INT. SAM’S APARTMENT - LIVING ROOM - DAY 1/1 07:08
Life on Mars Episode One - Shooting Script1Pink Amended: 25/04/2005 1INT. SAM’S APARTMENT - LIVING ROOM - DAY 1/1 07:081Close-up - photograph. A small boy - 4 or 5 wearing anoversized policeman’s hat. Freckles. Toothy grin.Reflected in the glass of the photo - a dozen separate News24 items explode onto a plasma screen.The widescreen TV spews up a giddy-making cocktail of currentaffairs. These images usher in a fast set of verycontemporary TITLES.The TV with Dolby 5.1 dominates one half of the apartment andholds the attention of SAM TYLER. This room with its beamsand varnished wooden floor has been converted from some vastVictorian factory.SAM himself is smart, lithe, mid-30’s. If he were a flavourhe’d be spearmint. He is talking into his mobile andnegotiating the News 24 menu simultaneously. Girlfriend MAYAcradles her coffee, watching him.SAMIf we get the go-ahead I want basepoint to be at the cross-roads .Sam .MAYAHe doesn’t appear to hear her.SAM. the suspect was positively id’dby the victim of the assault.Afterwards I want SOCO throughevery inch of the house. And I’mgoing to apply for the right tohold him for 72 hours if necessary. Yes, I’m expecting to get it.Sam?MAYAHe snaps the phone shut. Holds up two identical blue ties.MAYAThe blue one.SAMGood choice.MAYASam, can we .?His phone rings. He shrugs - sorry. Has to take it.1
Life on Mars Episode One - Shooting Script1Pink Amended: 25/04/2005 2CONTINUED:1SAM(into mobile)Sam Tyler .MAYA walks sadly out of the room.He glances at her as she leaves - feels bad about avoiding aconversation. Turns his attention back to the phonecall.SAMWe’re heading out there now.(dialogue continues over top of sc2) I want the Exclusion Zone to runfrom the junction to the end of thestreet. We’re not losing this onebecause of sloppiness.2INT. SAM’S APARTMENT - BATHROOM - DAY 1/1 07:092MAYA sits on the loo (seat down) with her own phone. She canhear SAM babbling ten to the dozen outside. She finishesleaving a phone message.MAYADon’t know if you can understand.Maybe at some point we can sit downand talk.She finishes the call. Cups her hand over her face.SAM (O.S.)Maya? Heads up. We’re on.3EXT. STREETS - CARS - DAY 1/1 10:403Three unmarked Police cars tear past a row of defining 21stcentury shops - typical of a modern, vibrant city, turningoff into a residential street.4EXT. VICTORIAN TERRACES - DAY 1/1 10:41 - CONTINUOUS4A white van caked in grime - “Heating Services”. In the grimeare 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 andsharp as SAM. All look to SAM - these next few minutes arecrucial.They run to an unloved house at the end of the terrace.(Muffled rock music from the house next door.) SAM clocks themusic. MAYA rings the bell. Dogs yap within.2
Life on Mars Episode One - Shooting Script4Pink Amended: 25/04/2005 3CONTINUED:4SAMColin Raimes? Police. Please openthe door.OFFICERS move forward with the battering ram but SAM motionsfor them to hold back. He knocks. Almost polite.SAMMr Raimes we have a warrant toenter the house and to removeproperty in compliance with theCriminal Evidence Act .Noise from round the back. Flower-pot knocked over.5EXT. REAR OF HOUSE - DAY 1/1 10:425COLIN RAIMES (30s/ skinny / ginger hair / tracksuit) isalready clambering over the back wall. MAYA is the first toreach him. He kicks her in the throat. She steps back,gagging. RAIMES goes over. CID struggle to follow but SAMtakes the wall athletically.6EXT. STREETS - DAY 1/1 10:42 - CONTINUOUS6RAIMES running with frenzied vigor. SAM in pursuit. Like asprinter - piston arms, set jaw.RAIMES darts between moving cars. SAM does the same matching madness