Doctor Who and Related Transcripts

Torchwood transcripts - series 2

Episode 12: Fragments

Go here for the main Torchwood page.

Episode transcribed by beccaelizabeth (e-mail address beccaelizabeth @ yahoo.com ) of the Torchwood Transcripts LiveJournal community as follows.
Transcript hosted at beccaelizabeth.livejournal.com/1391340.html (link valid on 11 March 2010).

Oddly enough, having every word of the episode written out means that here be SPOILERS. A lot.

Disclaimer: We all know this belongs to the BBC, the very nice people who make pretty guys kiss for us. I pay my licence fee but that don't mean I own any of it. So clearly I'm pretty much hoping they don't mind. But it's not like anyone will be reading these things and not watching, right? Everyone can go watch on the website. But we'll be buying the DVDs and everything. Yes? Yes.

Key:
LOCATION
(stage directions)
emphasis
NAME: of who is saying this bit here
'this is when they're on comms' (or being telepaths, or possibly thinking, not seen to talk)
#singing.#
stuff I added that wasn't in the subtitles
~~stuff on subtitles but I didn't hear it~~
*action* like in chat, or a *sound effect*.
between // and // they're talking over each other, same time.

If that all looks a bit complicated please to be coming up with something simpler.

Torchwood 2-12 Fragments

opening credits

JACK: (voiceover)

Torchwood.
Outside the Government, beyond the police.
Fighting for the future on behalf of the human race.
The 21st century is when everything changes...
And Torchwood is ready.

EXT DAY outside a building
(We get a long arty moment where only a particularly spiky bit of plant life is in focus, leading us to wonder if we're meant to draw anything symbolic for this or if the director just got tired of the SUV. Then the SUV pulls up, all black and wheely. Doors open, people get out, we get closeups of feet and then hands with guns. Team Torchwood, minus one, do the power walk, four of them in a line with Jack forward, Ianto, Jack, Owen, and Tosh. Ianto and Jack framed as a pair, Owen and Tosh likewise. Ianto has a cellphone. Tosh has her blue box of knowing things. Owen has a bandaged left hand.)

IANTO: Gwen, we've texted you the location, we're querying four or five signs of life, definitely non-human. Get here as soon as you can.
OWEN: So, sure they're not Weevils? (He's looking to Jack, but that's not who answers.)
TOSH: Don't think so, different energy patterns, can't make sense of it. Not a species we've encountered before.
OWEN: Well Let's hope they're friendly then.
JACK: Owen, Ianto, take the other side of the building, check the upper floors. (They jog off in front.) Toshiko with me.

INT DAY inside a building
(Yes, watch me get real specific with the settings. Okay, watch Jack and Tosh explore the building, it's more fun. Actually, they're being tense and action-hero here. They aren't just wandering around. Jack has his gun out, Aimed... not quite right at the camera. Tosh, similarly armed, aiming off to the sides. There's pillars obscuring our view so we get a sense of both a very large space and a closed in one. Anything could be in here. Jack and Tosh have their backs to the pillars, look to each other to check.)

JACK: OK? Go!
(They move around quickly. Pillars, actually more like small brick walls, obscure the view for a moment. Then we're out the other side, and Jack and Tosh are doing the point and worry with a new set of windows lighting them. Tosh pays more attention to her blue box.)
TOSH: I'm getting mirror readings on both floors. (Now Tosh is aiming at the camera, while Jack aims the other way.) One creature at either end of the building.
JACK: Toshiko, split up.

(Elsewhere in the same building – same light, same walls – Owen and Ianto are exploring, also armed and tense. We see the walls blocking their view too, see them behind them through gaps.)

JACK: Y'know, these creatures are very quiet.
OWEN: Maybe they're sleeping.
IANTO: Or hatching.
TOSH: (Sees the camera... er, sees something that grabs her full attention, while looking into and aiming at the camera.) Or maybe they aren't creatures at all. (Pan down, reveal little silvery box.)
(Jack swings around a wall to see something on the floor too. Aims at it then looks up with face of oh-hell.)
JACK: Just explosive devices.
IANTO: (Seen looking down and reacting to another silver box. He closes his eyes.)
OWEN: (Swings around wall, and sees...) Snap.
(Countdown reaches 01, one last glimpse of Jack face, then)
(*BOOM*)
(I think they just blew the other half of the season pyrotechnics budget. The building went boom real good. Cut to)

Opening credits

INT DAY Gwen's bedroom
(Start with medium close view of her phone, glowing and making see-me noises. Longer shot of her and Rhys stretched out in bed with the sun shining in. Then close on Gwen as she suddenly wakes up, scruffy and quite likely naked under the sheets.)

GWEN: Shit.
PHONE: 'You have one message.'
IANTO: 'Gwen, we've texted you the location, we're querying four or five signs of life // definitely not human.'
GWEN: Shit.

INT DAY Building gone boom
(Slow track through the rubble, lots of clattering and things falling down. Long shot of Jack, start a slow zoom in while stuff falls down, then cut to close up of him lying in the rubble rather squished.)

1,392 deaths earlier
EXT DAY an alley, long ago
(Close up of Jack... with sideburns. He wakes up with the back to life gasp and starts yelling.)

JACK: Oh, not again.
(There's some nearly screaming as he looks down and finds a green glass bottle sticking out of a messy blood soaked stomach. He's dressed in white shirt and braces under a grey long coat – but it's not his RAF coat. Mise en scene as well as knowledge from other episodes indicates it's way earlier than that. Jack moans as he pulls the bottle out and throws it away. Then he looks up and we see two women, in very old fashioned clothes. One of them in a big skirt, the other in big... puffy trouser things? I don't know. Both wearing brown, with hats and gloves. One has her hand in her jacket.)
JACK: Ladies. Torso of steel, shilling a feel. Any takers? (Gets up, groaning.) Bar fight, got a little out of control. Flesh wound. (Pointing at the gaping great hole in his stomach. Yup, that's believable. And then he sags a bit, has to hold on to the wall.) Whoa! Whoa! Still not used to... these hangovers.
(The two women start to walk forward. They're silent. But with ominous theme music.)
JACK: Captain Jack Harkness. How long have you been there? Silent types. That's OK. I used to date a guy with no mouth. Surprisingly creative.
(One woman punches him in the stomach, then knees him in the head when he doubles over. The other kneels on him, pinning him down. His face between her knees, Jack responds predictably.)
JACK: Listen, you only had to ask. Can we get a room though?
(She pulls out a handkerchief and holds it over his mouth and nose until we fade to black.)

