Doctor Who and Related Transcripts
Torchwood transcripts - series 1
Episode 7: Greeks Bearing Gifts
Go here for the main Torchwood page.
Episode transcribed by
beccaelizabeth (e-mail address beccaelizabeth @ yahoo.com )
of the Torchwood
Transcripts LiveJournal community as follows.
Transcript hosted at
beccaelizabeth.livejournal.com/830585.html (link valid on 11
March
2010).
[Here] you will find that thing I worked on until 0500 this morning, with the subtitle files part converted to a transcript.
The formatting needs some work.
TOSHIKO: is what it looks like when a character is saying something.
Toshiko is what it looks like when someone is saying her name.
(This) is stage directions.
'this' is how the subtitles distinguished the thought voiceovers, so I kept it.
blue = I added bits to subtitles
red = I didn't hear those words but the subtitles had them
[...] SPOILERS
Torchwood 1-07 Greeks Bearing Gifts
JACK (VoiceOver): Torchwood. Outside the Government, beyond the Police.
Tracking down alien life on Earth and arming the human race against the future.
The 21st century is when everything changes, and you've got to be ready.
MARY: Nearly there. We've been right busy since you lot were billeted here. This your first time? The others been teasing you, is that it? My name's Mary. Mary, like the virgin.
(Officer hits her)
MARY: Religious man, are ya?
(Mary scratches officer's face)
MARY: I'm not your bloody hound.
SOLDIER: Whore!
METALLIC WHOOSHING
SOLDIER: Do whores have prayers?
(Raises gun, pulls trigger, screen whites out)
EXT Day, a building site. Torchwood SUV drives around the corner, wallowing like the top heavy barge it is. Team Torchwood get out the SUV and go in a big colorful set of tents, put up over some of the digging.
INT Big tent, Team Torchwood inspect the mess they've dug up.
JACK: Once, just once, I'd like to walk into one of these tents and find it's a party. You know, food, drink, people dancing, girl crying in the corner.
GWEN: Is it alien?
JACK: And how. (Using all knowing wrist gadget) I'm picking up traces of ilmenite, pyroxene, and even Dark Matter.
GWEN: Any idea what it is?
JACK: Not a clue. (Looking at big rusty looking angular object.) Could be a weapon, or a really big stapler. How's our friend there?
OWEN: She's dead.
JACK: Yeah, thanks, Quincy(!) She?
OWEN: Judging by the size of her skull.
JACK: How long have they been here, Tosh?
TOSHIKO: From the depth they found them... (Using a penlight looking thingy) 196 years, 11 to 11 and a half months. The earth's been disturbed so I'm afraid I can't be more accurate.
GWEN: What killed her? The stapler?
OWEN: Nah. See those shattered ribs? I reckon she was shot.
JACK: Well, let's get her back to the Hub and find out.
GWEN: (Pulls OWEN up out the grave) You're so light! You're like a girl.
OWEN: I'm not light, I'm wiry. Fat girls go mad for it. But I guess I don't need to tell you that.
INT, Hub. TOSHIKO walks in, Gwen and Owen are doing something underneath her desk.
OWEN: I'm really sorry, I think your computer might be dead.
TOSHIKO: You're kidding. What happened?
OWEN: OK, so she said I was no good at sport... Hello?! So I said, "Throw something to me and..."
TOSHIKO: What happened to the computer?
OWEN: Oh. I kicked out the plug.
TOSHIKO: What? It was running a translation programme I'd written. I'd collated every scrap of alien language we've got, and broken it down into binary threads to see if there was a common derivation.
OWEN: That's a bit of a mouthful.
GWEN: Sorry. Private joke. Um, stupid joke.
TOSHIKO: We're supposed to be professionals. We've got a job to do.
GWEN: She's right. You're right, Tosh, I'm sorry.
OWEN: Do you know what, Tosh? Sometimes I think even that stick up your arse has got a stick up its arse.
INT, a bar. TOSHIKO nurses a drink and looks distant.
Background music is the same song that was playing when Owen used the alien spray in the bar in the first episode, starts "I broke into your house last night".
Mary comes over and plants herself on the next bar stool, talking immediately.
MARY: The guy over there's been staring at me all evening, and I told him he's wasting his time but he won't listen, so I've come over to talk to you because I know how this ends - he gets a punch in the neck and I get barred, and I've already been barred from about 20 pubs. And I don't want to get barred from this one because they do these nice olives on the tables.
TOSHIKO: Right. OK, then.
MARY: Cool. Let me get you a drink.
TOSHIKO: Really, there's no need.
MARY: JD and Coke, and... Toshiko, what do you want?
TOSHIKO: I didn't tell you my name.
MARY: Oh, yeah. That was the other thing. I kind of know who you are.
TOSHIKO: I think you're mistaken.
MARY: Toshiko Sato. Born in London, 1975, moved to Osaka when you were two, then back to the UK in 1986. Parents in the RAF, grandfather worked at Bletchley Park. Very impressive. University... blah-blah, snapped up to Government science think tank when you were 20, recruited to Torchwood three years ago. I saw you at the building site this morning. What was that you had in the case?
TOSHIKO: How do you know about Torchwood?
MARY: There's stuff on the internet, but you have to dig really deep. Plus, we pick bits and pieces up from police radio scanners, we also...
TOSHIKO: We?
MARY: Scavengers. Collectors. Just like you.
TOSHIKO: How many of there are you?
MARY: Oh, listen, don't think it's in any way organised. It's really just a disparate bunch of IT guys who live with their mothers.
TOSHIKO: I shouldn't talk to you.
MARY: So go.
Same bar, later, MARY and TOSHIKO now sitting in a red bench seat together. TOSHIKO looks a bit the worse for drink.
