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Torchwood transcripts - series 1
Episode 7: Greeks Bearing Gifts
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TORCHWOOD
1X07: GREEKS BEARING GIFTS
ORIGINAL AIR DATE IN UK: 11/26/2006
TRANSCRIBED FROM DL
Written by: TOBY WHITHOUSE
Directed by: COLIN TEAGUE
Created by: RUSSELL T DAVIES
Transcript by Intrepid
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==========================
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==========================
SUMMARY: Toshiko meets someone who gives her a necklace that allows the
wearer to hear other people’s thoughts.
==========================
TORCHWOOD
1X07: GREEKS BEARING GIFTS
==========================
FADE IN:
[INTRODUCTION]
JACK HARKNESS: (v.o.) 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.
FADE IN:
EXT. WOODS -- NIGHT
LEGEND:
CARDIFF 1812
(The night mist filters through the trees. A young blonde-haired woman dressed in period
clothing heads into the woods.)
MARY: Nearly there.
(She glances behind her at someone.)
MARY: We've been right busy since you lot were billeted here. This your first time?
(Mary makes her way through the bushes. There’s a soldier following her.)
MARY: The others been teasing you, is that it? My name's Mary.
(Mary stops and starts unbuttoning the soldier’s uniform.)
MARY: Mary, like the virgin.
(He pushes her away from him and slaps her hard across the face. Mary looks at him, a
half-smile on her face.)
MARY: Religious man, are ya?
(He backhands her again. She spits out some blood and dabs at her bleeding lip with the
back of her hand. She puts her palm against his face.)
MARY: I'm not your bloody hound.
(She scratches his face. She picks up her skirts and runs into the woods. The soldier
checks the scratches on his face, then takes off after her.)
(Mary runs.)
SOLDIER: (shouts o.s.) Whore!
(She runs.)
(The soldier runs.)
(Mary runs to a clearing and stops. A loud piercing whine deafens her. Straight ahead,
there’s a very bright light pulsing in the distance.)
(Behind her, the soldier yells.)
(Mary glances behind her, then at the light in front of her. She heads for the light.)
(The soldier comes to the clearing. Mary runs to the light.)
(The soldier sees the very bright pulsing light. He reaches for his pistol.)
(The light shines, then blackens out completely. The soldier heads forward, his pistol
out.)
(He stops and sees Mary. Her back is to him. Her hands up as if she were touching
something. She glances behind her and sees the soldier. He heads toward her.)
(He stops in front of her. She turns around and faces him fully. He points the pistol at
her.)
SOLDIER: Do whores have prayers?
(Mary smiles at him.)
(He fires.)
FLASH TO WHITE:
EXT. CONSTRUCTION SITE -- DAY
(The Torchwood SUV moves quickly along the dirt road. It takes the turn and comes to a
screeching halt near the officer car. An officer it talking with a construction worker.)
(The SUV stops. Owen and the rest of the team get out of the car and get their gear.)
(Jack glances at his wristband, then heads to the site. The rest of the team with their
gear follow him. They head for and enter the red tent.)
(Camera pans past the red tent over to the crime scene tape. A mysterious blonde-haired
woman stands just outside watching them. It’s Mary.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN:
INT. RED TENT -- DAY
(Owen examines the skeletal remains dug up during construction while Jack kneels nearby
pontificating. Gwen stands nearby while Toshiko roams the area.)
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, the girl crying in the corner.
GWEN: Is it alien?
(Jack’s wrist band beeps. He’s kneeling over an iron device near the remains.)
JACK: And how. I'm picking up traces of ilmenite, pyroxene, and even Dark Matter.
GWEN: Any idea what it is?
(Toshiko kneels near Jack. She points a yellow laser light at the skeletal remains and
takes readings on her palm.)
JACK: Not a clue. Could be a weapon, or a really big stapler. How's our friend
there?
OWEN: (duh) 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 reads her palm. Gwen hands Owen instruments and other gadgets he needs to take
samples.)
TOSHIKO: From the depth they found them ... 196 years, 11 to 11.5 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?
(He points to the large hole in the skeleton’s chest.)
OWEN: I reckon she was shot.
JACK: Well, let's get her back to the Hub and find out.
(Jack gets up and heads out of the tent. Owen gets out of the hole with the remains.)
GWEN: Here.
(He climbs up the small ladder and Gwen offers him her hand to pull him up.)
GWEN: Whoo! You're so light! You're like a girl.
(Gwen playfully slaps him on the arm.)
OWEN: I'm not light, I'm wiry. Fat girls go mad for it.
(Toshiko continues to take readings while the other two banter.)
OWEN: But I guess I don't need to tell you that.
(Gwen smiles. She turns and looks over at Toshiko who definitely heard that comment.)
EXT. CARDIFF – MILLENNIUM CENTRE (STOCK) – DAY
(Aerial view of the Millennium Centre.)
INT. TORCHWOOD – WORKSTATIONS -- DAY
(Owen and Gwen laugh as they work under the computer table. Toshiko returns and stops when
she sees them. Owen and Gwen quickly get up.)
OWEN: I'm really sorry. I think your computer might be dead.
TOSHIKO: You're kidding. What happened?
(Toshiko rushes over to check at her workstation. Owen holds a soccer ball.)
OWEN: Okay, so she said I was no good at sport ... Hello?! So I said, "Throw
something to me and ... "
TOSHIKO: (frustrated) What happened to the computer?
OWEN: Oh. I kicked out the plug.
TOSHIKO: What? It was running a translation program 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 chuckles. Toshiko glares at her.)
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.
(Owen takes his soccer ball and leaves. Toshiko goes back to her computers.)
EXT. CARDIFF CITY (STOCK) – DAY
(We zoom up from the Millennium Center high above the city.)
INT. BAR -- DAY
(Toshiko sits at the bar staring at her wine glass. Mary walks in and heads straight for
Toshiko.)
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 –
(Mary turns and nods toward the man sitting at the back of the room. Toshiko turns and
sees him.)
MARY: -- he gets a punch in the neck and I get barred, and I've already been barred
from about twenty pubs. And I don't want to get barred from this one because they do these
nice olives on the tables.
TOSHIKO: Right. Okay, then.
MARY: Cool. Let me get you a drink.
(Mary puts her bag down on the counter and takes out some bills.)
TOSHIKO: Really, there's no need.
MARY: (to the bartender) 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.
(She takes out a cigarette.)
MARY: I saw you at the building site this morning. What was that you had in the
case?
(Toshiko looks stunned and wary. Mary casually lights her cigarette.)
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 ...
(She reaches for her drink.)
TOSHIKO: We?
MARY: Scavengers.
(She sits down on the stool next to Toshiko.)
MARY: Collectors. Just like you.
TOSHIKO: How many of there are you?
MARY: Oh, listen, don't think it's in any way organized. 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.
(Mary sips her drink and watches Toshiko hesitate.)
TIME CUT TO:
INT. BAR -- NIGHT
(Toshiko and Mary sit at a booth. Mary watches Toshiko drink and she listens as Toshiko
rambles on enthusiastically.)
