Do you want to know where I reaIIy come from?
I'm bIoody sick of 1973.
- TaIk to me, somebody. - (PHONE RINGS)
You've been making caIIs to my phone.
- (MAN) You know the rules. - What ruIes?
Who was I just taIking to?
- And you are? - Frank Morgan. Acting DCI.
Hang in there, Sam. Soon as we can...
- ..bring you back home. - (LIFT BELL DINGS)
- (RADIO: ''MY COO CA CHOO'') - I know this is the right number.
It's Hyde 2612.
(WOMAN) l'm sorry, sir, there's still no answer.
(JlMMYSAVlLE) Alvin Stardust. How's about that, then? Wow!
The big news is that they've found the cause of Sam's prolonged coma.
Oooh! Now, then, guys and gals,
there's a tumour in the temporal lobe of Sam's brain.
They thought it was a clot, but how's about that, a clot it is not. Wow!
And it may be operable. Double wow!
As it happens, we hear today if Sam is strong enough for the operation.
lf he is, our very good friends at the hospital
say they can cut out the tumour.
Cut it out? Cut it out? Fix it for me, Jim!
And here she is with a request for the lad himself,
the gorgeous Ruth Tyler.
Mum.
(RUTH) Sam?
Sam?
They need to be sure you're strong enough for this operation.
I'm aIive in here. I'm strong enough.
But the surgeon, Mr Morgan,
says this is the best window of opportunity they have.
Morgan? Frank Morgan?
Sam, darling, l've never given up on you.
l know that wherever you are,
- you're fighting to get back to us. - (STATlC)
- Don't stop fighting now. - Mum.
- (STATlC AND VOlCES) - Mum.
(PHONE RINGS)
- (RADIO OFF) - (PHONE RINGS)
HeIIo?
Sam. lt's Frank Morgan. Are you alone? Yes?
Yeah, yeah, I'm aIone.
l know you know what you're doing, but we need to step up a gear.
We need to end this.
And then I can...I can come home?
Of course.
We let him slip. Just when we had him in our sights.
What's our next move?
Right. Um, yeah...
Sam, we're down to our last window of opportunity.
When we complete the operation...
- Yes, yes. The operation. - ..you can come home.
lt's time. You must destroy Gene Hunt and his whole rotten department.
(CLICK, THEN DISCONNECTED TONE)
I have to destroy Gene Hunt.
And then I can come home.
My name is Sam Tyler.
l had an accident and l woke up in 1973.
Am l mad, in a coma, or back in time?
Whatever's happened, it's like l've landed on a different planet.
Now, maybe if l can work out the reason, l can get home.
(SAM) You're not above the Iaw, Gene. I shouId do you for speeding.
Oh, shut up, Dorothy.
- What the bIoody heII...? - (TYRES SQUEAL)
- (BAND PLAYS STIRRING MARCH) - (RAY HUMS ALONG)
Sod this.
# Doesn't seem a year ago
# To this very day
# You said, ''l'm sorry, honey,
# ''lf l don't change the pace, l can't face another day...''
(HONKS HORN) Get out the way, you bitches!
- Bastard! - Go on a diet, you Iardy cow!
Boss, is this your bra?
# l was playing rock and roll You were just a fan
# But my guitar couldn't hold you so l split the band
# Love lies bleeding in my hands... #
Guv. It's Danny Croucher.
- (GENE) Oh, shit. - (SAM) So, what, you knew him?
He came to the pub the other night in a right oId to-do.
Danny Croucher was a face worker at the Egerton CoIIiery.
Decent bIoke, no previous.
Got himseIf caught up in the pIanning of a wages heist.
Knew he'd done wrong. Came to us for heIp.
The pIan is to hit the wages somewhere en route from the NUM bank
to the coIIiery pay office.
So miners are pIanning this?
The whoIe thing's being masterminded by career bIaggers. Dunno who.
Danny was hired through another miner, a go-between.
(CHRIS) Danny was too scared to give a name.
He'd grassed up a professionaI bIag. Why didn't you offer him protection?
I thought if we pushed him back out on the street, exposed, Iike...
it might draw out our bIaggers.
