Doctor Who Confidential (2005–2011): Season 5, Episode 5 - Blinded by the Light - full transcript
Confidential goes down
to the woods today
to join
the Doctor Who cast and crew.
In this episode,
Amy faces her darkest moment yet.
Amy is on the
brink of death, basically.
Doctor, it's coming. I can feel it.
I'm going to die!
And the Doctor has left her again,
and he kind of
has a habit of doing this.
I always come back.
Can you imagine
walking through a forest
of Weeping Angels
with your eyes shut?
It's hideous!
That's as bad as it gets!
MUSIC: "Bad Romance"
by Lady Gaga
And Miss Pond puckers up as she
prepares to land one on the Doctor.
And then they have
a little smoochie!
Which we call...
BOTH: ..smoochie-smoochie time!
Doctor...
In this adventure,
it's all about Amy.
Despite a rough ride in the previous
episodes, the heavenly host
still have her in their sights.
MUSIC:
"Bad Day" by Blur
Part of the mission statement
of writing a script for Doctor Who
is "How bad a time
"can you give Amy Pond?"
What's it going to do to me?
I'm going to die!
Please, just listen to me!
'In one scene in the spaceship,'
they're trying to run away from
the Angels and keep them away,
and Amy takes some instructions
from the Doctor,
but she actually says
a different number
to the number that he tells her.
Spin it clockwise four turns.
Ten.
How long have we got?
Five minutes max. Nine. Five.
Five, right. Yeah.
Why did you say nine?
I didn't.
Eight.
What did you say?
Seven. Seven?
Sorry, what? You said seven.
No, I didn't. Yes, you did.
Angel Bob makes her aware that
she's actually counting down.
Six.
OK, here's what I want to know.
What have you done to Amy?
'There's something in her eye.'
What's in her eye? 'We are.'
What's he talking about?
Doctor, I'm five!
I mean...five.
Fine.
For Amy, I think that was just
such a freaky thing, because imagine
saying something
else to what you mean to say.
It's a really strange
situation for her to comprehend.
And then she gets really
freaked out,
because as she counts down further
and further to one, she's getting
closer and closer to death.
MUSIC: "Where Is My Mind?"
by the Pixies
Four.
Three.
There's a line when the Angel says,
"Oh, we're just doing it for fun."
You know, they're killing Bob and
inside Amy's mind and all that.
Bob? Why are they making her count?
'To make her afraid, sir.'
OK, but why? What for?
'For fun, sir.'
That riles the Doctor,
because it's Amy, it's his Amy,
and the Doctor will always confront
that which is just inherently bad.
But
when it's taking the mickey as well,
that stirs him.
It stirs him forward, though,
in a good way.
Gives him courage to go,
"Come on, I can beat these things."
What's the matter with Amelia?
Something's in her eye.
Doctor, I'm scared.
Of course - you're dying. Shut up!
OK, let him think.
When the Doctor
encounters Amy in the clearing
and very quickly works out
that he's got seconds, he's got
a couple of minutes to solve this,
we get to see the Doctor being
very, very basic,
very, very pure, simple Doctor.
He hasn't got time to comfort Amy.
That's one thing I rather like. He
says, "Shut up, I've got to think."
And River understands that,
and she's just saying to Amy,
"Just let him think,
just let him think. Just do it."
Come on, come on,
come on, wakey-wakey.
She watched an Angel
climb out of the screen,
stared at the Angel, and...
The image of the Angel IS an Angel.
'Of course he cares -'
but he's got to not
let that get in the way.
He's not got to let his compassion
drive him away from the right answer.
So he actually has to sort of
close all that down, and be the
extraordinary thinking machine he is,
and pull an answer out of the air,
as he does with seconds to spare.
How would you starve your lungs?
I'd stop breathing.
Amy, close your eyes.
No, I don't want to.
Good. Because that's not you,
it's the Angel inside you.
It's afraid. Close your eyes.
Amy is passionate and a fighter,
and she's also really smart.
The Doctor says, "If you open your
eyes for more than a second..." And
she says, "OK, more than a second -
"I could do a good half-second,
then." That'd be Amy's response.
She's SO determined not to be
a victim, she's in permanent danger
of making herself one.
What are you doing?
Point me at the light.
You can't open your eyes. I can't
open them for more than a second.
That's what the Doctor said. I've
still got a bit of countdown left.
No, you can't. I need to see it.
Am I looking the right way?
I have to be quick.
Very quick.
OK...
It's the same shape...
as the crack in my wall.
When we first meet Amy in
episode one, she's a seven-year-old
little girl, and she's very scared
of a crack in her bedroom wall.
Honest, it is an emergency.
There's...a crack in my wall.
And she doesn't know why.
She just knows there's
something sinister about it.
So, your aunt.
Where's she?
She's out.
And she left you all alone?
I'm not scared.
You're not scared of anything -
box falls out of the sky, man falls
out of a box, man eats fish custard.
And look at you -
just sitting there.
So you know what I think?
What?
Must be a hell
of a scary crack in your wall.