INT HUB, slightly older than usual
(Still in flashback land – Jack still has his sideburns. He's awoken by a bucket of water in the face.)

JACK: When I said about getting a room, I meant somewhere with linen.
(Bucket the second. Jack shakes it off. He's tied to a chair in what we recognize as the Hub cell block... but with bars instead of clear walls. One woman – the trousered one, probably the boss, website calls her Mrs Emily Holroyd – tears Jack's shirt open and sticks a couple of bits of metal to his chest.)
JACK: Time was, electrodes to the nipples meant the start of a good night.
(She goes over to a brass and wood machine with a handle. She turns it and there's glowing and buzzy noises. Jack's screaming. And laughing.)
EMILY: Full power charge and still breathing.
JACK: Pretty advanced piece of equipment you got there. You ladies are ahead of yourselves. Now where the hell am I?
(The woman in the skirt – the website suggests this one is Alice Guppy – turns and picks up a gun. She aims at Jack.)
JACK: Put that down before somebody gets...
(POV shot of the end of the gun, *bang*, and fade quickly to black.)

(Screech and gasp – same setting, Jack back again.)
ALICE: Why aren't you dead yet?
JACK: Been trying to figure that out myself.
EMILY: We've been monitoring you. You've been killed 14 times in the last six months.
JACK: Feels like more than that.
EMILY: Who's the Doctor?
JACK: No idea.
ALICE: "The Doctor, he'll be able to fix me" "When the Doctor turns up, it'll all be put right" "You wait till I see the Doctor. First I'm going to kiss him, then I'm going to kill him." Transcripts of your conversations with strangers, in various drinking dens, since you first came to our attention.
JACK: Y'know, no-one likes a smart-ass.
ALICE: Tell us where he is and we'll release you.
JACK: Why do you wanna know?
EMILY: You're in Torchwood, Cardiff. The Torchwood Institute was created to combat the threat posed by the Doctor and other phantasmagoria.
JACK: (*laughs*) He's not a threat. The Doctor's the one who'll save you from your phantasmahoojits.
EMILY: (Puts her hand on the handle again.) Just tell us his location.
JACK: (very quickly) I don't know! (Pulls against his bonds, looks more like frustration than escape.) He left me behind. I came here to find him. He refuels from that rift you have. Hoping if I stayed here long enough, we'd find each other. Now, can I go?
ALICE: No.
JACK: You can't keep me here!
EMILY: Oh, we can. Unless...
ALICE: Yes. Unless.
JACK: Unless what?
EMILY: There are opportunities here. With the Institute.
JACK: I'm not for hire.
ALICE: You're going to need currency.
JACK: (looks at them, looks down at where he's tied to the chair.) What's the assignment?
ALICE: Missing person.
EMILY: Well, when we say person...

EXT DAY alley
(Jack shoves someone and they fall. It's another blowfish head guy wearing a suit.)
TEEN!BLOWFISH: I haven't done anything!
JACK: 12 Burglaries, joyriding a horse and carriage, 7 cases of pick-pocketing, 24 instances of consuming food without paying for it. It's like an addiction with your species, isn't it?
TEEN!BLOWFISH: I'll make it up, I promise!
JACK: Ah, too late.
TEEN!BLOWFISH: It's just a bit of fun.
JACK: This planet's a century away from official first contact with alien life. You're upsetting the schedule.
TEEN!BLOWFISH: Who are you?
JACK: I'm Torchwood.

INT HUB, cells
(Jack throws the fish dude into a cell. He's much more crudely violent than later in his timeline – big movements, not so much controlled.)

TEEN!BLOWFISH: I said sorry! You can't lock me up!
JACK: He's just a kid. Send him back to where he came from.
ALICE: If only we could. The rift only goes one way.
JACK: What do you do? Observe and profile the species and then transfer them to long term storage?
(She brings her right hand around: gun. *bang* It's quicker than Jack – he grabs her only after the damage is done. Fish head is dead.)
JACK: Why?
ALICE: It was a threat to the Empire.
JACK: Like me?
ALICE: You're our ally now.
(She pulls free and turns to face him.)

INT HUB, office
(It's the familiar distinctive window, but not the familiar view. Some big, big big, construction is going on outside, and there's no glass in it yet.)
(The blonde probable-boss lady is sitting behind a desk, counting out some big bank notes. Jack sits slumped in a seat in front of her. Camera moves around to give us a view of the altered office, including a potted fern, a fireplace with a pretty sort of cover, and on the desk an old-but-not-that-old-surely rotary telephone. She finishes counting the money out. Jack looks unimpressed.)

EMILY: If you don't want it...
(Jack goes to grab it... not quite snatching. He stands. She gets a folded piece of paper out.)
EMILY: Your next assignment.
JACK: No. I'm through with you people.
EMILY: Your liberty is at our discretion. (Jack was leaving, but he stops and turns to face her. Alice comes in, through a quite different office door.) Work for us, you assist the Empire. Sever that tie, you become a threat.
ALICE: And you've seen how we deal with threats.
EMILY: It's good money, Captain. How else are you going to earn?
(Jack goes back to the desk. He takes the folded paper, with the T in a hexagon seal. She smiles. Then he flicks it back onto the desk and walks away.)
EMILY: See what you think in the morning.
(Jack leaves. Alice watches him go.)
ALICE: He's pretty. But you're prettier.
(Blonde smiles, pleased. Random evil lesbians FTW! Er, sort of.)

EXT NIGHT, somewhere with booze
(There's laughing and drinking. Jack is not laughing, but he's very definitely drinking. The whole 'water' thing is a more recent development then.)
(A girl appears, with her own somewhat creepy theme music. Yes, it's the spooky girl from 2-07. Looking just the same.)