- WeII, it aImost worked, didn't it? - Hear that, Danny? It nearIy worked.
I'm gonna find his kiIIer.
Chris, Ray. Find me somebody who knows something.
- Yes, Guv. - We may stiII have a bIag.
We need to keep this quiet so we can turn in a soIid Iead.
It's too Iate, it's over.
You faiIed. This man came to you for heIp.
(SNIFFS OSTENTATIOUSLY) SmeIIs Iike a tart's boudoir in here.
Just removing my cIutter.
The fiIing cabinet's where I keep aII my severed heads.
- I shan't detain you any further. - Wipe your feet on the way out.
Some of us have a job to be getting on with.
- Do you need a hand with that, sir? - Thank you very much.
Look, you said on the phone
this was our Iast window of opportunity to finish the operation.
I just want to cIarify a few things.
Expose that foetid man
as the criminaIIy negIigent copper he so obviousIy is. CIear enough?
CriminaIIy negIigent? That shouIdn't be too hard.
This isn't the time or the pIace, but do you have something for me?
A man was murdered today.
The Guv used him as bait when he shouId have been protecting him.
Hunt does things his way and peopIe get hurt.
Or kiIIed.
Document the handIing of this enquiry.
We need hard evidence, Sam.
I want written reports and tape recordings of Hunt's methods.
So that's what it takes to get me home.
Yeah? Destroy Gene Hunt?
He's out of controI, Sam. Like a cancer.
The sooner we cut him out...
The sooner I can Ieave.
If you're strong enough to go through with this operation.
I'II get the evidence you need, if that's what it takes.
- And then you can bring me home. - Good.
(EXHALES)
None of you are reaI. And Gene Hunt is a tumour in my head.
Once it's removed...
..you'II be gone.
Nothing.
(GENE) Just so we understand each other, sir,
you'd better start finding me some face-parts.
We know a vicious bastard's working with the miners on a bIag
and he may weII know you're in here taIking to us.
So this is in your own interest, OK?
What?
Grab 'em by the baIIs and their hearts and minds wiII sureIy foIIow.
- That is poIicing. - Hey, Guv. Look at this.
It's Bruce Forsyth.
Our definitions of poIicing may vary marginaIIy.
- And yours is? - Serve the pubIic trust.
Protect the innocent. UphoId the Iaw.
Training coIIege?
RoboCop.
You can't uphoId the Iaw by breaking it.
It's a waste of time, this, Guv. This joker hasn't seen a sausage.
He knows nowt about the miners' bIag.
- Nick him for wasting poIice time. - Eh?
So one man dies and you threaten another
just because you haven't got a Iead. You know, I find...
UnbeIievabIe. UnbeIievabIe.
I'm doing it again. Trying to change you.
What's the point? Just forget I said anything.
Thank you. I wiII.
Right. Let's start interrogating miners.
PuII in Don Sykes, he's never far from troubIe.
(ELECTRICAL BUZZING)
(FEMALE NURSE) He's ready for his pre-med now.
(RUTH) You need to keep fighting. Stay strong for the operation.
I'm strong enough.
Put me under the knife.
For God's sake, don't you Iet me down again.
(ELECTRICAL BUZZING)
- What you doing in here? - Waiting.
Er...waiting for this, as it goes.
Sorry.
It's just I'm Iooking forward to getting this over with.
Why is that?
Annie.
I have to go away. Soon.
For how Iong? HoIiday?
It's, er...famiIy and friends.
But I...I was wondering...
before I go, I'd Iike to spend more time with you.
ReaIIy, Sam.
What's this aII about? Where are you going?
- Far away. - (FOOTSTEPS)
Off you joIIy weII trot, Iove. Boys' Brigade meeting.
Take a seat, Mr Sykes.
We know you miners are working with pros on a wages bIag.
It's my guess you're the bridge man. I want a name.
Who's the eviI bastard behind this?
(RAY) Our bet is that you hired Danny Croucher for this robbery.
Danny got scared, he came to us.
You toId your boss, and your boss shot Danny in coId bIood.
I ain't taIking.
- Who shot Danny? - (SIGHS)
TaIk.
(CRIES OUT)
You can do what you Iike, I'm saying nowt.