And that's kind of all we learn
about the crack in Amy's childhood.
It's a really big
thing for her to face. This is
the one thing that she's been
scared of her whole life, and then
it's right there in front of her.
So it was a big deal for Amy to
come face to face with the crack,
and she's trying to work out "Why is
this always in my life, this crack?"
And she knows there's something
not right about it, and not even
the Doctor knows the relevance
of the crack at this point.
So they're both
trying to work it out.
And as the story unfolds,
I guess we'll find out.
It's the same shape...
as the crack in my wall.
This whole series
is about cracks in time,
and they will develop throughout,
and you will see them just about
every single week in different
forms and in different ways.
Two parts of space and time
that should never have touched...
pressed together.
It's like the crack from my bedroom
wall when I was a little girl. Yes.
Hello...!
Hello?!
What's that?
Where the crack comes from
is above my younger son Louis's bed.
There was a crack along the wall.
It's not there any more,
but there was a roughly crooked
smile-shaped crack in the wall,
Which I didn't point out to him,
he'd never have slept again.
But I thought,
"Ooh, that's good, cracks in walls.
"We should do cracks in walls."
But I'll tell you something funny.
If you knocked this wall down,
the crack would stay put,
because the crack isn't in the wall.
Where is it, then? Everywhere.
In everything. It's a split
in the skin of the world.
When my little boys
watch Doctor Who,
they categorise monsters
as two things - "cool" or "scary".
Now, a cool monster, for instance, is
a Pyrovile, like in Fires of Pompeii.
I remember saying to Louis,
"You might be frightened of this."
He said, "No, no, no,
that's not scary, Dad, that's cool."
Then we saw the High Priestess in the
same episode, with her horrible skin
and her weird face and mouth,
and he said, "THAT'S scary,"
and ran behind the sofa.
I think taking the familiar thing,
and making it different, sinister,
odd, is genuinely scary.
That's the scary part of Doctor Who.
'Steven draws tremendously'
upon having these two young kids,
and upon all the things which
you know as children aren't real,
but somehow he makes real.
There really is, in Steven's stories,
a monster under the bed.
And all those children's games like
"I'm coming to get you"...
That whole hide-and-seek thing
from Empty Child
becomes something which is
suddenly terrifying.
It's like he's sort of taking the
childhood he sees under his nose
and then giving it
a really, really severe twist.
Are you my mummy?
'I love The Empty Child, actually.
'I think The Empty Child
will always feel really special,
'because it was
Steven's first outing on Doctor Who,
'and what an extraordinary story
it was'
and how the combination of those
completely terrifying children...
That and Captain Jack and Billie
in her Union Jack T-shirt
just felt like
it had so much flair, and...
What more could you want
from Doctor Who?
A lot of the things he does are
incredibly simple and effective.
Something like the gas mask imagery
is something we're all familiar with,
something not
that long ago in history,
and there's something horrible
about it.
You know, it...
And particularly the image
of a child in a gas mask.
MOFFAT: Gas masks are scary, and
gas masks are hardline Doctor Who
because they take away
a person's face.
A very, very simple thing
that Doctor Who often does
is make people faceless.
What was the cause of death?
There wasn't one.
They're not dead.
Instead of something
amazingly spectacular happening,
it can just be very, very slight.
Like, the phone in the door of
the TARDIS ringing is incredible.
It's an incredible moment,
because you're really, really
not expecting it.
Hello? It's also the use of
things like loudspeakers...
CHILD: 'And I can hear you!
'Coming to find you!'
..little taps on the window...
TAPPING
Mummy...?
..or the realisation that what you're
frightened of is still in the room
with you. Sounds, things like that,
the tape running out, the flicking
noise. That kind of thing is great.
Steven sets himself certain tasks
when he's writing.
He loves a good cliffhanger.
He likes to send the audience out
feeling quite thrilled,
as if there is no way out
of what he's seeing.
And I think that that Empty Child
cliffhanger - again, because it's
his very, very first cliffhanger,
where he's having everybody
being advanced on by these strange,
infected gas-mask creatures -
may be his very, very best.
It is genuinely extremely scary.
Mummy...
CHILDREN CHANT:
Mummy... Mummy... Mummy... Mummy...
What's happening? I don't know.
Don't let them touch you.
What happens if they touch us?
You're looking at it.
"Go to your room"
is a wonderful moment, because
again, it's one of those things that
after you've seen it happen,
you think, "Well, of course
that's how you get out of it."
Go to your room!
I mean it.
I'm very, very angry with you.
I'm very, very cross.
Go...to...your...room!
But it's not the traditional way
of getting out of things in
Doctor Who, or in most shows.
The obvious answer to "Are you
my mummy?" is "Go to your room".
Really boringly, I'd have to say that
my favourite Steven script is Blink,
because that ability
to scare you in such a simple,
clever way was just astonishing.
And when Steven explains
the simplicity of Blink,
and the fact that really
it's just a childhood game,
you realise
how incredibly simple it is.
Again it was one of those things
where you think,
"Has anybody had this idea before?
