Doctor Who and Related Transcripts
Torchwood transcripts - series 3
Episode 5: Children of Earth, Day Five
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Torchwood: Children of Earth
TORCHWOOD
CHILDREN OF EARTH
DAY FIVE
Written By: Russell T. Davies
Directed By: Euros Lyn
Transcript By: edibleflowers
This transcript is made without the permission of the BBC and is intended for non-profit purposes only. This is not intended as a script, but as a simple rendition of the text. Action is described as necessary, but I have not transcribed every single action.
Title card: Previously...
Shot of children in schoolyard, stopped.
CHILDREN (voice-over): We are coming.
CUT to children in Rhiannon Davies' home, all standing and pointing in the same direction.
CHILDREN (voice-over): We are coming.
CUT to the pillar of fire cutting down through the clouds over Thames House. CUT to Floor 13, where Frobisher and Dekker recoil from the light.
CHILDREN (voice-over): We are coming.
CUT to shot of the fiery descent of the 456 into the tank.
CHILDREN (voice-over): We are coming.
Quick CUT: 456 flippers and snot hitting the glass. Quick CUT: Clem screaming and holding hands over bloody ears, Gwen holding him. Quick CUT: people in Thames House screaming, fleeing for their lives. Quick CUT: the 456 behind the glass of their tank.
THE 456: We want ten percent of the children of this world.
CUT to the child attached to the 456, as seen in Day Four.
FROBISHER (voice-over): And if we refuse?
CUT to more panicking people running down the steps, trying to get out of Thames House.
THE 456 (voice-over): We will wipe out your entire species.
CUT to a shot of a door closing in a vent shaft. CUT to Jack and Ianto in the Hub, from Day One.
JACK: I can survive anything but you can't.
CUT to a shot of gas filling the tank, from Day Three. CUT to Ianto abruptly collapsing, from Day Four.
JACK: No, no no no no no, not him!
Cut to a shot of the people in Thames House beating themselves futilely against the sealed, shatterproof outer doors. They begin to sag and collapse, already dying.
THE 456 (voice-over): And tomorrow your people will deliver the children.
Cut to Jack leaning to place one last kiss on Ianto's lips.
Title card: TORCHWOOD
CHILDREN OF EARTH
Title card: TORCHWOOD
DAY FIVE
A moment of snow and static fills the screen, like the tracking on a videotape; then Gwen, facing straight into the camera, shadow covering her lower face. Her voice sounds tinny, as if we're watching a recording.
GWEN: There's always one thing I meant to ask Jack, back in the old days. I wanted to know about that Doctor of his. The man who appears out of nowhere and saves the world, except sometimes he doesn't.
As she speaks, images flash onto the screen, also looking as if they're playing on a screen: children being torn from their mothers' arms by soldiers; children crying on buses, being driven off; mothers raging, shouting in protest.
GWEN: All those times in history when there was no sign of him. I wanted to know why not. But I don't need to ask anymore. I know the answer now. Sometimes the Doctor must look at this planet and turn away in shame. I'm recording this in case anyone ever finds it, so you can see... you can see how the world ended.
The picture blurs and goes to static.
CUT to a shot of London, overlooking the Thames River. CUT to a closer shot of Downing Street.
PRIME MINISTER GREEN (voice-over): Today we're taking steps to safeguard your children. The schools are being opened again.
CUT to a shot of the Prime Minister on a television screen as his speech continues.
PRIME MINISTER GREEN: And we urge all of you to send your children back to their classes straightaway.
We see the Davies family all sitting together on the couch, watching the Prime Minister's speech.
PRIME MINISTER GREEN: Government representatives will be visiting certain schools to discuss a series of inoculations.
DAVID: (over the ongoing speech) What's inoculations?
RHIANNON: Injections.
DAVID: I don't wanna go to school.
RHIANNON: You're not goin', either. You're stayin' put. Just like your uncle Ianto said, don't trust any of 'em.
MICA: But the man said we got to go.
RHIANNON: And I know for a fact he's lyin'.
PRIME MINISTER GREEN: These inoculations are to protect your children.
CUT to Frobisher's wife and daughters watching the speech.
PRIME MINSTER GREEN: These inoculations are safe. These inoculations will guarantee no repeat of the problems of the past four days.
CUT to the Davies living room.
RHIANNON: David, on your feet. Go to the Baxters' opposite, then go to Sally's and go to Mrs. Singh. Tell 'em we'll have the kids, only free of charge.
JOHNNY: It's ten quid a kid!
RHIANNON: Shut it, you. (to David) And run!
CUT to Johnny hurrying out of the house. Rhiannon comes out of the open door behind him.
RHIANNON: Tell them my brother works for the government, he said it's not safe.
DAVID: Yes, mum!
CUT to Green's office, with videocamera and lights, a teleprompter running as the speech goes on. General Pierce stands beside his desk, out of the camera's view.
PRIME MINISTER GREEN: So I ask of you now, to cooperate, to send your children back to school, and to resume your lives as normal.
CUT to Frobisher's house.
POLLY: We'd better get ready for school then.
FROBISHER'S WIFE: No, darling. Your father said stay at home with me.
POLLY: Why? What's so different about us?
PRIME MINISTER GREEN (voice-over): And as ever, I thank you for your patience, your understanding, and your faith.
CUT to the conference room in Downing Street. It is a hive of activity. Denise Riley approaches Prime Minster Green with a folder.
DENISE: We've isolated two thousand, six hundred primary schools, sir.
GENERAL PIERCE: I'm sorry, but you address me in all matters concerning this operation.
DENISE: This information is for Mr Green.
GENERAL PIERCE: You and Mr Green, and this government, have proven yourselves incapable of handling this crisis. All decisions will now go through me. You were saying?
After a moment, Denise turns away from Green and faces the table. General Pierce seats himself as she speaks.
DENISE: We have two thousand, six hundred primary schools listed here. We are mobilizing transport. At 1200 hours, the British Army will take the children from their schools to the designated rendezvous points.
PRIME MINISTER GREEN: What if they refuse, the soldiers? We could have a mutiny on our hands.
GENERAL PIERCE: They've been told. Any soldier refusing to do his duty will make his own family liable.
DENISE: So we take them to the rendezvous points, but what then?
GENERAL PIERCE: We're about to find out. They're entering Thames House right now.
CUT to an overhead shot of Thames House. The shot moves in quickly on the building.
CUT to Colonel Oduya, taking a deep breath in the lift. It opens, and waiting for him is Dekker. Oduya walks up to him, looking distracted, and sniffs deeply.
DEKKER: Disinfectant doesn't work. You can still smell it. There were bodies lying ten deep around those doors.
They both glance at the still-open lift.
COLONEL ODUYA: Mr. Dekker, I take it. You managed to survive.
DEKKER: Well, I just stood back, sir. A strategy that's worked all my life. Now then. Best not keep it waiting.
They proceed down the hall and into the main room of Floor 13. Armed guards flank the door and stand at points throughout the room. CUT to a close shot of the murky, blue-lit tank. Colonel Oduya hands his cap to one of the guards and enters the room. The 456 make some low noise.
COLONEL ODUYA: I seek audience with the 456. My name is Colonel Augustus Oduya of the Unified Intelligence Taskforce. If I might speak--
The 456 interrupt by making violent screeching sounds, hurling flippers against the tank's inner walls, and spewing snot. Colonel Oduya is visibly disturbed by this display.
CUT to the conference room in Downing Street, still wired in to view the tank. Prime Minister Green watches the split-screen view of Colonel Oduya approaching the tank. CUT to Floor 13 as Colonel Oduya squares himself in front of the tank.
COLONEL ODUYA: We have no choice but to initiate your plan, may God help me. But I need to ask. We have designated rendezvous points, selected Army bases in all participating countries. But once the children are assembled, what then? How do you... collect them?
THE 456: As we arrived. Observe.
Colonel Oduya shifts his attention to the monitor. It displays an image of the pillar of fire that descended into Thames House. CUT to the Downing Street conference room. All there are watching the same image on their main monitor.
GENERAL PIERCE: Some sort of transportation device taking them God knows where.
CUT to Floor 13.
COLONEL ODUYA: Then let me ask, not as a representative. As a father. You need these children. We've seen you hooked up to that boy, but why? Are they keeping you alive?
THE 456: No.
COLONEL ODUYA: Then what are they for?