TOSHIKO: What's most amazing are the similarities with our own culture. But that can be horrible, because we find lots of weapons, and it just makes you think, "My God, everything wages war." It's not just a trait of ours, but a trait of existence. It makes you feel so hopeless. But then there are times... We found this thing, it was about A4 size, and it had all these symbols on it. And it took me about three months to translate, and it was a letter someone had written to his family, to his children, to say how much he was missing them. And it just made me cry, because I thought, even across these unimaginable distances, there are fundamentals that stay exactly the same. And there's no-one to talk to about this. I mean, the guys at work, they're great, but they don't... see it the way I do. I could be fired... just for telling you that.
MARY: I want to show you something. (Goes in her bag, pulls out a stash tin, opens it and pulls out a green crystal on a gold chain)
TOSHIKO: It's a pendant.
MARY: Put it on.
(TOSHIKO takes the pendant and puts it on. Immediately she is knocked back by the voices.)
VOICES ECHO: (cacophony, many voices, overlapping)
(as TOSHIKO looks around the room the camera from her pov shows us who she is looking at, who she can hear, but their mouths aren't moving)
'I'll drink one more, then just drive slowly.'
'Does coffee count as food if you take sugar?'
'If he tugs his groin one more time, I'll smack him in the face...'
'I should have said it was Hammer Time when she asked what the time was. That would have made them laugh.'
TOSHIKO: What are they? I can hear voices.
'Bloody Sudoku...'
'Did I send that email? Did I click "reply to all"?'
MARY: They're people's thoughts.
'He doesn't touch me any more.'
TOSHIKO: What?
MARY: They're people's thoughts, Toshiko.
'I wish I'd shagged that single dad I met.'
'What's that Asian girl doing - having a fit or something?'
TOSHIKO: It's... They're so loud.
'She's cute, though. Is that her girlfriend? Marcus reckons he's done it with two lesbians, lucky sod. How would it work?'
TOSHIKO: That man over there with... I can hear him.
'I mean does one of them sort of sit on...'
MARY: OK, Toshiko, I need you to focus.
TOSHIKO: I can hear all of them.
'No way I'm showing that to a doctor.'
MARY: Home in on my voice. Shut everything else out.
TOSHIKO: It's so...
MARY: Just me. There's no-one else but me. Can you hear me?
MARY: 'Can you hear me now?'
MARY: 'OK, I want you to home in on just MY thoughts. Ignore everything else.'
TOSHIKO: There's just so much...
MARY: 'You can do it. It takes practice, but this is what you have to learn. Now, what am I thinking?'
TOSHIKO: This is so hard...
MARY: 'Follow my voice. What am I thinking?'
TOSHIKO: You're thinking...
MARY: 'That I want to kiss you...'
(TOSHIKO yanks the pendant off.)
MARY: I'm sorry, that was...
TOSHIKO: No, look, it's...
MARY: Sometimes you can't control...
TOSHIKO: I know, it's fine.
(Mary looks apologetic, Tosh stares at the pendant on the table.)
TOSHIKO: Where did you get it?
MARY: It's been in the family a long time.
TOSHIKO: I've never seen anything like it. It's incredible.
MARY: It's more than incredible. With this, you can read people's minds. It levels the pitch between man and God.
TOSHIKO: Is it alien?
MARY: I guess.
(TOSHIKO goes to give it back)
MARY: No, I want you to keep it.
TOSHIKO: What? I can't, Mary.
MARY: Please. I've kept it too long. After a while, it gets... You hear too much. It changes how you... see people.
TOSHIKO: I'll have to show it to the others.
(Mary sort of laughs and looks away, has drink.)
TOSHIKO: What?
MARY: Nothing. Just, I bet you don't.
TOSHIKO: And you know this from finding my CV on the internet?
MARY: No, because I know the pendant.
TOSHIKO: Well, you're wrong. Because I will.
MARY: Yeah. But you won't.
EXT Cardiff from sky again.
INT Reception at Torchwood
Tosh goes to desk and hits the door button, then waits while the secret door swings open. Camera goes all tiptilt when she pulls the pendant out. Ooooh, spooky!
... Er, sorry, shall attempt to keep commentary to a minimum.
ANYways
Ianto walks in through secret door - he's been in the Hub then. Red tie on blue shirt.
Tosh hides pendant behind back.
Ianto gives receptionist smile.
IANTO: Good morning.
TOSHIKO: Yeah, hi... Ianto.
Ianto goes to his work area in rattle of bead curtain. Tosh puts on pendant, with sound effect and little flashy thingy happening.
INT Hub, big round door entrance
OWEN: 'What the hell would produce such a perfect circular puncture? 'Maybe some kind of wooden stake.' Hey, Tosh. 'She'd better not go into one about the computer again.'
GWEN: Morning. 'Sergeant giving it all, "Oh, Gwennie has deigned to call her old mates." Should put a weevil in his bathroom.'
TOSHIKO: I've got something to show you.
OWEN: Sure. 'Please don't make us sit through another slideshow about the Incas or whatever it was.' 'I want a biscuit.'
GWEN: Have I got time for a pee first? 'Oh, sweetheart, the jeans in the boots thing has really kind of had its day.'
TOSHIKO: I...I found this thing...
OWEN: 'What's she talking about? She can be dead weird.' 'Wonder what she'd be like in bed. Catholic but grateful, I bet.'
TOSHIKO: OK. Um, I don't know if this comes under actual technology.
GWEN: 'I can smell Owen, I can smell him on me from that shag in his car this morning. That's twice now - does that make it an arrangement? No Has to be more than two times surely... Long as we keep it to just the two times we're fine. What's Tosh looking at?'
You OK, Tosh?
OWEN: 'When she did that thing when she ran her tongue across my teeth... I should have worn different trousers - I'm gonna have to sit down till this subsides a bit.'
TOSHIKO: Yeah. No. Fine.
GWEN: So what is it you wanted to show us? 'I wonder if I could get Owen to come down to the vault. No, couldn't have sex in front of a weevil. I couldn't even do it in front of Trevor Kendall's cat.'