"And if they haven't,
why haven't they had it?"
The statues in Blink,
especially at the end,
it's emphasised that they could
be everywhere, they are everywhere.
"When you're walking
down the street, children,
"and you see a statue in a park -
run!
"And don't blink!"
I think that's wonderful.
Don't turn your back.
Don't look away.
And don't...blink.
Good luck.
I'm incredibly proud of Blink,
but it took everybody else
to tell me that I should be.
I know that's nearly everybody's
favourite, but I remember reading
the script of
The Girl in the Fireplace
and thinking it was incredible.
And I think I prefer it, because
it's got more of the Doctor in it.
# I could have spread my wings,
and done a thou... #
Have you met the French?
My God, they know how to party!
Oh, look at what the cat dragged in.
The oncoming storm.
Ooh, you sound
just like your mother.
I think the funniest moment
has got to be the horse, when it
first follows the Doctor through.
There's something lovely and mad
about the idea of this horse
wandering between
different dimensions.
Will you stop following me?
I'm not your mother.
And he comes through a mirror,
on a giant white horse...
That moment, in a way, for me,
sums up Doctor Who, the kind of...
the broad and the heroic
and the epic and the magnificent,
but then undercut
with an element of humour.
Madame de Pompadour.
You look younger every day.
What the hell is going on?
Oh...
This is my lover, the King of France.
Yeah? Well, I'm the Lord of Time.
You think about Steven's writing,
you think about big emotions.
So many questions...so little time.
MOFFAT: I always think
when you watch Girl in the Fireplace,
you know where it's going.
You know,
we're romping through her life, and
the Doctor hasn't done the sums...
And it's just so sad,
when he makes
this huge and rare, for him,
connection with this wonderful girl,
and it's over before you can properly
acknowledge that it's happened.
It's taken years for her,
but for him it's in one giddy
afternoon on a spaceship.
My lonely angel.
Stuck on the slow path with me.
Yep, the slow path.
Here's to the slow path.
SHE LAUGHS
The utter deadness
with which he reads
Madame de Pompadour's letter...
He doesn't even cry.
It's so blank, he's just so shut down
at that moment, it's just so awful.
He doesn't even react, in a way, it's
so awful for him to read that letter.
'My dear Doctor.
'The path has never seemed more slow,
and yet I fear I am nearing its end.
'Reason tells me that you and I
are unlikely to meet again,
'but I think I shall not
listen to reason.
'I have seen the world inside
your head, and know that
all things are possible.
'Hurry, though, my love.
'My days grow shorter now,
and I am so very weak.
'Godspeed, my lonely angel.'
When I wrote Girl in the Fireplace,
because that was basically a story of
love and long sentences and frocks,
I knew it had to have some
really good monster hits in it.
And when I thought of the idea
of the tick-tock man under the bed,
I thought,
"Well, I've got to do that."
HE MAKES TICK-TOCK NOISES
Even though it's actually only a very
brief moment within the episode,
the "monster under the bed"
is such a potent fear, it's such
a familiar fear for its audience,
and it works absolutely brilliantly.
TICKING
I mean, I never, ever stick my foot
out over the edge of the mattress,
because the monster under my bed
will grab it.
Reinette...don't look round.
You, stay exactly where you are.
I was racking my brains at the time,
thinking, "Surely
"someone in Doctor Who before now
has put a monster under the bed?"
But I think that was the first time
we've had a monster under the bed.
And I was delighted with the idea. I
was so excited when I thought of it.
But I can't claim I INVENTED it.
Steven was also behind Silence in
the Library and Forest of the Dead,
where the Doctor met
this time-travelling professor
for the very first time.
I'm a time traveller. I point
and laugh at archaeologists. Ah.
Professor River Song...archaeologist.
River Song is the ultimate
Steven Moffat character, really.
I mean, it's just the ultimate
dysfunctional relationship.
This is somebody who is meeting the
Doctor, and has an affection for him,
and has a whole history with him,
but he's not yet met HER.
One day, I'm going to be someone
that you trust completely.
But I can't wait
for you to find that out.
In Silence in the Library,
the time paradox is about
River Song and the Doctor
encountering each other
in the wrong order. And indeed,
him seeing her...sort of death
right at the beginning
of their relationship.
And doesn't that make that
a fascinating relationship?
We wait for the future, to see
where that extraordinary thing goes.
There's only one reason
I would ever tell anyone my name.
There's only one time I could.
Hush now...
Spoilers.
I think Steven has that great ability
to combine very intricate plotting
with huge emotional moments.
So if you think of the end of
the Forest of the Dead,
where the Doctor
is suddenly realising
that he knows and will forever know
how River is going to die,
so that when he meets her again,
he will always know about her death
even before she has now met him.
There's an enormous
emotional impact there.
I think the big emotional scenes
are a joy to write, to be honest.
I think if you set everything else up
for that moment to BE emotional,
then topping it off
is in some ways not hard.
It's great, because the emotion
that comes out in these moments
is a result of everything
you've seen to date.
Steven Moffat has got the most
extraordinary imagination.
