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BH Moments - Season 4

Nick's anguish in 'Reports of Damage and Loss' ... Dash and Adam, the night before he married Stacey ... Maggie and PJ in 'Gold' ... Maggie and PJ in the last scene of the season 4 finale, 'Possession'

# Shortcut Links #

'Mad Dogs and Englishmen' (# 129)

In the station

(Tom is taking leave at the moment due to recent heart problems.)

Acting-Sergeant  Nick is out on a call.  Adam and Dash are playing an improvised game of cricket inside the station, while Maggie is chatting to Gina.  Adam bowls, Dash swings and misses, and the ball hits the metal cupboards.

Adam: Woohoo!!  Howzat!!  (He throws his arms into the air)
Dash: That's not fair, I wasn't ready!  (She chucks the ball back to Adam)
Adam: Don't argue with the umpire.
Dash: How can you be the umpire and the bowler at the same time?
Gina: Where's Nick?
Maggie: He's out on the road, unfortunately.
Adam: (bowls)  It just goes to show you don't, (Tom walks in unnoticed)  sit on your fat butt when you're boss.

Tom doesn't look impressed with Adam's comment.  Dash hits the ball into the air, and Tom catches it.  Adam turns to see him.

Tom: Caught out, Cooper, wouldn't you say?
* * * * * *

At the Imperial

Tom has just set up a fan in the Imperial.

Tom: You ready for this?  (He sets the fan going)
Chris: Oh ... you're not just a pretty face, are you?

'Under Siege' (# 130)

At the hospital

Dash and Adam are talking to Tom, who is still on leave.

Dash: Tom ... we want you to come back.
Tom: (with a disbelieving smile)  *You* want me to come back, McKinley...?
Adam: We'd both like you to come back.
Dash: (grins)  And if you come back ... I'll call you Boss.
Tom: (laughs)  Now that's what I call incentive.

* * * * * *

In the station

Tom has decided to come back from leave, and is now moving his things back into the station.  Dash is about to go out on patrol.

Tom: (to Dash)  Drop into the hospital on your way back too.  I've arranged with Dr Hamilton to vaccinate you.  I don't want any more sick people in this station.
Adam: You're back, Boss.
Tom: Apparently so.  (The fax machine beeps.)  Aah McKinley, could you get that fax for us before you go?
Dash: Yes Boss.  (She grins)

Tom smiles and looks pleasantly surprised.

* * * * * *

In the locker room

(Monica Draper grilled Adam and Dash the day before about the station siege, and Nick didn't offer the two constables any support, even though they were the ones who resolved the whole thing — especially since Nick's rough stance during the siege didn't improve the situation.)

Nick is going through his locker.  He takes out a checkered jacket, just as Dash walks in.

Dash: (sees the jacket)  Ahh, I think you'll find that's mine.  Could be a ... few other things in there, I sort of spread myself out a bit while you were er, *Acting Sergeant*.
Nick: Yeah well, I'm just one of the boys again now, aren't I.
Dash: Yeah!  ...Yep.  (Nick takes a small bottle out of his locker.)
Nick: That's er ... yours too, isn't it?
Dash: Ah, thank you.  (She takes it from him)
Nick: (hesitates)  Now er ... I probably shouldn't have let you and Cooper take all the heat from Draper yesterday, so er ... I'm sorry about that.
Dash: (bitterly)  Would've been nice if you would've covered our backs.
Nick: Yes ... it would've been nice if you would've covered mine, too.
Dash: Look Nick, I'm sorry we didn't follow your instructions.  But we were right, we solved the problem.
Nick: Oh no, I'm not just talking about that problem.  I mean, you did well solving it.  I should've done it, you did well.  But I'm talking about the whole thing, when I was in charge here.  When the responsibility was mine ... I needed a bit of help.

He tries to explain, but Dash just shakes her head.  Nick gives up on it, and turns back to his locker.  He spots something and takes it out, holding it behind his back.