THE 456: The hit.
COLONEL ODUYA: I don't understand.
THE 456: The hit. They create chemicals. The chemicals are good.
COLONEL ODUYA: Good in what way?
THE 456: We feel. Good. The chemicals are good.
COLONEL ODUYA: They're like drugs.
The 456 react with another violent outburst. CUT to the Downing Street conference room; shocked looks show on the faces of those listening.
PRIME MINISTER GREEN: They're trading in drugs.
CUT to Floor 13.
COLONEL ODUYA: You're shooting up... on children. Our children.
The 456 react even more violently, banging and spewing. CUT to the Downing Street conference room.
GENERAL PIERCE: Let's not forget your government started this trade. You opened the market over forty years ago. Are the troops on standby?
DENISE: Yes, sir.
GENERAL PIERCE: Then we begin.
A clock shows the time: 08:50, ticking over to 08:51 in digital numbers.
CUT to an overhead shot of a primary school. Children can be seen running around in the playground.
CUT to the British news anchor.
BRITISH NEWS ANCHOR: The government claims it's Britain back to normal. Schools across the country are being reopened, and parents are being allowed to return their children to a normal routine.
As she speaks, images play: children walking to school, being dropped off by parents, and playing in their uniforms.
BRITISH NEWS ANCHOR: The inoculation program will begin at midday and the World Health Organization has issued a statement guaranteeing the safety and beneficial effects of the treatments. Critics are still demanding more information but the government is simply asking for trust.
CUT to Jack and Gwen, sitting together in an cafeteria of some kind. They watch Frobisher and Bridget Spears walk up to them. CUT to a shot of bodies laid out in the hall further down from the cafeteria, covered by tarpaulin; soldiers walk among them. It appears to be a school building, emptied for the purpose of housing the dead of Thames House. Frobisher and Spears sit down at the table. There is a long silence. Jack looks daggers at Frobisher.
GWEN: The threat still stands.
FROBISHER: Haven't we gone past that--
GWEN: My husband is still out there with everything you've done recorded on his laptop. One word from me and he will release that information to the public.
FROBISHER: What do you think Torchwood is now? Do you think you're still players?
GWEN: We can try.
FROBISHER: We're at a tipping point right now. Civilization's about to fall into hell. You want to start that descent a little earlier, go ahead.
JACK: He's right. Look what happened. Phone Rhys. Tell him we've lost.
Gwen gets up and walks away from the table.
CUT to a panoramic shot of a park with a very tall tower in the background. On a bench in the middle of the park sits Rhys. His mobile rings and he answers.
RHYS: Hello? Yeah, I'm here, I'm bloody freezin'. Where are you?
CUT to Gwen in the school building. Tears run down her face.
RHYS (voice-over): You all right? Do you want me to send the files?
GWEN: It's too late, sweetheart. They've killed him. Not just Clem, they've... they've killed Ianto.
Her voice breaks on Ianto's name. CUT to Rhys, looking stunned, mouthing the word 'no'.
GWEN (voice-over): He's dead.
CUT back to Jack, carrying on the conversation with Frobisher.
JACK: What about Lois?
FROBISHER: I'm afraid Miss Habiba is in police custody, charged with espionage.
JACK: Then what about my daughter and, and her son?
FROBISHER: They're free to go.
Jack swallows and takes a breath before going on.
JACK: Ianto Jones, he's got family back in South Wales, a sister. Has she been told?
FROBISHER: We're not releasing any of the names, not yet.
JACK: Then let Gwen tell her. You said yourself, the world is going to hell any second. Before it does... give us a moment of grace. Just take Gwen home, please.
Frobisher looks to be giving it some thought. CUT to a shot of Gwen sitting with her back to a wall, her knees drawn up and her head fallen forward as she cries.
JACK: I can't look at her anymore.
CUT to the spinning blades of a helicopter. On the helipad, Jack turns from Rhys to Gwen. He draws her into his arms and holds her for a moment, then lets her go. Gwen, Rhys, and the pilot run to the helicopter. One of the soldiers flanking him proceeds to handcuff Jack, who offers no resistance. He looks completely devastated. As she steps into the helicopter, Gwen turns to look back at Jack. He watches as the helicopter lifts off, taking Gwen and Rhys away from London. CUT to a wider shot of the helipad. CUT to a wider shot, showing the pad set on the bank of the Thames. CUT to an even wider shot of the city.
CUT to a holding facility of some kind. A policeman unlocks a cell door; Jack and other policemen follow him.
POLICEMAN: Cell M-3, Captain Harkness, 9:50 a.m.
In the cell opposite, Lois Habiba overhears this. She gets up and goes to the tiny round hole in her door to see what's happening.
LOIS: Captain, is that you? Captain Harkness, it's me, it's Lois!
In Jack's cell, the policeman is removing his cuffs. Jack turns when he hears her, but doesn't answer.
LOIS: It's Lois!
The policeman shuts Jack's cell door with a thunderous clang.
LOIS: Captain?! What are they doing, what's happening out there? Can you hear me?
In his cell, Jack sinks to the bench. His face is empty.
LOIS: What do we do? Captain?
Jack does not respond. He closes his eyes and drops his head.
CUT to Ashton Downs. Johnson goes to a holding cell with a set of keys and unlocks the door. She opens it, revealing Alice and Steven inside.
CUT to the control room. Johnson leads Alice and Steven into an office.
JOHNSON: You might want to take a look at this.
The monitor is showing the footage from the cameraman who went into the 456's tank, specifically the child hooked up to it. As soon as she sees it, Alice turns Steven away.
ALICE: Steven, come on.
STEVEN: But I want to see!
Alice is gently pushing Steven out of the room.
ALICE: Not now, darling, this is for grownups.
JOHNSON: Suzanne, get him a Coke or something.
Suzanne takes Steven into the adjacent office.
FEMALE VOICE (distant): Received and confirmed.
Alice goes back into Johnson's office.
JOHNSON: It's inside Thames House.
An incredulous Alice watches the footage -- what was captured through the contacts worn by Lois, so the image of the child in the tank is on a screen going staticky.
JOHNSON: All recorded by Torchwood. They're inventive, I'll give them that. That's a child, abducted in 1965. Now they want more, millions more. And in two hours' time, the government is handing them over.
The image of the child's face fades to snow.
CUT to an overhead shot of Downing Street. CUT inside, as Frobisher walks through outer offices, approaching the Prime Minister's office. He chafes his hands for a moment before knocking.
PRIME MINISTER GREEN: Yes?
Frobisher enters the office.
FROBISHER: You asked to see me, sir.
He shuts the door behind him. Green's attention is on the document in front of him; he's writing, and his attitude is one of distraction.
PRIME MINISTER GREEN: Take a seat.
Frobisher sits down before the desk.
FROBISHER: Terrible day.
There is a long moment of silence; Green is unresponsive.
FROBISHER: Sir, I was wondering--
PRIME MINISTER GREEN: Your name was chosen, John.
FROBISHER: Right. Good. In what way chosen?
PRIME MINISTER GREEN: The inoculation story seems to have gained some currency.
He looks up at Frobisher for the first time.
PRIME MINISTER GREEN: Might even be called popular.
FROBISHER: Indeed. And, ah, what's that got to do with me?
PRIME MINISTER GREEN: Your children will be inoculated.
FROBISHER: (hesitant) I see.
PRIME MINISTER GREEN: In two hours there will be selected news media at your house. You will be seen to offer your children for treatment; this will be broadcast on every network channel at twelve o'clock midday.
FROBISHER: But there is no inoculation.
PRIME MINISTER GREEN: This action will help the public and show them no cause for unrest.
FROBISHER: You mean I pretend they're going to be inoculated.
Green suddenly returns his attention to the document on his desk.
PRIME MINISTER GREEN: Your children will then be taken to one of the designated rendezvous points, and they'll become part of the... the process. It's our duty now to think beyond this, this terrible day. And once it's over, the government must be seen as victims of the 456. We must be seen to have lost.
FROBISHER: You put me on camera, I will tell people the truth.
PRIME MINISTER GREEN: Then your daughters would know where they're going. Best not.
Frobisher has been unravelling through this; now he stands up, shouting at Green.
FROBISHER: I can't do it, I won't! You can't make me!
PRIME MINISTER GREEN: In which case your children will be taken without you.