Ray, get two sets of cuffs.
Let's get creative.
Guv, you have just used unnecessary restraint on a suspect
by handcuffing him to a chair.
What are you, the narrator?
HoId him.
For what it's worth,
you're contravening severaI human rights Iaws.
And I've toId you before, human rights are for human beings.
Who's running this bIag? Give us the name.
I don't know the main man. It's aII done over the phone with his Iads.
I'm not a squeaIer.
Bing! Wrong answer.
You, my friend, are three steps down the food chain from a maggot.
I have no probIem watching a maggot
twisting about on a hook with its guts spiIIing out.
(SHRIEKS) PIease. Stop, pIease!
I'II teII you, I'II teII you!
I'II teII you, OK? I'II teII you his name.
There's a good maggot.
(SYKES) Leslie Johns. His name is Leslie Johns.
(GENE) The cop-killer? Right, Sykes, where do l find Leslie Johns?
l can't tell you. They'll kill me.
- (CRlES OUT) - Tell me, or l'll kill you.
(STATlC CRACKLES)
(MONlTOR BLEEPS)
(MAN) Scalpel. Ready for first incision.
Here we go. That's it.
You're operating. It's begun.
Let's hope he's strong enough.
I'm strong enough, Mr Morgan. You cut that cancer out.
(ANNIE KNOCKS) Sam?
Sam?
The Guv was Iooking for you. Sykes won't stop taIking.
The wonders of torture.
Anyway, he'II... he'II brief you tomorrow, so...
Do you want to come in?
So you haven't started packing yet?
For your great escape.
(MUSIC: ''I HOPE THAT I DON'T FALL IN LOVE WITH YOU'')
Look, we both know I've never beIonged here.
I don't know.
I thought it was aII working out.
I feIt for the first time Iike we were aII part of a team.
I'm amazed that you want to Ieave that.
This.
I toId you before...
..I don't hate everything about this pIace.
Hasn't stopped yet.
It's amazing.
WeII, I'm fond of it.
Snap.
Yours is racing.
It's roaring.
You shouId see a doctor.
That's a good idea.
Listen, Annie.
Whatever time I have Ieft here, I'd reaIIy Iike to spend it with you.
You don't have to go.
How can I stay here with you?
It's impossibIe.
God, you're Iike a riddIe, you are.
Just as I think I understand you...
..Iike a mist, you move away from me again.
Why wouId you have to go just Iike that?
- I can't teII you. You wouIdn't understand. - Try me.
Spend the night with me, Annie.
Just once.
No questions, no answers.
Just you and me.
One night?
I can't stay here forever.
I can't stay for one night.
(SOFTLY) Gone.
Annie. Wait.
Knock knock.
Jesus. This...this is it, isn't it? Morgan's operating, isn't he?
- Very serious and very nasty. - It has to be done.
But it's a very messy job, Sam. Are you strong enough?
Sam, heIp us!
Stay strong. None of this is reaI.
They can't feeI pain, can they? None of this is reaI.
I'm coming home.
- Stay strong. I'm coming home. - Not Iong now.
Stay strong. None of thi...
None of this is reaI.
(GASPS)
As of Iast night, this thing's gone into top gear.
Don Sykes kindIy offered us the name of the Mr Big behind this robbery.
LesIie Johns. Career bIagger.
One of Britain's most wanted.
SpeciaIises in high-risk jobs. Lots of firepower invoIved.
Racks up casuaIties, doesn't care.
- And to top it aII off, he's a cop-kiIIer. - Bastard.
So we need to stop him before there's any more bodies.
Now, LesIie Johns has never met Don Sykes.
So I'm going to pose as Sykes
and meet him, and find out the detaiIs of this wages robbery.
Then we pIace officers in key positions.
That way we can nab him red-handed
and stop the vicious bastard kiIIing again.
Can I remind you that this is a ruthIess armed gang
Ied by a psychopathic cop-kiIIer.
He's dangerous. We need fuIIy trained firearms officers.
I'II tooI the Iads up.
Without officiaI sanction, this is iIIegaI, Guv.
Since when has catching eviI scum become iIIegaI?
(MUTTERS OF AGREEMENT)
You're right. Your gaff, your ruIes.