Nick: You know when I was cleaning out his office ... you know what I was thinking?
Dash: What?
Nick: That overall, taking everything into account, I didn't do such a bad job.
Dash: (in disbelief)  Oh good.  I'm glad you think that.
Nick: Good, but you know what's even better?  The brass think I did a good job, which means that I'll be a Sergeant.  That means I'll get a station one day.  (His expression turns to a sneer.)  And I hope you get posted to that station, McKinley.
Dash: (stares at him)  I'll look forward to it.
Nick:   But until then, you know what you're going to do?  (He holds up a pair of pink-spotted knickers.)  You're going to keep your knickers out of my locker.  Because people could get the wrong idea.

Dash's expression changes, and she takes it with a grin.  Nick walks out with a small smile on his face, and Dash giggles.

'Working Lunch' (# 131)

In the station

PJ is annoyed at Adam and Dash for not concentrating during a surveillance, which bungled the operation.  Dash says they only saw the back of the driver of the car which pulled up.

PJ: Well what did he look like?
Adam: 180 centimetres, 75 kilos, 20 to 30 years of age, brown hair.  (to Dash)  That's right isn't it?
Dash: Yeah.
Nick: That could be half the male population, it could be PJ! ...
Dash: No, he had more hair.
Nick: What, more as in longer or thicker?
Dash: More.

* * * * * *

In Tom's office

(Tom has just come back to work after taking time off, after suffering heart problems due to high stress levels.)

Tom is calling off a surveillance, and PJ's not happy about it at all.

Tom: I've explained your theory to the DDI, but they take the view that they can no longer commit expensive resources, to a surveillance of Bluey's place which on the off-chance —
PJ: No, what, hang on, on the off chan — it's a dead certainty, will you give me a break?
Tom: They also reminded me, that I am the one who has to answer to the money that it costs, to keep the dogs out there with you.
PJ: Ah — that's it.  So, so you rolled over.
Tom: I did not roll over.
PJ: So get in there and —
Tom: I'm just...
PJ: (gesturing furiously)   Will you get in there and have a go?  I need that back-up.
Tom: (stands up)   PJ, I will tell you what you need.  You need to take a few deep breaths.
PJ: What?
Tom: Go back into your office, close the door.  Flop forward like this  (Tom demonstrates, bending down)  ... collapsing your diaphram, force all the air out of your lungs ... slowly ... slowly ... straighten up,  (Tom straightens up)  letting it all flow back in.  (PJ is just staring at him.)  Do that three times, I think you might get things back into perspective.
PJ: Right.  (He nods like he's sympathising with somebody who's gone crazy.)
Tom: Do it.  Close the door.

PJ goes out of Tom's office, shaking his head, and looks at Nick.

PJ: I don't think he should be back on the job.
Nick: Mate, don't tell me he shouldn't be back on the job.
PJ: No no, look, I go in there, and he tells me to take three, deep breaths.
Nick: Doctor's orders.  Reduce stress.

Tom comes out of his office and looks at Nick.

Tom: You ready to ah, talk about that clean-up?
Nick: Yes, ready as I'll ever be.  (He gets up and walks over to the office.)
Tom: PJ —

Tom points towards PJ's office and re-demonstrates the "letting it all flow back in" bit, then goes back into his office.  Nick, standing at the door, looks at PJ and takes a deep breath, puffing up his chest, then steps into Tom's office and shuts the door.  Meanwhile, PJ looks as though the whole station has gone crazy.

'Immaculate Misconception' (# 132)

In the station

PJ is telling Tom that he thinks he's onto something with the current case.

PJ: I'd like to set up an OP tonight.  Who you got?
Tom: Oh well, at the moment, just McKinley.
PJ: No no, look, no, not Dash.   Why —
Tom: She's fresh!
PJ: Yeah, she's always fresh!
Tom: And alert.  The rest of them have just finished full shifts.  (Adam looks up)
Adam: Well I'll go.  I'll go with her, I don't mind.  (Maggie laughs)
Nick: (grins)  Oh you're a desperate, Adam.
Adam: (annoyed)  Well do you want to go?
Nick: Nah, she's too scrawny for me.

'Reports of Damage and Loss' (# 133)

In the station

A storm is raging outside.  Inside the station, PJ and Maggie are chatting while wiping up water from a leak in the roof.