SPOOKY!GIRL: Can I read your cards?
JACK: No, thank you. (She pushes cups and bottles off the table to make space.) No, really.
SPOOKY!GIRL: (Ignores him and sets cards out. A very pretty deck, anyone know it? One of them has Jack in armour. First three cards: Tower, Jack-the-Knight (which says Jack of Swords, even though Tarot decks don't usually have Jacks), 3 of swords (sticking through a heart).) He's coming. The one you're looking for. (Next three cards. Top one is the Ace of Cups, fountains flowing out a big cup. Next is a face in a circle with pointy bits – moon? Sun? Star? I'd bet moon. I think that matches the writing. My copy is a download and not brilliant quality. Last I can't see, won't freeze quick enough. Some figure. Has an X at the top.) But the century will turn twice before you find each other again.
JACK: Oooh! Are you for real? (She looks at him. At the camera actually, there's a lot of POV in this section. He stops laughing and his face falls. He picks up the Jack of swords.) You mean I have to wait 100 years to find him? What'll I do in the meantime?

Montage of Torchwood History
(He goes back to the two women and gets his folded next order. Uncontracted agent Jack Harkness, says a folder with his picture pinned to it. Hand written. Then it goes to typewriter, and now they're calling him Captain. More pinned photos, and we're up to computers with clacky keyboards and some dot matrix printout label.)

EXT NIGHT, Cardiff millennium party
(A little countdown in the corner tells us how many seconds to midnight.)
'Some parts of the world have already welcomed in the New Year.
'Our cameras, of course, have been out in force across the UK tonight.
'Let's take you first to Cardiff.'

INT HUB, central section looking almost as we know it
(Jack opens a door and comes in... it's not the big cog wheel door, it's some red lit doorway that clunks instead. He has his familiar coat, but when he takes it off there's an unfamiliar waistcoat of many pockets. His earpiece looks like the silver one he had for much of season 1.)

JACK: Hey, when you joked about the Millennium Bug, I didn't realise it was gonna have 18 legs stacked with poison. Anyone home? Hey! You know you're supposed to party like it's... (Stops, looking down. Dramatic music. Wobbly camera. Then he dashes forward and we see a man's body on the floor, blood on the forehead, as Jack checks for a pulse. He has his gun out and he's looking for threat. Next body is a woman, bleeding from the gut. Camera is still handheld, wobbly, whooshing with blur rather than smooth pan or cuts. Whooshes to see a man sitting on a barrel, watching the TV.)
JACK: (Whispers.) Alex?
ALEX: Jack! Just in time.
JACK: Alex what happened? Who did this?
ALEX: Me.
JACK: What? Why?
ALEX: We got it wrong, Jack. (Opens his hand to reveal a silver locket, like a lady's necklace.) We thought we could control the stuff we found. And what's it brought us? (Third dead body dangling from second floor balcony. Jack aims his gun at Alex.) So much death.
JACK: What happened to them?
ALEX: It's good you're here. Always did have great timing. This place, it's yours. Torchwood Three, my gift to you, Jack, for a century of service as field operative. Give this place a purpose. Before it's too late. Please.
JACK: Alex, listen, it's gonna be OK.
ALEX: No. It's not. It's really not. I looked inside. (Locket. He closes his fist on it.) It showed me what's coming. They were mercy killings. It was the kindest thing I could do. So none of us see the storm. I'm sorry I can't do the same for you. (TV crowd countdown and fireworks – 5, 4, 3, 2, 1...) 21st century, Jack. Everything's gonna change. And we're not ready. (Gun to forehead.)
JACK: Alex!
(*bang* and blood spatters on Jack's shocked face. Fireworks in the background, Jack looks like he's about to cry. Then cut to.)

INT DAY, building gone boom
(Gasping back to life, Jack grabs for the hands grabbing him. Screams a bit. Gwen hushes and reassures, but Rhys is a bit less than cool with this.)

RHYS: He was dead. I checked his pulse! He was dead!
GWEN: All right! Sh! Jack, what has happened? Where are the others?
JACK: What is he doing here?
GWEN: Look, I was late, OK. He gave me a lift. You OK?
JACK: Toshiko. She went the other way.

INT DAY, more building gone boom.
(more bits of building fall down. Distant voices yell 'Tosh' and 'Toshiko', indistinctly. Camera looks around until we find Tosh, under a girder and a lot of bricks. Creaks and groans and more falling.)

TOSH: (*screams*)

5 years earlier
INT NIGHT, Office
(A man locks an office, walks past dark windows to where a computer still clacks keys.)

BOSS: Never thought I'd say this to anyone here, but you work too hard.
TOSH: Another hour and I'm done.
BOSS: Wish the rest of them thought like you. Half past five, they're out of here like a pack of dogs.
TOSH: You have a good evening, sir.
BOSS: I doubt it.

(He leaves. Tosh, in cardigan and glasses, takes off the specs to become Action Tosh! Able to leap small... heaps of paper... er, wrong genre. Okays, long action sequence. Tosh goes to her desk draw, overturns a desk tidy and grabs a key from underneath. Now the boss is gone she's all hurry. She rushes into his office – the one we saw him lock – and goes to his computer. Boots up. MoD desktop background. Gets the password of the day up. Memorises it, shuts down again. Checks on the CCTV monitor where the security guard is, then checks her watch. Runs. Dark corridors have the lights switch on around her. Run down stairs. Get to corridor... pause while the camera turns away. Run for a particular door and type in the number and get inside before the camera turns back. Pause to pant and look scared inside the door. Walk along shelves looking for something in particular. Untie a bag – they keep things in brown paper bags??? Anyway, untie a bag, grab some plans, stick them up her jumper. Put bag back. Go to door – guard walks past as she opens it! Checks her watch again, and slowly out the door... as camera turns again. Away? Not clear. Then she's downstairs in her coat and leaving, chatting to the security guard on the way out.)

INT NIGHT, office lobby

GEORGE: Another late one, Miss Sato.
TOSH: You know me, George. Married to the job.
GEORGE: When you gonna let me whisk you away from all this?
TOSH: As soon as you clear it with your wife and grandchildren.
GEORGE: Always an excuse. Take care.
TOSH: Goodnight, George.
(He watches her leave. Cut to EXT shot with a big sign – Lodmoor Research Facility, a Division of the Ministry of Defence, with that MoD logo again. Tosh walks past and leaves.)

INT NIGHT, Tosh flat of five years ago.
(Very busy, very cluttered, lots of bits of wire and things on a table. Tosh gets the plans out, then her glasses. Checks plans and starts selecting components. Montage of building something techy with cool music. Er, the montage has music, not the tech. Tech is merely shiny with wires. Tosh is careful and clever with computers and tools that glow.)