for madness. RAIMES cuts down an alley. SAMstops. Scans houses opposite.Crosses the street and goes over a gate. Over another gardenwall just as RAIMES is running by. SAM leaps onto RAIMES whothrows him off with a scream of rage. SAM reaches into hisbelt and whip-cracks his baton to full extension. RAIMESgrabs a dustbin lid - gladiator’s shield.TWO BOYS watch them.RAIMES swings the lid. SAM side-steps and lashes out with thebaton which RAIMES deflects.BOY 1(to RAIMES)Smash his face in!RAIMES giggles - king for a day.SAMColin, this is going to look verybad on your arrest report.RAIMES lunges at him. SAM parries and swings his baton intothe back of RAIMES’ legs. RAIMES crumples. The BOYS boo. SAMholds him down.3
Life on Mars Episode One - Shooting Script6Pink Amended: 25/04/2005 4CONTINUED:6SAM (cont’d)Colin Raimes I am arresting you onsuspicion of abduction and murder.You do not have to say anything butit may harm your defence .7SCENE 7 OMITTED7A PtEXT. POLICE STATION - DAY 1/1 11:1777A PtGleaming squad cars lined up outside a modern day terroristproof Police Station. Two POLICEMEN stationed outside. SAMreturns to the station.He swipes his security fob for immediate clearance into thestation - which it must be said more resembles the entranceto an expensive private clinic than an inner city cop-house.7A ptINT. CORRIDOR POLICE STATION - DAY 1/1 CONTINIOUS7A ptSam walks down the corridor playing his voicemail off themobile. Maya is waiting for him a little way ahead.MESSAGE (MAYA)“I’m moving out. I can’t live withyou any more Sam. Don’t know if youcan understand. Maybe at some pointwe 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 hismobile shut and starts walking. Maya hands him a fresh shirt.He rips off the cellophane, strips to the waist and puts onthe clean shirt.8SCENE 8 OMITTED89INT. POLICE INTERVIEW ROOM - DAY 1/1 11:199Rapid montage - DAT machine loaded, CCTV aligned, lap-topbooted. SAM sets out pens and pad. Squares them with the edgeof his desk. Tightens his tie knot.TIME JUMP: SAM and MAYA on one side. RAIMES on the otherflanked by his LAWYER, SOCIAL WORKER and PSYCHIATRIST. TwinDAT decks and CCTV record everything. (During the scene wecut sporadically to CCTV POV.)We zoom in on COLIN who looks up into camera.SAM takes off his state-of-the-art watch.SAMInterview commeneced at 11.19am.The suspect will state his name.4
Life on Mars Episode One - Shooting Script9Pink Amended: 25/04/2005 5CONTINUED:9RAIMESColin Raimes.SAMAlso present are the suspect’sLawyer, Social Worker andPsychiatrist.COLIN is rocking in his chair and rolling a fag.SAMThis is a no-smoking room.The PSYCHIATRIST gives the LAWYER a look.LAWYERMy client is advised by hispsychiatrist to rely on certainauto-motive props.SAMLook at these photos Colin. LaurenChester. Strangled to death inNovember last year. No sexualassault. Kidnapped. Held for around30 hours. Strangled with bootlace.The photos show explicitly the thin welts running around thevictim’s throat. RAIMES looks away, groaning.PSYCHIATRISTYou’re upsetting him .RAIMESTerms and conditions . You need ahair cut .SAMBettina Mitchell. Attacked lastSaturday. You said; “fight me andyou’ll end up like Lauren.”He slides his lap-top round to face the group - a computeridentikit that is uncannily like RAIMES.SAMLook at this j-peg. The ID picturethat Bettina gave us.MAYA places the ring-binder on the desk. Trump card.SAMIt’s your diary Colin. Found it inyour room.(reads from lap-top)From the diary; “I killed her.(MORE)5