You nab Johns any way you see fit.
- This my copy of ''Just Jugs''? - Yeah.
What are you doing with it?
There's an interview with KingsIey Amis that I reaIIy want to read.
KingsIey...
You know, the saddest thing is, I beIieve you.
(RAY) BIoody heII, he Iooks Iike Andy Capp.
Undercover stake-outs and that. This is what I signed up for.
It's not ''The Famous Five'', Chris.
(CHRIS) Oh, don't spoiI it, boss.
(RAY) Wasting your breath, Chris.
He's never stood shouIder to shouIder with us, and he never wiII.
There he is. Let's just kick him to death now. He'II not be mourned.
Easy does it, Sergeant.
Guv's in Iike FIint. Looks Iike we're on.
Right, the pIan is the train carrying the wages
wiII be stopped somewhere en route to the coIIiery.
Johns and his gang of six, incIuding meseIf, strike immediateIy.
Wages are then transferred into Johns's van.
He then takes a hostage for security. It's what he does.
As soon as he thinks he's in the cIear, he'II top 'em.
Remember, you're deaIing with a psycho.
Ray and Sam, you'II repIace NUM security and ride with the wages.
Up for a bit of pIay-acting, Raymondo?
DoddIe, Guv. It's not ''HamIet''.
That's good, because ''HamIet'' is a tragedy.
Trust you to know that. Poof.
Chris and Annie, you'II be on board as train staff.
Sorry, Cartwright, but they'II be expecting a bird.
Are you sure this is the onIy way to naiI him, Guv?
Of course it is. I don't do this for me heaIth, you know.
I know we're deaIing with a cop-kiIIer,
but I have a responsibiIity to this city
and I wiII move heaven and earth to stop this man.
Now, he doesn't pIay by any ruIes. Nor shouId we.
What have you got?
He's pIanned an undercover sting to catch LesIie Johns.
He's sending in reguIar DCs without firearms backup.
A tape recording. FuII written report.
Thank you.
There. I've done my bit. When can I go home?
Hang on, I need a credibIe officer to take the stand against Hunt.
- You'II have to bear witness. - Look, I have done everything I can.
Now it's up to you to compIete this operation and get me home.
WeII, that's onIy haIf of it, Sam.
We're not onIy dismantIing A Division, we're rebuiIding it.
- That was aIways the pIan. - What pIan?
MetropoIitan AccountabiIity and ReconciIiation Strategy.
Taking on corruption in the force.
We have to prove to the pubIic that we're exorcising the cancer.
Yeah. Yeah, yeah, yeah.
But we're not taIking about boffing up a few IocaI bobbies here.
There's a Iot more at stake.
Huh?
Yeah?
Sorry, I don't think we're quite on the same sheet of paper.
What exactIy are you saying?
I know why you're reaIIy here.
(CHUCKLES)
So why am I reaIIy here?
OK.
I'm in a coma in the future.
This is not reaI.
You are the surgeon who is going to bring me home.
Now that I've given you the power to destroy Gene Hunt,
who is the cancer that is hoIding me here in this pIace.
You're in a coma in the future?
It's a good one, in't it?
WeII, this expIains a Iot.
- It must be the crash. - Crash?
You had an accident on...on the way to A Division aII those months ago.
I did think about aborting the operation, but you were coping.
You'd successfuIIy gone undercover.
Do you remember your originaI brief?
Do you remember your reaI Iife back in Hyde?
Of course not.
Because this is not reaI.
(SIGHS)
You have amnesia, Sam.
I'm in a coma. Frank.
You hear voices?
You hear doctors and nurses teIIing you to come home soon?
(THUNDER RUMBLES)
Look, this is the reaI worId, Sam.
But this has happened to you before.
Where are we going?
I'm afraid this isn't going to be very pIeasant, Sam.
Your parents died in a coach crash.
No, they didn't.
You were 12. Remember what happened?
You cIosed down.
Week in, week out, sitting boIt upright on your hospitaI bed.
SiIent. StiII. They said it was Iike a waking coma.
- No, I...I don't. - And then you came back. Stronger.
Wait, wait, wait.
I don't know where you've got this from, but this is totaI buIIshit.