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.
(Toshiko grabs her glass and drinks. She puts her glass back down on the table.)
TOSHIKO: I could be fired ... just for telling you that.
MARY: I want to show you something.
(Mary takes an old tin from her bag and opens it. She takes out a pendant on a cord.)
TOSHIKO: It's a pendant.
MARY: Put it on.
(Toshiko takes it and puts it around her neck. She gasps and lurches forward, then
backward.)
ABRUPT CUTS AND FLASHES of: Toshiko being overwhelmed by the voices of the people in the
bar.
(A man in a suit walks across the bar.)
MAN’S VOICE: (v.o. thoughts) (echo-y) I'll drink one more, then just drive
slowly.
(A blonde-haired woman walks across the bar.)
WOMAN’S VOICE: (v.o. thoughts) (echo-y) Does coffee count as food if you
take sugar?
(A woman at the bar talks with a man.)
WOMAN’S VOICE: (v.o. thoughts) (echo-y) If he tugs his groin one more time,
I'll smack him in the face ...
(And the voices keep coming.)
BARTENDER: (v.o. thoughts) (echo-y) I should have said it was Hammer Time when
she asked what the time was. That would have made them laugh.
TOSHIKO: (whispers) What are they? I can hear voices.
(The man at the bar looks over his date’s shoulder as she plays sudoku.)
MAN’S VOICE: (v.o. thoughts) (echo-y) Bloody Sudoku ...
(A man in a booth talks with a woman.)
MAN’S VOICE: (v.o. thoughts) (echo-y) Did I send that email? Did I click
"reply to all"?
(Mary watches Toshiko.)
MARY: They're people's thoughts.
WOMAN’S VOICE: (v.o. thoughts) (echo-y) He doesn't touch me any more.
TOSHIKO: What?
MARY: They're people's thoughts, Toshiko.
WOMAN’S VOICE: (v.o. thoughts) (echo-y) I wish I'd shagged that single dad
I met.
(The man sitting at the bar watches Toshiko as he talks on the phone.)
MAN’S VOICE: (v.o. thoughts) (echo-y) What's that Asian girl doing - having
a fit or something?
TOSHIKO: (gasps) It's ... They're so loud.
MAN’S VOICE: (v.o. thoughts) (echo-y) She's cute, though. Is that her
girlfriend? Marcus reckons he's done it with two lesbians, lucky sod. How would it work?
(Toshiko looks at the man at the bar on the phone.)
TOSHIKO: That man over there with ... I can hear him.
MAN’S VOICE: (v.o. thoughts) (echo-y) I mean, does one of them sort of sit
on ...
MARY: Okay, Toshiko, I need you to focus.
TOSHIKO: I can hear all of them.
MARY: Hone in on my voice. Shut everything else out.
TOSHIKO: It's so...
(Toshiko forces herself to turn and look at Mary. She closes her eyes.)
MARY: (speaking) Just me. There's no-one else but me. Can you hear me?
(Toshiko nods.)
MARY: (v.o. thinking) Can you hear me now?
(Toshiko nods again.)
MARY: (v.o. thinking) Okay, I want you to home in on just MY thoughts. Ignore
everything else.
TOSHIKO: There's just so much...'
MARY: (v.o. thinking) You can do it. It takes practice, but this is what you
have to learn. Now, what am I thinking?
(Toshiko shakes her head.)
TOSHIKO: This is so hard...
MARY: (v.o. thinking) Follow my voice. What am I thinking?
TOSHIKO: You're thinking...
MARY: (v.o. thinking) -- that I want to kiss you...
(Toshiko gasps, pulls the pendant off her neck and puts it on the table.)
MARY: I'm sorry, that was...
TOSHIKO: No, look, it's...
MARY: Sometimes you can't control...
TOSHIKO: I know, it's fine.
(Toshiko pants. She looks at the pendant on the table.)
TOSHIKO: Where did you get it?
MARY: It's been in the family a long time.
(Toshiko picks it up.)
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: (shrugs) I guess.
(Toshiko hands 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 scoffs as she drinks from her glass.)
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.
(We hold on Toshiko.)
EXT. CARDIFF CITY (STOCK) – DAY
(Aerial view of the bay and the city.)
INT. COVER SHOP -- DAY
(Toshiko bursts in and presses the button around the counter to open the panel. As the
door opens, Toshiko reaches into her bag and takes the pendant out. Ianto steps out of the
panel. He surprises her. Toshiko immediately hides the pendant behind her back.)
IANTO: Good morning.
TOSHIKO: Yeah, hi ... Ianto.
(Ianto heads back to the shop’s back room. Toshiko watches him go. She looks down at
the pendant. She puts the pendant around her neck. There’s a flash. This time, it
doesn’t affect Toshiko like it did the first time. She turns and heads inside.)
INT. TORCHWOOD – HUB – DAY – CONTINUOUS
(The large cog door rolls open, the alarms blare. Toshiko is distracted as she enters the
hub. She’s got one hand over the pendant and is looking down.)
(On the other side of the hub, Owen comes out of cold storage. He’s preoccupied.)
OWEN: (v.o. thinking) What the hell would produce such a perfect circular
puncture? Maybe some kind of wooden stake.
(Toshiko looks at him and he sees her.)
OWEN: Hey, Tosh.
(Owen heads for his workstation.)
OWEN: (v.o. thinking) She'd better not go into one about the computer again.
GWEN: Morning.
(Toshiko turns and watches Gwen at Suzie’s old workstation.)
GWEN: (v.o. thinking) Sergeant giving it all, "Oh, Gwennie has deigned to
call her old mates." Should put a weevil in his bathroom.
(With a hand on her pendant, Toshiko heads for her workstation.)
TOSHIKO: I've got something to show you.
OWEN: Sure.
(He gets up and wipes his hand.)
OWEN: (v.o. thinking) Please don't make us sit through another slideshow about
the Incas or whatever it was. I want a biscuit.
(Toshiko stares at him.)
GWEN: Have I got time for a pee first?
(Toshiko turns and looks at Gwen.)
GWEN: (v.o. thinking) Oh, sweetheart, the jeans in the boots thing has really
kind of had its day.
(Toshiko stares at Gwen, then she self-consciously glances down at her jeans in her
boots.)
TOSHIKO: I ... I found this thing ...
(Toshiko heads up the stairs to her workstation and is interrupted by Owen’s
thoughts.)
OWEN: (v.o. thinking) What's she talking about? She can be dead weird. Wonder
what she'd be like in bed. Catholic but grateful, I bet.
TOSHIKO: Okay. Um, I don't know if this comes under actual technology.
(Then, she’s interrupted by Gwen’s thoughts and is shocked.)
GWEN: (v.o. thinking) I can smell Owen 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?'
GWEN: You okay, Tosh?
(Toshiko looks from Gwen to Owen and back between the two.)
OWEN: (v.o. thinking) 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.
(Owen turns and walks back to his workstation.)