FROBISHER: But you've seen what they do to them! I... They're just girls, sir! They're just girls! They're not, they're not that... they're not...
The tears can be heard in his voice, making his words hard to understand. Green won't meet Frobisher's eyes.
PRIME MINISTER GREEN: I'm sorry, John.
Frobisher just stares at Green in horror and disgust.
PRIME MINISTER GREEN: I'm really, I'm really very sorry.
Green finally looks up at Frobisher, then down at his paperwork again.
PRIME MINISTER GREEN: And I'm really very busy.
CUT to outside the office. Frobisher closes the door behind himself and stands in the deep doorway, then begins to walk forward, looking dazed, his eyes wet.
CUT to an outer hallway. Frobisher emerges from a doorway. Bridget Spears stands from the bench where she's been seated, waiting for him, and approaches him.
BRIDGET: What did he want?
FROBISHER: Bridget, I need a Requisition 31.
BRIDGET: What for?
Frobisher wipes his nose hurriedly with his hand.
FROBISHER: Quick as you can.
BRIDGET: But what for, sir?
FROBISHER: Requisition 31, thank you.
She looks at him for a moment longer, then goes into the doors he just came out of. He stands there composing himself, then takes a few steps to the bench, resting his hand on the back of it to hold himself upright. He turns himself and sinks down slowly.
BRIDGET (voice-over): Requisition 31.
CUT to Bridget, at a counter with a small window. The uniformed man on the other side of the window places a clipboard before her.
SECURITY GUARD: Just sign there.
He turns away as Bridget signs the document on the clipboard.
CUT to the outer hallway. Bridget emerges from the doors, a small rectangular metal box in her hands. She crosses to the bench where Frobisher sits and offers the box to him. After a moment, he takes it, getting to his feet. He starts to walk past Bridget, then stops, turns, and faces her; then he leans in and gives her a swift kiss on the cheek. His footsteps can be heard as he departs, but the camera stays on Bridget's face as she absorbs the impact of that kiss.
CUT to Cardiff: an overhead shot of the Millenium Stadium. CUT to a helicopter touching down on a landing pad. A police constable in the typical neon-yellow coat is standing by a police car as Gwen gets out of the helicopter, aided by the pilot. A closer shot reveals that the man waiting is PC Andy Davidson. Gwen and Rhys run up to him.
ANDY: Croeso I Gymru.
Which is Welsh for "Welcome to Wales". Gwen takes Andy in for a huge hug.
CUT to the police car heading down a street.
ANDY: Everyone's on standby. It's red alert, riot gear and everything, all ready to mobilise, except no one's saying why. What's going on?
GWEN: I can't tell you.
ANDY: I am the police--
GWEN: Right now, Andy, I need you to drive this car, and if I told you...
She trails off.
ANDY: What? Well, come on then, what? Don't you bloody hate people who don't finish their sentences.
RHYS: Hey, she's pregnant.
GWEN: Thank you. Who's she when she's at home?
ANDY: Bloody hellfire. Who's the father?
RHYS: Oh, I'm slappin' you, yeah?
The car is now on the street overlooking the Cromwell Estates.
GWEN: It's Torchwood. That's what did it. They give you Retcon, and chemicals, and radiation and God knows what. Bloody Pill didn't stand a chance. That's what Torchwood does, you see. It ruins your life.
RHYS: How's it ruined?
GWEN: You wanna have kids in a world like this, Rhys.
RHYS: You're not gettin' rid of it.
GWEN: Is that right?
Rhys looks out the window, swallowing.
GWEN: Take the next left. Ianto's sister lives at the Cromwell Estate.
CUT to the conference room. At least four people are typing on laptops; the room is busy and tense. The digital clock ticks over from 10:59 to 11:00.
DENISE: Eleven o'clock, one hour to go.
GENERAL PIERCE: Are we in position?
DENISE: The troops are moving in, sir.
CUT to a military base, where men in uniform are loading into troop carrier vehicles. They carry guns. CUT back to the conference room, where the activity has stepped up a notch. A map on a monitor shows the text: STAGE 3 ACTIVE. It has a map of London and the following additional information:
London 80.2%
Whittington Road Primary School
Longitude: -0.14561, Latitude: 51.47617
Headteacher: Nora Shariff
Gender: Mixed
Age Range: 3-11
Number of pupils on roll: 1218
Religious character non-denominational
Specialist status not applicable
Key Stage 2 Average 22.1
The image of the map on the monitor zooms in (think Google Maps) to show a live satellite image of the school.
CUT to an overhead image of the school. We hear schoolchildren at a lesson, chanting in unison.
CHILDREN: Two, four, six, eight, ten...
CUT to a shot of the children in their classroom. The teacher stands at the front of the room, holding up a painted ruler and moving her finger along it to indicate what number they're on as the children count along in time.
CHILDREN: Twelve, fourteen, sixteen, eighteen, twenty, eighteen, sixteen...
The counting continues in voice-over as we CUT to the troop carrier vehicles rolling out. The music rises, obscuring some of the numbers chanted aloud.
CHILDREN: (voice-over) Fourteen, twelve, ten, eight. Twenty, eighteen, sixteen, fourteen, twelve, ten, eight...
CUT to the children counting. CUT again to the vehicles driving out from the military base, gate raised to let them pass, barbed wire at the foreground of the shot.
CHILDREN: (voice-over) Six, four, two, zero.
CUT to a black car pulling into the driveway of a house. Reporters gathered outside immediately begin taking pictures. Policemen can be seen holding the reporters back as the camera shows Frobisher in the back seat of the car. The car passes the press and moves on.
CUT to the holding facility where Jack and Lois are being detained. A guard opens the barred door at the end of the hallway, admitting Bridget Spears. He ushers her in, closes the door behind her, and then unlocks one of the cell doors. Inside, Lois sits on the bench, legs drawn up to her body and arms folded on them; she looks up warily. Bridget enters the room; Lois watches as the guard sets down a chair for her.
BRIDGET: Thank you.
As the door closes behind him, Bridget sits in the chair, facing Lois, who is still drawn up into herself. Bridget lets out a breath.
BRIDGET: I've come to tell you how we met.
LOIS: Who?
BRIDGET: How I met John Frobisher. It was thirty years ago. You weren't even born. I was on attachment to the civil service, only for six months.
Her speech continues in voice-over; CUT to the driver holding the car door open as Frobisher emerges, walking down the front path into the house. The reporters continue to call from beyond the low garden wall, though the policemen urges them off, as he lets himself in and shuts the door behind himself. Quiet music plays under Bridget's words. From this point, there is no volume for any of Frobisher's scenes.
BRIDGET: (voice-over) And just down the corridor, there he was. You wouldn't think it to look at him now, but he was a clumsy thing, always losing his key. Mr Swales never thought he'd amount to much, but I thought, well.
In the house, Frobisher greets his daughters as they run up to him, hugging them tight. CUT back to Bridget, looking off as if into memory.
BRIDGET: Keep an eye on that one. And all the others came and went, the high flyers, they burnt out or went on to something better. And do you know what John Frobisher did?
CUT to Frobisher talking to his daughters, his wife behind them. We cannot hear what he is saying, but it must be a command, as they give him mildly resentful looks, then walk past him. His wife still looks confused. The girls climb the stairs. CUT back to Bridget.
BRIDGET: He kept working. Head down, worked hard, all his life. It was another ten years before we actually worked in the same office. He asked for me.
CUT to Frobisher moving in to kiss his wife on each cheek and hug her tightly.
BRIDGET: (voice-over) I didn't think he even knew my name.
CUT back to Bridget.
BRIDGET: And we made quite the team. I'm not saying he was perfect. You know that, better than me. But he worked hard, he always worked hard, I don't think that's valued enough these days, hard work.
CUT to Frobisher, apparently now telling his wife the same thing he told the girls. She's reluctant; there appears to be a minor argument, but then she climbs the stairs too, looking back at him. As soon as she's gone, he turns away. He lays his briefcase on the kitchen table. CUT to Bridget.
BRIDGET: He was a good man. I want you to know that. John Frobisher was a good man.
CUT to Frobisher. He has the metal box from before on top of his briefcase, and he opens the hinged lid to take out a gun. His hand trembles violently.
BRIDGET: (voice-over) Because when the history of this is written, they'll talk about the ministers, and the soldiers, and the things with numbers for names...