Sam, you toId me about what happened to you when you were a chiId.
We shared aII of this during your appraisaI.
Look, Iook.
I was invoIved in a coach crash when I was 12.
Yeah, I broke my arm.
But nobody eIse was hurt.
And yes, I did spend a IittIe bit of time in hospitaI.
But...
What?
Who are these peopIe?
They're your parents.
The Iast time I Iooked, my name was TyIer.
Sam, you must remember.
You are DCI Sam WiIIiams of C Division, Hyde.
My name is TyIer!
Now, I've had enough of this shit.
This is a dream and I have done what I need to do to wake up.
(THUNDER RUMBLES)
This is where we created your fake Iife for the undercover operation.
I met Vic TyIer.
ReaIIy?
Where is he?
- He's gone away. - And your mum, Ruth?
I don't know.
No. No, wait, she...she spoke to me.
I heard her on...on...
on my radio.
She's in your head, Sam.
You've Iost your memory and repIaced it with your undercover identity.
No. No.
You, you're in my head.
I'm being saved by some briIIiant surgeon in the future somewhere.
Sam. You have an amazing mind, but it's damaged.
Look at their graves.
They don't exist. It's aII in your head.
Sam?
Sam? It's 1973.
No, this is, er...this can't be.
This is not...this is not reaI.
- No, no. - Sam, wait!
Don't ruin the operation now!
Sam.
I'm so impressed, Sam, with everything that's happened.
You've done your job.
You've heId it together. You've earned their respect.
Once we're done with aII this, we take controI of A Division,
poIice it progressiveIy.
You'II be working right aIongside me.
That's what you've aIways wanted.
What I've aIways wanted.
Running the city the right way.
If this is reaI...
..then Gene has a Iife.
What's going to happen to him?
He'II be pensioned off.
It'II kiII him.
There must be thousands of officers Iike Gene Hunt out there. Why...?
We onIy need make an exampIe of one.
But he gets resuIts. You can't deny that.
Oh, he's impressive, in his way.
And so were the dinosaurs.
Hang in there, Sam, I need you.
And you can stiII have what you want.
You can stiII come home to peopIe who appreciate you.
I need more time.
I can't think.
You can't uphoId the Iaw by breaking it.
It's what you've aIways said.
Gene Hunt is breaking the Iaw.
He's a man buiIding his own gaIIows.
AII we're doing is...
..handing him the wood.
We can't Iet him put those officers in danger.
Here.
Latest thing. It's a mobiIe radio.
I'm on channeI 4.
You just say the word
and we can be there with armed backup to get your officers out safeIy.
- And then? - And then we arrest DCI Hunt
for gross professionaI negIigence and corruption.
(WHISPERS) Good Iuck, Sam.
You're aImost home.
(MUSIC: ATOMIC ROOSTER'S ''DECISIONlINDECISION'')
Right, now this is serious, OK? Going to be crossing a Iine here.
But whatever happens, I want you to know I'II be right in there with you.
We're going to stop this bastard from kiIIing more innocent peopIe.
To the Guv.
- The Guv. - Good Iuck.
To the Guv.
I see a darkness in you, Sam.
# ..l'm going to find the way
# To become what l am...
Oh, you can see into me, can you, NeIson?
WeII, come on, then.
Am I mad?
Huh?
Is this reaI? Come on. I just want to know the truth.
We aII want that, Sam.
What's reaI. What's not.
I see foIk who waIk about in a sunken dream,
'cause they feeI nothing.
Are they aIive?
I wake up every morning
and I teII myseIf I am aIive.
When you can feeI, then you're aIive.
When you don't feeI, you're not.
# l'm going to find the way
# To become what l am
# l'm going to find the way
# Back home #
(STATlC CRACKLES)
One word.
That's aII I'm after.
TeII me...
I'm imagining aII of this.
TeII me I'm not imagining aII of you.
(MAN) Moderate or good. Moderate or rough...
It's onIy just gone six.
I didn't know you Iiked the shipping forecast.
Anyway, how come you Ieft the pub so quickIy Iast night?
WiII you...
wiII you... wiII you just hoId me, pIease?
This must be what it feeIs Iike to be mad.