TOSHIKO: Forget it. It's... I found this article... I'll bring it in tomorrow.
OWEN: No worries. 'But thanks for that rambling trip to nowhere, Tosh.'
INT Hub, somewhere else, probably in/next to meeting room
Tosh sits staring into space with a book open in front of her. On one page it appears to say 'Philoctetes, Minos' up the top. She's wearing a red no sleeve top.
IANTO comes in and starts picking up empty cups. Black and silver tie, white shirt.
Conclusion: This was meant to be later, but they dropped it in here instead for whatever reasons and left us with a bit of a mess if we choose to pay attention to the details.
IANTO: 'Can't imagine the time when this isn't everything. Pain so constant, like my stomach's full of rats. Feels like this is all I am now. There isn't an inch of me that doesn't hurt.' (turns and smiles, more or less) I'm about to brew some of Jack's industrial strength coffee. Would you like a cup?
TOSHIKO: I'm... I'm fine. Thanks, Ianto.
(He takes cups to complicated bit of shiny = probable coffee machine.)
(Tosh yanks off pendant again)
EXT. Day. Blocks of pretty modern flats in the background.
Mary sits on the wall smoking... oooh, evil! Tosh walks up, stomp stomp, in a mood.
TOSHIKO: Might have known you'd have my address as well.
MARY: Did you tell them?
TOSHIKO: No. I didn't.
Turn, cross the road, we get a view of where Tosh lives, more traditional looking stones and bay windows, not the modern block. Also there's a lot of cars and no parking space, explaining the walking even if she has a car :-)
INT, TOSHIKO's flat. TOSHIKO goes in, Mary following her.
Tosh takes jacket off and she's wearing a green long sleeve top.
MARY: What made you change your mind? You listened to them, didn't you? See, I told you! Isn't it incredible? Some of the stuff you hear...
TOSHIKO: What is this thing? Why did you give it to me?
MARY: I told you.
TOSHIKO: The things I heard. What they thought of me, what they really thought. God, these are people that are supposed to like me!
MARY: They do like you. People are complicated, they... OK, I should have warned you about this. It isn't like reading someone's diary. (Mary looks at photos of Tosh and Owen, there's some funny sound and light effect that means we're supposed to Pay Attention. God knows why.) The stuff you've been hearing, it's so deep, so personal - stuff they're not even aware they're thinking.
TOSHIKO: You think you know someone, then suddenly you see them for real, and they're... bastard little kids.
MARY: Not everything. (Takes coat off) Not everyone. (Slowly puts pendant back on Tosh, with white out effect and negative images and the exact swooshy sounds just heard when Mary was looking at stuff. Now there's heartbeat noise. Holds Toshiko's face in both hands.)
TOSHIKO: I wouldn't say your thoughts were exactly pure.
MARY: At least they're consistent. (Lets go of her face, backs away a bit)No agenda. No resentment.
TOSHIKO: They pity me. You don't pity me.
MARY: Why would I?
TOSHIKO: What you're thinking now, that's pretty graphic.
MARY: That wasn't my thought.
TOSHIKO: What?
MARY: I wasn't thinking anything, that wasn't my thought. It must have been yours.
TOSHIKO: That one! There! That's yours.
MARY: Yeah, that was mine.
TOSHIKO: I, um, certainly seem to be enjoying myself.
MARY: You would. You will.
Tosh kisses Mary, to rising music and tinkly noises.
Heartbeat stops. Cut to close up of Tosh face, looking all... maybe oops face?
Toshiko's bedroom. Tosh is curled up hugging the duvet to herself. Red under white. Red bedside lamps. Behind her on her left is a door with glass squares, probably bathroom. On her right is a wardrobe, one rail with lots of tops on and a lotof boxes.
Mary comes in the doorway, far corner on wardrobe side and presumably leading to kitchen etc. She's dressed in a little silky kimono thingy, pink and black.
MARY:You have no ashtrays in your whole house, not one.
TOSHIKO: What are you using?
MARY: I think it's an egg cup.
TOSHIKO: (Maybe - unclear?)I see.
(Mary sits in bed, and Tosh immediately sits up and turns and tucks duvet in behind herself. Tosh is still wearing her watch, but the rest of her that shows is just skin.)
MARY: You OK? Freaking out a little?
(Picks up card from bedside table, on Tosh's right next to wardrobe... I'm trying to figure out which side of the bed Tosh usually uses. If side with card, then she's on the not-usual side now. If side she's on now, card is usually far from her. Of course if she sleeps big in the middle it don't make no never mind.)
MARY: Your birthday's July, right?
TOSHIKO: You're the expert.
MARY: Isn't it a little late to still have your cards up?
TOSHIKO: What?
MARY: "Lots of love, Owen." I'm guessing that's Owen from work. Owen from the building site yesterday morning. Owen from the photo on your fridge.
TOSHIKO: Put that down.
MARY: All I'm saying is, I don't want to get in the way of anything.
TOSHIKO: There's nothing to get in the way of. (Runs out, wrapped inelegantly in red duvet, into wardrobe, off screen.)
MARY: I see. You want to talk about it?
TOSHIKO: Not really.
MARY: It's OK. Wouldn't be the first time I'd been a rebound shag.
(Tosh comes out of wardrobe... okay I'm going to have to call it 'closet' now aren't I? Comes out of closet wrapped in different pretty silky thingy, this one purple and full length.)
TOSHIKO: You weren't, OK? Nothing's happened, nothing will ever happen. Just one of the delightful things I found out, thanks to your bloody pendant. (Picks up and throws - it was on bedside table. Watch on, pendant off? Tosh climbs back in bed and pulls white cover over self.)
(Mary gets up and picks up pendant again. Weird little jump cut bit with swooshy noises. Climbs back in to bed. Cuddles up behind Tosh and dangles pendant in front of her while talking in her ear.)
