hit the roof
if you ... Where are you? Maya ?
.. Tailing him ... I .. in the..
You’re breaking up.
.. someone there. Someone waiting.
Raimes is heading towards Satchmore
Road... going to speak to the ...
No. Maya ? No. I’ll send back-up.
The line is dead.
SCENE 15 OMITTED 15 15
PLAYGROUND - DAY 1/1 13:50 16 16
SAM’s Jeep pulls up. Close up of a sign - Satchmore
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
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
D : 14 14
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.
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
TOTAL BLACKNESS. TOTAL SILENCE.
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.
What happened? Did you not see the
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.
Do you remember what happened sir?
[Beat] Sir, can you tell me what
at the beige Granada.
This .. This isn’t my car. I was
driving .. I was driving a jeep..
You were driving a military
He removes paperwork from the car.
Just hang ... what’s going on?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 10
Can I ask if you’ve been drinking?
I’m not drunk.
Says here you’re on transfer from C-
in Hyde. Detective
What? I’m a DCI.
What the hell are
you ..? I need my mobile.
Your mobile what?
You brought your own telephone from
The COPPER unstraps the bulky Pye
Pocket Phone from his
Six-Zero to Alpha
SAM has had enough. He strides away from the scene.
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’.
Come back here!
SAM breaks into a run.
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
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
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.
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 .
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.
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.
Stop playing silly beggars or the
come down an’ all. Got it?
Legs bound by his trousers, the DRUNK is hauled off.
Where’s the Custody Sergea ...
Who ARE you?
Barbarella , Queen of the Galaxy.
PHYLLIS is distracted. SAM sneaks past in background.
POLICE STATION - CORRIDOR - DAY 1/2 CONTINUOUS 25 25
SAM hurries through the station, continually dumbfounded by
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 12
D : 21 21
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
sponging blood off the walls. He marches on.
Pushes through dirty swing doors -
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.
DC Chris Skelton .
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.
Someone needs to take a look at you
Boss. You’re as white as a ginger
There’s that nice little plonk
the next floor. Cartright?
She could kiss it better.
Shut up !
Their good humour fades. SAM is standing with his back to an
office which has the blinds down.
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
D : 25 25
(points into thin air)
There’s a door .. here. My desk.
He looks down to see on the desk a calender girl photo - all
tits and arse.
Where’s my desk? Where’s my desk ?
Chair. PC terminal ...
Who? You want a constable up here?
I don’t know a PC Terminal. There’s
a PC Tellman
What the hell is going on? This is
my department! What have you done
with it. ...?!!
Keep it down Boss.
Movement from within the office. Blinds twist open and a pair
of dark eyes blaze out. SAM steps back.
GENE HUNT emerges like a bear from a cave. Leather jacket
and Texan cord tie. He shoves an Embassy No6
into his mouth.
All right. Okay .. surprise me,
what year is this supposed to be?
GENE grabs SAM’S arm, steers him into the office.
Word in your shell-like pal.
POLICE STATION - GENE’S OFFICE - DAY 1/2 CONTINUOUS 27 27
SAM wrestles free and rounds on GENE.
Yeah? What about this?
He pushes SAM violently against the pre-fab
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 14
D : 26 26
Clock, shelf, dartboard, darts trophies and notice-board all
fall off the wall. GENE leers into SAM’S face. SAM grips
Get off me ..
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
Who do you think you are?
Gene Hunt . Your DCI.
And it’s 1973.
Almost dinner time. I’m having
GENE’S face is inches from him. Quiet, gravelly menace.
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
loitering in a residential street. Curious neighbours
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
A wobbly caption card appears asking the public to be
vigilant about strangers in the area.
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
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
D : 27 27
Burt’s retirement fund.
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
SAM fumbles for the big grey telephone. He takes a moment to
remember it then starts dialling a number.
What? I’m trying to reach a mobile
number. 07700 900 813 ..
Is that an international number?
I want to connect with a Virgin
number. A Virgin ...
Don’t you start that sexy business
with me young man. I can trace this
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.
Just had a shout; that bird
reported missing two days ago?
She’s only been done in down
That’s where Maya ...
SAM sways and wipes his palms over his face - what is
happening to him?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 16
D : 28 28
Rung her neck like a Christmas
OMITTED 29 29
POLICE STATION - CID - DAY 1/2 15:35 30 30
GENE is on his way out of the office.