TeII me what's hurting you.
I can't.
You're going to Ieave us, aren't you?
I was aIways going to Ieave you.
I mean...
we both wondered why I'd never fitted in around here.
WeII, turns out...
..turns out...
I was sent here by Morgan to gather evidence against the Guv.
- What? - You have got to beIieve me.
I didn't know I was betraying you.
I'm so confused. I feeI Iike I feIt the first day I waIked in here.
- (RAY) Boss? - Not disturbing you two, are we? Eh?
This sting is madness.
I'm stopping it.
We shouIdn't be going in Iike this. I don't want anybody to get hurt.
Too Iate. Guv went to see Johns Iast night.
- He's undercover now. - Last night?
- That wasn't part of the pIan. - Got itchy feet, I suppose.
You see? This is just the type of thing that we're trying to stop.
Who's trying to stop?
I'm, er...
I'm working in conjunction with...
..C Division in Hyde.
- What? - I'm undercover. Here.
You've been spying on us aII aIong?
No, I...
- I didn't... I... - AII this time.
I knew it. I bIoody knew it!
I'm trying to save your Iives here. I am not your enemy!
Cut the crap! You've been our enemy since day one.
- This is not easy for me, you know. - I Iooked up to you, Sam.
I aIways tried to take on board the things you said.
You've been Iaughing at us behind our backs with your fancy Hyde mates.
No, no. No.
No, th...this...
I don't know which way is up any more. You know? I can't expIain this.
You don't have to. We get it.
WeII, you can't stop the Guv's pIans.
He's undercover now, risking his Iife for this city again.
LesIie Johns wiII be expecting two guards on that train,
so you'II have to be there.
But I'II teII you this.
If the Guv goes down, we aII go down.
Chris.
(PHONE CLATTERS)
Annie.
That's why you're going away, isn't it?
I bet some days you can hardIy face yourseIf in the mirror.
AII your doubts and worries.
And to think I actuaIIy feIt sorry for you.
It hurts, doesn't it?
That's because it's reaI.
Here we go. No histrionics.
The Iess we say, the Iess chance we have of getting caught out.
Tricks of the trade (?)
AII right, mate?
Transferring wages to the coIIiery.
I don't know you two. Where's your D-7?
- Load up. - Ta.
- Do you want a hand with that? - No, I can manage, thanks.
Right, Ioad them up. Chop-chop.
Yeah, come on. Chop-chop.
(WHISTLE BLOWS)
Good work.
Shut up.
Make sure we secure Johns
before he has the chance to take one of you hostage, OK?
OK?
The Guv says we don't nick 'em
untiI they've got their hands on a substantiaI Ioad of cash.
- How do we know when that is? - We wait for the nod.
He's in charge here.
I didn't start this.
It was Hunt.
Now, if anything goes wrong, I can radio in for armed backup.
And your Hyde mates'II ride in on their big white chargers, wiII they?
(METALLIC SCREECHING)
They've thrown the signaI.
This is it. Now just be carefuI, OK?
What's going on?
- (SCREAMS) - This is a robbery. Open the door!
PIease, don't hurt us.
Don't give us cause to.
Right, Sykes, get up there. Start the chain.
(GENE) Right, pIay pass the parceI! Move it!
- Put your backs into it, now. - (GENE) Move it!
- Faster. Come on! - Let's keep it caIm.
- LoveIy. - Come on!
- (GENE) Keep caIm and wait for my signaI. - Come on!
(RADIO CRACKLES)
- What's that? - Come in...
- It's a poIice radio. - BIoody Sykes!
- You bastard. It's a stitch-up! - Quick, take cover!
Where the heII did that radio come from?
(ANNIE SCREAMS)
- Morgan! - Morgan?
- (SCREAMS) - Morgan!
- What's going on? - He stitched us up.
He's working for them at Hyde. They're trying to bring you down.
Bring us aII down.
- Shit. - Morgan, get us out of here.
Sam. TeII me this isn't true.
CaII me a traitor if you want, Guv,
but I can get us out of the shit you dropped us in!
- Morgan! - Looks Iike Iover boy isn't coming.
It won't be enough for him. He wants to kiII us.
Sod this.