MARY: It's not all bad, the pendant. Some of the things it can do are extraordinary.
TOSHIKO: What good could ever come of that?
MARY: You need to work that out for yourself.
(scene continues as voiceover, but image cuts to)
EXT, Cardiff, Day. Shopping area.
We see Tosh from above walking into middle of street looking around a lot. Surrounded by people.
MARY: You need to go somewhere public, somewhere crowded.
TOSHIKO: What am I looking for?
(Cut back to bed whispering)
MARY: It will find you.
(Shopping place again, Tosh looking lost.)
(Bed, Tosh sits up and turns to face Mary)
TOSHIKO: I'm sick of these riddles. What's going on? Where did you get this?
MARY: I told you.
TOSHIKO: Who are you, Mary? Is that even your real name?
MARY: OK. Here's another name. Philoctetes. I'm Philoctetes.
EXT, Day, crowded shopping street
(Tosh has the red top on - you know, the one from earlier when she was looking up Philoctetes. She puts the pendant on and there's the now-standard effect, plus heavy breathing.
MULTIPLE VOICES)
'Could bandage my hand, say I shut it in the car door, that'll explain why the signatures don't match.'
'Gives me an hour before Lisa gets back to dress up. I've got to be careful. She's started to notice her tights are getting baggy at the crotch.'
'All big eyed and giggly, and I'm sat there with my boobs like something out of the National Geographic.'
'Six cigarettes today, and all of them post-coital glorious.'
'Ah, Mr Bond, I've been expecting you. (possibly)Expecting you to die.'
'Some people should actually be prohibited from wearing a thong.
'What's that girl looking at?'
there's another voice here but apart from hearing 'gay enough' I can't figure the words
(Guy walks into shot, long bag over his shoulder)
'I'm gonna kill them. I'm gonna kill them. I'm gonna kill them. I'm gonna kill them. Lay their bodies out afterwards, and lie next to them. So I'll have to do myself lying down. I should have practised that.'
(Tosh turns and bumps into someone)
TOSHIKO: Sorry.
'I'll wear my glasses cos it makes me look more sensitive.'
'If Lawrence come in and finds us, he'll know it's right, and what he's been doing is trespassing.'
'I won't miss anything. I won't miss this city, miss this body, I won't miss anything.'
(Lone Mumbler arrives at the house, shadow outside the glass of the door. Kid lets him in, never looking up from his computer game.)
NEIL: All right, Danny?
(Got the woman's name from imdb, no idea if it's right)
CAROL: I want him back at six. And I mean six this time. Kelly's given me 90 minutes after-hours at the tanning salon as a wedding present. Besides, you're breaking the law bringing him home late. My dad reckons I could have you arrested, so think on. (To kid, in much the same tone) Hey. Get your shoes on and go to the toilet. What's that face?
DANNY: I don't wanna go.
CAROL: Well, you have to. Lawrence will be here in a minute, and we're looking at napkins.
DANNY: It's boring.
CAROL: Well, take your Space Invaders. Lawrence bought him that. Don't hear a peep out of him now. Mind, that's Lawrence all over - dead thoughtful. Not like some. Oh, and no cola. I don't want him coming home all excited.
(Man gets bag off shoulder)
CAROL: Thought you'd stopped going fishing.
NEIL: I have.
(Pulls gun)
CAROL: Oh, my God, Neil, what are you doing?!
NEIL: I was thinking of the Isle of Wight. Do you remember? We had that chalet... around when Danny was walking, and the chalet was just full of spiders and you called me your hero, because I wasn't scared - I'd just pick them up and throw them out.
CAROL: Oh, my God, Neil! No, you're scaring me!
NEIL: And it was this perfect little memory. We were happy because we were together. And all this nonsense with Lawrence, it's fine, I forgive you. Because I'm looking at the bigger picture now.
(Clicks now loaded gun together)
CAROL: Oh, my God! Oh, Christ! Oh, no, don't! Please!
NEIL: It's OK, it's just like falling asleep. Really.
CAROL: Oh no! Don't do this, to Danny, please!
NEIL: And then we will be together forever.
(Whump-thud noise. NEIL keels over, revealing TOSHIKO, stood behind him with golf club raised.)
TOSHIKO: It's OK. You're OK now.
INT. the Hub, going across to the autopsy area.
Owen is throwing things, mostly at Gwen. Gwen is sort of dancing around the walkway, Jack is stood there laughing.
OWEN: Plodders.
GWEN: # The leg bone's connected to the hip bone... #
OWEN: Please stop singing. Anything to stop you singing! (throws at Jack) I don't know what you're laughing at!
(Tosh arrives at her workstation, looks at and pockets the pendant.)
OWEN: Stop singing, please don't sing, please don't sing. Not listening, mmmmmmm (Has fingers in his ears) Right, okay
(Tosh takes coat off and comes over to autopsy area. Definitely the red sleeveless shirt from earlier.)
TOSHIKO: What's going on?
GWEN: You know the skeleton we found at the building site? Well, Amanda Burton here has just completed the post-mortem.
OWEN: OK, I can explain.
GWEN: As you may remember, at the building site, Owen said this was a woman killed by a single gunshot.
OWEN: I'd been there, like, a minute?
GWEN: Since then he's had to tweak some of his initial conclusions. The first being that this isn't, in fact, a woman, but a man.
OWEN: A young man. A very girly man.
GWEN: But still ultimately a man. Then there was the cause of death. Owen said GSW. Uh-UHH! The correct answer was...
OWEN: Unidentified trauma.
TOSHIKO: But... Unidentified trauma?
GWEN: You see it in RTAs, when something like a steering column or a post goes into a body at great velocity. But the one thing that could be ruled out was...
OWEN: Gunshot wound.
GWEN: Gunshot wound. Was there, in fact, any part of your prognosis that was right?