EXT NIGHT, a street, to INT NIGHT, a room.

TOSH: I've got it.
BADGUY: Get in.
(Tosh goes inside, bad guy clunks door closed behind her. Room of many computers, and some flatscreen monitors? And a noticeboard and stuff. Also there's a lady wearing glasses looking sour.)
TOSH: I want to see my mother. I want to know she's safe. Now.
BADLADY: Show me the piece. (Tosh gets out tech she just built.) Oh, it's beautiful. Perfect sonic modulator. Toshiko, you've done so well.
MUM OF TOSH: Toshiko!
TOSH: (Says 'mum' in Japanese I think – Okasan? Same as in 1-13.) You've got what you want. Now let her go.
BADLADY: Except now you're the victim of your own success. Perfectly situated, proven ability. You can give us so much more.
MUM OF TOSH: (speaks in Japanese, no translation given. Anyone?)
TOSH: And what if I refuse?
BADLADY: Then your mother stays with us. And your brilliance is used against her. (Puts on big headphones.) Like this.
TOSH: No, don't!
(Sonic modulator makes the picture throbby. Tosh and her mum fall down. Screaming. Hands on ears. The bad lady tosses another set of headphones on the floor, but when Tosh reaches for them she gets stomped on.)
TOSH: Please!
(Toshiko's mum starts bleeding from her head, the exact pattern from 1-13.)
UNIT SOLDIERS: (Burst in from all directions, armed and serious.) Turn it off! Turn it off!
(Sonic off, Tosh arrested, everyone arrested. Tosh dragged out quickly.)
TOSH: My mother! Is she all right? Is she all right?

INT DAY, a cell

LED EYE IN CEILING: (Feminine yet computer distorted voice, a bit like the London Underground station announce but creepier.) 'This is a UNIT facility. Your rights as a citizen have been withdrawn. You will be held here indefinitely. We are not required to provide you with legal representation. Anything you say will be recorded. You will be allowed no communication with any person or organisation outside this facility. There is no right of appeal. If you fail to comply with the rules, we are authorised to discipline you.'
TOSH: Is my mother safe?
LED EYE IN CEILING: 'We cannot supply you with that information.'
(montage of waiting and misery, lots of cuts with the camera in the exact same place. The cell don't change except as the light from the window moves across it. The light crosses it at least twice. Two sweeping movements while Tosh stays still, and then other sequences where the light stays still and Tosh moves. Tis temporally disorientating. Tosh leans against the wall or curls up – it's too small to stretch out, barely wide enough for a full size door. Sometimes there's a food tray. There's no toilet though. Maybe that's why they get led out in rows sometimes. Plural prisoners in matching jumpsuits. Then Tosh back in her cell again.)
LED EYE IN CEILING: 'Prisoner Sato. Inspection.'
TOSH: What for?
LED EYE IN CEILING: 'Prepare for inspection.'
(Tosh stands up, with much leaning on the wall, and waits. Door swings open for dramatic reveal of The Coat. And the Captain. Being all well lit and heroic.)

INT DAY warehouse
(Jack and Tosh sit opposite each other at a table in the middle of a big big dark empty room, spotlit with a light through a window.)

JACK: Catering's as lousy as they say, huh?
TOSH: Where's my mother?
JACK: She's safe. She won't remember being kidnapped. I wiped it from her memory. I hope you don't mind.
TOSH: You did what?!
JACK: Really, just a little pill. She'll never have known.
TOSH: Who are you?
JACK: Nobody. I don't exist. And for a man with my charisma, that is quite an achievement.
TOSH: Are you a lawyer?
JACK: Do I look like a lawyer? They're gonna make an example of you. Stealing official secrets, in today's climate... They're going to keep you here without charge. Forever.
TOSH: They can't do //that.
JACK: They're// never going to release you. I'm sorry. (Gets sonic modulator out.) You made this, right?
TOSH: I just followed the plans.
JACK: Yeah, kinda. But first you had to grasp the concept of what a sonic modulator does. Most people would struggle with that. And another thing... the plans don't work.
TOSH: What?
JACK: The technical plans you followed, they were wrong. They had mistakes in them. That's why the plans were shelved. But you, Toshiko Sato, you automatically fixed things as you went along... What I'm trying to say is... oh baby, you're good. I mean, you're good now. Imagine what you'd be like with a little training. Oh! Shame you're gonna be locked up for so long.
TOSH: You've got to get me out of here.
JACK: If... you come work for me.
TOSH: Really?
JACK: Give me five years, I'll get them to wipe your record clean. They owe me a few favours.
TOSH: What do you do?
JACK: Protect people. Least, that's what I'm aiming for. It's kind of a work in progress.
TOSH: What about my mother?
JACK: Limited contact only. You can send her postcards. So what d'you say?
TOSH: Why would you trust me?
JACK: Instinct. It's going to be dangerous. Think you can bear a little danger?

INT DAY, building gone boom

TOSH: (*screaming*)
GWEN: Stop! Stop! Stop! Stop. Tosh, Tosh are you OK?
TOSH: You're making it worse. It's pushing down even more now. I think I've broken my arm. Gwen.
GWEN: Yeah?
TOSH: If this pillar shifts down even more, it'll crush me.
RHYS: It's no good Gwen. We're gonna need more strength.
GWEN: Look, Jack has gone to find Owen and Ianto. You're gonna be fine darling, all right. You're going to be fine.
TOSH: You've got to hurry, please.
RHYS: Go help Jack. I'll stay here.
GWEN: Are you sure?
RHYS: Yep.
GWEN: I'm going to come back for you darling, all right? You're going to be OK. (Crawls then stands, leaving. Rhys stops her.)
RHYS: Gwen, this could've been you, couldn't it? If you hadn't been late.
GWEN: Look, Rhys, I haven't got time for this now, okay. I've got to go try and find the others.

INT DAY, building gone boom still but another bit
(Bricks move and rubble is clawed at. Ianto's knuckles are black and red. He tries to pull himself out from under but)
IANTO: (*screams*)
(He's trapped. He doesn't stop trying but he's not moving so much as an inch.)

JACK: Ianto! Ianto!