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
SAM just stands there.
CHRIS (TO SAM)
The team congregate around the table. They wait on
stands like a fool before them. SAM has no idea what to say
SAM looks up. A beat.
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.
be noted that RAY doesn’t appear to like SAM much.
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.
This is what she had on her.
He puts out a few items of make-up. A necklace. Egg yolk
drips onto her purse.
A few laughs.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 17
D : 28 28
So then? Boss? Anything you wanna
Right. Yes. Right. You
haven’t visited.. visited the crime
What, where she was found?
Uhh .. yes.. where she was... Have
you preserved the crime scene?
Body’s on the slab.
Her body should have been dusted
for prints on site.
How the hell are you gonna
off skin Boss?
You are so
right. How can you?
What’s the matter with me?
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.
Motive doesn’t seem to be robbery.
in her purse plus a
couple of Green Shields.
They could’ve taken the notes.
Who’d bother with 27p?
No store cards? Credit cards?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 18
D : 30 30
Yeah right. We’re looking for the
killer of Jackie Onasis.
After pub closing time she stayed
in the car park with a couple of
but that’s cool.
We know ‘em. Loaders
from the canal
wharf. They’re all right.
She was in the carpark giving ‘em a
CHRIS mimes skiing - or if you prefer, he mimes a woman
jacking off two blokes at the same time.
So you’re not going to take
It’s not them
SAM considers this. The team wait, swapping glances. RAY
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
He didn’t shag her. Didn’t rob her.
So what’s the motive?
Garroted with thin cord. No other
attack marks. Nothing in or around
the mouth. What have you learnt
from the stomach contents?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 19
D : 30 30
Chris, have a look.
CHRIS reluctantly lifts the sheet on Suzi
In the post-mortem file.
She wasn’t fed for at least a day
before she was killed.
And found in Satchmore
come ON! ENOUGH!
He runs to the wall and kicks it. Slaps it.
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.
The wall’s wet .. Smell the
preserving agent. Soap in the tray.
Sandwich on the side. Half-eaten.
Ham. Someone whistling outside ....
Boss .. you gotta
get some rest.
That crash has right done your head
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.
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
It’s him. He’s killed before.
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D : 31 31
We’ll get a plonk
to give you the
POLICE STATION - SIDE ROOM - DAY 1/2 1 8:15 32 32
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
No broken bones then. Do you feel
like you’re going to heave up?
I’m a bit nauseous.
You’ll do. You’ve had hangovers
Are you a doctor?
I’m about as qualified as Dr
Kildare. I’m part of the Women’s
girlfriends. Concussed DIs.
they have plonks
in Hyde? Go on
sir, off you jolly well trot.
He crosses to the window.
What’s your name?
WPC Cartright .
Your first name?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 21
D : 31 31
I’m sorry if I’m being a pain
Annie. You’ve got better things to
Yeah .. now you’re taking the rise.
But he isn’t and she can see it.
Why don’t you get some fresh ..
Who’s Tony Blair?
Someone you’ve nicked?
She sighs and puts away her first aid bag.
Rupert Murdoch? Ricky Gervais?
Don’t tempt me.
You’ve been in an accident ...
He gives up. Turns away. She suddenly punches him in the
GENE throws open the door - clocks SAM bent double.
Good girl, prostate probe and no
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 22
D : 32 32
Why don’t you call it a day Tyler .
drive you to your place.
My place ?
They gave us an address.
Unless of course you’re getting a
taste for it in here.
We can’t stop now.
[final] Nothing else we can do
POLICE STATION - NIGHT 1/2 1 8:30 33 33
CHRIS walks SAM to his (CHRIS’S) car.
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
thought Colin Raimes knew the
killer. Raimes ... Forget it, he’d
still be in nappies
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.
Can you smell that? Fish and chips?
Amazing! I can almost taste the
He bursts out laughing.
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
D : 32 32
This is Neil.
SAM is disturbed by the way that NEIL is almost looking right
Do you want me to take you home ?
SAM doesn’t answer. ANNIE waves him away and turns to go.
She looks back at him. He is unabashed and vulnerable.
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.
This is it.
Oh my God.
It’s not so bad is it?
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
clicks on the telly.