OWEN: I got that it was a...skeleton.
GWEN: Yes, you did.
OWEN: You (mumbles, could be swearing) You've just passed the point of...
GWEN: Where did you train? Where did you train? DID you train?
INT Jack's office
Jack dials on mobile phone. Walks into his office. I still haven't quite got it figured in my head where all the doors go. But he walks up to his desk and stands there. Tosh follows him and when he sees her he goes to go sit at his desk, put desk between them.
He's wearing white shirt and red braces. I note this only because I'm noting everyone else today.
TOSHIKO: Jack, um, do you know anything about Greek mythology?
JACK: (Speaking into mobile phone)Security visa 45895. Harkness. (changes ears on phone so it's not blocking the audience view, says to Tosh) A little, why?
TOSHIKO: You ever heard of Philoctetes? It came up in a pub quiz.
JACK: You went to a pub quiz?
TOSHIKO: Yeah. No, I love pub quizzes. Down at the Prince of...Tides.
JACK: Philoctetes was an archer recruited to fight in the Trojan War. He got into an argument and was marooned on the island of Lemnos for about ten years.
TOSHIKO: Just left there?
(Jack checks his watch - lookit, time! It's a time thing! Not an anvil!)
(...sorry)
(Tosh, distracted, wanders off)
JACK: Hey! What's happening with that list for UNIT?
TOSHIKO: Hmm? Oh, yeah. I'm still working on it.
JACK: Right. Well, you know, when you're ready...
(to phone again) Prime Minister, is this a secure line? Can you tell me why Torchwood operations have become part of your security briefings to the leader of the Opposition? Well the deal is, no...
INT somewhere cafe looking
Tosh is still in the sleeveless red top. Sitting at small table opposite Mary, who wears purple. Cleavage on both of them is happy making.
MARY: This is incredible. This is THE most incredible thing I ever heard. They should make an action figure of you.
TOSHIKO: You were right, about the pendant. I see it now - it can be used for good.
MARY: What did they say at work? How did you explain it?
TOSHIKO: I didn't tell them.
MARY: I think that's wise. I'm sorry, but I'm gonna have to kiss you now.
TOSHIKO: Mary, no.
MARY: Listen! You do something unbelievably brave and sexy, I have to kiss you. I don't make the rules.
(Background music, "Suddenly I see", and Tosh and Mary kiss. For quite a few seconds. Sweet! Until footsteps, and Tosh looks around and tucks hair back and ducks head = a bit nervous/guilty. They sit down seperate again.)
MARY: So... (Lights cigarette... evil!) What's happening with the thing you found on the building site?
TOSHIKO: Don't know, my boss is dealing with that.
MARY: I thought you did all the technological stuff.
TOSHIKO: I do, but sometimes our jobs overlap a bit. I'm doing... There's an admin thing he's asked me to do.
MARY: Don't you have a secretary for that?
TOSHIKO: It's actually quite complicated.
MARY: So, what's he found out?
TOSHIKO: I don't know. He's not said anything.
MARY: That's kind of strange.
TOSHIKO: It isn't, it's fine.
MARY: No, sure. I mean, if he's keeping stuff from you, there's bound to be a reason.
(Long silence of awkward coffee drinking... actually Mary drinks, Tosh just hovers the cup then puts it down again, face all :-( )
EXT Cardiff, sky shot of the fountain etc
INT Hub, autopsy room, Owen still staring at the skeleton looking bothered.
TOSHIKO: You're not still worrying about that, are you?
OWEN: OK, so I'm thinking if it isn't a gunshot or a musket shot, or whatever they had then, maybe it was some kind of ritual. (takes coffee from Tosh) You are gorgeous! So I start looking into devil-worship and stuff from that era, see if there's anything about plucking out hearts, and would you believe it? There's nothing. They ate eyeballs, they drank blood, they had sex with animals, but they did not pluck out each other's hearts. Cos obviously that would have been weird(!)
TOSHIKO: Why are you so bothered? Whoever did this is hardly a threat to society any more.
OWEN: Yeah, I know. It's just, there's something... Does that remind you of anything?
TOSHIKO: Um... That bit in Alien where that thing bursts out of John Hurt?
OWEN: I'm sorry - I should have been more specific. Does that remind you of anything helpful?
TOSHIKO: No. Sorry.
OWEN: Right. Erm, just go over there, do your computer stuff and think about shoes, eh? Thank you.
(Tosh half leaves, half way up stairs turns and talks)
TOSHIKO: Has Jack said anything to you about the hardware we found with the skeleton?
OWEN: No, why?
(Tosh puts on pendant)
OWEN: 'Check there were any hospitals nearby. Could have been someone died in an operation. This has got sugar in it.'
TOSHIKO: No worries. Just asking.
OWEN: Hello. 'Keep looking at the skeleton, don't look at her. You're grinning...'
GWEN: Hey, Tosh. That coffee going begging? 'What's the matter with him? Why isn't he looking at me?'
OWEN: There's copies of that Michael Hamilton statement on your desk. He's still seeing Cybermen outside his mother's house. 'Don't think about her palm on the bottom of my spine, her hand in my hair.'
TOSHIKO: I think I'll just go over there.
GWEN: OK. I'll phone Social Services, see if there's a history of mental illness. 'No, Gwen, this is good. It can't go on. This is a good thing. Why the hell isn't he looking at me?'
TOSHIKO: I think my desk is on fire.
INT Hub, a lit up table - armoury, looking out at the fountain
There's feet noises, as if Tosh walked straight from the last scene to this, BUT
Tosh is wearing a completely new outfit - purple top under a cardigan, hair in a bunch to one side. She has her hand on the pendant as she walks into view. Then she sees the tech on the table and turns, goes drops her hand and goes towards it.
Jack comes down spiral stairs. He's wearing light blue and red braces, but Jack has less variety in clothes anyway, can't tell time from them so much.
