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Torchwood transcripts - series 1
Episode 10: Out of Time
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TORCHWOOD
1X10: OUT OF TIME
ORIGINAL AIR DATE IN UK: 12/17/2006
TRANSCRIBED FROM DL
Written by: CATHERINE TREGENNA
Directed by: ALICE TROUGHTON
Transcript by Intrepid
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==========================
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SUMMARY: Three people from 1953 pass through the rift and are displaced into
the future.
==========================
TORCHWOOD
1X10: OUT OF TIME
==========================
FADE IN:
[INTRODUCTION]
JACK HARKNESS: (v.o.) Torchwood, outside the government, beyond the police.
Tracking down alien life on earth, arming the human race against the future. The 21st
century is when everything changes ... and you've got to be ready.
FADE IN FROM WHITE:
EXT. AIRPORT -- DAY
(A plane flies high up in the air.)
(Down on the ground, the Torchwood team stands on the grass watching and waiting for the
airplane.)
(The airplane SKY GIPSY, number G-AIDL, lands. It pulls up right in front of them
and stops. They walk up to the plane.)
DIANE HOLMES: (smiles and waves) Hello there.
(Jack and the others walk toward her. Diane gets out of her plane.)
DIANE HOLMES: Apologies for the unplanned touchdown, just hit some rotten
turbulence.
JACK: I'm Captain Jack Harkness.
(They shake hands.)
DIANE HOLMES: Diane Holmes, pilot. Is this some sort of secret base? You must show
me round one day, Captain.
(Behind them, an older man and a young woman exit the back of the plane.)
JOHN ELLIS: Everything all right?
EMMA COWELL: How long before we head off again? My Uncle's expecting me.
JACK: When did you leave?
DIANE HOLMES: About half an hour ago.
JACK: Which date?
(Strange question.)
DIANE HOLMES: Today, December the 18th.
JACK: Which year?
(Diane turns and looks at John Ellis.)
JACK: Which year? Which year? I need to know.
DIANE HOLMES: 1953.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
FADE IN:
EXT. CARDIFF – MILLENNIUM CENTRE (STOCK) – DAY
(Aerial view of the Millennium Centre.)
INT. TORCHWOOD – HUB -- DAY
(The cog door rolls open, the standard welcoming alarm blares. Owen enters first, taking
his jacket off as he moves. Gwen follows behind him. John Ellis and Emma Cowell enter
next. They’re each carrying their suitcases.)
JACK: There's no need to be frightened.
JOHN: Who are you exactly?
(Jack and Diane enter last.)
JACK: The least you know about us, the better.
(Jack stops.)
JACK: Meet the team.
(The team is standing on the stairs to the workstation area.)
TOSHIKO: Toshiko.
GWEN: Gwen.
(Owen shrugs into his lab coat.)
OWEN: Doctor Owen Harper.
JOHN: John Ellis.
EMMA: Emma Louise Cowell.
DIANE: Diane Holmes.
OWEN: Please, follow me.
(Owen turns and heads most probably into the cold storage area. Diane and the others
follow. Gwen turns to Jack.)
GWEN: At least it wasn't a spaceship full of aliens.
JACK: That might have been easier.
(Jack starts up the stairs, following them.)
CUT TO:
INT. TORCHWOOD – CONFERENCE ROOM – DAY
(John Ellis and Emma stand in front of the conference table. Diane leans against the far
window.)
JOHN: But how can you travel fifty years in half an hour?
JACK: Your aircraft slipped through a transcendental portal.
EMMA: A what?
JACK: A door in time and space.
JOHN: It's some kind of trick, it has to be.
JACK: Tosh?
(Toshiko indicates the different photos and papers on the conference table.)
TOSHIKO: Celebrations of the Millennium in your respective home cities, photographs
documenting the development of Cardiff Bay from the '50s to the present day, blueprints of
modern day aeroplanes.
(Emma sits down. It’s too much to take in. Diane is alarmed.)
DIANE: But if all this is true ... then how do we get back?
JACK: You don't. According to history, your plane never returned. I'm sorry.
DIANE: What's going to happen to us?
JOHN: Never mind about us. What happened to everyone else? Our families.
INT. TORCHWOOD – HUB – GROUND FLOOR – DAY
(Gwen walks with Emma.)
GWEN: Your father died in 1959. He was 48.
EMMA: Dad said he'd die young. All the men in the munitions factory did.
GWEN: Your mother lived till she was 81 though. (Emma stops.) I know this is hard
to take in. But is there anyone else?
(Emma shakes her head. Gwen and Emma walk past the workstations. We stay with John Ellis
who looks over Toshiko’s shoulders as she looks up the information on the computers.
Jack stands behind them.)
JOHN: My son, Alan Ellis. He was born on the 6th of April, 1937, 14 Park Place,
Grangetown. He might still be alive.
TOSHIKO: The archives in the '50s weren't that well documented.
JACK: We'll try again tomorrow. Right now, you need to get some sleep.
(Jack turns and heads back to his office. We follow him as he passes Owen at his
workstation. We stay with Owen and Gwen.)
OWEN: Friends? Boyfriend?
DIANE: Not really. Never stayed in one place long enough.
(She takes a drag from her cigarette.)
EXT. BUILDING – DAY
(The building door opens. Gwen and Jack enter. Diane, Emma and John follow. They each
carry their suitcase and look very grim.)
INT. EMMA & DIANE’S ROOM – DAY
(The door to the room opens. Gwen steps in to show Diane and Emma their room.)
GWEN: It's a bit basic.
DIANE: Not when you've slept in barracks.
(Diane puts her bag on the lower bunk while Emma puts her bag on the single bed near the
door. Diane takes her jacket off.)
INT. JOHN’S ROOM -- DAY
(John unpacks his open suitcase while Jack watches.)
JOHN: I was going to close a deal on a shop in Dublin tomorrow.
JACK: What do you trade in?
JOHN: Food, knick-knacks, essentials.
(John takes his clothes out of the suitcase, closes the suitcase and puts it aside. He
turns to his radio and turns it on. He turns the tuning dial looking for a station.)
JACK: What are you after?
JOHN: Bit of music.
(Jack turns the knob and finds a classical station playing Beethoven’s Moonlight
Sonata. He looks at John and smiles. Jack steps aside.)
JOHN: There's photographs of my family in here.
(Jack takes the photos.)
JACK: I'll see what I can do.