Nothing. He waits. Still nothing. He
turns away. With a mighty THONK
bangs into life -
Richard Baker reading the news. SAM panics and jabs it off
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
D : 33 33
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.
32 years in the future; that’s
where you’re saying you’re from.
.. she’s my girlfriend ..
she’s been kidnapped. By the killer
who strangled Suzi
yesterday. It’s the same man.
I think you should go to the
hospital and ask them to check you
He’ll hold her for a day and then
... It’ll be like Lauren Chester in
2005. Like Suzi
Tripper here in
You see? It’s the same killer
in both times!
And I can’t help
Paranoid delusion brought about by
your accident . It’s not concussion,
Pretty fancy talk for a WPC.
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.
you’re my mind telling
this is real.
So you’re in hospital somewhere and
I’m a hallucination?
Do I really need 10ps
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 25
D : 34 34
You’ll have to work this out on
He stands in front of her. Close.
Thank you .. you know .. for
talking to me about this without
calling the men in white coats.
She is affected by his proximity.
I’m just keeping you distracted
while they get a big net.
.. 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.
Yes, it’s beating.
She pulls herself together, batting his hand away.
I’ve got to go.
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.
She shuts the door behind her. Silence. He waits. Flings it
open. ANNIE is standing right there.
Get some rest.
He closes the door on her. The lights in the flat go out.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 26
D : 34 34
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.
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
Inexplicable diagram appears on screen.
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.
.. although he has suffered severe
cranial trauma. But The Glasgow
Scale does put him at a deep level
The GOATEED PRESENTER is peering out of the TV screen as
though peering down into the eyes of a person lying on a bed.
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.
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 ...
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
All we can do is monitor and wait.
(clicks his fingers)
Sam. Sam? Sam Tyler ?
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.
(In the background)
In Module 4 we will be studying
what happens when the numinary
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 ...
I’m here! Don’t leave me .. I’m
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 *
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. *
Bloody hell, I’ve seen road *
accidents more cheerful. *
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 28
D : 35 35
(beat) Where are you today? Here or *
planet of the Clangers? *
SAM doesn’t respond. *
Didn’t know if you were gonna
Where else could I go? *
Well we’re honoured. We’ve pulled *
in a bird, Dora Keens. She was the *
last person to see the victim *
She a suspect? *
No, just a pain in the arse. *
All right, brief me in full. What *
do I need to know? *
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.
So you’ve handed her into lost
A look between GENE and CHRIS.
We could use the canteen but she’s
a right mouthy bird, this one.
What? We’re interviewing her in
SAM doesn’t like the way he says that.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 29
D : 36 A 36 A
INT. POLICE STATION - LOST AND FOUND ROOM - DAY 1/3 11.00 37 37
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.
You had a drink with Suzi
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.
I know you. From the picket line.
You put the boot into my old man.
Can’t love. This is my esteemed
colleague, DI Tyler .
He motions for SAM to take over. SAM on the spot.
.. hi Dora. I want you to call
CHRIS looks up from his notebook.
You really a copper?
DORA laughs. GENE scowls at SAM and lights up.
When was the last time you saw
In my dreams.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 30
SAM looks lost. Wants to give up. Notices the way GENE is
looking at him. Fuck
it, why should he give him the
All right ... I want you to stow
away this counter-productive
attitude Dora because it isn’t
helping anybody. How did Suzi
to you that night? Did she talk
about meeting anyone?
She was horny.
Did you see her get into an
argument with a stranger ...?
You got lovely neat hair. Were you
in the Army?
You think I need this shit?
He stands. DORA looks unnerved. GENE looks impressed. SAM
rocks on his feet. Pulls himself together. Sits.
Let’s start again ...
I know the answer. It’s blowing in
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.
I’m done with this game. Let’s play
another. Let’s play hopscotch. Pin
the tail on the donkey? You pick
The walls are closing in on SAM.
I wanna hump
SAM panics and bolts.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 31
D : 37 37
POLICE STATION - STAIRWELL - DAY 1/3 CONTINUOUS 38 38
SAM staggers onto the stairs. Drags in deep draughts.
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.
What...did she say?
SAM snatches the notebook - pages of tree sketches.
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.
Your dad’s waiting to take you
home. Long live the revolution.
What the hell did you do to her?
Oh you know, usual. Then banged her
up for obstruction. Kids eh.
Where I come from you’d be looking
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.