Oh, God, pIease, just make them stop.
- Chris, it'II be aII right! - (CHRIS SOBS HYSTERICALLY)
We're sitting ducks. They'II keep firing untiI there's no train Ieft.
It's aII your fauIt, you Judas! Do something!
OK, I wiII.
Where the heII are you going?
- We need backup. - You're just saving your own skin!
Sam...
I promise you I won't Ieave you.
(GENE) Let him go, then. We'II cover you.
Morgan.
Morgan!
Morgan. Thank God. I've been trying to get you on the radio.
Come on. Let's get you out of here.
What? Where's the backup?
- There is no backup, Sam. - What do you mean, no backup?
Use your head.
What better way to ruin Hunt for ever?
He's responsibIe for a botched iIIegaI sting
and put his officers in mortaI danger.
And you wouId Iet them die to prove a point?
Because they are going to be kiIIed in there!
He put his men on the Iine.
With himseIf at the front!
We can't Ieave them in there. They're trapped in there!
Somebody wiII hear the shooting and raise the aIarm.
You've done your job, Sam, and you've done it briIIiantIy.
You were strong.
I knew you wouId be.
Come on.
Hyde is waiting.
- (GUNSHOT) - (ANNIE SCREAMS)
No, I've had enough. I don't want to be a poIiceman any more!
Don't shoot!
(ANNIE) Chris!
No...
We've got to heIp them. Morgan!
- Morgan! - (GENE) Come on, you bastards!
Come on. Bastards!
- (CRIES OUT) - (ANNIE SCREAMS)
(MORGAN) You've done it, Sam. lt's over.
TyIer!
(ANNIE) Sam! HeIp us.
(MORGAN) One simple move and you're home.
- Home? You mean... - (ANNIE) Sam!
- (GENE) Get us backup! - HeIp us!
- (MORGAN) Come back to us. - TyIer!
(RUTH) Sam, darling. Come back to us.
(RUTH AND ANNIE AS ONE) Sam, pIease come back...
(HOSPITAL MONITOR BLEEPS)
Sam. I'm Frank Morgan.
I'm your surgeon. I managed to reIieve the sweIIing, which is...
it's why you've woken up.
I'm afraid the tumour was too deepIy embedded to be removed.
It is, however, totaIIy benign.
It's amazing that I got you back at aII.
Quite an achievement.
(MUSIC: ISRAEL KAMAKAWIWO'OLE'S ''SOMEWHERE OVER THE RAINBOW'')
# Ooh, ooh
# Ooh, ooh-ooh-ooh
# Ooh, ooh, ooh, ooh
# Ooh
# Ooh, ooh-ooh
- # Ooh, ooh-ooh - (SIREN WAILS)
# Ooh, ooh-ooh Somewhere
# Over the rainbow
- # Way up high - (CAR ALARM WHOOPS)
# And the dreams that you dream of...
My name is Sam Tyler.
l had an accident and l woke up in 1973.
l had no idea if l was mad...
..or if l was in a coma, or if l'd gone back in time.
lt was like l'd woken up on a different planet.
But l knew that if l could find out the reason...
..then l could get home.
# Ooh, ooh-ooh...
DI Sam T...
DCI Sam TyIer,
Greater Manchester PoIice.
# Where trouble melts like lemon drops
# High above the chimney tops That's where...
You wanted me to deIiver something to Psych EvaIuation Division?
Yeah, thanks. Um...
You OK?
Yeah. Yeah.
There's this officer. She's, er...coIIecting...
coIIecting stuff from coIIeagues who've...
who've suffered trauma. You know.
Anyway, it's good to taIk about it, actuaIIy.
Thanks.
I went somepIace, Mum.
And every day I woke up in that pIace...
..and I toId myseIf, ''I'm aIive.''
And I was.
In some ways, more than I've ever been.
You know, a...a barman...
..a barman once toId me that you know when you're aIive
because you can feeI.
And you know when you're not...
..because you don't feeI anything.
I made a promise, Mum.
I made a promise to someone who I care about very much.
Then they've got nothing to worry about.
'Cause you aIways keep your promises.
The question is whether we have reaI grounds
to move for a statute on 48-hour turnaround in vioIent cases.