JOHN: Don't worry, Captain Harkness, I'll look after the ladies.
JACK: Call me Jack.
(They shake hands.)
INT. EMMA & DIANE’S ROOM -- DAY
(Emma is unpacking her suitcase and takes out her dress. Gwen leans against the bunk
watching her hold the dress up. In the distance, they hear a door slam and some girls
giggling.)
EMMA: Who else is here?
GWEN: Couple of young girls. Pretty dress.
EMMA: Thank you. I made it myself.
GWEN: Where are you from?
EMMA: Bristol.
GWEN: What were you going to Dublin for?
EMMA: Auntie Nora's ill and Uncle Finn can't manage the children. It will be good
practice for when I have children of my own, Mum says.
(Emma takes a teddy bear out of her suitcase and hugs it.)
EMMA: She's gone next door so Uncle Finn can telephone ... she'll know I'm missing
by now.
GWEN: Emma, she found out in 1953. Over fifty years have passed, remember?
(Emma turns around looking very sad. She sits down on the bed.)
EMMA: What will she think happened?
(Gwen sits down net to her.)
EMMA: It must have been like one of those murders where they never find the body.
GWEN: They seemed to think the plane went down in the sea.
(Emma bursts into tears. Gwen puts a comforting arm around her.)
CUT TO:
EXT. CARDIFF CITY (STOCK) – DAY
(Standard aerial footage of the city and bay area.)
INT. TORCHWOOD – JACK’S OFFICE – DAY
(Jack briefs everyone as Gwen hands out their new IDs.)
JACK: These will be your means of identification. We've set up bank accounts for
you but we'll give you an allowance so you can practice with the currency and money
management.
(They look at their ID’s. John doesn’t seem happy. Emma appears a little
excited.)
JOHN: David Ward.
DIANE: Sally-Anne Hope.
EMMA: Deborah Morrison, and it's spelt how Deborah Kerr spells it.
JACK: Your background stories should incorporate your skills you already have.
John, you could have run a corner shop.
JOHN: No.
JACK: We can fake references.
JOHN: You can't take away our names. For God's sake, it's all we've got left. It's
my son's name, it's the name above my shop.
(He throws the ID back on the desk and leaves the office. Jack takes a deep breath and
follows him out. He puts a hand on John’s arm.)
JACK: You're right. I didn't think. You should keep your name.
(Jack nods to the others as well.)
CUT TO:
EXT. SUPERMARKET – DAY
(Ianto accompanies Diane, John and Emma to the supermarket.)
IANTO: I'd suggest you use £25 for your food and then £20 for luxuries like
cigarettes, magazines.
EMMA: My dad only made £10 a week!
IANTO: Things are a lot more expensive now.
INT. SUPERMARKET – DAY – CONTINUOUS
(Diane walks up to the door and they open automatically. She’s startled and stops
before walking in.)
DIANE: How did it do that?
IANTO: It's automatic. It knows you're there.
DIANE: But how?
(Diane takes another step toward the door as it starts to close and it opens again.)
IANTO: There are wave bouncing detectors which emit radio waves and then look for
reflections ...
DIANE: (excited) Bananas!
(Diane walks into the market, heading straight for the bananas.)
IANTO: Of course, bananas are far more interesting.
(Emma enters the market and starts down the aisle.)
(Diane is looking at the bananas and smiling.)
(John stands near Ianto, simply amazed by the abundance.)
JOHN: Look at all this! We'd just come off rationing in '53.
IANTO: Yes, sorry, we are a consumer society.
JOHN: It's bloody fantastic.
VARIOUS CUTS OF EVERYONE SHOPPING:
(Emma walks down the candy aisle. She stops and stares.)
(Diane stands in front of the shelves of computer monitors.)
(John stands in front of the newspaper and magazine rack.)
(Diane reaches out and touches the monitor. She takes a step back and smiles.)
(Emma turns to Ianto.)
EMMA: How much food money have I got left?
IANTO: £15.40.
(She starts grabbing various candy bars and puts them in her basket. Ianto follows her
down the aisle, watching her put more and more candy into her basket.)
IANTO: £12.10. You'll ruin your teeth.
EMMA: (rolls her eyes) You sound like my mum.
(Diane looks at a DVD disk. Emma and Ianto walk up to her.)
DIANE: They sell films in boxes and you can watch them at home.
(She shows it to Emma who is just as excited.)
EMMA: I love going to the pictures.
(Ianto leaves them to check on John who has picked up a PEACH magazine off the rack.
He’s simply horrified.)
JOHN: Good God.
IANTO: (deadpans) Welcome to the wonderful world of scantily-dressed celebrities.
(Emma reads the make-up label.)
EMMA: "Super Excel Waterproof Luscious Lashes Mascara". I've got to have
that.
(John can’t believe it.)
JOHN: There's children around.
(Ianto nods to the woman in her bra on the cover.)
IANTO: She's a children's TV presenter.
(John puts the magazine back on the rack.)
(Emma eagerly appears next to Ianto as the cashier checks out her items.)
IANTO: So you like the musicals?
EMMA: My best friend, Kate, and I saw Calamity Jane five times. I've got the LP.
(Emma reaches over and takes a plastic bag, eager to look and examine it. Ianto goes to
check on John who is packing the items being checked out into the bags.)
(Diane walks up to him. She’s carrying a pack of cigarettes and looks worried.)
IANTO: You all right?
(She shows him the front of the cigarettes. It has a warning: SMOKING KILLS.)
DIANE: What does that mean?
CUT TO:
EXT. MILLENNIUM STADIUM – DAY
(The car parks outside the stadium. The passenger door opens.)
JOHN: I'm just going to take a look at the stadium. You girls stick together now.
I'll be back for supper.
(He exits the car. Ianto drives away leaving John standing in front of the stadium. He
pauses a moment and turns, walking away from the stadium.)
CUT TO:
EXT. HOUSE – DAY
(John stands outside a boarded up house. He stops a man walking by.)
JOHN: Excuse me. Do you know a man called Alan Ellis? He used to live here.
MAN: No, sorry, mate.
(The man walks away.)
CUT TO:
INT. BOARDING HOUSE – KITCHEN – DAY
(Emma tears the tea bags open and dumps the leaves in the teapot while Diane opens and
closes the microwave oven door.)
DIANE: I'm going to check on the plane this afternoon. Want to come?