I would love to spend
a day in his brain.
He creates worlds that are
completely fictional, but
completely and utterly believable.
He's got
an extraordinary imagination,
he's got an extraordinary regard
for the audience
and the history of the show,
but he's also willing
to take risks along the way.
And he combines really big ideas
with just fantastic storytelling,
and he's a very, very witty man.
So it was...
He is the only man for the job.
Oh! Hello!
Sorry to burst in on you like this.
I'm on fire!
Ha!
Are you my mummy?
Don't look away, and don't blink.
Run!
Are you my mummy? Doctor!
Give me some Spock for once.
Would it kill you?
Use the thingy! I can't, it's wood.
What, it doesn't do wood?!
I'll give you moves.
Everybody lives!
If you understand me,
look very, very scared.
Sally!
Are you my mummy?
Donna Noble has left the Library.
Donna..?
Show yourself.
ROSE SCREAMS
The entire human race is going
to be torn down, and nothing
in the world can stop it.
Always a death at the end.
You need a good death.
Or there'd only be comedies.
I'm the Doctor!
And I just snogged
Madame de Pompadour!
HE LAUGHS TRIUMPHANTLY
Jack Harkness.
I've been hearing all about you.
And it's a real pleasure
to meet you, Mr Spock.
"Mr Spock"?
Hello, sweetie.
Please tell me you know who I am.
It's OK. It's OK, it's not over
for you. You'll see me again.
That's how you do it.
The future is looking bleak
for Father Octavian.
I'm desperate for the Doctor
to move on, and he's pre-occupied.
So in that instance,
I get caught by an Angel.
But Steven can't
resist a bit of comedy.
MATT: Well, I think in anything
tragic there's something funny,
and erm...you know,
the line sets it up to be funny.
So the Doctor's there going,
"Aaagh!"... In his mad sort of way.
"There's much worse here than
the Weeping Angels, you idiot."
Doof!
I beg to differ, sir.
I think one of the worst
moments for the Doctor in that whole
story is having to leave Octavian,
and I think what's going
through his mind...
I think Matt is wonderful in that
scene, he's beautiful in that scene.
Let him go.
Well, it can't let me go, sir, can
it? Not while you're looking at it.
Can't stop looking at it.
It'll kill you.
It's going to kill me anyway.
Think it through.
He very quickly knows there's
only one way out of this -
"I've got to leave him." Now, the
Doctor is quite a pragmatic man.
He will, in the end, go for
the best result if the perfect
one is not available for him.
So he knows he's going to leave him.
And what Matt does is
he's so full of regret,
because he knows what's coming,
he knows this guy's going to die.
I wish I'd known you better.
I think, sir...
you know me at my best.
With Amy all alone in the forest
and the Angels picking up the pace,
the Doctor knows
she'll face a similar fate -
unless HE can rescue her.
"What's the worst
thing that could happen,"
I was thinking when I was
writing this, "if you're
surrounded by Weeping Angels?"
Well...unable to open your eyes
is good, obviously.
I thought first of all blind.
I thought blind, surrounded by
Weeping Angels and walking like
you can see. That would be cool.
Then I thought,
that's kind of ordinary
for Doctor Who, being blind.
What if you were in a situation -
which I think would be
so frightening - where if you
open your eyes, you'll die?
So imagine forcing yourself
to keep your eyes shut when you're
surrounded by scary monsters,
knowing that if you open your eyes,
you'll die.
When I read episode five,
where Amy has to
just kind of like, fight against the
Angels without being able to see,
which is the whole thing, that you
don't take your eyes off the Angels,
I just thought, "That's
a bloody brilliant idea that
Steven Moffat just came up with."
'When the communicator sounds like
my screwdriver,
you're facing the right way.'
Follow the sound.
You have to start moving now.
There's time energy
spilling out of that crack,
and you have to stay ahead of it.
First of all, I had to make
myself aware of where they were,
what they were doing and what poses
they were in and things, and kind of
work out a route through them.
And action rehearsal.
The Angels are scared and running.
Right now, they're not
that interested in you.
They'll assume you can't see them
and their instincts will kick in.
All you've got to do -
walk like you can see.
MUSIC:
"A Forest" by The Cure
And once I'd done that,
I had to do it with my eyes closed,
which was quite difficult, because
the ground was pretty uneven,
it was a muddy place.
And I had to fall over
a step at the end -
with my eyes closed still -
which was the most scary thing,
because it was just sort of
throwing myself into the unknown.
And all Karen has to do is
start the trip,
and as long as she ducks out
through a tight one, we're OK.
'Although I knew there was
a crash mat there, your instincts
tell you not to do it.'
But I had to, so erm...
so that was quite a challenge.
Doctor?
I can't find the communicator.
Acting with your eyes open,
you kind of channel a lot of emotion
into your eyes and out of your eyes.
Without the eyes, you kind of have
to up your performance and make it
a little bit more animated,
almost as if you've got a mask on,
and you have to be
a bit more animated
to convey the emotions
that you want to get across.