PJ: Nah, even *she* wouldn't be that stupid.
Maggie: Intrepid, she'd call it intrepid.
PJ: Yeah okay, well let's have a little bet on this hey?
Maggie: Oh I'd love to.  How much?
PJ: Oooh ... a night of passion?
Maggie: You know, that sounds really good.  Who with?
PJ: Well what do you mean who with?  With me.
Maggie: With you?!  Well what do I get if I win?
PJ: Very good Doyle, very good.  But — you don't know what you're missing!  (He throws his wet cloth at her)
Maggie: No ... neither do you.

Tom walks in.

Tom: (looks at the leak and groans)  Fabulous.  (He sees Maggie holding a hot drink.)  Well this is nice, what is it, serve yourself?  What about your poor old Sarge?
Maggie: Oh I'm sorry Boss, I thought you would've already had one.
Tom: I never said anything about regulations that stipulates only one cup of tea should be drunk per shift, do you?
Maggie: No, no, I'll ... make you another one.
Tom: Thank you very much.  (sighs)  Where are Cooper and Schultz with the lunches?  This is getting ridiculous!

Dash comes in, carrying an umbrella.

Dash: Oh, afternoon!  Lovely weather for ducks.
Tom: Afternoon, McKinley.
Maggie: (calling from the kitchen)  Boss —
Tom: (to Dash, looking at his watch)  Just made —
Dash: What?
Maggie: (coming with the tea)  Yeah, you just made me lose a bet too.
PJ: Right, you er, you didn't ride your bike did you hey Dash?
Dash: Are you kidding?  Have you seen the weather out there?  I got a lift.  (looks at Maggie)  So what's the bet?
PJ: I'll give you a list of my available times, Doyle.
* * * * * *

In the watch-house

Tom and PJ are talking to Nick, who's just had a shower and is still in his bathrobe.  Maggie comes in.

Maggie: Oh Boss, there's nothing from media liason.  (She sees Nick)  Where do you think you're going with all your bits hanging out like that?
Nick: Oh, sorry Margaret, early Christmas present.

'Luck of the Irish' (# 135)

In a graveyard

Tom, Nick, PJ and Maggie are investigating in the graveyard.

PJ: Strange place to come courting.  Graveyards give me the creeps.
Maggie: Oh I don't know, sex and death, one feeds off the other.
PJ: Remind me of that Doyle, next time we're in a life-threatening situation.

'Gold' (# 140)

In the station

Tom, Nick, Dash and Adam are talking in the station.  A fax comes through, and Adam takes a look at it.

Tom: Who's this for?
Adam: Ahh, it's for PJ, from a (grins) Janine in Kalgoorlie.
Nick: (grins)  Janine in Kal — he gets around, the old PJ, doesn't he.  What's it say?  (He grabs the fax off Adam and reads aloud.)  Here we go ... "still working on that *date*," (he raises his eyebrows), "and the name you were after for a *third party*".  It's a bit kinky isn't it.

Dash and Adam laugh, and Tom rolls his eyes.

* * * * * *

In *the* gold mine

PJ is asleep.  Maggie is standing over by the ventilation shaft.  She unwraps a mintie and throws it at PJ, who wakes with a start.

Maggie: Bacon and eggs or a full continental breakfast sir.  Courtesy of hotel management, or if you'd prefer it I could do you a soft-boiled egg.
PJ: (half-awake)  Naahh, nahh, noo, I don't want anything.  Next time I'm down caught in a mineshaft, remind me to have something more substantial before lunch.
Maggie: How's your tooth.
PJ: (very sarcastic)  Fantastic.  How'd you sleep?
Maggie: Oh, brilliantly.  (She pauses)  Well what do you want to talk about then?
PJ: Nothing, I don't want to talk about my tooth, I don't want to talk about my stomach, I don't want to talk about food.  (He sighs and groans)
Maggie: You always this grumpy in the morning?
PJ: Mm-hmm, always.
Maggie: No wonder you never got married.  No self-respecting woman would put up with you.
PJ: No, I never got married, Maggie, because I haven't found the right woman.
Maggie: Oh, now who's using the emotional shorthand!  Ha ha!
PJ: (looks at her)  You serious?
Maggie: Yeah, I am.  Don't you think it's time I got some answers?

'Fool's Gold' (# 141)

In *the* gold mine

Maggie is despairing about being trapped in the mine, and PJ is trying to comfort her.