EMMA: I'm going to watch this. (She lifts up the DVD.) And maybe make some paper
chains.
DIANE: Wonder what work I can get in aviation.
EMMA: I'm going to have to find a husband.
(The door opens and two women walk in.)
(Emma steps aside as Alesha picks up two mugs. She makes tea.)
ALESHA: All right? I'm Alesha, this is Jade.
JADE: (waves) All right.
EMMA: I'm Emma.
DIANE: Diane. Excuse me, have to get ready.
(Diane stops as Alesha throws the tea bags into the cups and pours the water over them.
She’s simply amazed. She turns and looks at Emma, then she leaves the room.)
(Alesha glances at Emma.)
ALESHA: Where do you get those shoes? They're lush.
EMMA: (hesitant) Thanks.
(Emma glances at her shoes.)
INT. HANGAR – DAY
(Diane and Owen walk into the hangar. Diane’s face lights up at the sight of her
plane.)
DIANE: Hello, old girl, do you miss me?
(Diane opens the plane door and takes out a stick which she gives to Owen to hold.)
OWEN: I've been reading up on you. England to Australia in four days, 1952, that is
impressive.
(She hands him a cloth and takes the stick.)
DIANE: Yeah, terrible wind across the Bengal Bay.
OWEN: (jokes) Something you ate?
(She doesn’t smile at the joke. She uses the stick to test the level of fuel in her
engine.)
OWEN: So, how did you get into this?
(She takes the stick out and wipes it with the cloth.)
DIANE: Ferried planes during the war. Of course, when it was over, we were supposed
to revert to being dutiful wives and daughters. But I'd got the taste for it. No
pig-headed man tells me what to do.
(She puts the stick back in the plane.)
OWEN: Ah. (reads) "Sky Gipsy"?
DIANE: (proud) After the engine. The de Havilland Gipsy Six - a work of genius.
Tuned with a higher compression ratio to squeeze far more energy from its fuel mixture.
Can I take her up?
OWEN: No, you could get arrested. (Diane’s smile falls.) You haven't got a
license.
DIANE: But I ... (He shakes his head.) Bugger, it's no longer valid.
OWEN: I guess I'm just another pig-headed man telling you what to do.
DIANE: Well, you'd better make it up to me. I want to learn all about this new
world.
CUT TO:
INT. PUB – DAY
(Jack and John Ellis share a drink. John is having a beer while Jack is drinking water.)
(As he talks, John takes out his pipe and starts packing it to smoke.)
JOHN: Blackpool were 3-1 down, then Stanley Matthews worked his magic - scored two
goals in the last 20 minutes. Bolton lost 4-3. My boy was on his knees, punching the air
... the FA cup final live in my own living room. I charged the lads a shilling each to
come and watch.
JACK: Ever the business man, eh, John?
JOHN: That's an American accent, isn't it?
JACK: That's right.
(John lights his pipe.)
JOHN: So how did you end up here, doing whatever it is that you do?
(Jack smiles at the thought.)
JACK: It's a long story.
JOHN: I'm a slow drinker. You know everything about me. What's the problem?
JACK: Gets kinda complicated.
JOHN: What, did you fall through time too?
JACK: Yeah, you could say that.
(They clink their glasses and drink. John lights another match. The bartender goes up to
him.)
BARTENDER: Sorry, mate, you can't smoke in here.
(John blows out his match.)
CUT TO:
INT. BOARDING HOUSE – DAY
(Jade helps Emma put up the paper chain on the entryway while Alesha sits on the couch
making more paper chains.)
EMMA: What are you doing Christmas Eve? We could go carol singing.
(Jade laughs.)
JADE: I’m sorry, luv. I'll be getting hammered.
EMMA: Where are your families?
JADE: No idea.
ALESHA: We grew up in care.
EMMA: Like a children's home?
(Jade and Alesha nod.)
EMMA: I haven't got anyone else either.
JADE: What happened to you?
EMMA: My parents are dead, so I came down here to start afresh.
ALESHA: So they didn't leave you a house or anything?
EMMA: (shakes her head) No. I've got nothing.
ALESHA: Were you close to them?
(Emma turns and looks away.)
EMMA: Yes. I loved them very much.
(Emma’s on the verge of crying. Jade sees her distress and quickly picks up a can of
beer for her. She offers it to Emma.)
(Emma takes a drink and its painfully obvious that its her first taste of beer. She
smiles. Jade laughs.)
CUT TO:
INT. PUB – DAY
(Jack and John put their coats on as they get ready to leave.)
JOHN: Must have been an awful Christmas for them, thinking I'd drowned.
(They head for the door.)
JOHN: I just want to know what kind of life he had, my son. He might have kids. I
could be passing my own flesh and blood in the street. Find him, Jack, he's all I've got
left.
(John turns and walks out. Jack watches him.)
CUT TO:
INT. CHINESE RESTAURANT – DAY
(The hostess shows Owen and Diane to their table. Owen sits down. Diane stands by her
chair waiting for him.)
OWEN: What?
DIANE: I'm waiting for you to pull out my chair.
OWEN: Let me get this straight. You expect equality AND chivalry?
DIANE: I don't see why they should be mutually exclusive.
OWEN: Well, if it makes you happy. (Owen gets up and pulls out her chair for her.)
Your chair, ma'am.
(Diane sits down.)
DIANE: Thank you.
(Owen sits down. Diane takes out a cigarette. Owen lights it for her.)
DIANE: So what other strides have women made?
OWEN: Well, on the strange but true, how about this, you don't have to have sex to
have kids any more.
DIANE: What?
(Owen laughs and nods.)
DIANE: How come?
OWEN: Get yourself inseminated, with a sort of syringe, cheery little process.
Seriously, men donate sperm anonymously. A little shuffle into a pot at a sperm bank. And
they say romance is dead.
DIANE: Oh, come on, I wasn't born yesterday.
OWEN: No, but for a bird who's going on ninety you look pretty hot.
(Diane smiles.)
INT. BOARDING HOUSE – NIGHT
(Emma, Jade and Alesha are on the couch drinking beer.)
EMMA: What was your favorite song?
JADE: Well, it's hard to say.
EMMA: I know what mine was.
(She gets up and starts singing "Just Blew in From the Windy City" from Calamity
Jane. Jade and Alesha start laughing.)
(She turns and stops. John’s standing there.)
JOHN: What do you think you're playing at? I thought I could trust you to behave.