TOSHIKO: Yeah. No. Fine.
(Gwen heads for the workstations.)
GWEN: So what is it you wanted to show us?
(Before Toshiko can explain, Gwen’s mind wanders.)
GWEN: (v.o. thinking) 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: (weakly) Forget it. It's ... I found this article ... I'll bring it in
tomorrow.
OWEN: No worries. (v.o. thinking) But thanks for that rambling trip to nowhere,
Tosh.
TIME CUT:
INT. TORCHWOOD – CONFERENCE ROOM -- DAY
(Toshiko is staring off in front of her while fiddling with the pendant around her neck.
Ianto comes up the stairs and starts making a coffee. Toshiko is startled out of her
stupor by his thoughts.)
IANTO: (v.o. thinking) 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.
(He looks at Toshiko.)
IANTO: 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.
(Ianto picks up the coffee cups from the table and goes to the espresso machine.)
(Toshiko tears the pendant off her neck and looks at it.)
EXT. SIDEWALK -- DAY
(Mary is sitting on a wall. Toshiko is walking home.)
TOSHIKO: Might have known you'd have my address as well.
MARY: Did you tell them?
TOSHIKO: No. I didn't.
(Toshiko hurries away. Mary smiles smugly. She puts her cigarette in her mouth and slides
off the wall to follow Toshiko.)
(Toshiko heads for her building. Mary follows her.)
INT. TOSHIKO’S FLAT – DAY -- CONTINUOUS
(Toshiko walks in. She leaves the door open as she tosses her keys on the counter and puts
her bag down. She heads into the next room and takes her jacket off. She’s upset,
angry and hurt.)
(Behind her, Mary enters the apartment. She closes the door. Toshiko turns around.)
MARY: What made you change your mind?
(Toshiko doesn’t answer her. She steps out into the kitchen and grabs a container off
the top shelf.)
MARY: You listened to them, didn't you? See, I told you! Isn't it incredible? Some
of the stuff you hear ...
(Toshiko takes the pendant out of her bag.)
TOSHIKO: What is this thing? (She throws it down on the counter.) 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 ... okay, I should have warned
you about this. It isn't like reading someone's diary.
(Toshiko opens the refrigerator. While the door is open, Mary notices the personal photos
– some of Toshiko and Owen – on the door. Toshiko closes the refrigerator door.)
MARY: 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. Not everyone.
(Mary takes her jacket off. She picks up the pendant and holds it out for Toshiko. She
slips it around Toshiko’s neck. The scene FLASHES as the pendant settles against
Toshiko. Mary cups Toshiko’s face.)
TOSHIKO: I wouldn't say your thoughts were exactly pure.
MARY: At least they're consistent. (She releases Toshiko.) No agenda. No
resentment.
(Toshiko glances down.)
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.
(Suddenly Toshiko moves and kisses Mary.)
TIME CUT TO:
INT. TOSHIKO’S PLACE – BEDROOM – DAY
(Toshiko is in bed holding the blanket to her. Mary steps out in the doorway, a cigarette
and glass in her hands. She leans against the doorframe. She has an orange egg cup in her
cigarette hand.)
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: I see.
(Mary sits down on the bed. Toshiko quickly sits up, turning her back to Mary.)
MARY: You okay? Freaking out a little?
(Mary picks up a birthday card from the bedside table.)
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 opens the card and reads.)
MARY: (teases) "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.
(Quick FLASHES of the photos of Owen on Toshiko’s refrigerator.)
TOSHIKO: (embarrassed) 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.
(Toshiko grabs the blanket, gets up and hurries off into the next room.)
MARY: I see. You want to talk about it?
TOSHIKO: (o.s.) Not really.
MARY: It's okay. Wouldn't be the first time I'd been a rebound shag.
(Toshiko returns to the bedrooms in a purple robe.)
TOSHIKO: You weren't, okay? Nothing's happened, nothing will ever happen. Just one
of the delightful things I found out, thanks to your bloody pendant.
(Toshiko grabs the pendant off the bedside table and throws it across the room at Mary.
Toshiko climbs back into bed and pulls the covers over her head.)
(Mary leisurely gets up and picks the pendant off the floor. She gets back into bed behind
Toshiko.)
MARY: (whispers in her ear) 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.
INTERCUT WITH:
EXT. SIDEWALK – DAY
(Toshiko walks out into a public area.)
MARY: (v.o.) You need to go somewhere public, somewhere crowded.
TOSHIKO: (v.o.) What am I looking for?
INT. TOSHIKO’S PLACE – BEDROOM -- DAY
(Mary whispers in her ear.)
MARY: It will find you.
EXT. SIDEWALK – DAY
(Toshiko stands in the middle of the walkway. People walk past her. As they walk, their
images blur.)
INT. TOSHIKO’S PLACE – BEDROOM -- DAY
(Toshiko sits up and looks at 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: Okay. Here's another name. Philoctetes. I'm Philoctetes.
EXT. SIDEWALK – DAY
(Toshiko is in the middle of the walkway where there are many people around her. She looks
at the pendant in her hand.)
(She puts the pendant on.)
(She gasps. The scene FLASHES as Toshiko is bombarded by people’s thoughts. She gasps
and staggers a little.)
WOMAN’S VOICE: (v.o., thoughts) I could bandage my hand, say I shut it in
the car door, that'll explain why the signatures don't match.
MAN’S VOICE: (v.o., thoughts) 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
around the crotch.
WOMAN’S VOICE: (v.o., thoughts) All big eyed and giggly, and I'm sat there
with my boobs like something out of the National Geographic.
WOMAN’S VOICE: (v.o., thoughts) Six cigarettes today, and all of them
post-coital glorious.
(Toshiko looks around at the people in the area.)
MAN’S VOICE: (v.o., thoughts) Ah, Mr Bond, I've been expecting you.
Expecting you to die.
(Toshiko smiles, amused by the man’s thoughts.)
WOMAN’S VOICE: (v.o., thoughts) Some people should actually be prohibited
from wearing a thong. What's that girl looking at?
MAN’S VOICE: (v.o., thoughts)
MAN’S VOICE: (v.o., thoughts) 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 practiced that.
(Toshiko looks around for the source of the voice and bumps into a woman.)
TOSHIKO: Oh! Sorry.
(Toshiko looks around for the man with thoughts of murder.)
WOMAN’S VOICE: (v.o., thoughts) I'll wear my glasses cos it makes me look
more sensitive.
MAN’S VOICE: (v.o., thoughts) If Lawrence come in and finds us, he'll know
it's right, and what he's been doing is trespassing.
(Toshiko again looks for the man’s voice and follows him.)
MAN’S VOICE: (v.o., thoughts) I won't miss anything. I won't miss this
city. I won’t miss this body, I won't miss anything.
(The man walks away.)
CUT TO:
INT. RESIDENCE – FRONT HALL – CONTINUOUS
(A shadow appears outside the textured glass in the front door. Someone knocks.)