Maggie: We're going to die here, aren't we?
PJ: No, no, no we're not, we're going to be fine Doyle, we're going to be fine, they're going to know that we're missing and they're going to come back looking for us, okay?
Maggie: Will they, will they really?
PJ:  Look, I don't have a great respect for the uniform branch, but even, even that dozy lot are going to put one and one together.
Maggie: I'm one of that dozy lot.

* * * * * *

In *the* gold mine

Maggie and PJ are sitting together, throwing stones into a cup a few metres away to pass the time.

PJ: You know I er ... I always thought I wanted ... oh, I don't know, maybe six, six kids.
Maggie: (incredulously)  Six?  (PJ throws a stone and lands it in the cup.)  A basketball team, plus a reserve, PJ.  (He laughs.)
PJ: What, you reckon six is too many do you?
Maggie: I reckon three is enough.
PJ: Yeah, you're probably right, but four's not a bad number, it's an even number.
Maggie: Have you ever changed a nappy?
PJ: (laughs)  No ... you're right.  I think one's plenty.
Maggie: (softly)  A Patrick.  (PJ turns and looks at her.)  After my father.
PJ: Yeah, I wouldn't mind a ... a Margaret.  (Maggie looks at him.)  Oh, it's after my um, my Auntie Margaret.  (He smiles.)
Maggie: I didn't know Margaret was a Lebanese name.
PJ: Sure it is.  It's Lebanese.
Maggie: Oh yeah.
PJ: I've, a lot of my friends are called Margaret in Lebanese.  Prove it isn't.
Maggie: I'm not sure that I can ask any Lebanese as there so happens to be one sitting right next to me.
PJ: As a matter of fact, Ms Doyle, it is.

'Random Breath' (# 145)

Outside Mt Thomas

The Heelers have been doing a RBT operation on the outskirts of Mt Thomas.  Nick gets a call from the station to bring Dash back in.

Nick: Deidre, Deidre, Deidre, what have you done?
Dash: What?
Nick: Falcon-Price wants to see you now, if not sooner.
Dash: Why?
Nick: I don't know, maybe that bloke in the Merc complained about his treatment anyway.
Dash: How could he?  I was just doing my job.
Nick: Well that's what they said at Nuremberg.
Dash: Where?
Nick: Never mind.

* * * * * *

Outside Mt Thomas

Dash has gone back to the station to see Falcon-Price, and Maggie's back there as well.  Nick, Adam and another officer, Murray, are talking in the bus out at the RBT site.  Nick decides that they'll move the site.

Nick: Err ... there we go.  (He points at the map)  That's a good spot.  We'll move when McKinley and Doyle come back.
Murray: Well Falcon-Price will give her a hard time if he thinks she let her love life interfere with her job.
Adam: Well I met my wife on the job.
Nick: Yeah, he's going to become a Daddy too, young Cooper here.
Murray: Yeah?  First one?
Nick: Well, that he'll admit to.
Adam: Ha ha.

'No Means No' (# 148)

Outside the Court House

Maggie has been asked to keep an eye on Nick because he might be threatened.  He doesn't want protection, but Maggie has followed him to the court house, trying to hang around unnoticed.  Nick is talking to Danielle outside the cout house, and he spots Maggie nearby.

Nick: (loudly)  Maggie.  (Maggie turns and smiles grimly, annoyed she's been found out.)  Maggie Doyle, you poor thing, you don't have to follow me around just 'cos you're pregnant.  I've told you I'll stand by you.
Maggie: (annoyed)  Nick —
Nick: And dear, if it's twins, we'll sell the ute and we'll buy a combie.

'Can't Take a Joke' (# 153)

In the station

Brad Dimmock is complaining that Adam is harassing him.  Nick is finding Brad to be a bit of a pest.

Brad: Look, all I want is Constable bull-ant off my tail.
Nick: Okay, big dog, I'll just get you a complaint form if you like, there.  (He reaches under the counter, takes a bunch of papers and drops it onto the counter.)  There you are mate.
Brad: What, you want me to fill out all that?
Nick: Well, if you don't want to do that, you can have a chat to the Ombudsman, but he's in Melbourne mate, so you might have to leave now to catch him.
Brad: Oh tell you what, just forget that.  (He walks out)
Nick: Okay.  (Turns and looks at Dash)  Some people just don't appreciate a good form, do they.
Dash: (grins at him)  May I have a look at that there?
Nick: Sure.  (He hands her the papers)
Dash: (takes a look at them)  Police Superannuation Fund.  Now is he eligible for that?
Nick: How did that get in there, I don't know.