(Jade and Alesha stop laughing.)
INT. CHINESE RESTAURANT LOBBY – NIGHT
(Owen helps Diane with her coat.)
OWEN: Where do you want to go now?
DIANE: Well, I'm in your hands.
OWEN: Well, we could go back to mine. You could read up about yourself on the net.
(She gives him a look.)
OWEN: That sounds like a line. It's not a line, I'm not chatting you up. (rambling)
Not because I don't think you're attractive, but because I wouldn't want you to think I
was taking advantage of you.
DIANE: Got any Scotch?
CUT TO:
INT. APARTMENT – NIGHT
(Gwen is in the apartment with John and Emma.)
JOHN: I don't see why she got you involved.
GWEN: She was upset.
(John is setting the table.)
JOHN: She was drinking.
EMMA: I only had half a glass.
JOHN: Enough to make a show of yourself.
(John takes out two dinner plates.)
JOHN: We're not meant to draw attention to ourselves. We're not the same as them.
We can't trust anyone.
GWEN: Will you be okay now, Emma?
(John sits down at the head of the table.)
JOHN: Don't worry, I won't let her out of my sight again.
EMMA: I don't like liver.
JOHN: Sit down, young lady, and be grateful for what you're given.
(John folds his hands to say grace.)
EMMA: And why should I listen to you? Only my dad gets to talk to me like that ...
and I'm never going to see him again, am I? (She starts to cry.) Or my mum, or my best
friend, or my dog and I miss them ... and I hate this filthy, stinking place!
(Emma runs out of the room.)
JOHN: I never had this sort of trouble with my son.
(Gwen goes to find Emma.)
CUT TO:
INT. OWEN’S PLACE – BEDROOM -- NIGHT
(Owen shoves his stuff under the couch, trying to clean up the room.)
OWEN: Woman have been to space too, y'know. You've got a lot of catching up to do.
(Diane steps into the doorway. The other room is painfully bare of any other furniture
except for a chair and lamp.)
DIANE: Do you have a girlfriend?
OWEN: No.
(Owen pours the scotch into two glasses.)
DIANE: So who do all those beauty products belong to?
OWEN: Uh, me, actually.
DIANE: No?
(Owen laughs.)
OWEN: Oi, real men can moisturize too, you know.
(Owen gives Diane her glass. She takes it and looks around the room.)
DIANE: It's not very homely here.
OWEN: No, I'm not here that much. It doesn't seem worth the effort.
(Diane puts her drink down and takes out another cigarette. Owen watches her light up.)
OWEN: You smoke too much.
DIANE: So I gather.
(Diane leans against the window.)
DIANE: Amelia Earhart ... she disappeared in 1932. Do you think she's still out
there somewhere?
OWEN: No, doubt it. One in a zillion chance, you ending up here.
DIANE: A whole new world.
(Owen walks up to her.)
OWEN: Oh, it's not so bad, once you get used to it. I reckon you'll fit in just
fine.
(Diane turns and looks at Owen.)
DIANE: I'm glad you haven't got a girlfriend.
OWEN: Me too.
INT. GWEN’S PLACE – NIGHT
(Gwen turns off the light. She turns and looks back at Emma who is sleeping on the couch.)
(She turns the top light off and heads into the bedroom.)
INT. OWEN’S PLACE – BEDROOM -- NIGHT
(Owen rolls off Diane. They’re panting and sweaty and holding hands.)
OWEN: I take it that wasn't your first time?
DIANE: I had a lover. He was married.
OWEN: And you didn't care?
DIANE: Well, I was free to do what I liked and I didn't have to cook and clean for
him. It suited me. I'm not exactly marriage material.
OWEN: I always thought the '50s were uptight, sexually repressed and ...
(Diane laughs.)
DIANE: You didn't invent it, you know.
OWEN: Oh?! (He looks at her.) Can we do it again?
DIANE: Don't see why not.
OWEN: We could have an affair. (He takes her hand.) We could be fuck buddies.
DIANE: What's a fuck buddy?
OWEN: It's, um, it's a friend that you have casual sex with.
DIANE: There's nothing casual about what we just did.
OWEN: Oh, no, no, I didn't mean that.
DIANE: Sex shouldn't be devalued.
(Diane sticks her hand under the covers and Owen gasps.)
DIANE: Both parties should give it 100% concentration. Because when you take off
together ...
(They move in closer and closer together.)
DIANE: (softly) It's the next best thing to flying.
CUT TO:
EXT. CARDIFF CITY (STOCK) – MORNING
(Aerial view of the city.)
INT. GWEN’S PLACE – LIVING ROOM -- MORNING
(Rhys is naked and moving about in the kitchen completely unaware that Emma is on the
couch just waking up.)
(He opens the refrigerator and moves into the living room.)
(Emma opens her eyes and screams! Rhys quickly covers himself, just as surprised to see
her.)
INT. GWEN’S PLACE – KITCHEN – MORNING
(Emma and Rhys are in their robes while Gwen explains Emma’s presence in the flat.
She pours them coffee.)
GWEN: Emma is my auntie's step-daughter. She meant to spend Christmas in Cardiff
with a friend but they had this awful argument last night and she rang me. Got my number
from Mum. The thing is, she doesn't really want to go back home so I thought ... I thought
maybe, she could stay with us. We've got a lot to catch up on.
RHYS: For Christmas?
(Standing behind Emma, Gwen quickly mouths and motions to Rhys. She stops when Emma turns
to look at her.)
RHYS: I'd better get a bigger turkey.
EMMA: Thanks.
GWEN: Aww! (Gwen kisses Rhys.) This is my long-suffering boyfriend. He lives here.
EMMA: Don't your parents mind?
GWEN: Emma's parents are a bit religious.
RHYS: Oh, better not tell them you saw my morning glory then, eh?
(Rhys laughs and leaves the room. Gwen laughs, too. As soon as he’s gone, she
explains it to Emma.)
GWEN: The thing is I couldn't tell him your parents were dead. He'd ask too many
questions. The thing is, he doesn't know exactly what I do.
(Emma nods. Gwen motions for Emma to keep her mouth shut. Gwen leaves the room quickly.
Emma is left standing there.)
CUT TO:
INT. TORCHWOOD – WORKSTATIONS – DAY
(Gwen talks with Jack.)
GWEN: We can't expect John and Diane to look after her. They're strangers. I had to
take her in. Diane didn't even come home last night.