(Danny walks out into the front hall playing a hand-held game. He opens the door and
doesn’t bother lingering to see who it is. He already knows. He walks away. The door
opens.)
NEIL: All right, Danny?
(He walks in. The front door is still open.)
CAROL: (o.s.) I want him back at six. And I mean six this time.
(He walks over to the --
INT. RESIDENCE – KITCHEN -- CONTINUOUS
(Carol is busy cleaning up the dishes.)
CAROL: 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.
(Danny opens the refrigerator.)
CAROL: (to Danny) Hey. Get your shoes on and go to the toilet. What's that face?
(Danny closes the refrigerator.)
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 hands Danny a fruit.)
CAROL: Well, take your Space Invaders. Lawrence bought him that. Don't hear a peep
out of him now. (She moves around the kitchen.) Mind, that's Lawrence all over - dead
thoughtful. Not like some. Oh, and no cola. I don't want him coming home all excited. (She
walks over to the sink.) Thought you'd stopped going fishing.
(Neil takes out a rifle from his bag.)
NEIL: I have.
(Carol grabs Danny and they huddle in the back of the small kitchen.)
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.
(He cocks the rifle and Carol screams.)
CAROL: Oh, my God!
(He brings the rifle up.)
CAROL: Oh, Christ! Oh, no, don't! Please!
(There’s movement behind Neil, but we really don’t see anything.)
NEIL: It's okay, it's just like falling asleep. Really.
CAROL: Don't do this, to Danny, please!
NEIL: And then we will be together forever.
WHUMP!
(Neil freezes, then falls to the floor. Toshiko is standing behind him holding a golf
club. She looks at Carol and Danny.)
TOSHIKO: It's okay. (nods) You're okay now.
(Carol cries and kisses the top of Danny’s head.)
CUT TO:
EXT. MILLENNIUM CENTRE – DAY
(TOP VIEW DOWN on the entire area. We ZOOM downward and stop.)
INT. TORCHWOOD – COLD STORAGE -- DAY
(Own is down in the autopsy area. He throws something at Gwen who is on the steps.)
OWEN: Plodders.
GWEN: (singing) The leg bone's connected to the hip bone ...
(He throws more things at her.)
OWEN: Please stop singing. Anything to stop you singing!
(Jack stands at the top of the stairs near the doorway and laughs at Owen.)
(Toshiko arrives at her workstation.)
(Owen turns and throws something at Jack.)
OWEN: I don't know what you're laughing at!
(Toshiko looks at the pendant and puts it in her pocket.)
OWEN: Stop singing, please don't sing, please don't sing. Not listening. (He puts
his fingers in his ears and hums.) Hmmmm.
(Toshiko takes her jacket off. She turns to look down at the autopsy area. Owen turns
away.)
OWEN: Right, okay.
TOSHIKO: What's going on?
(Stuff flies toward Toshiko. She takes a step backward.)
GWEN: (smiling) You know the skeleton we found at the building site? (Toshiko
nods.) Well, Amanda Burton here has just completed the post-mortem.
(Owen stands in front of the autopsy table with the skeletal remains on it.)
OWEN: Okay, 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.
(shakes her head) Uh-UHH! The correct answer was ...
OWEN: Unidentified trauma. But ...
TOSHIKO: Unidentified trauma?
(Gwen moves over toward Jack and Toshiko.)
GWEN: You see it in RTAs, when something like a steering column or a post goes into
a body at great velocity. (amused) 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?
(Jack turns and leaves the group.)
OWEN: I got that it was a ... skeleton.
(Gwen points to Owen and touches her nose.)
GWEN: Yes! You did.
OWEN: You've (mumbles) You’ve just passed the point of ...
(As they continue bantering, Toshiko walks away.)
GWEN: Where did you train? Where did you train? DID you train?
INT. TORCHWOOD – JACK’S OFFICE -- CONTINUOUS
(Jack walks into his office. He makes a call on his cell.)
TOSHIKO: (o.s.) Jack.
(Toshiko walks in. Jack walks around his desk.)
TOSHIKO: Um, do you know anything about Greek mythology?
(He sits down.)
JACK: (to phone) Security visa 45895. Harkness. (to Toshiko) 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?
(Toshiko turns and slowly walks out of the office. Jack glances at his watch.)
JACK: Hey! What's happening with that list for UNIT?
(Distracted, Toshiko turns back.)
TOSHIKO: Hmm? Oh, yeah. I'm still working on it.
JACK: Right. Well, you know ... (to phone) When you're ready ...
(Toshiko looks like she’s about to say something, but Jack is back on the phone.)
JACK: (to phone) 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 ...
(Toshiko turns away.)
INT. DINER -- DAY
(Toshiko and Mary sit at a table.)
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. (She puts her cup down and pushes it aside.) 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.
(Toshiko leans forward shyly. Mary leans across the table top and they kiss. Before it can
go further, they both sit down again. Mary takes out a cigarette and lights it.)
MARY: So ... What's happening with the thing you found on the building site?
TOSHIKO: (shakes her head) 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.
(Toshiko looks worried as she thinks about it.)
EXT. MILLENNIUM CENTER -- DAY
(TOP VIEW DOWN. Camera zooms upward over the area.)
INT. TORCHWOOD – COLD STORAGE -- DAY
(Owen is still working on the skeleton. Toshiko walks in carrying two cups of coffee on a
tray.)
TOSHIKO: You're not still worrying about that, are you?
OWEN: Okay, 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.
(Toshiko hands Owen one of the cups.)
OWEN: You are gorgeous!
(Toshiko smiles at him. Owen goes back to the skeleton.)
OWEN: 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?
(He points to the hole in the skeleton’s chest.)
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? (Toshiko heads fro the stairs.) Thank you.
(She starts up the stairs, then pauses.)
TOSHIKO: Has Jack said anything to you about the hardware we found with the
skeleton?
OWEN: No, why?
(Toshiko takes the pendant out of her pocket and puts around her neck.)
OWEN: (v.o., thinking) Check there were any hospitals nearby. Could have been
someone died in an operation.
(He takes a sip of his coffee and a distasteful look crosses his face.)
OWEN: (v.o., thinking) This has got sugar in it.
TOSHIKO: No worries. Just asking.
(Gwen walks in and sits down at the top of the stairs.)
OWEN: Hello.
(Owen barely glances at her.0
OWEN: (v.o., thinking) Keep looking at the skeleton, don't look at her. You're
grinning...
GWEN: Hey, Tosh. That coffee going begging?
(Gwen grabs the other coffee out of the tray and nurses it.)
GWEN: (v.o., thinking) 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.
(Gwen sips.)
OWEN: (v.o., thinking) 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: Okay. I'll phone Social Services, see if there's a history of mental illness.
GWEN: (v.o., thinking) 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.
(Toshiko leaves.)
INT. TORCHWOOD – ARMORY -- CONTINUOUS
(Toshiko steps out into the hub and sees the alien artifact out on the table in the
armory. She pauses and looks at it. Jack walks down the second floor stairs.)