'Every Contact Leaves Its Trace' (# 154)

In the station

Nick: This is a nice fat pay cheque there Margaret ... who've you been sleeping with?  (Maggie gives him a little punch in the ribs.)  Oooh!
* * * * * *

In the hospital

Adam is lying in hospital.  Dash has just told him that Brad Dimmock, Stacey's ex-boyfriend, was the one who made Stacey pregnant, and that she conspired with Brad to kill Adam for his Police benefits money.  Adam refuses to believe it.  Dash wants Adam to get a taped confession off Stacey, and has tucked a tape recorder under his arm, but he doesn't want to do it.  Stacey comes in, and Dash leaves them alone together.  Stacey tries to reassure Adam.

Stacey: I told Brad my future is with you.  And we're going to buy a proper house and we'll have a big family, you know lots of babies to replace the one we lost.
Adam: Don't lie to me Stacey.
Stacey: I'm not lying, Adam!  I love you.  We can be happy like when we first met, remember?
Adam: When we first met, you were already pregnant.
Stacey: No I wasn't.
Adam: It was Brad's wasn't it?
Stacey: No it wasn't like that...
Adam: I made up all sorts of excuses for you.  'She's just a kid.  She's desperate'.
Stacey: Oh what's desperate?  But then I met you and we fell in love.  And I —
Adam: Don't talk to me about love!  All you're interested in is sex!
Stacey: That's not true!
Adam: Oh yeah so why'd you screw Brad in our bed?
Stacey: Look you don't...
Adam: Dash was right about you.  You're worthless.  You're nothing.  No wonder Dimmock ran out on you.
Stacey: No he came back for me.
Adam: Oh sure.
Stacey: He did, he came back to look after me and our baby.  He said he loved me.
Adam: Yeah, he loved you so much he'd only take you with my money.
Stacey: No, he came back for me anyway.  Said the money was just the icing on the cake.

Adam stares at her.

Adam: So you did conspire to kill me.  You and Brad.
Stacey: (nods slowly)  Yes.  But you'll never be able to prove it.

Adam closes his eyes and holds up the tape recorder.  Stacey stares at it, then turns as Dash walks in, with a knowing look on her face.

'Playing Games' (# 155)

At the Imperial

(PJ's role for the "Murder Mystery Weekend" is that of a Southern gentleman named "Gaylord Game".)

Tom and Nick are sitting at the bar.

Chris: Two beers?
Tom: Oooh!  She's a mind reader as well.  What a woman.

PJ comes over to the bar, still dressed as his character, with his name-tag attached to his shirt.

Nick: You better make that three.  One of the swinging detectives's here.  (He spots the name-tag.)  Gaylord mate, shouldn't that be two words?  Gay Lord?

'Drag Line' (# 157)

In Tom's office

Inspector Falcon-Price wants more "pro-active policing" from Tom and his officers.

Tom: With all due respect sir —
Falcon-Price: With all due respect Sergeant, when people say "with all due respect" they usually mean the direct opposite.

* * * * * *

At the Imperial

Nick and Zoe are having a game of pool.  Maggie and Dash look over at them.

Dash: You know, there's something going on over there.
Maggie: Noo.
Dash: There is.
Maggie: Nick and Zoe?  He bolts every time he sees her.
Dash: Well he's not bolting now.

'Closing Ranks' (# 158)

Around Mt Thomas

Nick and Dash are attending a woman who has driven off the road.

Nick: You right?  Hey, you right?
Woman: Sorry.
Nick: Mrs Torrini, you right?
Woman: I'm ... having a baby.
Nick: Oh, good.

'Our Patch' (# 162)

In the station

Nick and Maggie have been discussing why on earth undercover police would be working in Mt Thomas.

Nick: I mean, I don't know Margaret.  What's our little backwater coming to?  Maybe it's time we ... we got married and moved elsewhere.