It’s not human hair under those
nails. It’s synthetic.
Chris told me what went on in that
I need a drink.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 32
He tries to push past GENE who grabs his arm tightly.
First sensible thing you’ve said
since you got here.
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.
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 .
DCI Hunt , mon
SAM is stunned at NELSON ’S splendid get-up.
So what part of my subconscious do
you hail from?
looks to GENE dead-eyed then cracks up laughing.
I likes. I likes.
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
I don’t know what you is talkin’
about ... kimusabi.
He and GENE enjoy the cryptic joke.
What’s your poison?
Tan and bitter. Sam?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 33
D : 40 40
Nonplussed glances from NELSON
Just testing. Pint of bitter.
Give it up then.
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.
You can’t know that from one stiff.
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 ..
report me upstairs?
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.
ALL RIGHT! LET IT BE NOW! RIGHT
GENE blazes at him. Is he going to strike? SAM shoves him.
The entire pub looks on, dumbstruck.
GENE glares. Then sighs and lights a cigarette.
You’re new and you got something
big crammed up your jacksie
that’s okay. You’ll learn.
tight Tyler . I never give
up and I go for the maximum
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 34
D : 41 41
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
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
(panting / hyped)
With what I know, I could find this
GENE draws deep on his smoke and weighs it up.
OMITTED 42 42
POLICE STATION - COLLATOR’S OFFICE - DAY 1/3 CONTINUOUS 43 43
GENE, SAM and PHYLLIS enter.
If I’d known you were going to
bring us all the way here Phyllis,
I’d have asked you to hold my hand.
You try and hold my hand and you’ll
never play the ukulele again.
God you are a magnificent woman.
The room is little more than a dingy stock cupboard with
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.
Two at a time.
I’ll leave you boys to it then.
Mr Hall , what brings you down here?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 35
D : 41 41
Sid. My man here’s got some
questions for you.
This is ... it? No wonder we never
knew he was killing them thirty
years ago. Are these in any order?
Excuse me young ‘un.
I’ve got a
system here that’d
give the British
Library a run for its money.
All right, here’s the list of
criteria with cross-reference
points. Let’s get on with it.
SID looks daunted by the list.
Cross what ?
SCENE 44 OMITTED 44 44
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.
POLICE STATION - COLLATOR’S OFFICE - DAY 1/3 CONTINUOUS 46 46
CHRIS looks morosely at two huge mounds of paper.
Match the carbons with their
originals. Concentrate on
statements taken in the last year.
You know what you’re looking for?
Indecent assault, related sexual
offences involving young ...
You got it. Pay particular
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 36
D : 43 43
Fibres. Sorry, I thought it was a
And don’t mess up my system.
SCENE 47 OMITTED 47 47
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
EXT. POLICE STATION - DAY 1/3 CONTINIOUS. 48 B 48 B
SAM is unnerved. He turns and walks back into the station.
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.
what this killer might
you have to understand what
he’s thinking and feeling. That’s a
very powerful thing to be able to
So’s pulling a rabbit from a hat.
ANNIE is heading out.
Annie? Annie! PC .. WPC Cartright.
She freezes. All heads turn to her. ANNIE withers. Shit.
You’re familiar with this case
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 37
D : 46 46
(where is this leading?)
... yes sir. I know the case.
Can you help me out here please?
He glances to GENE who scowls but keeps his own council.
ANNIE shuffles over to join him.
Oh I get it, she’s your lovely
has a BA in
Come on then Bamber , give us our
starter for ten.
The victim was n’t
ANNIE is like a hare in the headlights.
Why didn’t he gag her Annie?
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.
Because he needed to .. needed to
see her mouth. Her lips.
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
GENE glances self-consciously at the darts trophies in his
Put yourselves in the mind of this
man. You’re lonely.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 38
D : 49 49
And in your dream s
there’s a girl.
And she’s got these
big eyes and
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
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.
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.
You can’t take it. You strangle her
And then the whole
cycle starts again with another
girl. Only this time you’re sure
you’ll be brave enough to kiss her.
Only he won’t be.
A moment’s ponderous silence.
I look at your lips all the time
Cartright , d’you
think I should
turn myself in?
The group guffaw. ANNIE turns puce.
I think you should trot along now
sweetheart, before I have to hose
this lot down.
Thank you ...