(Toshiko lingers at the table with the alien artifact. Jack sees her and pokes his head
into the armory. He startles Toshiko.)
JACK: So I've just come from a really interesting conversation with a Detective
Inspector Henderson.
(Jack steps into the armory. Toshiko nods and backs away.)
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.
(Jack leans over the alien artifact and looks at something inside it.)
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: Hmm.
(Jack is hugging the alien artifact to him, holding it against his chest as if trying it
out.)
TOSHIKO: I was wondering how you were getting on with this.
JACK: It's ongoing.
TOSHIKO: Are you going to dismantle it?
JACK: (avoiding) Like I said, it's ongoing.
TOSHIKO: (nods) Okay.
(Toshiko heads for the door. She pauses and touches the pendant around her neck.)
CUE SOUND: WHOOSH!
(Jack looks up. He felt it. He stops.)
(Toshiko hears nothing. She turns and looks at Jack. Jack straightens suddenly and looks
at Toshiko.)
JACK: What? Have I got something on my face? Is it food?
(He wipes his mouth with the back of his hand. Toshiko stares at him.)
TOSHIKO: No. Sorry. I zoned out.
JACK: (smiles) Well, listen. That was a good save, Tosh. Well done.
(Toshiko turns and leaves. Jack’s smile fades as he watches her go.)
INT. TOSHIKO’S FLAT -- DAY
(Toshiko stands in the room and looks at the pendant. She’s quiet and contemplative.
Behind her, Mary walks in. She puts the shopping bag on the kitchen counter.)
MARY: Okay, so I've got crisps, I've got coffee - real coffee – wine ...
(She takes the wine bottle out and shows it to Toshiko.)
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.
(She turns around.) And it makes me feel dirty and ashamed ... and now, I've been spying
on my friends.
(Mary takes her jacket off.)
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.
(Toshiko goes to her bag on the kitchen counter.)
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 paces.)
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.
(Toshiko reaches for her phone in her bag.)
MARY: (gravelly, distorted) Put the phone down!
(Toshiko stops and stares at Mary.)
MARY: Okay. I'll show you.
(Mary closes her eyes. Bright lights from within burst through her skin. Mary changes into
a purple alien, bright and light as she floats in the air.)
MARY: (alien voice) This is why you can't tell them.
(Toshiko reaches out her hand. Mary’s alien hand touches her.)
TOSHIKO: (gasps) You're cold. Who are you?
MARY: (alien voice) Still the person you kissed. The person you caressed.
(Mary changes back. Toshiko stares at her.)
MARY: 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. 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.
(Mary takes a pack of cigarettes and lighter out of her bag. She lights a cigarette.)
MARY: 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: Two hundred years have passed. There'll be a new government. There'll have
been twenty 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?
CUT TO:
EXT. STREET -- DAY
(Toshiko is out wandering the streets. She’s wearing the pendant and reads people as
they walk past her.)
(A man in a suit walks by.)
MAN’S VOICE: (v.o., thinking) Silence when the door opens. Can't do another
night of the silence...
(A blonde-haired woman walks past.)
WOMAN’S VOICE: (v.o., thinking) His hands were cold.
(A man walks past and a second man catches up with her, passing her.)
MAN’S VOICE: (v.o., thinking) Giving it all, "We'll call Social
Services," just over a couple of bruises?!
MAN2’S VOICE: (v.o., thinking) Worst case scenario? She’ll live
really old and the whole inheritance is going on sheltered accommodation ...
(Toshiko rubs her head. Then, she hears another voice.)
WOMAN’S VOICE: (v.o., thinking) Calling it Grandad's little secret ...
(She turns and sees a woman at the railing. Toshiko rips the pendant off.)
INT. TORCHWOOD – AUTOPSY -- DAY
(Owen is in the autopsy area. He puts a clipboard down under the stand and turns to look
at the skeletal remains.)
CU FLASH OF THE REMAINS:
SOLDIER: (o.s.) Whore!
(Owen stares at the remains. He picks up the clipboard.)
CUT TO:
INT. TORCHWOOD – WORKSTATIONS -- CONTINUOUS
(Owen is back at the workstations. He puts the clipboard down on his desk, takes his lab
coat off and starts to put his jacket on. He stops to watch the rotating 3-D skeletal
image on the monitor. He puts his jacket down and sits in his chair as he stares at the
image on the monitor.)
(He thinks about it.)
CUT TO:
(He runs a search at CARDIFF GENERAL HOSPITAL for:
A&E: 2000 – 2002
DUTY DR.: owen harper
CUT TO:
(He scrolls through the names:
CLARKE, Emmacase: 2471
DAVIES, Chriscase: 2659
DOLTON, Roycase: 2871
DRISCOLL, Olliecase: 2883
GIBSON, Doncase: 2918
... Melaniecase: 3152
--WOLD, Harveycase: 3295
CUT TO:
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
(TOP VIEW DOWN: Toshiko is lying on the bed thinking out loud and crying. Mary sits in the
chair on the side of the room smoking her cigarette.)
TOSHIKO: I can't stand it any more. The weight of it. The depravity. The fear ...
EXT. BUILDING EDGE -- NIGHT
(Jack stands on the balcony edge of the building overlooking the city.)
TOSHIKO: (v.o.) It fills me up.
INT. TORCHWOOD – WORKSTATIONS -- CONTINUOUS
(Owen continues to scroll through the names on the computer. There are a lot of names.)
(CUT TO: Owen sits back in his chair and spins as he thinks.)
TOSHIKO: (v.o.) It's in my mouth, --
(Owen jumps up on his chair and thinks some more.)
TOSHIKO: (v.o.) -- and my hair, and my eyes.
(CUT TO: Owen types something else in the computer. A different list appears. The
scrolling stops and a name is HIGHLIGHTED:
MARMER, Lucycase 4291
OWEN: Marmer ...
INSERT: FLASH OF THE SKELETAL REMAINS ON THE TABLE
(Owen clicks on the name and records appear.)
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
(Toshiko continues to pontificate.)
TOSHIKO: Like I'm drowning in ink.
INT. TORCHWOOD – WORKSTATIONS -- CONTINUOUS
(Owen reads the information on the monitor.)
OWEN: What am I doing...? What am I doing? What am I doing? What am I doing?
(The information reads:
LUCY MARMER, AGE: 43
Brought in DOA, Sept 2001
Unidentified trauma.
Ribs shattered.
Heart removed.
Records and post mortem results passed to police as part of Operation Lowry. )
(Owen perks up.)
OWEN: "Heart removed. Records and post-mortem passed to Operation Lowry."
(thinks about it) Operation Lowry ...
INSERT: FLASH OF THE SKELETAL REMAINS ON THE TABLE
(The monitor reads:
CLEARANCE CODE TORCHWOOD
(He types in: 45895.)
(He searches for "OPERATION LOWRY.")
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
TOSHIKO: And even when I don't have the pendant on, even when there's nothing,
EXT. BUILDING EDGE -- NIGHT
(OFF JACK: Jack surveys the street and area below.)