Maggie raises her eyebrows and nods with a smile.

* * * * * *

In the station

PJ has just revealed that the new local yobbos really were undercover police, from the DTF.

Nick: Oh ... there's no getting away from it, is there?
Maggie: The ah — the Drug Task Force.
Nick: You remember the old days, when all we did was robberies, drugs...
PJ: (matching Nick's wistful tone)  Stolen vehicles...

* * * * * *

In the bush

PJ and Maggie are trailing suspects.

Maggie: Hey PJ, there's more horse dung over here.
PJ: Er, is it fresh?
Maggie: (laughs slightly)  Well I don't know, why don't you feel it and find out?
PJ: (smiles)  What sort of detective are you, Doyle?

'Settlement Postponed' (# 168)

In the station

A phone rings, and PJ picks it up.  He starts talking and glances over at Maggie.  The call is obviously for her, but he keeps talking anyway.  Maggie walks over.

Maggie: (annoyed)  Is that for me?
PJ: (talking into the phone)  Yes, er, she's on her way, I'll er...  (he gives the phone to Maggie)
Maggie: Sandra, hi, it's Maggie.  Sorry about that.  (pause)  Oh terrific!  Thank you so much for doing that for me quickly.  (She pauses and her expression changes.)  Ah yeah, I can put him back on for you.  Oh I should tell you too that his wife's expecting their *fifth*.  (PJ looks up)  Yeah two sets of twins, they're gorgeous kids.  (She smiles, while PJ shakes his head.)  Well most of the good ones *are* taken.  (pause)  I'll put you back on — (pause)  Oh okay.  Bye bye.  (She puts down the phone)
PJ: I wasn't coming onto her, she was coming onto me.
Maggie: (smiles)  I know.

* * * * * *

Around Mt Thomas

Nick and Adam are sitting in the patrol car with Compo Hayes, who has been hanging around the Heelers all day because he's afraid of Stacker (but he won't admit it).  Nick and Adam are getting really annoyed with Compo.

Nick: (to Compo)  You said these guys were going to hit this place at six, it's six-thirty.
Adam: Let's go.
Nick: Yep.
Compo: Maybe I misunderstood them, maybe they said they were going to hit him with sticks.
Nick: Oh yeah.  (Adam laughs)
Compo: It was definitely the Steam Packet.
Adam: Was it?
Compo: I know what we can do.  We can drive around and look for them.

Adam gives Compo a look.  Compo's obviously wasting their time.

Nick: Get out of the car, before I charge you with making a false report.
Compo: No but we could —
Adam: Get out of the car, Compo!!

Compo puts his hands around Nick's neck and begins to half-strangle him.  Nick chokes.

Nick: What are you doing?!
Compo: I'm assaulting you!
Nick: (twists around)  You get out of the car!!  Get out of the car!

Nick gets out of the car furiously, and Compo gets out as well.

Compo: I assaulted you, you've gotta arrest me.
Nick: (angrily)  You wish to tell me what's going on?  You've been hanging around like a bad smell all day Compo, are you frightened of Stacker, is that it?
Compo: Oh, that lump, you gotta be kidding —
Nick: Yeah go home.
Compo: You gotta arrest me!
Nick: I don't have to arrest you Hayes.  (He gets back into the car)
Compo: What is the point of paying taxes if you won't arrest me?
Nick: Compo, you don't even pay any taxes, so shut up.

'Possession' (# 170)

In the CI office

(Robbie Doyle reported a hold-up at the service station, where he works, the day before.  PJ has now asked Maggie to bring Robbie in, because he believes that Robbie stole the cash and made up the story.)

Robbie steps into PJ's office, followed by Maggie.  Dash also goes in, to attend the interview.

