Rating: Green Cortina for violence
Spoilers: For 1.01
Summary: Scenes from first episode...but as a muscial!
A/N: This is all Mr. Glenisters fault for saying something about a Life On Mars musical. It got my brain ticking. Un beated, because, well, CRACK! :)
Also, this is an interactive post. If you can think of a better rhyme, post it with your comment and if I like it, I'll cut and paste it! :D
ACT ONE, SCENE ONE: Manchester, 2006.
As the curtain goes up, we see three police men chasing a forth man, COLIN RAIMES, across the stage. The chase is a well rehearsed dance, balletic almost. RAIMES evades most of them until SAM TYLER runs onto the stage. SAM is dressed in a suit and tie, blue shirt, black dress jacket and pants. There's a moments pause, then RAIMES attempts to run past SAM. SAM blocks him. There's a scuffle almost like a tango, vaguely like a fight scene from West Side Story. Shortly, SAM disarms RAIMES and cuffs his hands behind him.
SAM: This is going to look very bad on your arrest report Colin.
SAM then marches RAIMES upstage, and as the lights go up, we see that it's an interview room. There are three people sitting there already, MAYA ROY, SAM's DI and former lover, and RAIMES's Psychiatrist, Social Worker, and Lawyer. SAM pushes RAIMES into a seat next to the Lawyer. He then takes a seat next to MAYA.
SAM: Interview commenced at 11:19 am. The suspect will state his name.
SONG: A Boy Like You
RAIMES: My name is Colin Raimes.
PSYCHIATRIST: Who are you to blame
Our client, he's a fantasist.
SAM: More like a contortionist.
Trying to squirm out of his crimes.
Well there's no helping a boy like you
Face it Raimes, you're out of time.
(throws some photos on the table, standing up)
Do you see this pictures? These were once people
Now they're bodies, now they're silenced.
Just like Lauren Chester, strangled into silence.
PSYCHIATRIST: I trust that you have evidence?
SAM: Looking for acquittance? You'll find no escape
For a boy like him. (holds up a book)
In your room we found a diary, which describes, very luridly
You're guilty conscience. Let me make it clear.
You wrote: I've killed her
You wrote: I am a killer.
You wrote that you had killed her.
The day after the murder.
What is more we have your picture,
From the girl who ran away.
(off of RAYMES reaction)
Bettina Mitchell, attacked on the weekend.
You mentioned Lauren.
Before she ran away.
SOCIAL WORKER: On November second?
He was at the clinic, he'd been feeling anxious.
But what can you expect from a boy like him?
He couldn't have done it, so you must release him.
SAM: How can I release a boy like him?
You haven't won.
SOCIAL WORKER: I think we're done.
The four of them leave, Sam and Maya are left behind.
MAYA: I'm so sorry Sam.
SAM: (abrupt) Don't be. Colin Raimes isn't our man. We'll go back to our best lead. (holds up file) The fibers underneath the victims fingernails. Definitely synthetic.
MAYA: I think there's more to be had from Raimes. Let's lean on him.
SAM: What, and be sued for harassment of a schizophrenic? He's a fantasist.
MAYA: Don't you even want to know what I'm thinking? My feeling is that-
SONG: What Use Are Feelings?
SAM: What use are feelings?
They get in the way
What use are feelings,
That's what I say.
Gut feelings do not a crime solve
And success rates aren't bolstered on thin resolve.
MAYA: Use your feelings,
Don't shut me out
Follow your feelings
They'll help sort it out.
Just let me in Sam, we two are a team.
If you let me in, we'll do much more then dream.
SAM: What use are feelings?
No use at all
I can't think about this
Or I won't think at all.
I'm standing you down,
You're out of the case.
Our personal problems
Have slacken our pace.
MAYA: This isn't about us
This is about you!
You haven't an inkling, you haven't a clue!
So it's all right for me to be in your bed,
Just as long as I stay out of your head!
What use are feelings?
Ask someone who has them!
MAYA storms off, leaving SAM on his own to brood. He flips through the file again, looking at the photos of the murder victims. After a few moments, his cell rings. He looks at it, seeing who it is, he rolls his eyes.
SAM: Maya, what are you doing? You're following Raimes? (sighs, wipes a hand over his face.) If Social Services finds out - where are you? (he stands) You're breaking up...at Satchmore Road? Right, I'm coming to get you-
(He stops). Maya? Maya?!
SAM snaps his phone shut and runs off stage.
SAM arrives at Satchmore Road, according to the sign behind him.
There are some police and police tape around a spot-lit swing, which is still swinging slightly. Laying on it is MAYA's shirt, with specks of blood on it, very bright red in the bleached out light.
SAM (to one of the police)
Preserve the scene. Whoever the killer is, he's taken her.
SAM walks upstage. Hold his head in his hands. Behind him, the crime scene police go about their business.
SONG: No Emotion (What Use Are Feelings? reprise).
SAM: No emotion, I feel dead
No emotion, it's what she said.
I can't help feeling it's no use,
Christ, Maya, I'm sorry, I have no clues!
God help me, in this place, every face
Is closed to me!
No emotion, everything is spinning round
Have to stop, before I hit the ground....
SAM covers his eyes, takes a step forward
As he does so, the stage lights go abruptly out, we hear a long drawn out car horn before the screech of brakes and the sound of impact.
VOICE: Oh my God!
2nd VOICE: Is he alive?
3rd VOICE: Someone call an ambulance!
The lights go up very slowly. SAM is lying on the ground onstage, spot-lit by a soft orange light. He stirs, we can hear David Bowie's LIFE ON MARS playing softly.
SAM: Oh my head....
He gets to his feet slowly. The lights get a little brighter as he does so. He looks around, seems puzzled. Looks down at his clothes, a pale yellowish shirt with a big collar, a St. Christopher's pendant, black leather jacket. Dark brown cords and brown ankle boots with Cuban heels. He's patting them, feeling them, not sure of what's going on. SAM looks around, not recognizing anything, peering into the darkness of the stage.
Startled, SAM falls to the floor, then he's up again, staring at a POLICEMAN who has just walked into still dimly lit spotlight. The song, Life on Mars, fades out.
Do you remember what happened, sir?
The lights gradually come up, and SAM sees that he is in a landfill of some kind.
SAM stands up, looking at the POLICEMAN. The man is dressed as in a Police Constable uniform in a style that SAM hasn't seen in about 20 or more years.
SONG: Give Me A Minute
Hang on, one moment, what's happened here?
What's going on, somethings unclear
Just who or what are you supposed to be?
I'm not sure I'm understanding what I see
Just give me a moment, I've got to hang on tight
Give me a minute, 'cause I can't see this right.
You were in an accident, you didn't see the sign
It was the other driver, they couldn't stop in time
(musing) In time.
spoken to himself
But what happened to Maya? She could be hurt, or worse.
The POLICEMAN ignores what SAM has said, holds up a folder.
Says here that you're on transfer, from Hyde.
POLICEMAN (nods, reading)
DI Sam Tyler...
No, I'm a DCI.
What the hell are you wearing?
(gestures to him clothes)
And, what the hell am I?
Just give me a minute, before I loose my mind
Give me just a moment, if you'd be so kind.
You've got a concussion, must have been the crash
Better sit down sir, and don't move very fast
SAM (holds up a hand to stop him)
I'm going to my station, things will make sense there
It'll only take a minute for me to clear the air
I don't know just what's happening,
I could be going mad
Just give me a moment, the first one I've had
Give me just a minute before this out of hand.
SAM runs off stage left. Curtain. End of Act One.