TOSHIKO: (v.o.) I can't forget the things I've seen, --
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
TOSHIKO: -- the things I've heard.
INT. TORCHWOOD – WORKSTATIONS -- CONTINUOUS
(On the monitor are three OPERATIONS listed:
OPERATION LOWRY
OPERATION DOGTOOTH
OPERATION ELEANOR
(Owen gets into the files and more information on VICTIM 37 appears on the monitor with a
similar chest photo of the fatal injury. The information reads:
VICTIM: 37
MYRA BENNETT: 1970
Body found by daughter.
Cause of Death – a hole punctured through the rib-cage. The
heart gone.
UNSOLVED
No burns around the wound. No residue of powders. Gunshot ruled out.
)
OWEN: Heart removed.
(He goes to the next file and sees the same fatal injury on the victim.)
OWEN: Heart removed.
(He goes to the next records:
VICTIM: 39
RICHARD PLAYLE 1973
Case of Death – a hole punctured through the ribs. The heart
gone.
UNSOLVED
No burns around the wound. No residue of powders. Gunshot ruled out.
VICTIM: 40
MELANIE GOUGH 1974
Case of Death – a hole punctured through the ribs. The heart
gone.
UNSOLVED
No burns around the wound. No residue of powders. Gunshot ruled out.
OWEN: Removed ...
(Owen keeps looking through the files.)
Joyce Saville 1982
Cause of Death –
A hole punctured through the rib-cage
The heart gone.
UNSOLVED
No burns around the wound. No residue of powders. Gunshot ruled out.
Don Gibson 1981
Cause of Death –
A hole smashed through the rib-cage.
The heart gone.
UNSOLVED
No burns around the wound. No residue of powders. Gunshot ruled out.
Iffy Okoli 1978
Cause of Death –
hole punctured through the rib-cage
The heart gone.
UNSOLVED
No burns around the wound, no residue of powders. Gunshot ruled out.
Lee Ball 1976
Cause of Death –
A hole punctured through the rib-cage
The heart gone.
UNSOLVED
No burns around the wound, no residue of powders. Gunshot ruled out.
Melanie Gough 1974
Cause of Death –
A hole punctured through the rib-cage
The heart gone.
UNSOLVED
No burns around the wound, no residue of powders. Gunshot ruled out.
Richard Playle 1973
Cause of Death –
A hole punctured through the rib-cage
The heart gone.
UNSOLVED
No burns around the wound, no residue of powders. Gunshot ruled out.
Sally Chappel 1972
Cause of Death –
a hole, smashed through the ribs.
The heart gone.
UNSOLVED
No burns around the wound, no residue of powders. Gunshot ruled out.
Myra Bennett. 1970
Body found by daughter.
Cause of Death –
hole punctured through the rib-cage.
The heart gone.
UNSOLVED
No burns around the wound, no residue of powders. Gunshot ruled out.
OWEN: How far back does it go?
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
TOSHIKO: It's like a curse, something the gods send to drive someone mad.
(Mary sits in the chair and smokes her cigarette.)
TOSHIKO: I had hope.
EXT. BUILDING EDGE -- NIGHT
(ON JACK. Jack sighs.)
TOSHIKO: (v.o.) I'd see something,
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
TOSHIKO: -- some little random act of kindness, and it made me think we were safe,
--
INSERT: FLASH OF THE SKELETAL REMAINS ON THE TABLE
INT. TORCHWOOD – WORKSTATIONS -- CONTINUOUS
(Owen is still working on the computers, going through the files.)
TOSHIKO: (v.o.) -- there was some essential good in us.
(He focuses on the description:
Cause of Death –
A hole punctured through the rib-cage
The heart gone.
UNSOLVED )
OWEN: This is impossible.
TOSHIKO: (v.o.) But there isn't.
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
TOSHIKO: It's like one of the weevils.
INT. TORCHWOOD – VAULT/PRISON CELLS -- CONTINUOUS
(Camera ZOOMS down to the vault doors and to the prison cells.)
TOSHIKO: (v.o.) You look inside, and there's just this great yawning scream.
(A weevil rushes up to the cell glass door and growls through the air holes.)
INSERT: FLASH OF THE SKELETAL REMAINS ON THE TABLE
INT. TORCHWOOD – WORKSTATIONS -- CONTINUOUS
(Owen looks a the victims photos on the monitors.)
OWEN: This is completely impossible.
CUT TO:
(Owen turns his phone on.)
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
TOSHIKO: You were right. Everything you said about us.
EXT. ROOFTOP -- NIGHT
TOSHIKO: (v.o.) We're frightened and we're callous.
(Jack answers his phone.)
JACK: (to phone) Owen.
INT. TORCHWOOD – WORKSTATIONS -- CONTINUOUS
(Owen looks at the monitors.)
OWEN: (to phone) You need to see this.
(He closes his phone.)
INT. TOSHIKO’S FLAT – BEDROOM -- NIGHT
TOSHIKO: (crying) 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.
SMASH TO BLCK.
EXT. CARDIFF CITY LIGHTS (STOCK) -- NIGHT
(Cardiff at night.)
INT. TORCHWOOD -- NIGHT
(The cog door rolls open. Toshiko and Mary stand just outside the elevator door. Toshiko
leads Mary into the hub.)
INT. TORCHWOOD – HUB – NIGHT -- CONTINUOUS
(Mary enters the hub and is delirious from success. She roams around the hub.)
MARY: (recites to herself)
"In Xanadu, did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea."
[Note: "Kubla Khan," Samuel Taylor Coleridge.]
(Toshiko reaches the table in the armory where the alien artifact was. Now, it’s
gone. Mary appears around the center of the hub behind her.)
MARY: So, where is it, lover?
(Toshiko turns around.)
TOSHIKO: Stay here. Jack, my boss, has got it.
(Toshiko walks past Mary. Mary grabs her.)
MARY: Be quick. I've a long journey ahead of me. (She runs her hand down
Toshiko’s front, near her heart.) I might need something to eat before I go.
JACK: This what you're looking for?
(They turn around. Jack is standing up above them. He’s holding the alien artifact.)
TOSHIKO: Jack!
(Jack walks around the catwalk, slowly making his way down the stairs.)
JACK: 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.
(Jack looks at Mary.)
JACK: (to Mary) I'm sorry, we haven't been introduced. Jack Harkness. My guess is
you're not from around these parts.
(Jack lifts up the alien artifact.)
JACK: Now this ... This is incredible. You know what it is?
(Jack walks closer to her.)
TOSHIKO: It's a transporter. Mary was a political prisoner - she was exiled here.
Look, Jack ...
JACK: (interrupts) You've got half of it right. Mary ... It is Mary, isn't it? You
want to tell her the really interesting bit?
(Mary doesn’t answer him.)
JACK: 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. (Toshiko turns around and finds Mary smiling.) But I was
disturbed.