PJ: Thanks for coming in mate, appreciate it.  Thanks Mags, she'll be right.  (He shuts the door before Maggie can get in.)  Rob, take a seat.
Robbie: I'm fine.
PJ: Alright.  Now Robbie, these motorbikes.  Could one of them have been a Harley?
Robbie: Nope.
PJ: Sure both bikes?
Robbie: Yeah, I got a good look at them, I...
PJ: (cutting in)  You know a Harley from a motorbike, do you?
Robbie: (annoyed)  I know a Harley when I see one.
Dash: (thinking PJ is being a bit rough)  Fair enough.
PJ: Alright, last night at the hotel mate, before the robbery, you were drinking with Doreen?
Robbie: Yes.
PJ: Now did you leave her and go upstairs and visit anybody?
Robbie: No who told you that?  Look, I'm the victim here, it sounds — what, what are you trying to suggest?
PJ: Mate, you've been a copper, you know the deal.
Robbie: (angrily)  Is that what you got me in here for?  (PJ doesn't answer.)  Huh??
PJ: Just answer the question.
Robbie: I don't know how your mind works, but you've got it wrong *again*.
PJ: You reckon.
Robbie: Yeah.  Look, I feared for my life yesterday, and what the hell, what do you care about it?!  (He opens the door and walks out)
PJ: Thanks very much for your cooperation Mr Doyle.

Shot cuts to the main station.  Maggie gets up as soon as Robbie comes out of the CI office.  He looks at her.

Robbie: I want you, to tell your boyfriend, to leave me alone.  Tell him!  Beause I am sick of it.  I've had enough.  Alright?  I've had enough!  (He strides angrily out the door.)
Maggie: Robbie, wait.  Rob —

Tom comes out of his office.

Tom: What's going on?
PJ: Yesterday's servo robbery, we picked up a bloke in the Imperial, and he rides a Harley.
Maggie: (glares at PJ)  I know exactly what you're trying to do.
Tom: Those blokes were seen on trailbikes, weren't they?
PJ: Boss, the guy at the Imperial is not legit, I got Nick doing checks on him!
Tom: (indicating to his office)  Close the door.

Shot cuts to Tom, PJ and Maggie in Tom's office.

Tom: So does this bloke match the description we've got here?
PJ: Not exactly, no.
Tom: So what's the connection?
Maggie: He thinks that Robbie's lying.  It's a shot in the dark.
Tom: Is there any evidence to suggest that Robbie fabricated his statement?
PJ: Well nobody's seen these trailbikes go through town, and we think that Robbie might have visited our Harley owner in his room last night, and we know what Robbie could've done with a couple of hundred dollars...
Maggie: Do I have to listen to this?
Tom: Yeah hang on, hang on.  Alright, speak plainly.  Are you suggesting that our mystery man is a drug dealer of some sort and that Robbie faked the hold-up, to pay for a hit?
PJ: Possibly.
Tom: Then I'll speak plainly to you.  You can theorise all you like, but unless you've got some hard evidence, don't start pointing the finger.
Maggie: (glaring at PJ)  You are *so* one-eyed.
PJ: Open your eyes, Doyle.
* * * * * *

In the CI office

(PJ has found out that Maggie has discovered some evidence which can prove that Robbie stole the paintings.  PJ realises that Maggie has figured out what her brother has been up to and that she won't admit it, and that she has kept the evidence from him.)

PJ has called Maggie in to have a talk with him in his office.  She walks in, and he shuts the door.

PJ: What do you think you're doing?
Maggie: No.  What are *you* doing?
PJ: Investigating a crime.  Remember?
Maggie: Wrong.  You're trying to get Robbie any way you can.
PJ: Tracks.  At the Jamieson farm.  Now you went out there, because you thought they looked familiar.  Right?  (Maggie's face says it all: PJ is right.)
Maggie: I don't know what you're talking about.
PJ: What about that piece of wood Maggie, now you tell me about that piece of wood.
Maggie: What?
PJ: It's from a painting.  Did Robbie use your car, to do that job, is that it?
Maggie: There are hundreds of cars with tyres like mine, PJ.  And the wedge, I found that out at the Jamieson farm —
PJ: Maggie, it's not worth it.  He is not worth this, why do you go on protecting him??
Maggie: And *why* can't you ever give up, and *why* can't you ever *leave* us *alone*!!
PJ: Because he is *guilty*, Maggie!!  He is *guilty*, and he's *never* going to give up heroin, until he hits rock bottom, I'm trying to tell you this...  (His tone has changed from anger to despair.)
Maggie: You don't know that he's guilty!
PJ: Do you?  I mean, are, are you willing to give up your career, for him?  Because that is what you're looking at.
Maggie: You don't know anything.
PJ: Oh yes I do Maggie, I know that you are a bloody fool!
Maggie: Oh really, and what are you?  What are you??  *Why* are you doing this?!
PJ: (his voice softening)  Well maybe I'm doing it for you.
Maggie: Well *give* up, and *leave* us *alone*.

