He gets a call from his slippery friend Carl (Ian Hart, of course вЂ“ thank you, God and casting). He moves through a world of intended and unintended cruelties and ignores tirades of abuse from gangs of lads as he drives around the city. There is a good man suffocating under the emotional rubble.Дuring the first episodeвЂ™s night shift, Carson helps collect body parts at the scene of a road traffic accident, deals with neighboursвЂ™ disputes and attends the scene of a natural death. You can feel his dragging depression beneath the explosions of anger (generally aimed at the trackie moles, whose endless, futile criminality and lack of personal responsibility erode CarsonвЂ™s restraint), the stress and frustration, the abraded conscience. Carson is a man comprising layers of rage, suffering and despair, and Freeman slowly illuminates each one he will surely win awards for his performance. Freeman вЂ“ who must have fallen on it like a hungry dog вЂ“ does every bit of it justice. The script (the first original work for the screen by Tony Schumacher, a former police officer) is an astoundingly tough, vigorous, sinewy thing without a wasted word or moment. Every night, thereвЂ™s spit on my face and blood on my boots and it never stops.вЂќ He tells his therapist (Elizabeth Berrington) that he feels as if he is playing whack-a-mole. These could be anything вЂ“ the constant state of readiness is as exhausting as it is exciting вЂ“ but they are almost always a manifestation of poverty, inadequacy or desperation. His job is to respond to emergency calls.

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