(Ianto hears, looks up. Fade to black and)

21 months earlier
EXT NIGHT, woods
(Jack, familiar coat and old silver earpiece, is thrown back against a tree. Growling and roaring – he's in a fight with a weevil. He's not noticeably winning. He holds the spray out but it knocks it away, and then it's a real struggle, until the weevil gets its teeth into his neck! Luckily *thud* a stick whacks the weevil on the back. Myserious stranger in ridiculously tight jeans – Ianto to the rescue! Weevil wrestling ensues. He's not really winning either. Then Jack charges in, knocks the weevil down, and finally uses the spray. Soon as it's subdued he puts a black bag over its head, then gets out an injector and sedates it. Ianto throws his stick away. Jack winces and checks his own neck. Ianto watches, looking a bit nervous. Once Jack looks at him, Ianto speaks.)

IANTO: Thanks.
(Leaning casually against a tree. And check out that outfit – sprayed on jeans, dark jacket, dark t, and is that a studded leather belt? Okay, this is not a subtle look. This is a look that makes my brain need rebooting, and that's pretty much the point here. Ianto being pretty. And Jack looking... but being mostly business.)
JACK: No, thank you. And you are?
IANTO: (Stands up again.) Jones, Ianto Jones. (And yes, the books confirm he is a James Bond fan.)
JACK: Nice to meet you, Jones, Ianto Jones. (Shake hands.) Cap'n Jack Harkness.
IANTO: Lucky escape.
JACK: I had it under control.
IANTO: You think so? It looked pretty vicious. You're, um... (Reaches for his neck, but Jack backs away.) You were bleeding.
JACK: Had worse from shaving.
IANTO: Looked like a Weevil to me.
JACK: I've no idea what you're talking about. (Ianto gives him the 'yeah, right' face of smug, and there's some staring. Jack turns away and gives him the shoulder.) I'll take him from here. (Bends down, picks up weevil over his shoulders.) Thanks for the assistance.
IANTO: Anytime. By the way, love the coat.
(Jack shakes his head as he leaves.)

EXT DAY Cardiff Bay from above
(but we're still in flashback, cause it goes to)
EXT DAY Outside the tourist office
(and Ianto is waiting as Jack comes out the door. The day's outfit is also noteable, still with the jeans and dark jacket but now with open neck shirt and a necklace showing. I kind of want to lick him.)

IANTO: Morning. Coffee?
(Ianto holds out a mug – not a bought paper thing, a proper mug. Jack takes it, sniffs. Ianto looks nervous. Jack takes a sip.)
JACK: Wow! (Hands it back to Ianto.)
IANTO: I want to work for you.
JACK: Sorry. No vacancies.
IANTO: Look, let me tell you about myself.
JACK: Ianto Jones, born August 19th 1983. (Walks off, talking.) Able student but not exceptional, one minor conviction for shoplifting in your teens. Number of temporary jobs, mainly a drifter, until two years ago you join the Torchwood Institute in London. Junior researcher. Girlfriend, Lisa Hallett.
IANTO: Deceased.
JACK: I'm sorry.
IANTO: Look, (gets in front and puts out a hand to stop Jack) you checked me out.
JACK: You knew what a Weevil was. Thought I was gonna have to come deal with you.
IANTO: But instead you could see I have the right qualifications for the job.
JACK: There is no job. We're nothing to do with Torchwood London. I severed all links. (Walks off again.)
IANTO: Yet when it burned, (gets in front and stops him again – physically with a hand out. Pushy!) two members of your team scavenged the ruins.
JACK: (Takes hold of his hand with finger and thumb and removes it from his person.) Don't want the equipment getting into the wrong hands.
IANTO: And you're the right hands, are you? Trial period, three months.
JACK: No.
IANTO: Three weeks. Three days. Let me prove myself to you. I'll work for nothing.
JACK: No. (Walks off again.)
IANTO: I saw what they did at Canary Wharf. (Grabs Jack by the shoulder and pulls him back, gets in front again – very pushy!) What am I supposed to do with those memories?
JACK: You are not my responsibility. And we're not hiring. (Walks off again. You know this bit could only work outside that door – they've got that long stretch where there's wall on one side and water on the other. Clever Ianto.)
IANTO: Same time tomorrow then.
JACK: (Keeps walking.) There is no job for you here and there never will be.
IANTO: I really like that coat.
(Raises eyebrow and keeps going.)

EXT NIGHT – Cardiff from above
(Still back before, because it zooms in and goes to)
EXT NIGHT – SUV on dark road
(And look who Jack is talking to.)

JACK: Toshiko, see if you can decode those hieroglyphics.
TOSH: 'Already on it.'
JACK: Owen, take a cross section of the paramedic's brain, check it against the list of chemical agents.
OWEN: 'Will do.'
JACK: Susie, we're going to need to dredge the reservoir. See if you can find the other half.
(Man steps out in front of car, crotch in front of the headlights – SUV screeches to a halt. Ianto Jones, in a suit – not such a nice one as we're used to – in the middle of the road. Jack climbs out, slams door.)
JACK: OK, this has to stop.
IANTO: No, listen to me.
JACK: I don't have time for this. Look, I don't care what your problem is, I want you out of this city by sunrise. There is no place for you here. Go back to London, find yourself another life. Keep stalking me, I'll wipe your memory.
IANTO: No, but the thing is...
JACK: Any conversation between us, no matter what the subject, is over! Finished! Done! Forever! I'm getting back behind the wheel of that car and if you're still standing in the road, I'm going to drive through you. (Turns and stalks off.)
IANTO: You're not gonna help me catch this pterodactyl then?
(Jack spins around and stares at him.)

EXT NIGHT outside some building made of corrugated metal
(Jack is screwing together a really big syringe. He's stripped down to that waistcoat of many pockets, ready for action.)

IANTO: OK, that is the only special equipment you've got?
JACK: Yeah, cos I keep dinosaur nets in the back of the SUV.
IANTO: Torchwood London would've.
(Jack glares at Ianto and runs for the warehouse door.)

INT NIGHT same building, big and empty
(Jack bursts in, Ianto right beside him.)
(pterodactyl is flying around in the big empty space with the cool lighting. *screeching*. Dives for the two of them in the door.)
IANTO: Nope (maybe? Some kind of uh oh noise.)
(Jack and Ianto dive back out the door, and slam it behind them.)