Shot cuts to the main station.  PJ and Maggie's argument can be heard very loudly and clearly, even though the CI office door is shut.  Nick, Adam and Dash are looking at each other uncomfortably, as the voices continue to ring throughout the station.

Maggie: This is *none* of your business!!

Maggie storms out of the CI office, closely followed by PJ.  Tom comes out of his office.

Tom: What the hell is going on?  (He glares at Maggie and PJ.)  Doyle, PJ, my office, now.

Shot cuts to the three of them in Tom's office.

Tom: Alright, you first, PJ.
Maggie: Boss, I —
Tom: Not a word out of you, Doyle.
PJ: It was a private argument.
Tom: I don't want to hear this.  What I want are some answers.
PJ: I think it's possible that Robbie was involved in this art theft, Maggie doesn't, that's it.
Tom: What've you got that's new?
PJ: We're following some leads.
Tom: Well, will that prove that Robbie's involved?
PJ: Maybe, maybe not.

Tom is getting very annoyed by PJ's reticence and lack of cooperation.

Tom: You two closing ranks on this?
PJ: What?
Tom: Perhaps I don't make myself clear, what I want here is some answers.
PJ: Well hang on, listen, I don't have to be lectured here.
Tom: You are not being lectured.
PJ: Well, with respect, Boss, this is my investigation, and I'm not answering to you, am I?
Tom: With *respect*, PJ, when I hear you two shouting accusations at each other so loud they can almost be heard by passers-by in the street, I don't know whether either of you are capable of investigating this at all!
PJ: I don't have to listen to this.
Maggie: Please, PJ —
PJ: No, no, I have work to do.  (He opens the door and walks out.)
Maggie: PJ... (She watches him go)
Tom: Doyle.  (Maggie turns back to face Tom.)  I've been in the police force a long time, I've seen this sort of thing before.  It's like an infection, it starts when one member, starts telling lies...
Maggie: Boss I haven't said any —
Tom: Don't waste your breath, Doyle.  Just listen.  I won't tolerate anything but absolute integrity in this station.  Now either you're straight, or you're out.  If you're not straight, then you cease to be a copper in my eyes, and I use that word with the pride it ought to be used with.  Now go home Doyle, because you're off this case.  Just go home, do what you like, just get out of my sight.

Maggie turns to leave, smarting from Tom's censure.

Tom: And Doyle, *think*.
* * * * * *

In the station

Tom is talking to Maggie in his office.  The rest of the Heelers are in the main station, digging around in boxes for Christmas decorations to hang around the place.

Nick: (to PJ)  Now, is your mum going to send you some more of those novelty undies for Christmas?  (Adam and Dash laugh)
PJ: Put your orders in, mate.
Nick: Well I'll get some mistletoe, I'll be — (He sees Maggie as she comes out of Tom's office.)  Aahh — the prison squad's out the back Maggie.  (Maggie nods, and slowly heads out to the back.  Nick turns to Tom.)  And ahh, your Ms Downie's about to —
Tom: She's not my Ms Downie, she's — (He breaks off as Sally walks up from behind them.  Sally!  Come on in.
Sally: Oh, no Tom, no time.  I only called in to ensure that Mr Golding got his bag.  (She opens the swing door and walks past them.)
Tom: Yeah, but I wanted to er —

Tom quickly goes into his office to grab something, but Sally doesn't stop.

Nick: Merry Christmas, Ms Downie.
Sally: Merry Christmas to you!
Dash: Bye!
Sally: Bye bye.  (She walks out, just as Tom comes back out of his office.  He's dismayed to find that she's already gone.)
Nick: Oh, the bird's flown.
Dash: Ah, maybe she had another appointment, Boss.
Tom: (annoyed)  It's just a card, you know, Christmas.
Adam: Oh well Boss, you can use it next year, can't you.  (Nick chuckles)
Tom: Thank you for sharing that, Cooper.

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