CUT back to Bridget.
BRIDGET: And I think people will forget how very good he was.
She has to take a moment to compose herself. CUT back to Frobisher as he climbs the stairs, holding the gun behind his back.
BRIDGET: (voice-over) I want you to remember him like that.
CUT back to Bridget.
BRIDGET: If ever you think of John Frobisher, just remember that it wasn't his fault.
CUT to Frobisher, ascending the stairs. The film is slowed down now, so that he moves gracefully. The girls are on the bed, wrestling with pillows; their mother sits beside them. Frobisher enters the room, reaching for the door with his free hand, and shuts it behind himself. The music continues to play as the camera pulls back from the door, and then, in quick succession, three gunshots ring out, startlingly loud. Moments later, a fourth follows.
CUT to Bridget, watching Lois.
BRIDGET: Now. I think I should get back to work.
The guard lets her out of Lois's cell, and Lois walks back down to the entrance of the corridor, waiting while the guard unlocks the door to let them out.
CUT to the Cromwell Estate. Andy, Gwen and Rhys get out of the car.
GWEN: Rhys, you stay here. Give us a shout if anything happens.
ANDY: Like what?
GWEN: Just keep an eye out, yeah?
RHYS stays by the car while Gwen and Andy start down the walk, talking as they approach the building.
ANDY: You know Ianto?
GWEN: Mm-hmm.
ANDY: Was he gay?
GWEN: Shut up.
ANDY: They might not know!
GWEN: Well, in which case, do not say!
ANDY: Well, that proves my point.
GWEN: Look, listen, there's a lot more going on. You've just got to trust me. OK, she's got two kids, we need to find out where they are. That's why we need a car. We might have to pick them up from school and take them back to mine, OK?
ANDY: Back to yours? What for?
GWEN: Andy, we've gotta look after these kids, just do what I say.
Andy rings the doorbell, giving Gwen a dismayed look.
GWEN: Please.
He sighs and seems to acknowledge this as they turn toward the door. Rhiannon opens it a moment later, looking from Gwen to Andy.
ANDY: Hello, I'm Police Constable Andy--
RHIANNON: You're not shutting me down. We've got food, we've got drinks, proper drinks, and I got permission off their parents. Come on! Have a look, I'm not apologising.
Defiantly, she waves them into the house. After a moment, Andy follows, then Gwen. Rhys is left waiting by the car. Inside, the house is full of children, while Johnny plays on the video game system. Rhiannon leads Gwen and Andy into the chaotic main room.
RHIANNON: Johnny.
JOHNNY: (on seeing Andy) Ugh, go and do a proper job.
RHIANNON: I know I need a licence for a creche, I'm not thick. This is emergency circumstances, right? I'm not trusting the telly.
The camera pans around the room, taking in the youngers crowding it.
ANDY: If we could have a word in private.
RHIANNON: They're not even paying, so it can't be illegal, right?
ANDY: No, I know, it's not about the kids, just need a word if we could.
GWEN: How many are there?
JOHNNY: Nineteen.
GWEN: What are they doing here?
JOHNNY: Well, they're not going to go to school, no way. If they want 'em, they'll have to come and get 'em.
ANDY: I just need a word.
Gwen's gaze sweeps around the room as we're briefly taken back into her memory of leaving Jack at the helicopter pad in England. Jack embraces her, and as he does, he whispers in her ear.
JACK: They've got kids. Ianto's niece and nephew. Save them.
Back in the present moment, Gwen continues to look for the children.
In the conference room, the digital clock ticks over from 11:59 to 12:00.
DENISE: Do we begin?
PRIME MINISTER GREEN: We've got no choice.
GENERAL PIERCE: You don't give the orders, Mr Green. Stage One. Mobilise.
The monitor shows a map of England with a close-up of London to the left, the text "Target Schools" beneath it. Several locations are marked on the map by green dots.
CUT to an overhead shot of a school. A troop carrier rolls up before it, then another. The vehicles stop and soldiers jump out of the back. Next, a tall yellow bus drives in, then another. The soldiers run across the empty concrete playground, apparently surrounding the school.
Inside, with soldiers lining the hall, children are led out in a line as a schoolteacher protests.
TEACHER: I don't care who you are, you haven't got the authority to just march in here and -- Mr Patel! They, they can't just--
Further down the hall, a man in a suit, presumably Mr Patel, simply nods to the teacher as if, in fact, the soldiers have every authority.
TEACHER: They said inoculations, not-- Where are you taking them? Excuse me, where are you taking them?!
Outside, the children are being marched into a yellow bus. Among the onlookers is a mother of one of the children; she runs up to one of the soldiers.
CHRISTOPHER'S MOTHER: What's going on, what are you doing?
SOLDIER: Stay on the other side of the road, thank you.
CHRISTOPHER'S MOTHER: But my boy's in there!
The schoolteacher is outside now, still yelling at the soldiers, increasingly strident.
TEACHER: Taking them off the school premises, you just can't! Where are you taking them?!
One of the children -- the son of the woman who protested -- makes a break for it.
CHRISTOPHER'S MOTHER: Christopher! Christopher!
The soldier physically restrains the woman as another soldier catches up to the boy and carries him back.
CHRISTOPHER'S MOTHER: That's my son! That's my bloody son!
TEACHER: You can't take them off the school premises!
As soon as the bus is full, it is driven off, with the children seated inside visibly crying. Christopher's mother shouts and screams, but her protests -- and those of the other parents -- fall on deaf ears. Some of the parents, including Christopher's mother, give chase to the bus.
CUT to Rhiannon and Johnny's house. In a small storage closet, Rhiannon cries while Johnny holds her, rubbing her back.
JOHNNY: It's OK, it's OK, let it out.
Gwen and Andy watch as Rhiannon cries.
JOHNNY: He didn't say anything about my car, did he?
GWEN: No.
ANDY: Sorry.
GWEN: No, and there's something else. Something he wanted me to tell you, and I'm sorry, it's going to hurt you--
RHIANNON: You can get out.
GWEN: I knew Ianto properly, I've worked with him for years.
JOHNNY: Come on.
GWEN: No.
JOHNNY: Leave her alone.
GWEN: I did, I really, I did. We were a team, we did all these things together. And he'd always be fussing about his bloody coffee, yeah?
RHIANNON: Yeah.
GWEN: And he'd be talking about you, all the time, you and the kids. And his dad. That's Ianto, he was always so proud of his dad.
RHIANNON: What did he say about him?
GWEN: About his job and things.
RHIANNON: What job was that?
GWEN: He said he was a master tailor.
RHIANNON: He worked in Debenhams! If Ianto gave you that old shit then you didn't know him at all!
Off of Gwen's betrayed look, CUT to Ashton Down. In a large, empty room, some of the soldiers are entertaining Steven with an improvised game of footie. Alice watches from her seat on a nearby crate, smiling. Johnson approaches her, offering a styrofoam cup.
JOHNSON: Here you go.
ALICE: Thanks.
She sips at the beverage.
JOHNSON: It's started.
Alice lowers the cup, looking up at Johnson.
ALICE: Jesus.
She turns to look at Steven again.
CUT to the conference room.
GENERAL PIERCE: Numbers?
DENISE: We're looking at an uptake of about sixty percent. As predicted, a lot of the children in the target area have stayed at home.
GENERAL PIERCE: Then we'd better go and get them. Stage Two. Mobilise.
CUT to the Cromwell Estate. A troop carrier drives into shot, turning onto the road of the estate, followed by another. A shot of Andy's car shows Rhys noticing this activity. The trucks come to a stop in the middle of the road, next to each other, and soldiers pour out of them. Rhys goes running to the Davies house.
Inside the house, Gwen approaches Rhiannon and Johnny.
GWEN: I swear on my life you have got to get those kids out of this house. Is there anywhere you can take them? I don't know, anywhere safe?
ANDY: Gwen, now, come on.
GWEN: What?
Behind them is the sound of a door opening. Rhys appears behind them.
RHYS: They're here.
Outside, the soldiers continue to emerge from one carrier as another rolls past. They're carrying riot gear. Gwen, Andy, Rhys, Johnny, and Rhiannon come out of the house's front door to see this.
GWEN: Oh, God. Look, I haven't got time to explain, OK? But they're coming for your kids, I swear.
JOHNNY: Don't be stupid.