Looks through glass at distracted Tosh, then swings around door frame and startles her.
JACK: So I've just come from a really interesting conversation with a Detective Inspector Henderson.
TOSHIKO: Right.
JACK: Interesting because, firstly, the man had the biggest hands I've ever seen, and secondly... because of the story he told me about you saving a woman and her kid from being murdered by her ex-husband.
TOSHIKO: Yeah, no, I was going to tell you about that.
JACK: So why didn't you?
TOSHIKO: I don't know, it wasn't a work thing, just a... thing thing. Stuff happens all the time that's not pertinent to here.
JACK: You do this all the time? So you secretly fight crime, is that it, Tosh?
TOSHIKO: I didn't want it to look like I was showing off.
JACK: The guy they arrested, Henderson said you heard him muttering to himself as he was walking along, and that's what tipped you off.
TOSHIKO: Mm. I couldn't really work out what he was saying at first, and then it was like, "Jesus!"
JACK: That's weird because when I'm about to murder someone, I'm really careful not to talk to myself about it while I'm in the street.
TOSHIKO: No, sure. I mean, that's lesson one.
JACK: (Agreement noise)
TOSHIKO: I was wondering how you were getting on with this.
JACK: (pulling at bits) It's ongoing.
TOSHIKO: Are you going to dismantle it?
JACK: Like I said, it's ongoing.
(Tosh touches the pendant. We hear woosh noise. And Jack looks up, clearly reacting to it. Look at each other, staring and surprise.)
JACK: What? Have I got something on my face? Is it food?
TOSHIKO: No. Sorry. I zoned out.
JACK: Well, listen, that was a good save, Tosh. Well done.
(Tosh walks off. Jack stares after her. Then looks away, different expression.)
INT Tosh's flat again
Aaaaaand guess what? She's wearing the bloody red sleeveless top again! I guess that must be her very favourite thing, huh?
MARY: OK, so I've got crisps, I've got coffee - real coffee - wine...
TOSHIKO: I'm giving them the pendant.
MARY: Right, let's...
TOSHIKO: You're right, it's not like reading someone's diary. It's so much worse, and it makes me feel dirty and ashamed... And now, I've been spying on my friends.
MARY: Some friends.
TOSHIKO: What's that supposed to mean?
MARY: They pity you, they exclude you! They've got you doing bloody admin!
TOSHIKO: So? No. I've made up my mind.
MARY: Toshiko, don't do this.
TOSHIKO: So they'll probably want to talk to you - why do you care? It's the pendant they're interested in, they don't care about you.
MARY: I go in that place, I won't come out again.
TOSHIKO: What are you talking about? They're not the Stasi. Look, I'll get my boss to come here.
MARY: (DISTORTED) Put the phone down. (/distort) OK. I'll show you. (Mary goes glowy and transforms into pretty CGI alien of shiny purple twiddly bits) This is why you can't tell them.
(reach/touch, mutual)
TOSHIKO: You're cold. Who are you?
MARY: Still the person you kissed. The person you caressed. (Turns back to human; long moment of staring) Say something.
TOSHIKO: So... I'm shagging a woman and an alien.
MARY: Which is worse?
TOSHIKO: Well, I know which one my parents would say. (beat) I read your thoughts. I didn't see this. What else are you keeping from me?
MARY: You think there could be anything bigger than this? The freedom you have. When I first got here, I found it almost obscene. My world was savage. Enforced worship in temples the size of cities, execution squads roaming the streets. Dissent of any kind meant death... or transportation, to what they'd call a feral outpost.
TOSHIKO: And the pendant?
MARY: It's how my people communicate. It's how we've communicated for centuries. Speaking orally, using a pre-arranged and finite number of words, it's so archaic. And kind of gross to look at. (cigarette of eeeeeevil) The machine you found is a transporter. It brought me here, it can get me home again. I need it back before you dismantle it.
TOSHIKO: But won't you be in danger?
MARY: 200 years have passed. There'll be a new government. There'll have been 20 new governments by now.
TOSHIKO: Then why hasn't someone come back for you?
MARY: I've been forgotten. Like Philoctetes on Lemnos.
TOSHIKO: Let me take you to Torchwood. Maybe we can help you, fix the transporter, get you back home.
MARY: You won't! You'll examine me, assess whether or not I'm useful, whether I'm a danger, then lock me in a cell. You're not interested in understanding alien cultures. It's just as well you haven't got the technology to reach other planets yet. Yours is a culture of invasion. Do you really think I'm going to walk, hands raised in surrender, into that?
EXT, Day, Street again, voices again.
Tosh is wearing the purple and her hair to the side again
'Silence when the door opens. Can't do another night of the silence...'
'His hands were cold.'
'Giving it all, "We'll call Social Services," just over a couple of bruises?!'
'Worst case scenario? She live really old and The whole inheritance is going on sheltered accommodation...'
(Tosh hands in hair, head in hands, bad things in head hands)
'Calling it Grandad's little secret...'
(Pulls pendant off)
INT Hub autopsy
Owen still there, different shirt, stares at skeleton
SOLDIER: (Voice in spooky-sound) Whore!
(Owen goes to computer, pulls off white coat, puts on leather jacket... half, then leaves it off and sits down, flashing on the skeleton. Computer: checks Cardiff A&E for cases 2000-2002 Owen Harper... except he doesn't type capitals on his own name. Presumably when he worked there? Lot of names scroll by in alphabetical order with numbers after them.)
INT Tosh's bedroom
View from above. Tosh is lying with her legs tucked up, in the middle of the bed, red duvet under her. Wearing grey pyjamas over that same purple top she was wearing in the street I think.
Mary sits in the chair by the door, smoking in eeeeevil ways)
TOSHIKO: I can't stand it any more. The weight of it. The depravity. The fear... //It fills me up.