She hurries out of the room.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 39
D : 49 49
How you gonna
know what he’s
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
A moment of profound silence.
say, “bloody hell.”
A round of laughter. The phone rings and CHRIS goes to answer
Put a sock in it, now!
How would he keep her quiet without
I don’t know.
Sorry Guv , Dora Keens .. the bird
you locked up ..? It’s her old man.
I’ll take it here.
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
Keens, you’ve come through to
Traffic .... Gotta
parked on a double-yellow.
Hangs up. CID cheer. SAM shakes his head in amazement.
All right, 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.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 40
D : 49 49
Let’s not wait until another skirt
winds up dead.
The team are goaded into action. SAM looks to GENE for
And let’s just hope we’ve not been
led up a blind alley.
SAM fumes but keeps it to himself.
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.
Thought you had the magic touch.
I press tea and I get Bovril.
New machine in’t
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
tray. Latest range.
I assume this diatribe is going
New don’t mean improved is all.
RAY suddenly kicks the shit
out of the dispenser. Cup rattles
into holder and fills with tea.
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.
Sorry Boss, how many sugars?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 41
D : 49 49
RAY offers him a humourless smile and walks on.
SAM leans against the wall. Squeezes his eyes tight shut.
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.
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.
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.
Look for these names cropping up in
any box in the room . Priority.
So where did you get these names
Call it inspiration.
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
Burt’s retirement fund. Coins
He makes certain that SAM sees he has his eye on him. The
OPERATOR comes back on the line.
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
D : 50 50
Then try the number again ...
I have no Maya
Just try again! Just. Just ...
He slams the phone down. NELSON
is watching him, concerned.
Can really see the pain in SAM’S face.
You’s not a happy man.
Not really .. no. Thanks for the
dismisses it - no problem. SAM rustles him up a
ANNIE is drinking with another WPC.
He approaches her.
He notices the way those same PCs
she was once laughing with
are now eyeing her suspiciously.
I’m sorry if I put you on the spot
but I needed help.
Yes, you do. Need help.
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.
It’s hard for us to get on in the
force, you know? You shouldn’t have
told them about my degree.
It’s nothing to be ashamed of, you
are who you are.
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
D : 54 54
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.
Large whisky please Nelson .
Your day just don’t get no better.
Never had a day like it.
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.
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
is gone. NELSON
has a soft, firm Lancashire brogue
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
Keep it to yourself, eh.
feel happier with the other Nelson .
SAM nods respectfully - once. Drinks his drink and turns to
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
D : 54 54
SCENE 55 OMITTED 55 55
POLICE STATION - DAY 1/4 10:10 56 56
SAM slaps a pile of notes into ANNIE’S arms.
Look at this. Wrote them up last
night. They’re my notes from the
real world. Films .. music ... wars
... Just check out the detail ...
Don’t tell me, atom bombs over
GENE strides towards him, lighting up.
Discussing psychology with your
ANNIE heads out on patrol.
Excuse me, I was in the middle of a
Now you’re in the middle of another
one. I want Chris out of the
Collator’s den. It’s a waste of
No it isn’t.
Sorry, did that sound like a
I can find the killer. I can find
this man ...
You know what? I think you’re
trying to show me up.
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
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.
He walks away leaving SAM in utterly fazed shock.
HIGH STREET - DAY 1/4 11:15 57 57
SAM strikes out. ANNIE (on patrol) breaks away from her
partner to catch him up.
Where are you going?
I can’t deal with this place.
So you’re just giving up?
Somewhere out there Maya
(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
He points down the High Street and we see it for the first
time a 70’s
high road complete with red telephone boxes,
and old-fashioned Woolies
and Timothy Whites.
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
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 46
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Follow the Yellow-Brick Road.
And off he goes.
you find? Mist? Big
cliff? A white door?
He stops to look into a RECORD SHOP.
I used to come here. I bought my
(Embarrassed) Gary Newman ,
RECORD SHOP - DAY 1/4 CONTINUOUS 58 58
cave that you so rarely find in modern times.
KIDS with lots of hair leafing through boxes of albums and
or listening on large headphones. ANNIE follows him in.
SAM walks as though in a trance.
I’m going to call DCI Hunt .
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.
Sam? What is it?
SAM’S attention is fixed upon the sound-proofed box
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.