EXT NIGHT that empty building
(They're side by side with their back to the door. Which says Fire Exit. On the side they're on.)

JACK: How did you find it?
IANTO: Rift activity locator.
JACK: Torchwood London.
IANTO: See, quality kit.
JACK: Yeah, it's quite excitable.
IANTO: Must be your aftershave.
JACK: Never wear any.
IANTO: You smell like that naturally?
JACK: 51st century pheromones. You people have no idea. Ready for another go?
IANTO: I'm game if you are.
JACK: Three, two, one...

INT NIGHT Empty building
(They dive back through the door and this time close it behind them. The pterodactyl is loud, *screeching* and diving at them.)

JACK: Split up!
(They run in opposite directions. It lands near the door. Ianto catches up with Jack on the other side. Jack grabs him and holds him back, starts moving forward.)
JACK: We're not gonna harm you. You can't stay here. Come back with me. I've got somewhere nice and big where you can fly around.
IANTO: OK, so you'll let the pterodactyl in and not me.
JACK: We need a guard dog.
IANTO: I can be that. Like a receptionist. Building maintenance, food and drink, dry cleaning even. That coat of yours must take a battering. Like a butler, I could be a butler.
JACK: We don't need a butler.
IANTO: (Grabs his arm and points.) Excuse me, dried egg on your collar.
JACK: It was a busy week.
IANTO: (Pulls him back.) What exactly is your plan? (Jack pulls free. The pterodactyl flares its wings and screeches some more.)
JACK: I'm going to be the decoy.
IANTO: And it will rip you to shreds.
JACK: Dinosaurs? Had 'em for breakfast. Had to, only source of pre-killed food protein after the asteroid crashed. Long story. Here you go. (Hands him the syringe.) One injection to the central nervous cortex. I'll keep it occupied. (Thumps him in the chest.) Move.
IANTO: No.
JACK: What? (Looks at Ianto, for pretty much the first time since they got in here. He'd been staring at the pterodactyl, but now Ianto is more interesting. Ianto gives the syringe back.)
IANTO: It knows me. I'll be a better decoy.
JACK: No, way too dangerous.
IANTO: No, I've got a secret weapon. Chocolate. Preferably dark.
(Ianto walks away without waiting for the word. Jack has face of *huh?!* Then he moves too.)
IANTO: (*whistles*) I got your favourite, yeah.
(Ianto walks around and keeps the pterodactyl's attention. We see Jack behind it, syringe in hand. Ianto tosses the chocolate bar. Pterodactyl looks between Ianto and chocolate.)
IANTO: It's good for your serotonin levels. If you've got serotonin levels.
(Now the bar is on the floor pterodactyl pecks at it... and then turns around. Sees Jack! Jack runs forwards with syringe, pterodactyl takes off, Jack grabs = flying Jack!)
IANTO: Whoa!
JACK: Aagh! Whoah! Ianto!
(Flying around with Jack hanging on by one hand! Ianto watches, worried. Jack gets the needle in, then drops. Ianto catches! Squish.)
JACK: Sorry!
(Pterodactyl flying – crashing! Ianto rolls, Ianto and Jack keep rolling, pterodactyl crashes beside them. Win! Jack and Ianto happy. Laughing. With Ianto on top. There is moment of near nose rubs and lips in close proximity, with significant looking. Hello sexual tension.)
IANTO: I should go.
(Pause, then gets up, off him, goes to leave. Jack rolls to his feet.)
JACK: Hey! Report for work first thing tomorrow. (Ianto pauses, looking back over his shoulder. Then walks away.) Like the suit, by the way.
(Ianto's face crumples to misery, and we who have watched 1-04 remember the happy romantic comedy thing is really not the story back then. But as with Jack's walking away reactions – framed very similar – only the camera gets to see this one, so Jack has no clue.)

INT DAY, building gone boom
(Jack in the coat, his legs in view and Ianto still under rubble. Jack is throwing bits aside to get at Ianto.)

JACK: Ready? Three. One, two three... Come on.
IANTO: (*arrgh* noises, and Jack hauls him out the rubble. Gwen helps. More and louder *argh*)
JACK: You OK?
IANTO: My shoulder. I think it's dislocated.
JACK: Can you take this?
IANTO: Yeah.
JACK: Take a deep breath.
IANTO: (*crunching* and *screaming*. And then he puffs a bit and it's back to work.) Where are the others?
JACK: We need your help to get Toshiko out.
IANTO: Owen?
GWEN: No sign yet.
IANTO: If anything happens he can't repair himself.
GWEN: Of course, he can't heal, can he?
JACK: OK, we'll help Rhys with Toshiko. Let us know when you find Owen. And be careful. OK.
JACK: (Hand flat on Ianto's chest, over his heart, checks again.) OK? All right?

INT DAY, building still gone boom at this end too
(Owen is lying in the rubble. His head is a bit sideways, and he's looking out the corner of his eyes at the camera. *creaking* from overhead. Camera pulls back and we see a whacking great chunk of window frame, glass broken and jagged. It's swinging a bit, and Owen is watching it with complete attention. He's under bits of rubble, awkwardly. He pulls his right arm out with great care, goes to reach for more bricks – the window falls! He makes a gasp that's just short of a scream, and his look of fear upgrades to terror. Good thing he's all corpsified really or he'd be in need of new trousers for sure. He stays very, very still. Fade to black.)

4 years earlier
INT DAY, a bedroom
(Owen and a blonde woman are on a double bed together. There's papers scattered on it. The covers are sort of pink, the walls sort of orange, and there's clutter and textiles and a picture on the wall. It all looks very warm and there's sunlight falling on the bed. Very different than Owen's current style. Also, Owen is wearing a shirt and tie, albeit scruffy and partly undone.)

KATIE: Oh, go on, please, please, please, please, please!
OWEN: No, you don't even like her, ever since she didn't pay for her share of the Chinese in Leicester.
KATIE: Yeah, but we want Julia to come and it'll look odd if we invite one without the other.
OWEN: Oh, God, help me please, help me God!
KATIE: Three tables done. Nine more to go. You wanna back out? It's still not too late.
OWEN: Listen, I'm marrying you even if it kills me. OK? (Some very sweet snuggly kissing. By now the audience at home is kinda WTF.)
KATIE: Good. Do you want a cup of tea?
OWEN: Yeah, I'll make one.
KATIE: I think I can manage.
(She gets up and leaves. I didn't notice first time through, but look at the look on Owen's face right then. Complicated.)