The Doctor, however, is struggling
to keep HIS emotions under wraps.
I think the Doctor does feel bad
that he's left her by herself.
And it's very difficult for him,
because he knows he's got to get her
out and he's got to be very brutal.
Turn on the spot.
Just do it. Turn on the spot.
Can you imagine walking
through a forest of Weeping Angels
with your eyes shut? It's hideous!
That's as bad as it gets!
Steven gives you a lot to learn.
And some of it's just bonkers!
You know, you're saying things like,
"Oh, it's a proximity detector."
It'll beep
if there's something in your way.
Manoeuvre till the beeping stops,
then you've got a clear path.
Because, Amy, this is important.
'The forest is full of Angels.'
Then he gets all that great sciencey
stuff in there, and the quickness
of the Doctor's brain.
If the time energy catches up,
you'll never have been born.
It will erase every
moment of your existence.
You will never have lived at all.
But also, all of that vulnerability,
and the rage of this Doctor as well
which is in there somewhere,
is all Steven.
You're going to have to
walk like you can see.
Well, what do you mean?
'Look, just keep moving.'
RIVER: So, that time energy...
What's it going to do? Keep eating.
How do we stop it? Feed it!
Feed it what?
Well, a big, complicated time/space
event should shut it up for a while!
Like what, for instance?
Like me...for...instance!
And the Doctor is trying to hold
it together for her sake
over the communicator, and trying to
make her feel assured and safe...
But I know you can do it.
The Angels are scared and running.
Right now, they're not
that interested in you.
They'll assume you can see them...
and their instincts will kick in.
But actually, you see that
he is incredibly worried,
and you really see how much he
cares about this girl, and you see
him start to crack a little bit.
You're not moving.
You have to do this.
'Now!'
You have to do this!
I mean, there were moments
where he literally...
I could see he had tears in his eyes,
and he was so angry.
And it was quite shocking, because
I've never seen any former Doctor
be quite that sort of angry and
passionate and vulnerable all at
the same time. And slightly lost.
Now, keep your eyes shut
and keep moving.
It's never going to work.
WHAT ELSE HAVE YOU GOT?
River, tell me!
I hope we ARE seeing a vulnerable
Doctor, yeah, because it's...
I think it's more interesting to see
someone who's not infallible,
and then his brilliant moments
are even more brilliant.
Luckily for River Song and Amy,
the Doctor's grand plan
CAN save the day.
So - as the Angels
fall to their death,
it's just a matter of holding tight.
This scene involved all three
actors wearing wires, and some of
them got on better than others.
I wasn't the greatest at the wires!
I wasn't as good as Matt, actually.
He was quite good. We had to
do a bit of gravity action, where
the gravity sort of flips over.
So yeah, we had to get on the wires,
and we were in the Byzantium,
holding on to these bars,
and then we'd have wires attached
to our waists,
and then they would just
suddenly pull us up.
And there'd be a big
wind machine blowing air on to us.
It is, may I say,
a jolly painful experience.
Oh, dear...
You know, you're really hoisted and
supported from your nether regions.
And after four hours of it,
it can be tough. But it's good fun.
It requires a lot of strength to
keep your body rigid and straight...
and I was kind of bent!
So we had to go quite a few times,
and Crispin the stunt co-ordinator
had to hold my ankles up sometimes.
But I tried, I tried!
The thing is, Bob, the Angels
are draining all the power from
this ship, every last bit of it.
And you know what? I think they've
forgotten where they're standing.
I think they've forgotten
the gravity of the situation.
Or to put it another way, Angels...
night-night.
Three, two, one, lift!
Fantastic feet,
but crap legs that time.
What - in terms of being straight?
Your straight
was a bit too straight.
Yeah. It was Matt's legs.
OK, let's go again.
Let's get into it, guys.
I've got bow legs,
like a cowboy. And erm...
Well at least, I like to
think it's like a cowboy.
And I think I had to
put them together
or keep them as straight as I could.
But you have to keep them straight
and not let your bum basically
sort of ride up...
I know, it's pretty graphic,
isn't it? Like that,
if that makes any sense.
So that's your bum.
And what they want is that.
And I think I was doing that.
Or that, maybe.
So er...yeah,
got a bit of feet and leg
er...direction, I guess.
And bum, at the same time.
That's a day in Doctor Who!
Wires, feet, leg/bum acting,
and a crazy monster running down
a corridor or something, you know?
When the Doctor encounters
River Song this time around,
he's not particularly pleased
to see her.
I'm nobody's taxi service.
I'm not going to be there to catch
you every time you feel like
jumping out of a spaceship.
And you are so wrong.
But by the end of their time
together, she leaves him intrigued,
and almost looking forward
to their next meeting.
She kind of just brings this whole...
another level of mystery
with her, this notion
that she's committed some crime,
that she's sort of on release
from a prison, and that
she's killed somebody.
There's a great scene,
actually, with Octavian,
whilst he's in the grip of
this malevolent creature
who's about to kill him,
going, "Look, who did she kill?"
'Octavian says...'
A good man. A hero to many.