What are you doing?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 47
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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
The sound-proof wall is tatty. Clumps of fibrous padding hang
in wispy strands from the wall.
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.
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.
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.
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.
Stuff the collator’s office. We
get out on the streets. Coz
by your reckoning we only have a
day to find her.
STREET - DAY 1/4 12:10 60 60
The Cortina bounces onto the curb. A GANG OF KIDS look
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
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 48
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Anything happens to this motor and
I come over your houses and stamp
on all your toys. Got it?
KIDS nod - in awe.
Across the street PCs
begin door-to-door enquiries. The hunt
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.
All right love? CID.
We’re looking for this woman. Dora
Keens. Approximately five foot two.
Curly -brown hair. Hazel eyes. Fake
topaz necklace. Political badges.
Short, skinny bird in a big coat.
Lots of gob.
ANOTHER STREET - DAY 1/4 13:15 62 62
SAM walking, dejected, Gene eating a hotdog. Low point for
both of them.
get heartburn coz
I know this road. I used to have a
godparent lived here. What was her
Right, we’ll do the Paki
the end of the street and head
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 49
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Sam looks at Gene, can’t quite believe he’s just said that.
Straight up, how long’s she got?
He could do her tonight.
They cross to the car guarded by several KIDS.
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.
Hunt ? What?
I need to ..... Willi ...
Somethin ... a name that he might
... Do you reckon?
Chris! Move about a bit.
Tell DI Tyler
we've found one of
his names in Sid’s office. We found
GENE looks to SAM.
POLICE STATION - COLLATOR’S ROOM - DAY 1/4 13:40 63 63
SAM and GENE return - men on a mission. CHRIS hurries towards
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
You gave me the name Colin Raimes
so I thought there was a
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 50
D : 62 62
She’s his grandmother. This carbon
is smudged. I can’t tell what she
came in for.
Why’s this Mrs
Because we interviewed her grandson
... Look, it’s a hunch. Okay?
Let’s bring her in.
Maybe I should talk to her.
I don’t want her .. flustered.
GENE squints at him - what the hell?
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.
working class grandma. Sunny disposition. Not all there. She
sips her tea from the saucer.
that’s lovely. What nice boys
Entire CID investigation team are standing in a semi-circle
Custard Cream Mrs
Raimes, you made a complaint to
the Police three months ago.
I saw a lady policeman. Nice girl.
No life for ‘em is it.
You came to complain about a
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 51
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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.
You got Garibaldis?
CHRIS hurries off to look in a drawer.
It was only three months ago. Think
RAIMES frowns, looking troubled.
Please. Think hard.
I forget stuff. Head like a sieve.
Raimes, it could be very
important. It could be
you remember exactly why you came
to see us three months ago. Was it
a nextdoor neighbour
worried about? Someone in your
street? Someone visiting?
I ... I ...
Someone upset you. They did
something bad or selfish or
dangerous. Now come on ...
RAIMES is seizing up, unnerved by SAM’S tone.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 52
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I love pink wafers. I love those
boxes of wafers you get at
they are lovely. Expensive
They are, aren’t they.
I sometimes get ‘em in for me
Bet that takes a bite out the
CHRIS returns with a packet of Garibaldis.
Chris, run down to the canteen. See
if they got any pink wafers.
One look from GENE sends him on his way.
.. is this helping ..?
I love ‘em pet.
You want another cuppa?
And don’t you go worrying yourself
about this neighbour
not important. Not important at
RAIMES smiles gratefully. SAM looks baffled.
have sugar love?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 53
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The lad next door. Number 20 .
The room holds its breath.
Oh yeah? What about him my love?
He’s a builder or something. Works
odd hours an’ all. Well he’s
his record player all
night. Bash. Crash. Bam.
not even local. He’s from down
That’s not on is it.
And that’s why you came in. To make
a complaint about the noise from
And it did the trick pet.
lives there, but you can’t hear a
SAM shoots a look to GENE. Then suddenly before the assembled
team of baffled CID, SAM and GENE are running for the door.
(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.
Suspect is Edward Kramer.
We may need uniform back-up. Got
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
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We don’t even have a warrant yet.
- DAY 1/4 14:50 66 66
Outside KRAMER’S house. GENE kicks the door in.
Congratulations, you’ve just
invalidated our search.
- 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.
Police! Kramer! Edward Kramer!
A thumping noise. Very muffled.