(Owen walks past.)
OWEN: Uh, I think she was in a B&B. I'll take her job-hunting later.
(He sits down at his workstation. Gwen leaves. Toshiko walks up to Jack.)
TOSHIKO: Jack, John's son. I think I've found him.
CUT TO:
INT. NURSING HOME – DAY
(The nurse leads John into the recreation room.)
NURSE: Come and meet Alan. Though I'm not sure how much help he'll be to you.
(John pauses in the doorway when he sees the old man sitting in the chair. The nurse walks
up to Alan.)
NURSE: Alan, there's someone here to see you. He's a nephew on your father's side.
He's been tracking down the family history.
(He looks at the nurse.)
ALAN ELLIS: Is Sally coming?
(The nurse puts a hand on his shoulder. She turns to John.)
NURSE: (quietly) Sally's his wife. She passed away a while back. Sorry, this isn't
one of his better days.
JOHN: What's wrong with him?
NURSE: Alzheimer's.
JOHN: What's that?
NURSE: He's senile. He doesn't remember who he is most of the time. Couldn't live
at home any more. He'd leave hobs on, forget to dress, you know. He never had any children
so there was no-one there to look after him.
(John cries.)
SHORT TIME CUT TO:
(John shows Alan some photos.)
JOHN: That's you and your dad playing footie out the back.
(Alan doesn’t look at the pictures. He stares out in front of him. John shows him
another photo.)
JOHN: That's your dad and your mum and your new television set.
(The nurse comes by with a pitcher of water.)
ALAN ELLIS: When can I go home?
NURSE: (o.s.) You're not well enough, love.
ALAN ELLIS: I don't like it here. They took my clothes.
NURSE: I'll have a word, they're probably in the wash. (to John) Keeps me going,
this one.
(The nurse starts to leave.)
JOHN ELLIS: What did he do, for a living? Was he in retail?
NURSE: I think he was a fireman.
(She leaves. John turns to Alan.)
JOHN: That's what I did. In the war.
(Alan doesn’t respond.)
CUT TO:
EXT. AIRPORT -- DAY
(Owen and Diane walk out to a small plane.)
DIANE: £60 for half an hour!
OWEN: No worries. I'll pay.
DIANE: A Cessna! Oh, it's my first plane. I bought one after the war, they've
hardly changed. Dream to fly.
OWEN: We'll soon get you back behind the ... throttle.
DIANE: Thanks, Owen.
(She kisses him.)
INT. NURSING HOME -- DAY
(John continues to talk with Alan. Alan turns to look at him.)
JOHN: Matthews did three set-ups in 20 minutes, then Bill Perry cracked home the
winner. You said he had wings on his feet and that's why he was called a winger. You used
to say clever things like that.
ALAN ELLIS: Blackpool won.
JOHN: Yes! Alan, it's me, your dad. I bought you that football annual you wanted
for Christmas, Alan. It was in my desk drawer. (Alan doesn’t respond.) Alan, please
...
NURSE: Everything all right?
JOHN: He remembered who won the FA Cup final when he was a boy.
NURSE: He sometimes remembers snippets from his childhood. It's quite common with
dementia.
JOHN: When's Dad coming, Mum?
NURSE: I'm not your mum, love.
(Crying, John puts his hand on Alan’s.)
JOHN: Alan?
(Alan turns to look at him.)
ALAN ELLIS: Who are you?
(John cries.)
CUT TO:
INT. TORCHWOOD – WORKSTATIONS – DAY
(Jack is sitting on the sofa, looking at a photo of John Ellis.)
JACK: John's witnessing the end of his world, the end of his line. And we can't
help.
(He puts the photo down with the other two of Diane and Emma. Toshiko listens quietly.)
JACK: There's no puzzle to solve, no enemy to fight ... just three lost people who
have somehow become our responsibility.
(Jack sighs and leans back on the sofa.)
CUT TO:
EXT. AIRPORT – DAY
(Owen and Diane talk with the Pilot.)
PILOT: Best I can do is Friday 29th, three o'clock.
OWEN: Can't you take her up today?
PILOT: Fully booked.
DIANE: It's all right, I've flown for years. I can go on my own.
PILOT: Not without a license, sorry.
OWEN: Maybe you could cancel someone? We'll pay extra.
PILOT: I couldn't do that do my regulars.
(It’s obvious the pilot’s not going to change his mind.)
DIANE: (interrupts) Look, it's fine. Book me in for the 29th. It's Diane Holmes.
SHORT TIME CUT TO:
(Owen and Diane walk past the planes. She’s crying and trying to hide how upset she
is.)
OWEN: Diane, I'm really sorry. I should have called ahead.
DIANE: Oh, for goodness' sake, this is so silly. It's just I was really looking
forward ... (She sighs.) Ignore me. Let's get out of here.
(She heads out. Owen follows her.)
CUT TO:
EXT. CARDIFF CITY (STOCK) – NIGHT
(Aerial views of Cardiff at night.)
INT. CLUB – NIGHT
(Emma stands in the club, painfully out of place on the dance floor.)
(Gwen and Rhys take their drinks and sit at a table.)
GWEN: Do you think she'll be all right though? I don't think she's even had a
proper boyfriend.
RHYS: Stop fussing. She'll be fine, man.
(Gwen turns and kisses Rhys. Emma is dancing with someone.)
RHYS: What was that for?
GWEN: For putting up with me.
RHYS: I deserve a lot more for doing that.
(She kisses Rhys again. Gwen turns and waves to Emma. Emma waves back.)
(Gwen turns and talks softly to Rhys then kisses him.)
(Emma looks at her dance partner and nods. They step off the dance floor.)
(CUT TO: Gwen looks for Emma. She walks through the dancers on the floor and finds Emma
and her partner off in a quiet corner kissing.)
GWEN: Oi! Hands off!
(She charges over to them and pulls the boy off Emma. Rhys, who is standing behind Gwen,
pushes the boy back toward the dance floor.)
RHYS: Go back to your friends, good boy.
(Gwen glares at Emma.)
GWEN: What are you playing at?
EMMA: I wouldn't let him do anything.
GWEN: You might not have had much choice.
RHYS: (surprised) Gwen, you're over-reacting.
EMMA: I was just having a kiss and a cuddle.
(Gwen sighs and sits down.)
GWEN: He was after a lot more than that.
(Emma doesn’t understand.)