Life on Mars Episode One - Shooting Script9CONTINUED:Pink Amended: 25/04/2005 6SAM (cont'd)She’s been killed. I’m a killer. Anace killer.” That particular entryis not awash with ambiguity. DatedNovember 4th; a day after themurder.9PSYCHIATRISTColin’s a first-rate fantasist .SAMSo let’s talk about the night ofthe abduction; November 2nd.Something twigs with the SOCIAL WORKER who immediately refersto her Palm Pilot.SAMWhere were you on .?SOCIAL WORKERHold on, November 2nd?Correct.SAMSOCIAL WORKERHe was at our drop-in centre.SAM looks up slowly from the lap-top. MAYA chews her lip.SOCIAL WORKERSome kids had thrown fireworks athim. He was distressed. We broughthim into the centre.MAYA looks to SAM who is boiling inside.LAWYERI think we’re done.SAM and MAYA try to hide their crushing disappointment.10SCENE 10 OMITTED1011INT. PROFILING CENTRE - DAY 1/1 13:2311High-tech, darkened room. TV screens run multiple suspectinterviews - each gives his name,(HARRY BENFIELD, DAVIDWESTON, MICHAEL SLAVIN, BARRY RICHARDS, BRENDAN CAIN) thelast one is COLIN. Forensic results and criminal profilingdata spill out of other screens. SAM stands over a CIVILIANOPERATIVE who has a fingerprint digitized on the computerscreen. MAYA enters. Hangs back.6
Life on Mars Episode One - Shooting Script11Pink Amended: 25/04/2005 7CONTINUED:11OPERATIVE taps in info. Print vanishes. Appears a secondlater accompanied by a selection of comparative prints.OPERATIVENothing new in with this weal andloop configuration.SAMOkay, let me try some bi-lateralcross-referencing here.He pulls a chair up to a computer screen on the other side ofthe room. On the screen are microscope images - strangefilaments. MAYA joins him.SAMColin Raimes isn’t our man. We’llgo back to our best lead; thefibres found under the fingernailsof the victim. Definitelysynthetic.MAYA leans forward to study the fibres on the screen.MAYAI think there’s more to be had fromRaimes. Let’s lean on him.SAMAnd be sued for harassment of aschizophrenic? He’s a fantasist.It’s in his psyche-evaluation .MAYAScrew the psyche-evaluation.You used to believe in gut feelingWhat happened?Nothing.SAMMAYAWhat’s going on in there Sam?(taps his head)SAMI can’t think about this now.She watches him engrossed in the flickering gobbledygook onthe screen.MAYAWould it help if we interfaced bilaterally, cross-referencing ourprofessional and domestic lives?Would that make it easier for youto talk about us splitting up?7
Life on Mars Episode One - Shooting Script11Pink Amended: 25/04/2005 8CONTINUED:11He spins round to face her and just for a moment she thinkshe is going to talk about his feelings.SAMI’m going to stand you down fromthis case Maya. It’s not productivegiven our personal problems .MAYAAll right, look, forget us . Ihave a theory about Raimes. Aboutwhy he kept the diary .SAMI’ve made my decision.MAYADon’t you even want to know whatI’m thinking? My feeling .SAMPainters have feelings. Poets havefeelings. Look around you, whatgood are feelings in this room?MAYA swallows down her rage. Nods. Okay then. She leaves. SAMswivels back to his computer fast.12SCENE 12 OMITTED1213SCENE 13 OMITTED1314INT. POLICE STATION - CORRIDOR/CID - DAY 1/1 13:3014SAM swipes to let himself out through the security doors. APC struggles to get a coffee from a dispenser. Rattles themachine. Sam pauses to run his fingers over it. Sam reachesfor water from the cooler then turns to the dispenser andgives it a light precise tap. A cup drops into the tray justas his mobile goes off.SAMMaya, what are you doing?MAYA (OVER MOBILE)I’m following my feelings sir.Raimes isn’t just a fantasist. Ithink he’s trying to impresssomeone.SAMWhere are you?MAYA (OVER MOBILE)What if Raimes knows the killer?What if he’s going to go braggingabout hi . arres .8