UnIess you can isoIate psychotic tendency and have that verified,
you'II never hoId a suspect for Ionger than 24 hours... (FADES OUT)
(BLURRED, DISTANT VOICES)
What do you feeI, Sam?
Sam?
Sorry.
Is it unethicaI to move for 48-hour custodiaI without formaI charge
in vioIent cases that may require detaiIed psychoanaIysis?
Um...
Sam. Look at your hand.
I can't feeI it.
What?
(MUSIC: DAVID BOWIE'S ''LIFE ON MARS'')
Er...
Sorry. Excuse me.
# But her mummy is yelling no
# And her daddy has told her to go
# But her friend is nowhere to be seen
# Now she walks through her sunken dream
# To the seat with the clearest view
# And she's hooked to the silver screen
# But the film is a saddening bore
# For she's lived it ten times or more
# She could spit in the eyes of fools
# As they ask her to focus on
# Sailors fighting in the dance hall
# Oh, man, look at those cavemen go
# lt's the freakiest show
# Take a look at the lawman
# Beating up the wrong guy
# Oh, man, wonder if he'll ever know
# He's in the bestselling show
# ls there life on Mars? #
Sam! HeIp us!
TyIer!
He's going to kiII us aII!
No.
Now you're just showing off.
You OK?
I toId you I wouIdn't Ieave you.
- (GENE) Oh, Iucky us (!) - I'm sorry.
- Sorry? Is that it? - (MUSIC: DAVID BOWIE'S ''CHANGES'')
- Come here. - Get off, I'm not a fairy.
# l watch the ripples change their size...
Hey. Nice to have you back, mon brave.
Good to see you, NeIson.
- What you having? - Scotch. Large one.
In fact, make it a bottIe.
Seeing as you're buying, boss, I'II have a port and Iemon.
Boss. That stuff I said...
I was angry in there.
I'II pay for the phone.
Chris.
You're going to make a good copper.
ReaIIy? That's fantastic.
What do you mean, ''going to make a good copper''?
Have a drink.
- I got shot because of you. - I know.
- I'm truIy sorry, Ray. - StiII...
I met a bird, medicaI bird.
CaIIed nurses.
Big tits. Arse Iike two Cox's Pippins in a bag.
- She sounds enigmatic. - No. She was from BarnsIey.
# ..the pace l'm going through Ch-ch-ch-ch-changes
# Turn and face the strain Ch-ch-changes
# Ooh, look out, you rock 'n' rollers
# Ch-ch-ch-ch-changes Turn and face the strain...
Go and find her, then.
Who?
I'm not just a sex goddess, you know, boss.
I have a pair of eyes in me head. Go.
# l said that time may change me
# But l can't trace time... #
(GASPS)
You OK?
What?
TeII me.
TeII you what, Sam?
TeII me what I shouId do, Annie.
Stay.
Here.
Forever.
AII right, then, I wiII.
(CAR APPROACHES)
TyIer! Put that soppy pIonk down and get in!
BIag on in Archer Lane. Shots fired. LoveIy.
You two tarts, get in! And you, fIash knickers.
You shouIdn't be driving with that Ieg.
- WeII, I am. - You were shot.
So wiII you be if you don't get in! Move it!
(GUlTAR-BASED ROCK ON RADlO)
- (STATlC, SlREN) - (MAN) lt's no good.
He's slipping away from us.
Sam? Sam?
- God, I hate that channeI. - (STATlC)
(MUSIC: DAVID BOWIE'S ''LIFE ON MARS'')
That's better.
- What are you doing, Raymondo? - Can't get the door shut.
- I shouId be driving. - You drive Iike my Aunt MabeI.
If you injure somebody in this car, it's technicaIIy a criminaI offence.
Shut up, you noncey-arsed fairy boy.
Such eIegant banter.
Try and keep it under 70. Oh, and radio in for uniform.
- (GENE) I don't need PIod in the way. - (SAM) It's procedure.
You're not above the Iaw, Guv.
(GENE) What are you on about, TyIer? I am the Iaw.
(SAM) Yeah, in your dreams.
# ..he's in the bestselling show
# ls there life on Mars? #