(Image changes at the // to)
EXT Night, clock, to of a building
Jack stands in long coat, surveys his city
INT Hub, Owen's computer again
Owen works, doesn't find, sits and spins
TOSHIKO: (Voiceover, over top of Owen images) It's in my mouth, and my hair, and my eyes.
OWEN: (computer finds) Marmer...
INT Tosh from above
TOSHIKO: Like I'm drowning in ink.
Owen' computer
OWEN: What am I doing...? What am I doing...? (whisper repeat) What am I doing...? What am I doing...? (/whisper) "Heart removed. Records and post-mortem passed to Operation Lowry." Operation Lowry...
(skeleton zoom, TORCHWOOD Clearance Code 45895 on screen)
INT Tosh bed
TOSHIKO: And even when I don't have the pendant on, even when there's nothing, // I can't forget the things I've seen, //the things I've heard.
(between // and // it's briefly)
Jack on building, looking at Jack from behind, darker image, just the coat with only road lights to light it
Hub, Owen comp
(Operation Lowry, lots of different dead people, and Owen reads from the screen)
OWEN: Heart removed. Heart removed. Removed... How far back does it go?
Tosh bed
TOSHIKO: It's like a curse, something the gods send to drive someone mad. I had // hope. I'd see something, // some little random act of kindness, and it made me think we were ///safe, there was some essential good in us.
(cuts hard exactly on hope, between the // we see)
high up night Jack sighs
(cuts again exactly on safe, after the /// we see)
Owen, skeleton
OWEN: This is impossible.
TOSHIKO: But there isn't.
Tosh bed
TOSHIKO: It's like one of the weevils.
cells, zooming in to weevil on 'scream'
TOSHIKO: You look inside, and there's just this great yawning scream.
Skeleton, matching scream mouth
OWEN: This is completely impossible.
(mobile phone, beep dial)
Tosh bed
TOSHIKO: You were right. Everything you said about us. // We're frightened and we're callous.
(on // cuts to)
Jack on roof
(answers mobile phone)
JACK: Owen.
Hub
OWEN: You need to see this.
(Hangs up)
Tosh bed
TOSHIKO: And I can't be part of it any longer. I don't know what to do. Tell me what to do!
MARY: Get me into Torchwood.
EXT Cardiff sky shot Night
INT Hub roll door open
Tosh in black and coat, hurrying. Mary in purple and small skirt, stalking after her.
MARY: "In Xanadu, did Kublai Khan a stately pleasure-dome decree... Where Alph the sacred river ran through caverns measureless to man, down to a sunless sea." So, where is it, lover?
TOSHIKO: Stay here. Jack, my boss, has got it.
MARY: (grabs Tosh as she tries to pass) Be quick. (runs hand down her face) I've a long journey ahead of me. (There's rather a lot of breast showing on Mary right then. This is probably intentional.) I might need something to eat before I go.
(Up on walkway, gadget in hands)
JACK: This what you're looking for?
TOSHIKO: Jack!
JACK: (starts walking down towards them slowly) Friend of mine - let's call him Vincent. That was his name, after all. Regular guy, girlfriend, likes his sport, likes a beer. He starts acting a little... strange, a little distracted. Suddenly he disappears for a couple of months. He comes back, and we've gotta start calling him Vanessa. Since then I've always been a little nervous when a friend behaves out of character. (To Mary) I'm sorry, we haven't been introduced. Jack Harkness. My guess is you're not from around these parts. Now this... This is incredible. You know what it is?
TOSHIKO: It's a transporter. Mary was a political prisoner - she was exiled here. Look, Jack...
JACK: You've got half of it right. Mary... It is Mary, isn't it? You want to tell her the really interesting bit? No? Chatty, isn't she? I don't know how you got a word in edgeways, Tosh. It's a two-man transporter. Or whatever you people may be. You might be squids, for all I know. A two-squid transporter. Room for one prisoner and one guard. You want to tell us what happened to the guard, Mary?
MARY: I killed him. But I was disturbed.
(To flashback, with pretty graphics alien. Human!Mary walks in and shiny!Mary zooms in to merge with her. Back to Hub, the others arrive. Then flashback again.)
MARY: Then another came - a soldier. He tried to shoot me.
SOLDIER: Do whores have prayers?
MARY: So I plunged my new human hand into his chest and plucked out his heart.
(/flashback)
OWEN: And that's what you've been doing ever since.
MARY: This form needs to be fed.
OWEN: All the punctures were all about the size of a fist. My God, all those people. You killed all those people.
MARY: I fled before any more soldiers came. I had so much to explore! And how I loved this body. So soft. So wicked. The power such a body has in this world. Within a few years the forest had gone, transporter was safely buried under the spread of the city. I didn't care, I wasn't exactly in a hurry to get home.
JACK: And you've been killing ever since.
MARY: I knew there might come a time when my situation here became complicated, (Tosh puts the pendant on, while Mary talks) but I was safe, as long as I knew where the transporter was.
GWEN: 'The way she looks at you with those eyes - she's like an animal.'
OWEN: 'When they brought that girl into the hospital, I had only been qualified six months. I wanted to throw up.'
JACK: And then the machine was uncovered.
MARY: As soon as the air touched its surface, I could feel it.
OWEN: 'She's just talking, she's not even frightened of us, she's just talking.'
MARY: So I found my Toshiko. My beautiful Toshiko.
OWEN: 'Gonna go for it now.'
TOSHIKO: Owen, NO!
(woosh, superspeed!Mary grabs Tosh, pulls nasty knife out, holds it to her throat)
JACK: Let her go, Mary!
OWEN: Don't.
JACK: Let her go!
MARY: Toshiko, tell them to give me the transporter.
TOSHIKO: I can't, Mary.
OWEN: 'It's ridiculous - we're unarmed, we're just shouting at her.'
IANTO: 'Not again. Please, God, not again.'
GWEN: 'Knife has incisors on the blade. It'll tear Tosh's throat out.'