INT DAY, a kitchen
(Same warm colors and sunlight coming in. You can see the bedroom door off behind Owen when he comes in. It's almost one big room, with a sofa bit in the middle. Barely a two room flat then. But full of clutter and living stuff.)
(Katie is standing there, teabag in one hand, mug in the other, staring into space.)

OWEN: Katie.
KATIE: Yeah?
OWEN: Um, water.
KATIE: Yeah. (Goes to the kitchen tap.)
OWEN: From the kettle. (She gets it, pours, goes to drink. Owen adds softly.) Milk.
KATIE: Stop nagging me! I don't want to have milk. I've never liked milk. I want to have... (big long pause)
OWEN: Tea.
KATIE: I wanna have tea without... (looks upset and snaps fingers)
OWEN: Milk.
KATIE: Tea without milk. (turns, puts cup down, slaps the worktop repeatedly, really really upset now.)
OWEN: (Goes over, turns her around, hugs her.) Darling, it's all right. It's all right. (Holds her close. First words of next scene heard over that hug.)

INT with a window DAY, hospital office with a garden outside
(Invitation mentioned, we see Owen standing in a window, suit and tie and arms crossed, the blinds forming bars in front of him. On 'still' we switch pov to look out from Owen's place – now the bars are in front of Katie, standing in the garden.)

JIM: I got your invitation. // Still going ahead?
OWEN: I promised her a summer wedding.
JIM: Before all this. (Cuts to an office – brain scans on a lightbox on the wall. 'all this' is medical. Nice little sequence there.)
OWEN: This changes nothing.
JIM: Owen, it will change everything.
OWEN: You don't know for certain.
JIM: We've been through Kate's test results more times than any patient in my whole career. You've looked through them yourself. All the evidence suggests she has early onset Alzheimer's.
OWEN: The youngest case in medical history.
JIM: It doesn't mean we're wrong.
OWEN: Please... run more tests. Let's just try one more MRI scan.
JIM: An MRI isn't going to make any difference.
OWEN: You don't know that. Now You have said yourself that this is unlike any case that you've seen, and maybe you've missed something.
JIM: Owen...
OWEN: You don't understand, Jim, OK. One day she's fine, she's perfect memory, the old Katie, and the next there's nothing, she's blank. Now, I am losing her and I don't know what to do about that, OK? So please. What's the point of me doing this job if I can't help my own fiancée?
JIM: I'll see what I can do.
OWEN: Thank you, Jim.
(Turns and smiles out at Katie, who smiles back – glass and 'bars' still between them.)

INT NIGHT their bedroom
(Owen is sitting up watching her sleep. He's dressed, stripy pyjamas, and he's just watching her.)

INT Close up on Katie with a red laser line traveling down her head.
(Getting the MRI then.)

INT Room full of brain scans
(Owen watches through the window – blinds again, horizontal bars this time, blocking more of the view. He turns to look at what the computer is doing. More brain scans on another light box behind him.)

INT DAY Hospital corridor
(Owen and Katie sit together.)

KATIE: It's like being lost, in a place you know really well, but you can't get your bearings. Sometimes it comes back to you. And sometimes... I'm sorry, Owen.
OWEN: What've you got to be sorry for?
KATIE: I don't want to put you through this. Last night, I dreamt that you left me.
OWEN: Oh, come on. Nobody's leaving anyone.
(He kisses her and holds her. Their doctor appears at the end of the corridor, file folder in hand. Close up on Owen holding Katie, stroking her face.)

INT DAY Hospital office
(Owen and Katie sit on the far side of the desk, Owen holding Katie's hand in her lap. The doctor sits the other, pinstriped back to the camera. Very little sun shines in.)

OWEN: How is that possible?
JIM: We don't know. I've never seen anything like it. It's not the brain deteriorating. It's a clear physical tumour.
OWEN: That wasn't there last week?
JIM: Not that we saw. You were right to ask for another scan.
OWEN: So what do we do now?
JIM: We have to view this as good news. Katie, we need to take you into surgery, soon as possible, and remove the tumour.
OWEN: (She looks at him, just staring.) D'you understand? Katie.
KATIE: I can't remember your name.

INT Hospital corridor
(Theatre in Use light on. Owen in his same suit standing outside a double door, the brain doctor in scrubs with his gloved hands up. There's a window in the door, but again there's bars, and this time darker.)

OWEN: Are you sure she's up to this?
JIM: We're going to do everything we can for her.
(montage of time passing as Owen worries and waits. Camera stays still as Owen is in different places, always moving, tapping with worry.)
(Then he's standing outside the door and there's a thud. Jack steps up behind him.)
JACK: I'm sorry.
OWEN: Who the hell are you?
JACK: I tried to tell them You should prepare for the worst. (Goes past Owen to go in. Owen grabs and stops him.)
OWEN: No, you can't go in there. (Jack looks at him, then pushes past. Opens door and goes in.)

INT Hospital operating room
(Lots of people in scrubs lying dead, including the brain doctor.)

OWEN: Oh, my God! Katie. (Owen runs in, runs over to her... sees her brain sticking out, and something waving a tentacle out of her brain.) What is it?
JACK: I'm sorry. I tried to stop them. She's dead. That thing in her head is an alien life form. It incubates in the brain, disrupting the shape and functions. When it's attacked or threatened, it emits a toxic gas that's fatal to humans. It clears pretty quickly.
OWEN: She can't be dead. She can't be dead. I'm calling, calling the police.
JACK: Tell them that Torchwood is already here and dealing with it. That'll save them a call-out. I need to take her brain back with me.
OWEN: (starts whispered gets loud) Don't touch her! Don't touch her! Don't touch her!
(They struggle, and Jack uses a cloth on Owen's mouth to knock him out. Fade to fuzzy, then unfuzz to next scene.)

INT Hospital ward
(Owen wakes up in a hospital bed. He's wearing hospital clothes, propped up on a pillow. More fuzzy pov shots. Owen has an IV in his hand and pulls it out.)