EXT. WOODS – NIGHT -- FLASHBACK
(Mary is in her CGI alien form – translucent, transparent with a bright light beating
inside her like a luminescent heart. Mary, the blonde-haired prostitute from the teaser,
walks out of the woods and approaches the clearing at a distance.)
(Mary, the alien, looks around the forest and the trees. Mary, the prostitute shines
bright with a light from her chest.)
(Suddenly, the pull is too strong. Mary, the alien is pulled backward and into Mary the
prostitute. The two become one and the same. When the bright light dims, Mary the
prostitute with the alien inside her, remains.)
BACK TO SCENE.
PRESENT – CONTINUOUS
(The alarm lights flash as the cog door rolls closed. Owen, Ianto and Gwen all step out
into the hub.)
(Jack doesn’t appear surprised to see any of them.)
MARY: Then another came - a soldier.
EXT. WOODS – NIGHT – FLASHBACK
MARY: (v.o.) He tried to shoot me.
(Mary stands in the woods. She looks at her hands and touches her face with wonder. Behind
her, the soldier steps out into the clearing.)
(She hears him and turns around. The soldier raises his pistol at her.)
SOLDIER: Do whores have prayers?
(Mary smiles at him. He fires. The bullet goes clear through Mary’s right shoulder.
She’s bleeding from the wound, but doesn’t fall.)
(Mary moves – floats quickly – across the ground and stops in front of the
soldier.)
MARY: (v.o.) So I plunged my new human hand into his chest and plucked out his
heart.
(She grins and punches her fist into the soldier’s chest, pulling out his heart. The
soldier screams and falls to the ground. Mary holds the bleeding heart in her hands and
smiles.)
BACK TO SCENE.
PRESENT – CONTINUOUS
(Owen steps forward.)
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, but
I was safe, as long as I knew where the transporter was.
(Toshiko puts the pendant around her neck.)
GWEN: (v.o., thinking) The way she looks at you with those eyes - she's like an
animal.
OWEN: (v.o., thinking) When they brought that girl into the hospital, I had only
been qualified six months. I wanted to throw up.
INSERT: FLASH OF THE MONITOR WITH PHOTO AND INFORMATION ON LUCY MARMER, AGE 43.
JACK: And then the machine was uncovered.
MARY: As soon as the air touched its surface, I could feel it.
OWEN: (v.o., thinking) 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: (v.o., thinking) Gonna go for it now.
TOSHIKO: Owen, NO!
INSERT: CGI FLASH – Mary moves in a blur. She goes to the armory, then up the stairs
where she grabs Toshiko. She presses the knife point against her neck.
(Everyone moves position. Jack and Owen are closest.)
JACK: (firmly) 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: (v.o., thinking) It's ridiculous - we're unarmed, we're just shouting at
her.
IANTO: (v.o., thinking) Not again. Please, God, not again.'
GWEN: (v.o., thinking) Knife has incisors on the blade. It'll tear Tosh's throat
out.
MARY: How's this? I'll exchange Toshiko for that one. (She motions to Gwen.) Your
choice.
(Owen glances at Gwen.)
OWEN: (v.o., thinking) No, no, not Gwen.
(He looks at Mary.)
OWEN: Just put the knife down.
MARY: (to Toshiko) Did you hear him? He didn't want to, did he?
OWEN: (v.o., thinking) She read my thoughts, she actually read my thoughts.
GWEN: (v.o., thinking) 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 concentrates on Toshiko and its his thoughts she hears speaking directly to hers.)
JACK: (v.o., thinking) Toshiko ... Don't move. Don't do anything until I say.
TOSHIKO: Please.
JACK: (to Mary) Okay, you want the transporter, we want Toshiko. I think
that’s a fair swap.
GWEN: (v.o., thinking) 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.
(Jack holds the transporter out for Mary.)
OWEN: (v.o., thinking) He's just going to let her go.
(Mary pushes Toshiko toward Owen, her eyes on the transporter.)
IANTO: (v.o., thinking) It's a bluff, but I think it'd still work.
(Jack reaches her and Mary touches the transporter. He keeps moving closer until she gets
a good grip on the artifact. Mary also notices something else.)
MARY: You smell ... different to them.
(Jack smiles lethally back at her.)
JACK: That's nothing. It's when you compare teeth with a British guy, that's when
it's really scary.
(Mary’s fascinated by Jack.)
MARY: What are you?
JACK: (seriously) I don't know.
MARY: And you would have put me in a cage?
(There’s a chirp and a WHOOSH sound as the alien artifact powers up.)
MARY: What's happening?
(Jack takes a step away from Mary, leaving her holding the artifact.)
JACK: Oh, that. I re-programmed it for you. It's set to enable.
(A bright light comes out of the artifact engulfing Mary completely. It rises up and up
and up to the ceiling. Mary and the bright light are gone.)
JACK: Sort of now.
TOSHIKO: What did she ... ? Has she gone home?
JACK: I reset the co-ordinates.
TOSHIKO: (accusing) Where to?
JACK: To the center of the sun. It shouldn't be hot. I mean, we sent her there at
night and everything.
TOSHIKO: You killed her.
JACK: (harshly) Yes.
(Jack turns and walks away. Gwen turns and looks at Toshiko. Crying, Toshiko looks
upward.)
CUT TO:
EXT. CARDIFF STREET LIGHTS (STOCK) -- NIGHT
(Cardiff streets at night.)
INT. TORCHWOOD – STAIRS NEAR BACK WALL
(Owen and Gwen talk in hushed tones while glances over at Toshiko in the conference room
where Ianto takes notes.)
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!
(The conference room door opens and Toshiko walks out.)
GWEN: Owen, don't be selfish about this.
OWEN: All right!
(Toshiko walks up to them.)
GWEN: When did you have this ... I don't know ... ability?
TOSHIKO: Just a couple of days.
OWEN: (bluntly) 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 turns and leaves. Gwen remains. Toshiko takes a step toward Gwen.)
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: (interrupts) No, Gwen. What I did was an invasion. I wasn't in control, I
realize 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 glances down at Owen.)
GWEN: 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 judgments.
GWEN: This is what I'm saying, Tosh. Neither am I.
(Toshiko walks past Gwen.)
GWEN: Don't let this ...
(Toshiko turns around. Gwen stops.)
GWEN: (shakes her head) 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.
(Gwen smiles at Toshiko. Toshiko turns and leaves. Gwen watches her go.)
EXT. CARDIFF CITY LIGHTS (STOCK) – NIGHT
(Cardiff city lights at night.)
EXT. MILLENNIUM CENTRE -- NIGHT
(Jack and Toshiko sit side by side on a concrete bench. Toshiko looks at the pendant in
her hand.)
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.
(Toshiko drops the pendant on the ground and smashes it with her shoe.)
TOSHIKO: Why couldn't I read your mind?
JACK: (jokes) 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.
(At the word ‘dead,’ the smile on Jack’s face fades.)
JACK: I want that list for UNIT on my desk tomorrow. (Toshiko nods.) Or I'll ...
what do bosses do in situations like these? You know, regular bosses. Do I get to
beat people?
(Jack laughs.)