Life on Mars Episode One - Shooting Script14Pink Amended: 25/04/2005 9CONTINUED:14SAMSocial Services will hit the roofif you . Where are you? Maya?MAYA (OVER MOBILE). Tailing him . I . in the.SAMYou’re breaking up.MAYA (OVER MOBILE). someone there. Someone waiting.Raimes is heading towards SatchmoreRoad. going to speak to the .SAMNo. Maya? No. I’ll send back-up.Maya?The line is dead.15SCENE 15 OMITTED1516EXT. PLAYGROUND - DAY 1/1 13:5016SAM’s Jeep pulls up. Close up of a sign - Satchmore Road.SAM walks through the desolate space. He crosses theplayground to where a couple of COPPERS are standing near aswing. 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 beingfights to hold SAM TYLER in check.SAM(softly)Preserve the scene and call in SOCOplease. Whoever the killer is .he’s taken her.17I/E. SAM’S JEEP - DAY 1/1 14:0017SAM at the wheel - distressed but keeping a lid on it. “LifeOn Mars” plays softly over his i-pod. He brakes hard. Themusic floats around him as he tries to marshal his thoughtsand feelings. He steps out of the car. Leans against it topull in some clearing air. He is close to tears.He steps back to compose himself. A car smacks into him atspeed and in half a second SAM is thrown down the street likea scarecrow full of straw. It’s shockingly sudden.9
Life on Mars Episode One - Shooting Script18Pink Amended: 25/04/2005 10EXT. MANCUNIAN ROAD - DAY 1/1 CONTINUOUS18High shot. SAM is thrown in a tangle across the tarmac. “LifeOn Mars” builds on the soundtrack.19EXT. WOODS - NIGHT - FLASHBACK19FLASH SHOTS - Woods at night. POV of a young boy - lookingdown 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 inthe sky.TOTAL BLACKNESS. TOTAL SILENCE.20EXT. ROAD - DAY 1/2 14:2020SAM unconscious on dusty ground. He is wearing a dated brownleather jacket and bell-bottom cords. “Life On Mars” canstill be heard playing. SAM lifts his head. The music iscoming from the 8 Track playing in the Ford Granada that heis lying beside. The door is open. SAM heads towards the car.A COPPER arrives. There is something about his uniform thatisn’t quite right. He also has a large radio transmitteraround his neck. COPPER helps SAM to his feet.COPPERWhat happened? Did you not see thesigns?SAM realizes that he is standing in roadworks. A developmentplot for the very same road he was driving on moments ago. Aroad which now seems to be in the process of being built.COPPERDo you remember what happened sir?[Beat] Sir, can you tell me whathappened?SAM gawps at the beige Granada.SAMThis . This isn’t my car. I wasdriving . I was driving a jeep.COPPERYou were driving a militaryvehicle?He removes paperwork from the car.SAMJust hang . what’s going on?10
Life on Mars Episode One - Shooting Script20Pink Amended: 25/04/2005 11CONTINUED:20COPPERCan I ask if you’ve been drinking?SAMI’m not drunk.COPPERSays here you’re on transfer from CDivision in Hyde. DetectiveInspector.SAMWhat? I’m a DCI. What the hell areyou .? I need my mobile.COPPERYour mobile what?My phone.SAMCOPPERYou brought your own telephone fromHyde?The COPPER unstraps the bulky Pye Pocket Phone from hisshirt.COPPEREight- Six-Zero to Alpha One.Hello?SAM has had enough. He strides away from the scene.COPPERNo, hang on sir! Come back . sir!SAM breaks into a trot. He crosses the street. Above himlooms a giant billboard with an artist’s impression of theMancunian Way and the words ‘Opening Soon’.COPPERCome back here!SAM breaks into a run.21EXT. SAM’S RUN - DAY 1/2 CONTINUOUS21SAM pelting through streets of old terraces. Collapsesagainst 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 oneof the cars. He crouches down to study his reflection andnotices the change in his image for the first time.11