MARY: How's this? I'll exchange Toshiko for that one. Your choice.
OWEN: 'No, no, not Gwen.' Just put the knife down.
MARY: Did you hear him? He didn't want to, did he?
OWEN: 'She read my thoughts, she actually read my thoughts.'
GWEN: 'What happened? Did he not want to do... What did he say?'
TOSHIKO: Please, don't...
MARY: That's what they think of you. That's who you've been working with for all these years.
OWEN: It's not true, Tosh, don't listen.
MARY: But not me. Whatever I've done, it doesn't change the way I feel about you. We have a connection, Toshiko, something real.
JACK: (Looking right at Toshiko - this communication is deliberate)'Toshiko... Don't move. Don't do anything until I say.'
TOSHIKO: Please.
JACK: OK, you want the transporter, we want Toshiko. I think that's a fair swap.
GWEN: 'I've been trained for this hostage situation... For God's sake, Gwen, think!'
JACK: Keep the knife and I'll give you the transporter myself.
OWEN: 'He's just going to let her go.'
(Mary lets Tosh go, she runs - to Ianto.)
IANTO: 'It's a bluff, but I think it's going to work.'
(That isn't what I heard... but I can't figure what I hear! Thank god it'll still work? Something.)
(Jack brings transporter. They're both holding it, so they're real close.)
MARY: You smell... different to them.
JACK: That's nothing. It's when you compare teeth with a British guy, that's when it's really scary.
MARY: What are you?
JACK: I don't know.
MARY: And you would have put me in a cage? (Nice beep whooshy noise) What's happening?
JACK: Oh, that. I re-programmed it for you. It's set to enable. (Bright light! Mary go whoosh!) Sort of now.
(tearful Tosh stands next to Ianto, who is looking all tall up the steps from her)
TOSHIKO: What did she...? Has she gone home?
JACK: I reset the co-ordinates.
TOSHIKO: Where to?
JACK: To the centre of the sun. It shouldn't be hot. I mean, we sent her there at night and everything.
TOSHIKO: You killed her.
JACK: Yes.
(loooooong moment of meaningful angry? eyes there. then Jack walks away.)
EXT Cardiff night
INT Hub, new angle, near meeting room? BIG dragon on wall
dragon painting claws look like they're about to grab Owen. Cool.
As Gwen and Owen talk we cut between that and Tosh and Ianto in the meeting room - he's taking written notes, she is sniffly with a tissue
OWEN: Just ask her.
GWEN: I will, but give me a bit of time.
OWEN: Say something to her.
GWEN: What do want me to do? She's been through enough.
OWEN: It's really creeping me out.
GWEN: All right!
(Tosh comes out of meeting room, walks around walkway short distance to G & O)
GWEN: Owen, don't be selfish about this.
OWEN: All right!
GWEN: When did you have this... I don't know...ability?
TOSHIKO: Just a couple of days.
OWEN: What did you hear?
TOSHIKO: A lot of it was noise. Emotions. References I wouldn't understand.
OWEN: Yeah, and the rest?
TOSHIKO: The rest was none of my business.
OWEN: No. It wasn't.
(Owen stalks off)
TOSHIKO: I don't know where this leaves us.
GWEN: Me neither. We can't really take the moral high ground over this. This thing between me and Owen, it...
TOSHIKO: No, Gwen. What I did was an invasion. I wasn't in control, I realise that now. But even so, I can't... I have to live with this. Not what I heard, but what I did to you.
GWEN: And my betrayal?
TOSHIKO: What do you mean?
GWEN: (Looks over at Owen, who is at his computer.) I'm living with mine. This should be my wake-up call. I should stop. But I won't. What does that say about me?
TOSHIKO: I'm not really in a position to make judgements.
GWEN: This is what I'm saying, Tosh. Neither am I.
(TOSHIKO goes past, goes to leave)
GWEN: Don't let this... It doesn't matter. Sorry, forget it.
TOSHIKO: What?
GWEN: Don't let this put you off. The last couple of days, you've had a look about you. Love suited you.
(bit of an awkward walking away bit there)
EXT, Night, Sky shot, then On a bench near the fountain above Torchwood.
TOSHIKO: It's funny. Such a small thing. It could be the most powerful piece of technology we've ever found. It could tear down governments, wipe out armies. What do we do with it?
JACK: Your call.
TOSHIKO: It's a curse. (Drops pendant on ground and crushes it. Beat.) Why couldn't I read your mind?
JACK: I don't know. Though I could feel you scrabbling around in there.
TOSHIKO: I got nothing. It's like you were... I don't know... dead.
(Oddly enough JACK reacts to that, his face falling, going grim for a moment.)
JACK: I want that list for UNIT on my desk tomorrow, or I'll... What do bosses do in situations like these? Y'know, regular bosses. Do I get to beat people?
TOSHIKO: We've got rules for that!
JACK: (Joking now) Red tape.
TOSHIKO: Jack... Something Mary said... Probably the only honest thing she ever did say. I asked her why she gave it to me. And she said, "After a while it gets to you. It changes how you see people." (Jack reaches, hand on her knee) How can I live with it?
JACK: There are some things we're not supposed to know. You got a snapshot - nothing more.
TOSHIKO: I don't mean about Gwen and Ianto and Owen. I mean... The whole world... (Jack stands) It doesn't matter. (Jack wipes tear from her cheek, does the movie idol turn and walk away thing. Tosh stares after him and in the last shot he's all out of focus. Then she stares in another direction and sits up straighter, gets resolve face I think.)
EXT Cardiff sky shot by night, orange and black, like Torchwood logo only with streets in it.
For quite a long time as music swells, until it is eventually... about a minute later... the end
Subtitles by Red Bee Media Ltd - 2006
E-mail subtitling@bbc.co.uk
Turned into something like a transcript by beccaelizabeth.
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