- BEDROOM - DAY 4 CONTINUOUS 68 68
Like a teenage boy’s bedroom. Posters of Frank Zappa
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.
It’s okay. Police. Dora? Remember
me? We’ve found you. We’ve found
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.
- DAY 1/4 CONTINUOUS 69 69
COPPERS drag a subdued KRAMER to a waiting Panda car. SAM
He sees a grimy van parked in the street . ‘HEATING SERVICES’.
Different van from 2005 but the same company.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 55
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On the van is scrawled - George Best Is God .
In the next garden a skinny LITTLE BOY with ginger
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.
RAIMES is being brought home.
(to the small boy)
Get inside Colin.
SAM hears this - haunts him.
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
POLICE STATION - CORRIDOR - DAY 1/4 15:20 70 70
MO - Cool as hell. Cream play “White Room” as DI
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.
POLICE STATION - GENE’S OFFICE - DAY 4 15:30 71 71
GENE loosens his tie and pours a scotch.
Kramer is never going to trial.
Naw , jury’ll
send that creature
(holds up a letter in a
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
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 56
D : 69 69
It says he’s seriously disturbed.
He’ll go to a high security
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.
With the right treatment even a man
like this can be rehabilitated.
I don’t believe in evil.
Is that your gut-feeling?
SAM looks a little guilty - denying his feelings. Then a new
thought hits him.
(penny starts to drop)
Hang on. He goes to a psychiatric
unit. He gets out in say .. 2003?
Maybe. Maybe he tries to be good
for a while. But then there’s that
itch he has to scratch.
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 !
What you on about?
SAM paces. He has made the connection to Maya ’s situation.
Look, forget the ruddy doctor’s
note. If the jury know they’re
trying a cold-blooded killer, it’s
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 57
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You told me you were a deputy to
The Law is putting bad people away.
show a court that note?
They’ll see it anyway. His medical
records will be sent up from
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
division. I decide what happens
(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.
(pokes head in)
.. Burt’s back. Want me to
get the retirement fund?
GENE nods, goes to leave. SAM grabs his arm.
have another pop at me?
Or do you wanna
get me suspended?
If you like you can try your hand.
And as for this note, I’m making it
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.
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
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You ever report me to the S.O
and this will be your retirement.
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.
Welcome to the team.
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.
Are you okay Sir?
SAM nods and JUNE
moves on to wipe the next table.
I’m sorry Maya . I don’t know how to
SAM looks over. NEIL again - standing staring at him. SAM can
hear the faint hiss of the ventilator.
Sam. Can you hear me? Can .. you ..
hear .. me? My name is Neil. I’m a
I am speaking
directly to your subconscious. At
this moment I am sitting beside you
in your bed on the IC ward of St
I .. I .. What are you ...?
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 59
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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.
I can hear you. I thought I was
back in ... I’m in a coma, yes? And
you can help me ...
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
Maya ?! Maya ! Maya
.. you’re okay!
She’s safe. If you can hear me then
I know that will give you strength.
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.
Sam! Come away from the edge.
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
He turns to face the drop.
Neil’s my ex.
He glances back.
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 60
D : 73 73
He did psychology with me. I told
him all about you. He .. He read
those notes you made.
There was nothing in the notes
about a mobile phone.
This is just my mind trying to keep
He’s playing games with you. He’s
like that. Just .. look down.
SAM peers down. NEIL waits in the street, bouncing anxiously
from foot to foot.
don’t jump. Sorry. I’m
Come away from the edge. There’s
nothing to wake up from.
I refuse to accept that.
He lifts one leg, grinning and thrilled.
Please no ! Don’t do it !
ANNIE climbs up onto the ledge with him.
What are you doing?
We all feel like jumping sometimes
Sam. Only we don’t. Because we’re
not cowards, you and me.
This is my mind ...
Sometimes I feel like running away
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 61
D : 74 74
I think “hang on, I’ll never be
more than a plonk
with a girl’s
She holds out her stubby truncheon. Despite his predicament,
SAM has to smile.
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.
Give me your hand.
She reaches out and carefully takes his hand.
What’s that on your hand? Grit ..
Sand. I was running up here and I
fell against the fire bucket.
Why would I imagine that? Why would
I bother to put that kind of detail
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.
What do I do Annie?
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
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Life on Mars - 1x01
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