Life on Mars Episode One - Shooting Script21Pink Amended: 25/04/2005 12CONTINUED:21He rifles through his pockets and pulls out a police ‘badge’ a leather wallet containing a card with the name SAM TYLER.22SCENE 22 OMITTED2223EXT. POLICE STATION - DAY 1/2 14:5023SAM stands sweaty and panting staring in astonishment atnumerous black bicycles that are lined up outside. A MorrisPanda car pulls out.24INT. POLICE STATION - FRONT DESK - DAY 1/2 CONTINUOUS24Sweaty, dizzy and disorientated, SAM staggers into the tatty,poorly lit reception. No security swipe here. A road safetyposter on the wall - squirrel with thumbs up. Tufty SaysFollow The Code.The WPC on the front desk is a formidable creature with thevoice of a welder - PHYLLIS. She watches a PC wrestling adrunk. Shouting and swearing and bouncing off walls.PHYLLISGet 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 theDRUNK’S trousers down to his ankles.PHYLLISStop playing silly beggars or thekecks come down an’ all. Got it?Legs bound by his trousers, the DRUNK is hauled off.SAMWhere’s the Custody Sergea.PHYLLISThe Whatty-what-what?SAMWho ARE you?PHYLLISBarbarella, Queen of the Galaxy.PHYLLIS is distracted. SAM sneaks past in background.25INT. POLICE STATION - CORRIDOR - DAY 1/2 CONTINUOUS25SAM hurries through the station, continually dumbfounded bythe changes.12
Life on Mars Episode One - Shooting Script25Pink Amended: 25/04/2005 13CONTINUED:25SAMWater 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 thecoffee machine. SAM gives the machine his customary tap butit doesn’t work this time. He sets off again. Encounters abedraggled WPC sponging blood off the walls. He marches on.Pushes through dirty swing doors 26INT. POLICE STATION - CID - DAY 1/2 CONTINUOUS26A DOZEN CID stop and stare. Most are smoking. The air isopaque with it. Page 3 girls jostle for space with crimescene photos. Desks over-flow with ash-trays, coffee cups andpaperwork. Most officers are dressed in cheap suits fleckedwith dandruff flurrys. The younger ones sport tight-fittingleather jackets. They look pallid and cynical. They are alland I mean ALL chewing gum.Every fibre of SAM’S being tries to assimilate this. Agangly, affable DC (CHRIS SKELTON) approaches.CHRISDC Chris Skelton. Plod’s bringingin your stuff. One of the girls’llsort out your RTA. Don’t sweat itif you’ve had a couple of stiffones. Blimey, you look like yougone ten rounds with Big Henry.SAM pushes by.CHRISSomeone needs to take a look at youBoss. You’re as white as a gingerbird’s arse.DS RAY CARLINGThere’s that nice little plonk onthe next floor. Cartright?CHRISShe could kiss it better.(loud)Shut up!SAMTheir good humour fades. SAM is standing with his back to anoffice which has the blinds down.SAMI don’t know who the hell you lotthink you are but this is myoffice. Right here.(MORE)13
Life on Mars Episode One - Shooting Script26CONTINUED:Pink Amended: 25/04/2005 14SAM (cont'd)(points into thin air)There’s a door . here. My desk.Here.26He looks down to see on the desk a calender girl photo - alltits and arse.SAMWhere’s my desk? Where’s my desk?Chair. PC terminal .RAYWho? You want a constable up here?CHRISI don’t know a PC Terminal. There’sa PC Tellman .SAMWhat the hell is going on? This ismy department! What have you donewith it. .?!!CHRISSsshhh! Keep it down Boss.Too late.RAYMovement from within the office. Blinds twist open and a pairof dark eyes blaze out. SAM steps back.DCI GENE HUNT emerges like a bear from a cave. Leather jacketand Texan cord tie. He shoves an Embassy No6 into his mouth.SAM(calming himself)All right. Okay . surprise me,what year is this supposed to be?GENE grabs SAM’S arm, steers him into the office.GENEWord in your shell-like pal.27INT. POLICE STATION - GENE’S OFFICE - DAY 1/2 CONTINUOUS27SAM wrestles free and rounds on GENE.SAMBig mistake!GENEYeah? What about this?He pushes SAM violently against the pre-fab wall whichtrembles.14