And the Doctor's line is, "Who?".
Which got us all talking.
She feels let down by Octavian
at that point, because
she made a deal with him.
She absolutely promised that
she would toe the line with him.
I'm taking your word,
because you're the only
one who can manage this guy.
But that only works as long
as he doesn't know who you are.
You cost me any more men, and
I might just tell him. Understood?
Understood.
'But he had to, in turn,'
promise that he wouldn't reveal
first of all that she had
been in jail... And he does.
Dr Song's in my personal custody.
I released her from the Storm Cage
containment facility four days ago,
and I am legally responsible for her
until she's accomplished her mission
and earned her pardon.
Just so we understand each other.
'And I think she's very angry
that he'
spilt those beans, because of course
then the Doctor wants to know why.
You were in Storm Cage.
I imagine it's probably
a planet, and the whole planet
is just one enormous prison.
And it's probably pretty awful.
And she's been there for a long time.
So...she has, she's done something,
actually, really rather terrible.
Can I trust you, River Song?
If you like.
But where's the fun in that?
I think there are certain
things she cannot tell him.
She's sort of, in terms of the erm...
the Time Lords' laws,
she's probably not allowed.
And...
I have my own theories about
who she's killed.
But I can't tell you,
because...spoilers!
Octavian said you killed a man.
Yes, I did.
A good man.
A very good man.
The best man I've ever known.
I think he's completely
intrigued by that, actually.
And it's perfect River,
because she's still not committing
to a "Yes, you CAN trust me".
She's still keeping him on his toes.
And he loves that, you know?
That's the flirt.
That's the thing. "Can I trust you,
can't I trust you? I'm intrigued.
"I want to know everything,
but I don't."
Suddenly, it becomes exciting again.
If he thought it was as simple
as a lot of people have assumed,
but I'm saying nothing,
that this is the future missus...
I think that's quite boring.
But you start saying,
"She could be a major criminal.
Maybe she killed someone. Me...?"
He starts to think, "Actually,
now we've got a game. That's
exciting." That's his idea of fun.
She's coming back, all right.
She IS coming back.
And again, it's a clever teaser from
Steven, isn't it, to set that up.
Who are you?
Professor River Song, University
of... To me. Who are you to me?
Again - spoilers.
Wouldn't it be nice just once
to deliver on a promise like
that? Rather than have all these
fabulous but rather convenient hints
about some fabulous future...
We go way back, that man and me.
Just not this far back.
DONNA: I'm sorry, what?
He hasn't met me yet.
..actually to say, "No, we WILL show
you, it will unfold, you will see
"the whole story of who River Song
is, and what she is to the Doctor
and why all this began."
To actually make that promise and
deliver on it - to actually do it and
make it consistent and make it fit.
Which is tricky, because I didn't
start out with this intention.
But we have now seen the crash
of the Byzantium, that River Song
mentions in the Library episode.
All I can say is...Pandorica.
After her brush with death,
Amy's up for returning home to share
something with the Doctor. Perhaps
a bit more than he was expecting.
So Karen is on set
checking out Amy's bedroom.
Yeah! Well, this is my bedroom.
Amy's bedroom.
Amy's bed is amazing. It's got like,
two mattresses on it,
and it's really high,
and it's kind of like, old and cool.
And I love the blue.
And that was Adam's idea,
Adam the director,
to kind of have lots of blue
in Amy's house, because it kind of
symbolises the colour of the TARDIS
and Amy's love for the Doctor.
Hi! No-one cares about
your silly bedroom.
It's interesting.
You don't often find them in a
bedroom, sat on a bed, chilling out.
Usually they're being chased by an
Angel or a Silurian or something.
And we're just kind of having
a normal conversation without the
fear of... "A normal conversation"!
Shut up! That's how I talk!
Let me do that again. We're just
having a normal conversation.
We're just having
a normal conversation...
"We're just having a normal
conversation"! Oh, will you shut up!
..without the fear of death,
which is really nice and
refreshing for us to do.
I'm getting married in the morning.
Why did you leave it here?
Why did I leave my engagement ring
off when I ran away with a strange
man the night before my wedding?
You really are an alien, aren't you?
It's a light-hearted scene. It's
at the end of episode five, and Amy
decides to come on to the Doctor!
And he's completely oblivious at
the beginning, so it's quite funny.
And then...
Well, let's hope so. Well...!
As funny as HE gets. Yeah.
It's true. But erm...yeah, and
then they have a little smoochie!
Ooh! Which we call...
BOTH: ..smoochie-smoochie time!
Oh yeah!
Yeah, all right, that's enough.
MUSIC: "Pumpkin Soup"
by Kate Nash
# I just want your kiss, boy,
kiss, boy, kiss boy
# I just want your kiss
# I just want your kiss, boy,
kiss, boy, kiss boy... #
Here's this man, this generally
rather good-looking man -
sometimes older, sometimes younger,
but generally good-looking -
who's wonderful, funny,
passionate and kind
and the nicest, bestest human being -
apparently - you'll ever meet.
And all those girls didn't notice?