TOSHIKO: We've got rules for that!
(He feigns frustration.)
JACK: (smiles) Red tape!
TOSHIKO: (seriously) 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 puts a hand on Toshiko’s knee.)
TOSHIKO: How can I live with it?
JACK: There are some things we're not supposed to know.
(Toshiko nods.)
JACK: You got a snapshot - nothing more.
TOSHIKO: I don't mean about Gwen and Ianto and Owen. I mean ... the whole world ...
(Jack stands up and looks down at Toshiko. He smoothes back her hair.)
TOSHIKO: (shakes her head and sniffles) It doesn't matter.
(Jack cups her chin for a moment, then wipes the tears off her cheek. Jack looks at
Toshiko. He turns and walks away. Toshiko watches him go.)
(His figure blurs out.)
(We linger on Toshiko. After a moment, she lifts her chin and sits up straighter.)
EXT. CARDIFF CITY LIGHTS (STOCK) -- NIGHT
(We linger over Cardiff at night.)
FADE TO BLACK.
INSERT: PREVIEW FOR NEXT EPISODE
ROLL END CREDITS
==========================
END OF EPISODE
==========================
Transcript by intrepid
Contact the Transcriptionist at intrepidly002@yahoo.com
As a courtesy, do not archive this transcript without written permission from the Transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
TORCHWOOD
1X07: GREEKS BEARING GIFTS
ORIGINAL AIR DATE IN UK: 11/26/2006
TRANSCRIBED FROM DL
Starring:
JOHN BARROWMAN as Captain Jack Harkness
EVE MYLES as Gwen Cooper
BURN GORMAN as Owen Harper
NAOKO MORI as Toshiko Sato
GARETH DAVID LLOYD as Ianto Jones
Created by: RUSSELL T DAVIES
Producer: RICHARD STOKES
Written by: TOBY WHITHOUSE
Directed by: COLIN TEAGUE
==========================
END CREDITS
==========================
CAST & CREW
JOHN BARROWMAN as Captain Jack Harkness
EVE MYLES as Gwen Cooper
BURN GORMAN as Owen Harper
NAOKO MORI as Toshiko Sato
GARETH DAVID-LLOYD as Ianto Jones
DANIELA DENBY-ASHE as Mary
ROM ROBERTSON as Soldier
RAVIN J GANATRA as Neil
EIRY THOMAS as Carol
SHAHEEN JAFARGHOLI as Danny
PAUL KASEY as Weevil
Co-Producer: CHRIS CHIBNALL
1st Assistant Director: NICK RAE
2nd Assistant Director: LYNSEY MUIR
3rd Assistant Director: RHIAN SALISBURY
Runner: LLYWARCH DAVIES
Location Manager: PAUL DAVIES
Unit Manager: GERIANT HAVARD JONES
Production Co-Ordinator: CARMELINA PALUMBO
Asst Prod Co-Ordinator: KATE POWELL
Production Secretary: MARGARITA FELICES
Script Secretary: HELEN PUGSLEY
Accounts Assistants: DEBI GRIFFITHS / BETH BRITTON
Continuity: VICKY COLE
Script Editor: HELEN RAYNORN
Camera Operator: GARETH HUGHES
Focus Puller: DUNCAN FOWLIE
Camera Assistant: MANI BLAXTER PALIWALA
Grip: DAI HOPKINS
Boom Operator: JEFF WELCH
Gaffer: DAVE FOWLER
Best Boy: STEVE SLOCOMBE
Stunt Co-ordinator: TOM LUCY
Chief Super Art Director: STEPHEN NICHOLAS
Supervising Art Director: KEITH DUNNE
Art Dept. Prod. Manager: JONATHAN MARQUAND ALLISON
Art Dept Op Manager: ADRIAN ANSCOMBE
Associate designer: MATTHEW SAVAGE
Art Dep Co-ordinator: MATTHEW NORTH
Design Assistants: BEN AUSTIN / ROB DICKS
Standby Art Director: LEONIE RINTLER
Standby Props: BRIAN PATRICK HENRY
Standby Corpenter: WILLL POPE
Standby Rigger: KEITH FREEMAN
Concept Artists: IAN BUNTING / PETER McKINSTRY
Designer: PENNY HARVEY
Property Master: NICK THOMAS
Production Buyer: CATHERINE SAMUEL
Props Storeman: CHARLIE MALIK
Specialist Props Maker: MARK CORDORY
Props Maker: PENNY HOWART
Construction Manager: MATTHEW HYWEL-DAVIES
Construction Chargehand: SCOTT FISHER
Graphics: BBC WALES GRAPHICS DESIGN
Costume Supervisor: DEBRA HAGGETT
Costume Assistants: BOBBY PEACH / SAM BENBOW
Make-up Supervisor: CLAIRE PRITCHARD
Make-up Arists: SARA ASTLEY HUGHES / KATE ROBERTS
Casting Associate: ANDY BRIERLEY
Assistant Editor: MATT MULLINS
Post Prod Supervisors: HELEN VALLIS / CHRIS BLATCHFORD
Post Prod Co-Ordinator: MARIE BROWN
On-line editor: MATTHEW CLARKE
Colourist: MICK VINCENT
Vis Effects Co-ordinator: NATALIE STOPFORD
2D artists: SARA BENNETT / SIMON HOLDEN / BRONWYN EDWARD / CHARLIE BENNETT
3D artists: ADAM BURNETT / NICHOLAS HERNANDEZ / JEAN-CLAUDE DEGUARA / JEAN-YVES AUDOUARD /
NEIL ROCHE
Dubbing Mixer: TIM RICKETTS
Supervising Sound Editor: DOUG SINCLAIR
Sound Editor: PAUL McFADDEN
Sound Fx Editor: HOWARD EAVES
Senior Prod Accountant: ENDAF EMYR WILLIAMS
Casting Director: ANDY PRYOR CDG
Production Accountant: CERI TOTHILL
Sound Recordist: JEFF MATTHEWS
Costume Designer: RAY HOLMAN
Make-up Designer: MARIE DORIS
Music: MURRAY GOLD / BEN FOSTER
Visual Effects: THE MILL
Visual Effects Producers: WILL COHEN / MARIE JONES
Visual FX Supervisor: DAVE HOUGHTON
ON-set Vis FX Supervisor: BARNEY CURNOW
Special Effects: ANY EFFECTS
Prosthetics: NEILL GORTON & MILLENNIUM EFFECTS
Production Manager: CATRIN LEWIS DEFIS
Editor: MIKE HOPKINS
Production Designer: EDWARD THOMAS
Director of Photography: MARK WATERS
Associate Producer: TERRY REEVE
Production Executive: JULIE SCOTT
Assistant Producer: SOPHIE FANTE
Executive Producer: RUSSELL T DAVIS
Executive Producer: JULIE GARDNER
A BBC Wales Production in association with the Canadian Broadcasting Corporation
bbc.co.uk/torchwood
(c) BBC MMVI
Dated:03/23/2007~lky
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