INT. GWEN’S FLAT -- NIGHT
(Gwen lets Emma look at a MISS E magazine. The article reads, "10 Steam It Up Sex
Moves to Drive Him Wild." There are suggestive photos with the write-ups.)
EMMA: This is ... disgusting.
(Gwen and Emma sit at the table.)
GWEN: I just want you to know that people are more sexually aware these days. Then
maybe you'll be more careful.
EMMA: Mum said that no man wants to marry soiled goods.
GWEN: Attitudes have changed. As long as it's safe and between two consenting
adults, no-one cares.
EMMA: So ... how many men have you done it with?
GWEN: A few.
EMMA: Oh. Were you in love with all of them?
GWEN: No. Sex can just be about having a good time together. If you're in the right
mood, with the right guy, it's the best, no big deal.
EMMA: So if I meet a boy and we get on, and he wants sex, then you think I should
let him?
GWEN: No, no, that's not what I said.
EMMA: What are you saying?
GWEN: Sex ... is nothing to be ashamed of. And as for you, well, your first time
should be with someone special.
EMMA: Do you wish you'd waited for Rhys? He's your special someone, isn't he?
GWEN: Yes ... Yes, I suppose.
EMMA: And I bet sex with him is better than with the others.
GWEN: Well ...
EMMA: I will wait for Mr. Right, I think. I'm really not the kind of girl who
sleeps around. I'm going to brush my teeth. Thanks for the chat.
(Emma gets up and leaves.)
GWEN: Not a problem.
CUT TO:
INT. OWEN’S FLAT -- DAY
(The door opens and Owen walks in carrying a red shopping bag. He finds Diane trying to
work Owen’s laptop.)
OWEN: Leave it.
DIANE: (frustrated) I can't if I want to fly a jet plane, because that's all flying
is now - pressing buttons.
(Owen takes his jacket off and puts it on the chair.)
DIANE: You used to have to know how to fix an engine, how to gauge the wind but ...
(Owen closes the laptop.)
OWEN: Leave it. Open this.
(He holds out the red shopping bag. Diane’s face lights up. She takes out a red
dress.)
DIANE: Oh! It's beautiful.
(She looks at him and kisses him.)
CUT TO:
INT. GWEN’S FLAT – KITCHEN – DAY
(Gwen is pouring herself something to drink. Emma walks into the room, a smile on her
face.)
GWEN: Well, how did it go?
EMMA: This coat I'm wearing is their latest fashion, '50s inspired. They offered me
a job on the spot!
(The girls squeal and hug.)
GWEN: Oh, that's brilliant. Oh!
(Gwen turns back to the kitchen.)
GWEN: Now we need to find you a flat near here.
EMMA: The shop's in a new branch in London. I've always dreamt about working in a
London fashion house.
(Gwen’s smile fades.)
EMMA: (excited) They open the day after Boxing Day. I'll be a shop girl and a
trainee buyer. I can house share. They've given me numbers.
GWEN: London's a big city.
EMMA: That's what my mum used to say.
GWEN: There's no rush.
EMMA: There's nothing to keep me here.
GWEN: I'm sure we can find you something in Cardiff. You keep looking.
(Gwen and Emma clink glasses. Emma drinks, but the light and excitement in her eyes are
guarded now.)
CUT TO:
INT. TORCHWOOD FRONT SHOP – DAY
(The passageway door opens. John and Jack step out into the shop.)
JOHN: Need to make a plan, get work, get my driving license.
JACK: It will all help.
JOHN: Thanks, Jack.
(They shake hands. Jack turns and heads back into the passageway. John sighs and goes
behind the counter to look for something. He finds some keys and puts them in his pocket.)
(Ianto steps out from the back. John stops and looks at him.)
JOHN: Uh, I was looking for a bus timetable. Want to get out to the DIY stores, see
if there's any work going.
(Ianto looks on the counter and hands John the bus schedule. The wall clock behind him
reads: 3:40.)
IANTO: Best of luck!
(John takes the schedule.)
JOHN: Thank you.
(He turns and leaves.)
CUT TO:
EXT. ROOFTOP PARKING – NIGHT
(Owen parks the car, license #R006 ZKS.)
DIANE: Where are you taking me?
OWEN: We're here.
(Diane smiles. Owen heads for the back of the car.)
OWEN: Bear with me.
CUT TO:
INT. GWEN’S FLAT – LIVING ROOM – NIGHT
(Rhys sits on the couch. He’s thoughtful and waiting for Gwen to come home.)
GWEN: We have had such a girly day shopping.
(Gwen sits down on the couch. Emma is in the kitchen. Gwen kisses Rhys on the cheek and
notices that something’s wrong.)
GWEN: What's up?
RHYS: Your mum rang. Funny thing, she's no idea who Emma is.
(Emma stops. Gwen and Emma glance at each other. Gwen looks at Rhys. It’s obvious
she’s lying.)
GWEN: No?
RHYS: And I'm thinking back to you and me on the couch ... Work calls, you go out
in the middle of the night and come back with a surprise relative. So, let's have it, who
exactly is Pollyanna?
(Gwen doesn’t say anything.)
RHYS: Ah, is it to do with work?
GWEN: It's so hard to explain.
RHYS: Do you even know her?
(Gwen shakes her head.)
GWEN: She was lost. I'm sorry.
RHYS: What worries me is how easy it is for you to lie to me.
(Rhys gets up. Emma interrupts his leaving.)
EMMA: It's my fault. I'll leave by tomorrow.
(Gwen gets up.)
GWEN: (to Emma) You don't have to go. (to Rhys) She's 18 years old. I couldn't turn
my back on her.
(Rhys leaves.)
LATER:
(Gwen and Emma sit in front of the Christmas tree.)
GWEN: It's like two separate worlds - there's Torchwood, and then there's real
life.
EMMA: That's why you've got to let me go.
(Gwen turns and looks at Emma.)
CUT TO:
EXT. ROOFTOP PARKING – NIGHT
(Owen pours two glasses of champagne. He gives Diane one glass.)
OWEN: I, er, couldn't help noticing you standing out here in that beautiful dress.
DIANE: This beautiful dress is a gift from my lover.
OWEN: Then he is a fool to let you go out in it alone.
(They share a smile.)
DIANE: What shall we drink to?
OWEN: Chance meetings.
(They clink glasses and sip.)
SHORT TIME CUT TO:
(Owen puts the music on and holds out his hand. He kisses the back of her hand and they
dance.)