GWEN: Shut up. They're going to come into your house, and they're going to take your kids, and I'm sorry, but you've got to believe me. That's why Ianto died, OK? He was trying to stop them. They're gonna come and they're gonna take your kids. You'll never see them again. Never.
CUT to Ashton Down and the ongoing footie game.
Steven: Hey.
SOLDIER: Hey!
JOHNSON: He'll be fine. The nice kids are safe. If you're gonna get rid of ten percent, then take the ten percent you don't want. All those kids on street corners, we've finally got rid of them.
ALICE: While everyone else just stays indoors? Ninety percent just hugging their kids, not making a sound, just like they did before. I don't even know your name.
JOHNSON: I protect the state. I was brought up to believe in and protect the state.
ALICE: Not much good now, are you? Even if ninety percent look the other way, what sort of world are you leaving behind? I swear to you, if your duty is to protect the state above and beyond any other authority, then the one person you need right now is Jack Harkness.
CUT to the holding facility where Jack and Lois are being kept. The guard opens the hatch in the door of Jack's cell. He sits with his head bowed and fingers interlaced, thumbs pressed to the bridge of his nose. The guard closes the hatch again and goes to the opposite cell to look into the window of Lois's door.
Suddenly, a group of armed men in black burst into the hallway at both ends, shouting at the guard.
SOLDIER: On the floor! On the floor!
Hearing the commotion, Jack leaps to his feet, going to the door to try and see what's happening.
SOLDIER: Stay down!
One of the armed men knocks the guard to the floor. In her cell, Lois goes to the window in the door. The men open Jack's door.
JACK: What's going on? Hey!
SOLDIER: Move.
They drag him out of the cell and rush him down the hall.
LOIS: Captain!
SOLDIER: Go! Go!
LOIS: What's happening?
She bangs on her door.
LOIS: Captain Harkness! Captain Harkness!
The soldiers scurry out, closing the barred door behind them as the guard gets to his feet.
CUT to a helicopter flying over London. The view of the city focuses in on a tall tower with a helipad on top. As the shot moves in closer, Jack can be seen with four of the armed men in black. He is still handcuffed. The helicopter comes to a landing.
CUT to the storeroom where Dekker kept the original equipment from the 1965 visit. Other men in black are loading everything they can into wire baskets. Outside the room, Dekker approaches, removing his coat and opening the door, apparently unaware of the intruders; he enters the room to see them rifling through his things.
DEKKER: Here, what are you doing?
One of them neatly clocks him with the butt of a rifle, knocking him out.
CUT to the Cromwell Estate. Soldiers are moving around on the road.
GWEN: (voice-over) Yeah, they're spies. Hush now, darling. Nice and quiet.
CUT inside the Davies house. Gwen is putting a pink coat on a little girl.
GWEN: Don't make a sound, that's right, like a game, yeah?
ANDY: (into the radio on his jacket) Alpha one-eight-six to Control. Is anyone there?
GWEN: Fingers on lips.
She puts her finger to her lips and the little girl imitates her.
RHIANNON: Now, you don't make a noise until we get there, OK? You stay nice and quiet, and I'll get you some sweets, yeah?
RHYS: Where is this place?
RHIANNON: It's down by the field, it's all boarded up.
GWEN: Right, look. We've gotta go, right now.
RHiANNON: OK. Come on, everyone.
She continues the same general encouraging words under Andy's next line.
ANDY: Alpha one-eight-six to Control. Can you hear me?
RHIANNON: Come on, everyone, we're like spies. We're playing spies. Now, come on. That's it, no one makes a sound.
She and Rhys begin to herd the children out the back door in a line.
GWEN: Are you coming? Andy?
Andy, looking mutinous, goes out the front door. Gwen looks back at him, but she can't wait any longer; she follows the others out the back. Andy emerges from the front, hat in hand, as a line of soldiers run up to a nearby door.
ANDY: Control, this is Alpha one-eight-six. What's going on?
In back, Gwen and Rhys begin to lead the kids out. From the back, one of the troop carriers and some of the soldiers standing by it can be plainly seen. Rhys lifts the first girl into his arms.
RHYS: Take it easy. Take it easy, come on.
He leads them along; Rhiannon is further down the line.
RHYS: Hurry, come on. Come on. Keep tight, yeah.
JOHNNY: Rhi!
More soldiers run up to another house and bang on the door. Inside, a woman can be heard shouting.
WOMAN: What the hell are you doing?
Johnny comes out of the house next, jogging up to Rhiannon.
JOHNNY: You take them. I'm going out the front. Somebody's gotta stop them.
RHIANNON: No, Johnny, don't be stupid.
JOHNNY: It's not just us, you daft sod.
He kisses Rhiannon briefly, then goes. Soldiers are breaking into the houses now, and Gwen exhorts the children to move faster. They run along behind a low wall. Johnny's out front, running down the street to some other men who are standing on a corner.
JOHNNY: Danno! Where's Richie? Go get him, get Sammy, get all the boys.
MAN #1: What's happening?
MAN #2: What is it?
Another man, presumably Danno, starts off.
MEN: What's wrong, what's wrong?
JOHNNY: All that stuff on the news, all that inoculation stuff, it's bollocks, right? The government has sold us out. They're coming to get our kids, and we're not getting them back, boys, right? We got to stop them?
Another man runs up during this speech, into which the other men interject exclamations. Andy can be seen nearby as the soldiers move from one house to the next.
JOHNNY: We got to stop them...
The music is rising and Johnny's words become lost in the shouting. A line of soldiers forms up with clear riot shields and sticks. Johnny continues to shout, urging the other men on, and together the group, now larger, begins to march toward the soldiers. Other soldiers are carrying children screaming out of a house. At this sight, the crowd breaks and runs toward the soldiers, throwing bricks as they come.
The children are running in a line now, around a long brick wall and out of sight, as Johnny's mob engages with the soldiers. Another soldier continues to carry a screaming girl toward a troop carrier. Two other soldiers restrain the girl's father. Gwen, Rhys, and their charges run down and across a street, away from the violence. Johnny punches one soldier, then goes for another. Across the street, Andy looks on, his eyes angry. The soldiers are bearing Johnny down. Another child is taken from a nearby house, his mother in pursuit and stopped by more soldiers.
WOMAN: No! Give him back! Give him back!
Suddenly, Andy's had all he can take. He tears off the police jacket and the flak jacket underneath, undoing his belt, and wades into the fray. The children with Gwen, Rhys and Rhiannon continue to run. Andy belts one soldier. Another pushes Johnny down and holds him with his stick to Johnny's neck. Andy's punched in the stomach by another soldier, who pushes him down to the pavement, getting the stick against the back of Andy's neck.
Rhys is leading the children away from the estate, past a fence, down a gravel road to a couple of sheds; all are running as fast as they can go. Rhys puts down the little girl so that he can kick in a piece of corrugated-tin siding, and he ducks inside, holding it to let everyone in and directing them to go further in. Gwen is the last, and Rhys shifts the piece of siding to cover the opening again.
DAVID: Oh, it's stinking!
RHIANNON: (whispering) Keep your voice down.
The children all find places to sit, and Gwen kneels to talk to them.
GWEN: Yeah, what I need you to do is to be as quiet as you possibly can, like mice.
CUT to Ashton Down, where Dekker is being escorted down a hallway by four of the men in black. Further down the hall, Alice sits with Steven. As the group passes them, Alice stands, and then Steven does as well when he sees who's coming next.
Steven: Uncle Jack!
He runs at Jack, who also has an escort (which includes Johnson) and who is still handcuffed.
JACK: Hey, soldier!
Steven hugs Jack, grinning.
JOHNSON: We haven't got time!
JACK: Listen, stay with your mom, OK?
Steven goes back to Alice, and Jack and his escort continue down the hallway. Jack looks at Alice as he goes by, but they have no time to talk. Suzanne is behind them, and Alice approaches her.
ALICE: Sorry, would you...
She bends to kiss Steven on the cheek.
ALICE: I'll be back.
She hurries after Jack. Suzanne leads Steven away.
Dekker and Jack are brought into the big open area previously used for footie. Dekker's equipment has been brought here as well, and lights are set up to illuminate the empty space. Dekker and Jack are led into the center of the circle of equipment; their cuffs are undone.
JOHNSON: This should be everything you need. And if it's not, we'll find it.
JACK: For what?