NURSE: How are you feeling?
OWEN: Where is she?
NURSE: Where's who?
OWEN: Katie. Katie Russell, she's a junior doctor, she works here, we're about to get married.
NURSE: Let's get you back into bed.
OWEN: Get off me. Where is she? Where is she? Where is she?! Where is she?!
(He's struggling to get up, they're keeping him pinned down.)

INT Hospital, different office
(There's still brain pictures up but they aren't shiny high tech ones. We start with a closeup of a hand taking notes. Owen is wearing a dark blue bathrobe over hospital pattern shirt. The effect couldn't be more different than the suit. No more armour.)

OWEN: He was wearing a military uniform. He had an American accent.
PSHRINK: I promise. We have checked all the security footage. There was no such man.
OWEN: Jim Garrett was poisoned by some alien toxin, by some...
PSHRINK: Jim Garrett was in a car accident.
OWEN: The American said that he wanted her brain, that there was... alien creature, or... This happened, OK? This is not some trauma or delayed grief or whatever you're scribbling down.
PSHRINK: Katie's tumour was inoperable. There was nothing anyone could have done.
OWEN: This is just, (breaking down, near crying) this is wrong.
PSHRINK: I'm giving you three months prescribed rest. Don't come into work.
OWEN: (Angry now, gets up in Pshrink's face, hands on desk.) Yeah! (Storms out. Which don't work so well in the bathrobe, but he manages.)

INT Security office?
(Suit again, looking at stuff on computer monitors. Turns out to be CCTV footage.)
OWEN: This isn't right. He was there. It wasn't just me. He was there too. That is not what happened! That is... not what happened.
(breaking down crying again.)

EXT DAY cemetery
(Rows of gravestones, then Katie's grave with only the temporary wooden marker and some bunches of flowers.)
(Owen, in suit and black tie, kneels and checks flowers. Then rubs his eyes.)
(Sees Jack across the graveyard. Runs after him. Jack just stands there and waits. Owen punches him. Knocks him down. Climbs on top and starts to beat the shit out of him. Jack only tries to stop him after four or five good ones.)

OWEN: You! You could've saved her! You could've saved her! You could've...saved her! (Starts strangling Jack... then stops, and breaks down crying on his chest. Jack holds him.)
JACK: I couldn't. I really couldn't.

(Same cemetery, different shot. Long shot of them walking between graves. With the trees around the edges and the way the view is blocked it's a big space, but it's only full of the dead.)

OWEN: If you're not a figment of my imagination, then I don't know what's happening any more. Maybe this is... what a mental breakdown feels like.
JACK: You're fine. It's the rest of the world that's delusional. (Keep telling yourself that Jack... Shot goes medium close, both of them from the waist up. Owen's seriously done a number on Jack's face.)
OWEN: Why her?
JACK: There's no reason. Your life doesn't end with her. What are you gonna do now? Go back to work? See echoes of her in every corridor? You need a purpose. I'm building something. I need a medic.
OWEN: And you want me?
JACK: You made them take more scans. You kept trying to track me down. You don't give up easily. (Hand on Owen's shoulder.) I need someone like that to work with me in Cardiff.
OWEN: To fight aliens.
JACK: Exactly.
OWEN: Look... I dunno what happened to Katie and I dunno who you really are, but there is no such thing as aliens.
JACK: You think?

INT HUB, just inside the cog door

OWEN: I'm having a breakdown. Mental collapse.
JACK: Owen, why did you become a doctor?
OWEN: I thought if I could save one life, mine would be worthwhile. But you save one... and there's another. And another. All clawing at you, demanding to be saved. And even if you do succeed, you can never save enough.
JACK: (From behind Owen, hands on both his shoulders.) Maybe here you can.

INT DAY, building gone boom
(Close up on Owen's fear face. He gulps. Which given the state of his squishy systems has to be pure habit. Then he looks to the other side, and the camera pulls back to show Gwen arriving.)

OWEN: How are the others?
GWEN: All right.
OWEN: Careful! If that falls...
GWEN: OK, it's not going to fall... (short sharp fall, broken edges gleaming. Bit of screaming.)
GWEN: OK.
OWEN: Just be very careful.
GWEN: OK, all right, all right. We're gonna get you out. OK, this one? (moves some blocks)
OWEN: Look, if you do it very, very gently... (Owen, dear, it's *above* you, how is moving blocks down there a problem? Eh, maybe it's connected somewhere out of shot.)
GWEN: OK. It isn't going to drop on you. (*falling!* Gwen, stop saying that!)
OWEN: Whoah!
GWEN: Quiet.
OWEN: OK, sorry.
GWEN: I'm going to do this as quickly as possible. Listen to me. I'm going to get you out of this. Look at me, trust me.
(One particular huge jagged bit of glass falls some more.)
GWEN: OK, hold my hands.
OWEN: Sorry.
GWEN: Hold my hands!
(Pulls him up and out and *crash* the big bit falls right down where he was. Phew!)

EXT DAY Outside the boomed building
(Jack, Ianto, Rhys and Tosh emerge from the near door, Owen and Gwen run in from the far end.)

JACK: You OK?
OWEN: You all right? Tosh, what happened?
TOSH: Broken arm, bruised ribs, about an inch away from being crushed by a girder.
OWEN: You were lucky.
IANTO: We all were.
GWEN: Jack, who's done this?
IANTO: And where's the SUV?
(*bleeping* - Jack checks his wrist strap. Uh oh, hologram!)
IANTO: Oh, no.
GWEN: Jack, what does he want?
JOHN: Oh, deja vu! Or did I say that already? Hey, team. Course, there might be a few less of you by now. Don't know if you liked my little gift. Course, you can't die. And with all that life, all that time, you can't spare any for me. Oh! Say hi to the family. (Hologram John's wrist strap makes a second hologram which shows up in the hologram.)
JACK: No...it can't be.
JOHN: Been a while since you've seen your brother, eh, Jack.
JACK: Gray?
JOHN: OK, here's what's going to happen. Everything you love, everything you treasure, will die. I'm going to tear your world apart, Captain Jack Harkness, piece by piece. Starting now. Maybe now you'll wanna spend some time with me.

(Gray blinks out, John blinks out, Jack looks grim.)

- END -

(Arrgh! And still a week to go. More now! Though, hang on, then it's the last one. Double argh!)

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