Ever? Not once? They didn't think,
"Well, he's quite nice"?
When we rehearsed for the wide,
Karen actually subconsciously put
her hand on Matt's inner thigh.
Subconsciously(!)
I've been batting her off for
months. And denied it afterwards.
But it was on camera, wasn't it? God!
In a word, in one very simple
word even you can understand...
You were lost in the moment, weren't
you? You were. I seduced you.
You didn't seduce... Ohhh!
And come on, you know,
the Doctor... 900 years...
They've been through a tough time.
Amy and the Doctor
have just been through a big,
big adventure, haven't they? Yeah.
So why does that make her
want to kiss him?
They've shared something together.
She was going to die.
And also, sometimes you do things
in the heat of the moment.
Well, SHE does.
Yeah. Well, she certainly does.
I don't know, when you're
excited and you've shared
something with someone and,
you know...
Will you stop?
And he hasn't tried it on yet.
Yeah! Amy can't understand why this
man hasn't tried it on with her.
We know from episode one
that Amy isn't restrained
in thinking about those things.
I heard you on the radio. You called
for backup. It's a pretend radio.
But you're a policewoman.
I'm a kissagram!
The way we've played it up until now
is people falling in unrequited love
with the Doctor. Great, why not?
But actually, Amy isn't
offering that at all.
She's just thinking,
"Well, we've got some time!
"You're kinda hot, and I've had a bad
night!" And I think, "OK, why not?"
Now, Amy, listen to me.
I am 907 years old.
Do you understand what that means?
It's been a while?
And the Doctor isn't very good
at facing off that at all!
He just gets embarrassed and
flustered, which I love
about the Doctor.
He's so wise in so many ways, but
he's tripping over his shoelaces the
moment a woman is behaving that way.
But you're human! You're Amy!
You're getting married
in the morning! In the morning...
Doctor...
It's you. It's all about you.
Everything. It's about you.
Hold that thought.
But possibly the single
most important thing
in the history of the universe
is that
I get you sorted out right now.
That's what I've been
trying to tell you! Come on.
Doctor...
And for those of us who can't read
the base code of the universe...?
Amy, it's time.
Next time on Confidential:
Venezia!
Why has Matt Smith come to Venice?
There's something about it
that is just unlike
anywhere else on the planet.
As a Venetian,
I start to feel an alien!
And what is he doing
with a Venetian count?
Looking for vampires in Venice.
Vampires of Venice!
Where do his ancestors come into it?
The scroll that Pietro da Mosto...
And what has any of this
to do with Doctor Who?
Subtitles by Red Bee Media Ltd
to the woods today
to join
the Doctor Who cast and crew.
In this episode,
Amy faces her darkest moment yet.
Amy is on the
brink of death, basically.
Doctor, it's coming. I can feel it.
I'm going to die!
And the Doctor has left her again,
and he kind of
has a habit of doing this.
I always come back.
Can you imagine
walking through a forest
of Weeping Angels
with your eyes shut?
It's hideous!
That's as bad as it gets!
MUSIC: "Bad Romance"
by Lady Gaga
And Miss Pond puckers up as she
prepares to land one on the Doctor.
And then they have
a little smoochie!
Which we call...
BOTH: ..smoochie-smoochie time!
Doctor...
In this adventure,
it's all about Amy.
Despite a rough ride in the previous
episodes, the heavenly host
still have her in their sights.
MUSIC:
"Bad Day" by Blur
Part of the mission statement
of writing a script for Doctor Who
is "How bad a time
"can you give Amy Pond?"
What's it going to do to me?
I'm going to die!
Please, just listen to me!
'In one scene in the spaceship,'
they're trying to run away from
the Angels and keep them away,
and Amy takes some instructions
from the Doctor,
but she actually says
a different number
to the number that he tells her.
Spin it clockwise four turns.
Ten.
How long have we got?
Five minutes max. Nine. Five.
Five, right. Yeah.
Why did you say nine?
I didn't.
Eight.
What did you say?
Seven. Seven?
Sorry, what? You said seven.
No, I didn't. Yes, you did.
Angel Bob makes her aware that
she's actually counting down.
Six.
OK, here's what I want to know.
What have you done to Amy?
'There's something in her eye.'
What's in her eye? 'We are.'
What's he talking about?
Doctor, I'm five!
I mean...five.
Fine.
For Amy, I think that was just
such a freaky thing, because imagine
saying something
else to what you mean to say.
It's a really strange
situation for her to comprehend.
And then she gets really
freaked out,
because as she counts down further
and further to one, she's getting
closer and closer to death.
MUSIC: "Where Is My Mind?"
by the Pixies
Four.
Three.
There's a line when the Angel says,
"Oh, we're just doing it for fun."
You know, they're killing Bob and
inside Amy's mind and all that.
Bob? Why are they making her count?
'To make her afraid, sir.'
OK, but why? What for?
'For fun, sir.'
That riles the Doctor,
because it's Amy, it's his Amy,
and the Doctor will always confront
that which is just inherently bad.