JOHNSON: Wavelengths. The 456 are named after a wavelength, and that's got to be the key to fighting back.
DEKKER: You're wasting your time. There's nothing you can do. I've analysed those transmissions for forty years and never broke 'em.
Without batting an eyelash, Johnson turns, draws, and fires. Dekker shouts in pain and collapses to the floor. She reholsters her gun and returns her attention to Jack.
JOHNSON: What do you think, Captain? She told me you were good. Was she right?
At 'she', she nods slightly to Alice, who's standing back a bit behind Jack. Jack turns to look at Alice, and for the first time in quite a while, a smile comes to Jack's face.
JACK: Let's get to work.
He takes off his coat and walks off to get started. Johnson begins to smile.
Over the classic Torchwood music, Jack starts to it, going to a keyboard.
JACK: Get me access to the Torchwood software.
He goes to a laptop and starts typing.
JACK: Log on to the servers and...
A computer-generated sound almost like a voice comes up as Jack gets into the server.
JACK: Welcome back.
Dekker's behind him, leaning on a crate, his injured leg wrapped with a bandage.
DEKKER: It still won't work. There's nothing on there. It's useless.
JACK: We've got technology way beyond you.
DEKKER: We hacked into Torchwood years ago, you idiot. There's nothing.
JOHNSON: Bring him over here.
ALICE: Dad, come and look at this.
She's at another laptop. Dekker groans as two of the soldiers lift him to his feet. Jack joins Alice at her laptop.
ALICE: It's some sort of pirate station. They're trying to get the story out to the public. But they're taking the kids.
On the laptop, we see video of the school busses rolling by, one after another, each full of children.
WOMAN: We're broadcasting this on digital one four one. It's the kids! Tell everyone to tune in to one four one.
The shot cuts to an image of a bus disappearing behind chickenwire fencing.
CUT to a troop carrier leaving an army base, followed by school bus after school bus. The busses are driven up to a line of soldiers standing in wait. The children inside are let out and guided away in lines.
CUT to the shed where Gwen, Rhys, Rhiannon, and the children are hiding. The children fidget nervously, but are generally quiet. The wind can be heard, rattling the tin of the building. Gwen is holding the small girl who was carried by Rhys earlier, and the camera pans up to her face, revealing that she's in the middle of the speech shown at the beginning of the episode. Rhys holds the camera.
GWEN: There's one thing I always meant to ask Jack. Back in the old days. I wanted to know about that Doctor of his. All those times in history when there's no sign of him, I wanted to know why not. But I don't need to ask anymore. I know the answer now. Sometimes the Doctor must look at this planet and turn away in shame. I'm recording this in case anyone... in case anyone ever finds it. So you can see... you can see how the world ended.
Slowly, Rhys lowers the camera. He has to wipe a tear from his face; then he looks up at Gwen again.
RHYS: Y-y-y-you didn't mean it, did you? About... getting rid of it?
GWEN: No, of course I didn't.
RHYS: OK.
GWEN: I would never...
Rhys crosses the gap between them and hugs her.
GWEN: Never. I wouldn't do that to you, sweetheart. No, I wouldn't, and I'm sorry.
He sits back again, wiping under his eye and sniffing hard.
GWEN: I'm sorry. All right, darling?
She smooths the little girl's hair absently.
CUT to the conference room.
GENERAL PIERCE: Illegal broadast on digital one four one. Close it down. And take out the whole network if you have to.
DENISE: We're up to eighty percent. The people are starting to fight back.
General Pierce presses a button on the phone in the middle of the table.
GENERAL PIERCE: Colonel, we're predicting eighty percent. Is that acceptable?
CUT to Floor 13. The 456 gurgle ominously in their tank.
COLONEL ODUYA: We have up to eighty percent of the designated children. Is that enough?
The 456 are silent for a long moment.
THE 456: All of them. All of the designated to us.
CUT to the conference room, as General Pierce absorbs this.
COLONEL ODUYA: (on the phone) Not acceptable, sir.
Denise and General Pierce exchange looks.
GENERAL PIERCE: We need the rest. Authorising maximum force.
Bridget Spears enters the room with a folder.
BRIDGET: The latest report from Germany. Old-fashioned hard copy, I'm afraid. The system's gone into meltdown.
DENISE: You don't have to be here.
BRIDGET: It's what he would have wanted.
DENISE: Do you think so? I can't imagine anyone wanting to be in this bloody room.
She walks past Bridget, who turns her gaze on Prime Minister Green, seated at the head of the table. He seems to have nothing to do; he is watching others work.
WOMAN: (on phone) Yes. Yes.
The shot closes in on a tight focus of Bridget's eyes.
CUT to Ashton Down. Jack talks with Johnson.
JACK: If we cycle the wavelength back at them...
DEKKER: I know what you're trying to do. A constructive wave.
Jack watches him warily.
DEKKER: Do you think people aren't working on that all over the world? But it's never gonna work. The effect would be like shouting at the 456, that's all. Just shouting.
JACK: Why did Clem die?
JOHNSON: It was the 456 that killed him.
CUT to the image from Day Four, Clem clutching his ears and screaming in pain as Gwen holds him.
JACK: But how did they do it? Why did they do it?
JOHNSON: We've got the recording here.
JACK: His mind must have synced to the 456 back when he was a child. But they didn't need to kill him. He wasn't any threat. Unless maybe that connection hurt them.
JOHNSON: This is the 456 at the moment of his death. We've lifted the sound from the Thames House link.
Dekker gets up to listen as the sound of the 456 screeching plays on Jack's laptop. It shows on the screen as a waveform.
JACK: That sound, Mr Dekker, what's that sound?
DEKKER: I don't know, it's new.
JACK: Exactly. It's new.
He's starting to look more hopeful.
CUT to an army base, where soldiers herd children into a large circle: one of the designated rendezvous points. The men stand around the children to corral them in place. Another bus comes in, then another, bringing more children. Soon the larged paved area is completely full of children below puberty.
CUT to Ashton Down. Alice has taken interest in the discussion now.
JACK: We don't have to analyse the wavelength, just copy it. Turn it into a constructive wave. But we've got no way of transmitting.
DEKKER: Of course you have.
JACK: Shut up.
DEKKER: Same way as them.
JACK: I'll find something else.
JOHNSON: What does he mean?
JACK: Don't listen to him.
JOHNSON: Dekker, tell me.
DEKKER: The 456 used children. To establish the resonance.
JOHNSON: Meaning what?
DEKKER: We need a child.
ALICE: What do you mean?
DEKKER: Centre of the resonance. Hoo! That child's gonna fry.
He chuckles. Jack is quiet, his eyes dark as he seeks solutions. Alice's face begins to grow scared.
ALICE: No, Dad. No, tell them no.
JOHNSON: One child or millions.
ALICE: Dad, no. Dad, tell them no!
JOHNSON: We're running out of time.
ALICE: Dad, no! No, Dad!
JOHNSON: Captain!
His face blank, Jack quickly nods. Alice's eyes are round with fright and she goes running.
ALICE: Steven!
CUT to the shed behind the estate. David is peeking out the opening. He sees soldiers running up to a woman on the street, who points in the direction of the shed.
DAVID: Rhys. Quick.
Rhys leaves Gwen to go look. When he peers out, he sees several soldiers jogging toward the shed.
RHYS: Incoming! Everybody out! Quick! Everybody out!
At his shout, everyone gets to their feet, heading for the far end of the shed.
RHYS: Quick! Come on! Let's go!
Outside, the soldiers approach.
RHYS: Quick! Come on! Quick! Come on. Quick, out.
He helps rush the children along. They have to climb up a ladder. Behind another ladder, a girl has hidden herself, crying.
GWEN: Come on, quick, quick, quick, quick, quick.
At the top, Rhys pushes out a piece of plywood closing up the entrance and hops out, leading the kids, grabbing at a little girl's hand. The soldiers kick in the tin blocking the front entrance and enter the shed. They shout directions to each other. The little girl behind the ladder shrinks, trying to not be seen. It's no good; one of the soldiers picks her up.
GIRL: Get away! Get away!
She screams as she's taken. The other soldiers run out the back way, pursuing the others.
ALICE: (voice-over) Steven! Steven! Steven!
CUT to Ashton Down; Alice is pelting down a hallway, three of the men in black in pursuit. One of them manages to stop her; another hikes Steven over his shoulder.