(They pause to look at the full moon. Diane feels a chill. Owen takes his jacket off and
drapes it over her shoulders.)
DIANE: Let's go home.
CUT TO:
INT. OWEN’S FLAT – NIGHT
(Diane and Owen are kissing passionately.)
CUT TO:
INT. TORCHWOOD – JACK’S OFFICE – NIGHT
(Jack climbs out of his hole into his office. The phone rings. He answers it.)
JACK: (to phone) Hello?
INTERCUT WITH:
INT. TORCHWOOD – COVER STORE
(Ianto is on the phone and kneeling behind the counter. He’s looking for something.)
IANTO: My car keys are missing. John was behind the counter earlier on and I can't
get hold of him.
CUT TO:
(Jack is on the computers using the GPS system to locate Ianto’s car. Ianto watches
behind him. The red dot on the map stops.)
JACK: He's gone home.
(Jack gets up and runs. Ianto holds his jacket out for him. Jack grabs his jacket on his
way out the door.)
CUT TO:
EXT. ROAD (STOCK) – NIGHT
(The Torchwood SUV speeds along the road.)
INT. SUV (TRAVELING) -- NIGHT
(Jack is driving.)
EXT. OLD ELLIS HOME – NIGHT
(The SUV parks outside the building. Jack gets out of the SUV. He opens his wrist band and
uses it as a detector to find John. He heads for the old closed-up building.)
(Jack raps on the building door.)
JACK: John!
(There’s no answer.)
(Jack goes back to his wrist band to find John.)
(He runs around the back of the building and sees the garage door.)
INT. OLD ELLIS HOME – GARAGE -- NIGHT
(John is sitting in the car with the engine running. The garage fills with exhaust fumes.
Jack opens the garage door and sees what he’s trying to do.)
JACK: John!
(Jack runs to the car and pulls the tubing from the window. He opens the car door and
grabs John. He pulls John out of the car.)
JOHN: Let me go!
JACK: You can't just throw it away, not without trying.
JOHN: I'm not as strong as you. You don't understand.
JACK: I do. I was born in the future. Lived in your past. My time is gone too.
JOHN: Why are you doing this? Speaking to me in bloody riddles, keeping me here
when my wife is dead, my son is a shell.
JACK: John, you're still young. You can get work, make friends, start a family.
JOHN: I did all that, Jack. Years ago. When I was meant to.
CUT TO:
INT. OWEN’S FLAT – NIGHT
(Owen and Diane are in bed.)
INT. OLD ELLIS HOME – GARAGE -- NIGHT
(Jack and John stand on opposite sides of the car.)
JACK: I wish I could say something.
JOHN: There's nothing to say or do.
JACK: I can't leave you here.
JOHN: Then we'll wait. The sun will rise, we'll have some breakfast, take a walk.
JACK: Yes. A new day.
JOHN: And I'll suffer it all and smile and wag my tail. And then, as soon as your
back is turned, I'll make sure I do it properly. Because I want to die.
JACK: You don't get reunited, John. It just goes black.
JOHN: How do you know?
JACK: I died once.
JOHN: Who are you?
JACK: A man, like you, out of his time, alone and scared.
JOHN: How do you cope?
JACK: It's just bearable. It has to be. I don't have a choice.
JOHN: But I do. If you want to help me, let me go with some dignity. Don't condemn
me to live.
JACK: Are you scared?
JOHN: Yes.
(We hold on Jack.)
CUT TO:
INT. OWEN’S FLAT – NIGHT
(Owen and Diane are together in bed.)
DIANE: You're very quiet.
OWEN: I don't know if I can do this anymore. This isn't how it works for me. I've
slept with enough women, I've done the fuck buddies thing. This is not it. I can't
concentrate. All I see is you, all I can think about is what you're wearing, what you're
thinking, what your face looks like when you come. It's been, what, a week? And it's like,
I don’t know, when I'm not with you, um, I'm out of focus. How have you done this to
me? I'm scared. I'm fucking scared.
DIANE: I love you too.
(They kiss.)
CUT TO:
INT. OLD ELLIS HOME – GARAGE -- NIGHT
(Jack holds John’s hand as they both sit in the car. The car is running as it fills
with exhaust fumes. John breathes in deeply as Jack watches him die.)
(His hand slips out of Jack’s grip.)
CUT TO:
INT. OWEN’S FLAT – NIGHT
(Diane watches Owen sleep.)
DIANE: The thing about love ... is that you're always at its mercy.
INT. OLD ELLIS HOME – GARAGE – EARLY MORNING
(John is dead behind the wheel. Jack is still alive and breathing in the seat next to
him.)
(He holds John’s lifeless hand. He puts it on John’s lap and holds it there for
a moment.)
(We hold on Jack.)
CUT TO:
EXT. CARDIFF CITY (STOCK) – DAY
(Aerial view of the city.)
INT. STATION – DAY
(Gwen walks with Emma. She checks Emma’s tickets.)
GWEN: Emma, these are your tickets, okay? On the back is your seat number, keep
this with you at all times. I've also got you a return just in case. Now, don't go talking
to any strangers and phone me as soon as you get there, okay?
CUT TO:
INT. OWEN’S FLAT – DAY
(Owen wakes up. Diane is gone. He finds a note on her pillow. He reads it.)
EXT. AIRPORT – DAY
(Diane is dressed to fly. She checks her plane as Owen’s car screeches to a stop in
front of her. She sees him and turns to head back to the plane.)
(Owen gets out of the car.)
OWEN: No! I'm not letting you do this.
DIANE: I'm not a possession, Owen.
OWEN: You can't do this, it's madness.
DIANE: If I listened to everyone who told me that, I wouldn't have broken any
records.
INT. BUS STATION – DAY
(The bus arrives. Emma is in line and Gwen really doesn’t want her to go. The
passengers start boarding.)
GWEN: You don't have to go.
EMMA: If I don't, then I'll always wonder what it's like. (excited) London, Gwen.
(Gwen hugs Emma.)
(She holds out Emma’s ticket to her.)
GWEN: Go on.
(Emma smiles and takes the ticket. Gwen nods for her to go. Emma nods. She turns and gets
on the bus.)
CUT TO:
EXT. AIRPORT -- DAY
(Diane does last minute checks on her plane.)
OWEN: You're not thinking straight, let's talk about it.