Life on Mars Episode One - Shooting Script27Pink Amended: 25/04/2005 15CONTINUED:27Clock, shelf, dartboard, darts trophies and notice-board allfall off the wall. GENE leers into SAM’S face. SAM gripsGENE’S collars.SAMGet off me .GENEThey reckon you got concussion.Well I don’t give a tart’s furrycup if half your brains are fallingout. You don’t ever waltz into mykingdom acting the king of thejungle.SAMWho do you think you are?GENEGene Hunt. Your DCI. And it’s 1973.Almost dinner time. I’m havinghoops.GENE’S face is inches from him. Quiet, gravelly menace.28INT. POLICE STATION - CID - DAY 1/2 15:2528CLOSE UP on a chunky wood
Life on Mars Episode One - Shooting Script Pink Amended: 25/04/2005 1 1 . SAM (into mobile) Sam Tyler . MAYA walks sadly out of the room. He glances at her as she leaves - feels bad about avoiding a conversation. Turns his attention back to the phonecall. SAM We’re heading out there now. (dialogue continues over top of sc 2) I want the Exclusion Zone to run from the junction to the end .
Vocabulary Rent –Regular payment (to a landlord) to use/live at an apartment. Tenant –A person who rents an apartment. Landlord –A person who rents out an apartment to a tenant.They may or may not own the apartment. Negotiate –Work to bring about an agreement (about renting an apartment). Contract –An agreement than can be in writing about things we promise
Search the Yellow Pages for free apartment locator services; Visit the Apartment Locators page on HUD's website (www.hud.gov); Use a search engine to find apartment locator websites - enter key words such as "apartment finder", "apartment locator", etc. 2. Referrals - Ask your friends and family members if they have any recommendations. You .
an commission's public report as net living area. The net living area of the enclosed portion of the apartment shall be measured from the interior surface of the apartment perimeter walls. Areas of lanai or patio, which are considered as part of the apartment, shall be computed and reported separate from the enclosed apartment area.
3. ONE-TWO READING PLAN (OT once and NT twice) Date 2. SOLID LIFE READING PLAN (whole Bible) 1. NEW TESTAMENT (all three columns) READING PLAN (two columns) 26 May TMatt 3 T1 Sam 1–3 27 May TMatt 4 T1 Sam 4–7 28 May TMatt 5 T1 Sam 8–9 29 May TMatt 6 T1 Sam 10–12 30 May TMatt 7 T1 Sam 13–14 31 May TMatt 8 T1 Sam 15–16 -XQTMatt 9 T1 .
What is a SAM? ! SAM School Administration Manager ! A SAM is designed to change the . (2011, August). Implementation of the national SAM innovation object: A comparison of project designs. NY: Policy Studies Associates, Inc. ! Turnbull, B. M. Haslam, E. Arcaira, D. Riley, B. Sinclair, & S. Coleman. (2009, December). Evaluation of the .
you log in to the SAM environment, SAM checks Cengage for an existing account. If you have an account, a prompt displays enabling you to enter your Cengage password to link the SAM account with Cengage. Use your SAM password on subsequent logins to SAM. Step Action
Rain Dial Plus Series Controller. 15 Model Numbers: RD6PLUS-INT RD9PLUS-INT RD12PLUS-INT RD6PLUS-INT RD9PLUS-INT RD12PLUS-INT Ref. # Description Part Numbers Part Numbers Part Numbers 1
Level 1 1–2 Isolated elements of knowledge and understanding – recall based. Weak or no relevant application to business examples. Generic assertions may be presented. Level 2 3–4 Elements of knowledge and understanding, which are applied to the business example. Chains of reasoning are presented, but may be assertions or incomplete.