STEVEN: Mummy!
ALICE: No! Steven!
STEVEN: Mummy!
The men take Steven past Alice while she's held to the wall, unable to stop them.
STEVEN: Mummy!
ALICE: My baby!
STEVEN: Mummy! Mummy!
ALICE: Steven, run away!
CUT to the estate. The children scream as they run across wet, muddy ground, away from the pursuing soldiers. Gwen carries the little girl she was holding before; she lags behind the others. The images are blurred and jolted; much of the screaming is lost in the music overlaying these scenes.
GWEN: Run! Run!
CUT to Ashton Down. Jack sets up the necessary equipment as Steven is brought into the circle. He's set down on a stand in the middle of it.
STEVEN: What are we doing, Uncle Jack?
Jack doesn't respond, going from one laptop to another.
STEVEN: What's happening? What do you want me to do?
Alice, in the hallway, continues to scream.
ALICE: Steven, get away!
She finally manages to tear away from the soldiers holding her and goes running
CUT to the estate; the soldiers are catching up, nearly on the group of children, Rhys, Gwen, and Rhiannon. They descend, grabbing at coats to stop the children. One grabs David; another gets Rhiannon as a third starts to carry off Mica.
RHIANNON: No!
Her other shouts are indistinguishable over the music. Rhys is forced to the ground by another soldier. Gwen keeps running with her burdern.
CUT to Ashton Down. Alice runs back to the big room, but the door is locked and she can't get in.
ALICE: Steven! Steven!
Jack's work has become fast-paced and frantic now.
CUT to the estate, as soldiers continue to pursue Gwen.
CUT to Ashton Down.
ALICE: Run! Run!
Jack has completed his work. Steven stands in the center of the circle, confused. He looks around.
CUT to the estate. Gwen is still running.
CUT to Ashton Down. Jack stands before the laptop, his eyes swimming with unshed tears. Then he stabs a single key. A humming, buzzing sound begins to emerge from the equipment. Behind Dekker, screens show sound waveforms moving on a graph. Steven suddenly goes still. Jack types another command on the laptop, presumably copying the wavelength. Then he stands back.
Steven begins to make the shrill sound first given out by the children in Day One, the sound of attunement. On the other side of the reinforced glass, Alice can only watch in terror.
CUT to the army base. Every child on the pavement opens their mouth and begins to make the same shrill sound.
CUT to the estate. Gwen has set down the girl she was carrying as she, too, begins to make the sound.
CUT to an overhead shot of Thames House. Inside, on Floor 13, Colonel Oduya still stands before the tank. He can hear the sound, and so can the other UNIT soldiers in the room. And so can the 456. They begin to groan. Colonel Oduya watches in interest.
CUT to the army base. The children are all giving the sound in the exact same note.
CUT to Ashton Down. Steven begins to twitch as he makes the sound. His body jerks more and more violently as seconds pass. Alice hammers on the glass.
ALICE: Steven!
Steven's body moves so quickly it becomes a blur to the eye. Blood trickles from his nose and down onto his shirt.
CUT to Floor 13. The 456 react more violently. CUT to the army base. The children make the same sound. Cut to Floor 13. One of the UNIT soldiers trains his gun on the tank as the 456 flail in earnest, slapping their flippers on the glass and screeching. Then - instead of snot - blood splashes on the inside of the tank. Colonel Oduya covers his face instinctively. The 456 slam the tank hard.
CUT to Ashton Down. Steven's jerking and shaking grows more violent. Johnson has to look away. Only Jack remains witness, his face wet. Outside, Alice sobs, barely able to see through the glass through the condensation of her breath.
The cuts are very fast now. Floor 13: the 456 writhing. The army base, the children continuing. Floor 13 to the army base to Floor 13. Ashton Down: Steven's spasms are enormous and both nostrils leak dark blood. Tears slide down Johnson's face. Jack suppresses some show of emotion, his eyes shining.
Suddenly, the sound stops. On Floor 13, another violent gout of blood splashes the inner wall of the tank, followed by several smaller ones on every inner surface. Then the whole inside of the tank lights up in flames, startling Colonel Oduya and the UNIT soldiers, who shield their eyes. As they watch, the transportation process reverses, the fire shooting upward through the ceiling and into the sky, much faster than when it descended. The clouds close over the hole made in them and then disappear altogether.
CUT to the conference room. All that can be seen on the video feeds for Floor 13 is static.
GENERAL PIERCE: Colonel, do we have a report?
The room is completely silent.
GENERAL PIERCE: Colonel, what happened?
CUT to Floor 13. Colonel Oduya is still processing the events he just witnessed.
GENERAL PIERCE: (on phone) Colonel!
COLONEL ODUYA: It's gone, sir. The 456 has gone.
He walks slowly toward the tank, which is now completely empty, the inside walls clean, the atmosphere also apparently taken in the fire that removed the 456.
CUT to the estate, where Rhys has joined Gwen with the little girl.
GWEN: What did you do, clever girl? What did you do?
She hugs the girl tight and sinks back.
GWEN: What did you go?
RHYS: Hey!
Now that the threat has passed, the soldiers have released the children. Rhiannon sinks to her knees as Mica runs to her.
CUT to Ashton Down. Alice is still pressed to the glass.
JOHNSON: Let her in.
A buzzer sounds, and the door unlocks. Alice darts inside and runs straight through the circle to Steven, who lays limp on the stand in the middle of the equipment. Dried blood crusts his ears as well as his nose. Alice sits and pulls him into her lap, smoothing his hair, sobbing.
ALICE: No, no, no, no, no!
She turns her grieving face on her father as she gathers Steven's body to her.
ALICE: No! No! Somebody help him! Help him!
Jack stands passively, letting the tears fall, as the camera pulls away from his face. Alice's sobs echo in the room and she rocks Steven's body in her arms.
ALICE: No, please, no. Why? Why? Oh, please.
CUT to the conference room. The last of the officials are leaving the room. General Pierce stands at one end of the room, facing Prime Minister Green, who's still seated at the head of the table, while Denise Riley arranges some folders on the table and Bridget Spears stands nearby.
GENERAL PIERCE: Prime Minister.
He salutes, then turns and leaves the room. Once the Americans are all gone, Denise turns to the Prime Minister.
DENISE: The public will be wanting a statement, sir.
Green inhales deeply.
PRIME MINISTER GREEN: I suppose you could say we were lucky.
DENISE: A bit soon to tell. We don't know exactly what happened yet.
PRIME MINISTER GREEN: Lucky with the Americans, I mean. General Pierce took charge without ratification from the United Nations. We can say that today's events were in American hands.
BRIDGET: And do you think that's lucky?
PRIME MINISTER GREEN: (laughing) Yes, I, I do, rather.
BRIDGET: Your first thought now is to save your own skin. In which case, you might like to know, I paid a visit this morning, sir. I went to see Lois Habiba. You might remember her. I sat with her a while. We had a number of things to discuss. And while I was there, I used the emergency protocols to sign out a particular piece of evidence.
CUT to a flashback, showing Bridget signing a piece of paper while a policeman removes something from a plastic bag.
POLICEMAN: Thank you.
Bridget takes the item - a contact lens case. CUT to the present.
BRIDGET: Contact lenses, sir. The Torchwood contact lenses. And Lois was very helpful. She told me how they worked.
CUT to a flashback of Lois talking; no sound can be heard, but she seems to be illustrating the use of the lenses. CUT to the present moment.
BRIDGET: I can hardly feel them, sir.
We see a shot of the Prime Minister through the lenses.
BRIDGET: But everything that happened in this room has been recorded, sir. All waiting to be made public by me. Including your statement just now that after the events of today you feel, as you said in your very own words, sir, "lucky".
PRIME MINISTER GREEN: You wouldn't dare. I can have you arrested.
DENISE: I don't think so. Thank you, Bridget, you're free to go. And Miss Habiba will be released, I'll see to it myself. I think I'll be taking charge of very many things in the days to come. Is that all, sir?
The Prime Minister looks dazed, trying to form words but then giving up.
CUT to Ashton Down. Jack sits on a narrow bench in a long hallway. His silhouette is dark in the hall, with sunlight on the wall just beyond him; at the far end is a set of double doors. One of the doors opens, and Alice steps out; Jack's head turns when he hears the door open. Alice stops as the door swings shut behind her. She catches sight of Jack and goes still. Jack sits on the bench, his hands folded and expression guarded. After a moment, Alice steps backward, leaning on the door to press it open, and turns, walking away. Jack continues to sit for a moment as -- very faintly -- dialogue from earlier plays.