(Diane heads for the plane door and takes out a cloth.)
DIANE: No, I'm sorry.
OWEN: We can make this work. You belong here now, with me.
DIANE: I belong in the sky.
OWEN: Well, we can get you up in the sky. Soon you can fly whenever you want.
DIANE: Look, weather conditions are the same as the day we arrived. That rift will
open again, I can feel it.
(He grabs her arm.)
OWEN: Diane, listen to me, there is no way back. You cannot get home.
DIANE: Then it will take me somewhere new.
(She moves out of his grip and back to her plane.)
CUT TO:
EXT. BUS STATION – DAY
(The bus is leaving. Gwen and Emma wave to each other.)
GWEN: Merry Christmas!
(Emma nods and turns to look in front of her as the bus leaves.)
(Gwen watches the bus go and is left teary eyed in the bus station.)
EXT. AIRPORT – DAY
(Owen leans inside the plane.)
OWEN: I'll come with you.
DIANE: I fly solo, Owen. I go faster and further than others.
OWEN: We have no idea how this rift works. You can end up anywhere.
DIANE: That's the beauty of it.
OWEN: It's too dangerous!
DIANE: It's what I do.
(She reaches for the door. He stops her from closing it.)
OWEN: What about me?! Please, please, don't go.
(She takes off her scarf and puts it around Owen’s neck. She kisses him.)
DIANE: What memories I'm taking with me.
(Owen nods. He steps away and Diane closes the door.)
(The plane engine starts. Diane looks back at Owen and throws him a kiss. Owen steps away
from the plane.)
(The plane takes off down the runway leaving Owen there alone.)
CUT TO:
INT. OLD ELLIS HOME – GARAGE -- NIGHT
(Jack sits in the car and remembers John.)
VARIOUS CUTS OF:
* John in the room unpacking.
* John and Jack sharing a drink and stories in the pub.
* Jack holding John on the sidewalk as he cries.
(Jack puts his head back on the car seat headrest.)
CUT TO:
VARIOUS CUTS OF:
* Gwen and Emma rip open their presents in front of the Christmas tree like two little
girls.
* Emma waving bye to Gwen as the bus leaves.
GWEN: Merry Christmas.
(Gwen smiles and heads out.)
VARIOUS CUTS OF:
* Owen and Diane dance on the rooftop parking lot.
DIANE: (v.o.) Because when you take off together --
(CUT TO: Diane and Owen are in bed.)
DIANE: (v.o.) -- it's the next best thing to flying.
(CUT TO: Owen is out on the runway and watches the airplane take off.)
(We hold on the airplane flying away.)
FADE OUT TO WHITE
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
1X10: OUT OF TIME
ORIGINAL AIR DATE IN UK: 12/17/2006
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: CATHERINE TREGENNA
Directed by: ALICE TROUGHTON
==========================
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
KAI OWEN as Rhys Williams
LOUISE DELAMERE as Diane (Holmes)
MARK LEWIS JONES as John Ellis
OLIVIA HALLINAN as Emma (Louise Cowell)
SAM BEEZELY as Alan Ellis
MARION FENNER as Nurse
JANINE CARRINGTON as Alesha
RHEA BAILEY as Jade
ANDREW MacBEAN as Flying Instructor
CIARAN DOWD as Barman
Co-Producer: CHRIS CHIBNALL
1st Assistant Director: NICK RAE
2nd Assistant Director: LYNSEY MUIR
3rd Assistant Director: PAUL BENNETT
Location Manager: PAUL DAVIES
Unit Manager: GERAINT HAVARD-JONES
Production Co-Ordinator: CARMELINA PALUMBO
Production Secretary: MARGARITA FELICES
Script Secretaries: CLAIRE THOMAS / HELEN PUGSLEY
Accounts Assistants: DEBI GRIFFITHS / KATH BLACKMN / BETH BRITTON
Continuity: SUZANNA BINDING
Script Editor: BRIAN MINCHIN
Camera Operator: JENNY BUDD
Focus Puller: ALWYN HUGHES
Camera Assistant: STEVE DAVIES
Grip: DAI HOPKINS
Boom Operator: KEVIN STAPLES
Gaffer: MICKEY REEVES
Best Boy: LLYR EVANS
Chief Super Art Director: STEPHEN NICHOLAS
Supervising Art Director: KEITH DUNNE
Designer: PENNY HARVEY
Assistant Art Director: NADIA DAND
Art Dept. Prod. Manager: JONATHAN ALLISON
Art Dept Ops Manager: ADRIAN ANSCOMBE
Art Dept Co-ordinator: MATTHEW NORTH
Design Assistants: BEN AUSTIN / AL ROBERTS
Story Board Artist: SHAUN WILLIAMS
Standby Art Director: JON HOWES
Standby Props: ANDY HARRIS
Standby Carpenter: WILL POPE
Standby Rigger: KEITH FREEMAN
Standby Painter: JULIA CHALLIS
Property Master: STUART WOODDISSE
Props Buyer: BLAANID MADDRELL
Props Chargehand: DEWI THOMAS
Fabrication Manager: BARRY JONES
Prop Makers: PENNY HOWARTH / NICK ROBATTO / MARK CORDORY
Construction Manager: MATTHEW HYWEL-DAVIES
Construction Chargehand: SCOTT FISHER
Costume Supervisor: BOBBY PEACH
Costume Assistants: MAIRE JONES / MARIA FRANCHI / SARA MORGAN
Make-up Supervisor: CLAIRE PRITCHARD
Makek-up Assistants: SARAH ASTLEY-HUGHES / KATE ROBERTS
Casting Associates: ANY BRIERLEY / KIRSTY ROBERTSON
Assistant Editor: MATT MULLINS
Post Prod Supervisors: HELEN VALLIS / CHRIS BLATCHFORD
Post Prod Co-ordinator: MARIE BROWN
On-line Editors: JON EVERETT / MATTHEW CLARKE
Colourist: MICK VINCENT
Dubbing Mixer: TIM RICKETTS
Sound Supervisor: 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: DAVE BAUMBER
Costume Designer: RAY HOLMAN
Make-up Designer: MARIE DORIS
Music: MURRAY GOLD / BEN FOSTER
Production Manager: CATRIN LEWIS DEFIS
Editor: BOBBY SHEIKH
Production Designer: EDWARD THOMAS
Director of Photography: RAY ORTON
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:04/11/2007~lky
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