STEVEN: Uncle Jack!
JACK: Hey, soldier.
Finally, Jack takes a deep breath and stands, walking down the hall in the opposite direction from Alice. He pushes open the double doors leading outside and exits into light.
CUT to a dirt road, wet, overhung with trees and greenery. A car's headlights show and come closer as the title card comes up.
Title card: SIX MONTHS LATER
As the car approaches, the occupants are revealed: Gwen and Rhys. Rhys is driving. He pulls the car off to the side of the road and cuts the engine. Both unbuckle their seatbelts, and Rhys gets out, coming around to open Gwen's door for her. Her smile is fond.
RHYS: There's no more road. We'll have to walk from now on. You all right?
Out of the car, Gwen's huge belly is revealed.
GWEN: You fuss over me one more time...
RHYS: I'm just saying.
GWEN: Well, don't.
Rhys locks the car with a little beep from the remote, and they start to walk, smiling at each other.
The view from the top of the hill shows Cardiff spread out below them, lights marking the roads and buildings. Gwen and Rhys hold hands as they climb to the top. They pause part of the way there, seeing something, and the camera turns to reveal Jack standing at the top of the hill, his coat buckled around him. Gwen chuckles, holding her belly, and she and Rhys finish walking up to meet him.
GWEN: Couldn't have just chosen a pub, could you?
RHYS: It's bloody freezing. My feet.
JACK: Oh, I missed that, the Welsh complaining. You look good.
GWEN: I look huge.
RHYS: She's bloody gorgeous.
Jack smiles at that, and Gwen approaches him.
GWEN: You OK?
JACK: Yeah.
She touches his collar as if to neaten it.
GWEN: Did it work?
JACK: Travelled all sorts of places. This planet is too small. The whole world is like a graveyard.
GWEN: Come back with us.
JACK: Haven't travelled far enough yet. Got a lot of dirt to shake off my shoes. And right now, there's a cold-fusion cruiser surfing the ion reefs just at the edge of the solar system, just waiting to open its transport dock.
As he speaks, he looks up, and a light winks in the sky high above. Then he returns his gaze to Gwen.
JACK: I just need to send a signal.
Gwen holds up a finger: 'one second'. She digs in her pocket and produces Jack's wriststrap.
GWEN: They found it in the wreckage. Indestructible. Like its owner.
She gives it to him, and he places it on his wrist.
GWEN: I, eh, put on a new strap for you.
RHYS: Cost me fifty quid, that.
JACK: Bill me!
GWEN: Are you ever coming back, Jack?
JACK: What for?
GWEN: Me.
Gwen begins to get teary.
GWEN: It wasn't your fault.
JACK: I think it was.
GWEN: No.
JACK: Steven and Ianto and Owen and Tosh and Suzie and... All of them. Because of me.
GWEN: But you, you saved us. Didn't you?
JACK: I began to like it. And look what I became. Still. I have lived so many lives. It's time to find another one.
He steps back from Gwen and lifts his wriststrap (which, despite the claim of having a new leather band, still has the old marks of use). He presses a button and it begins to send a continuous beep.
GWEN: Th-they died, and I am sorry, Jack, but you cannot just run away. You cannot run away.
The teleportation field begins to shimmer over Jack.
JACK: Oh, yes, I can. Just watch me.
He's gone in a shimmering ball of light that shoots upward. A moment later, a light shines brightly from the sky, then winks out. Gwen stands, looking up and crying, as Rhys walks up behind her. Gwen puts her face in her hands and sobs. Gently, Rhys leans in.
RHYS: Let's go home, yeah?
Gwen turns to Rhys, still crying.
GWEN: Yeah. Yeah.
She looks up again, her hands still folded, and then turns and walks away with him, his arm around her shoulders. She looks back, once, but then continues walking with Rhys, leaning on him and patting his back as they make their way down the hill.
END CREDITS
CAST
Captain Jack
JOHN BARROWMAN
Gwen Cooper
EVE MYLES
Rhys Williams
KAI OWEN
John Frobisher
PETER CAPALDI
Brian Green
NICHOLAS FARRELL
Bridget Spears
SUSAN BROWN
Alice Carter
LUCY COHU
Mr Dekker
IAN GELDER
PC Andy
TOM PRICE
Lois Habiba
CUSH JUMBO
Johnson
LIZ MAY BRICE
General Pierce
COLIN McFARLANE
Denise Riley
DEBORAH FINLAY
Rhiannon Davies
KATY WIX
Johnny Davies
RHODRI LEWIS
Anna Frobisher
HILARY MACLEAN
David Davies
LUKE PERRY
Mica Davies
AIMEE DAVIES
Steven Carter
BEAR McCAUSLAND
Holly Frobisher
JULIA JOYCE
Lilly Frobisher
MADELEINE RAKIC-PLATT
456 Voice
SIMON POLAND
Female Teacher
LORNA BENNETT
Mum
RHIANNON OLIVER
Newsreader
LOUISE MINCHIN
1st Assistant Director
STEFFAN MORRIS
2nd Assistant Director
JAMES DeHAVILAND
3rd Assistant Director
DAVID CHALSTREY
Location Manager
NICKY JAMES
Assistant Location Manager
GARETH SKELDING
Unit Manager
RHYS GRIFFITHS
Production Co-ordinator
CLARE RUTTEMAN
Production Secretary
CLAIRE THOMAS
Runners
ALISON JONES
NICOLA BROWN
TOM EVANS
Drivers
SEAN EVANS
WYNFORD FINNEY
Assistant Production Accountant
CAROLE WAKEFIELD
Continuity
NON ELERI HUGHES
Camera Operators
JAMES LEIGH
ALWYN HUGHES
Focus Puller
STEVE REES
JAMIE SOUTHCOTT
Grip
CLIVE BALDWIN
Camera Assistant
TOM HARTLEY
JON VIDGEN
Boom Operator
JEFF WELCH
Sound Assistant
BRYN THOMAS
Gaffer
MARK HUTCHINGS
Best Boy
STEVE SLOCOMBE
Electricians
BEN GRIFFITHS
JONATHAN COX
GARETH WILLIAMS
Stunt Co-ordinator
TOM LUCY
Supervising Art Director
STEPHEN NICHOLAS
Standby Art Director
ARWEL WYN JONES
Standby Props
PHIL SHELLARD
JACKSON POPE
Standby Carpenter
WILL POPE
Rigger
KEITH FREEMAN
Props Master
STUART WOODDISSE
Set Decorator
JULIAN LUXTON
Construction Manager
MATTHEW HYWEL-DAVIES
Graphics
BBC WALES GRAPHIC DESIGN
Costume Supervisor
LINDSAY BONACCORSI
Costume Assistant
SARA MORGAN
GEMMA EVANS
Make-up Supervisor
ABI BROTHERTON
Make-up Artists
NEL BATT
HANNAH PROVERBS
Casting Associate
ANDY BRIERLEY
Assistant Editor
CARMEN SANCHEZ ROBERTS
Post Production Supervisors
HELEN VALLIS
CHRIS BLATCHFORD
On Line Editor
GERAINT PARI HUWS
Colourist
JON EVERETT
Dubbing Mixer
TIM RICKETTS
Sound Supervisor
DOUG SINCLAIR
Sound Effects Editor
HOWARD EAVES
With Thanks to the
BBC National Orchestra of Wales
Casting Director
ANDY PRYOR CDG
Production Accountant
CERI TOTHILL
Sound Recordist
JULIAN HOWARTH
Costume Designer
RAY HOLMAN
Make-up Designer
MARIE DORIS
Title Music
MURRAY GOLD
Composer
BEN FOSTER
Visual Effects
THE MILL
Special Effects
ANY EFFECTS
Prosthetics
MILLENNIUM FX
Editor
PHILIP KLOSS
Production Designer
EDWARD THOMAS
Director of Photography
RORY TAYLOR
Assistant Producer
BRIAN MINCHIN
Production Executive
JULIE SCOTT
Associate Producer
CATRIN LEWIS DEFIS
Executive Producers
RUSSELL T DAVIES
JULIE GARDNER
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