But
when it's taking the mickey as well,
that stirs him.
It stirs him forward, though,
in a good way.
Gives him courage to go,
"Come on, I can beat these things."
What's the matter with Amelia?
Something's in her eye.
Doctor, I'm scared.
Of course - you're dying. Shut up!
OK, let him think.
When the Doctor
encounters Amy in the clearing
and very quickly works out
that he's got seconds, he's got
a couple of minutes to solve this,
we get to see the Doctor being
very, very basic,
very, very pure, simple Doctor.
He hasn't got time to comfort Amy.
That's one thing I rather like. He
says, "Shut up, I've got to think."
And River understands that,
and she's just saying to Amy,
"Just let him think,
just let him think. Just do it."
Come on, come on,
come on, wakey-wakey.
She watched an Angel
climb out of the screen,
stared at the Angel, and...
The image of the Angel IS an Angel.
'Of course he cares -'
but he's got to not
let that get in the way.
He's not got to let his compassion
drive him away from the right answer.
So he actually has to sort of
close all that down, and be the
extraordinary thinking machine he is,
and pull an answer out of the air,
as he does with seconds to spare.
How would you starve your lungs?
I'd stop breathing.
Amy, close your eyes.
No, I don't want to.
Good. Because that's not you,
it's the Angel inside you.
It's afraid. Close your eyes.
Amy is passionate and a fighter,
and she's also really smart.
The Doctor says, "If you open your
eyes for more than a second..." And
she says, "OK, more than a second -
"I could do a good half-second,
then." That'd be Amy's response.
She's SO determined not to be
a victim, she's in permanent danger
of making herself one.
What are you doing?
Point me at the light.
You can't open your eyes. I can't
open them for more than a second.
That's what the Doctor said. I've
still got a bit of countdown left.
No, you can't. I need to see it.
Am I looking the right way?
I have to be quick.
Very quick.
OK...
It's the same shape...
as the crack in my wall.
When we first meet Amy in
episode one, she's a seven-year-old
little girl, and she's very scared
of a crack in her bedroom wall.
Honest, it is an emergency.
There's...a crack in my wall.
And she doesn't know why.
She just knows there's
something sinister about it.
So, your aunt.
Where's she?
She's out.
And she left you all alone?
I'm not scared.
You're not scared of anything -
box falls out of the sky, man falls
out of a box, man eats fish custard.
And look at you -
just sitting there.
So you know what I think?
What?
Must be a hell
of a scary crack in your wall.
And that's kind of all we learn
about the crack in Amy's childhood.
It's a really big
thing for her to face. This is
the one thing that she's been
scared of her whole life, and then
it's right there in front of her.
So it was a big deal for Amy to
come face to face with the crack,
and she's trying to work out "Why is
this always in my life, this crack?"
And she knows there's something
not right about it, and not even
the Doctor knows the relevance
of the crack at this point.
So they're both
trying to work it out.
And as the story unfolds,
I guess we'll find out.
It's the same shape...
as the crack in my wall.
This whole series
is about cracks in time,
and they will develop throughout,
and you will see them just about
every single week in different
forms and in different ways.
Two parts of space and time
that should never have touched...
pressed together.
It's like the crack from my bedroom
wall when I was a little girl. Yes.
Hello...!
Hello?!
What's that?
Where the crack comes from
is above my younger son Louis's bed.
There was a crack along the wall.
It's not there any more,
but there was a roughly crooked
smile-shaped crack in the wall,
Which I didn't point out to him,
he'd never have slept again.
But I thought,
"Ooh, that's good, cracks in walls.
"We should do cracks in walls."
But I'll tell you something funny.
If you knocked this wall down,
the crack would stay put,
because the crack isn't in the wall.
Where is it, then? Everywhere.
In everything. It's a split
in the skin of the world.
When my little boys
watch Doctor Who,
they categorise monsters
as two things - "cool" or "scary".
Now, a cool monster, for instance, is
a Pyrovile, like in Fires of Pompeii.
I remember saying to Louis,
"You might be frightened of this."
He said, "No, no, no,
that's not scary, Dad, that's cool."
Then we saw the High Priestess in the
same episode, with her horrible skin
and her weird face and mouth,
and he said, "THAT'S scary,"
and ran behind the sofa.
I think taking the familiar thing,
and making it different, sinister,
odd, is genuinely scary.
That's the scary part of Doctor Who.
'Steven draws tremendously'
upon having these two young kids,
and upon all the things which
you know as children aren't real,
but somehow he makes real.
There really is, in Steven's stories,
a monster under the bed.
And all those children's games like
"I'm coming to get you"...
That whole hide-and-seek thing
from Empty Child
becomes something which is
suddenly terrifying.
It's like he's sort of taking the
childhood he sees under his nose
and then giving it
a really, really severe twist.
Are you my mummy?
'I love The Empty Child, actually.
'I think The Empty Child
will always feel really special,
'because it was
Steven's first outing on Doctor Who,
'and what an extraordinary story
it was'
and how the combination of those
completely terrifying children...
That and Captain Jack and Billie
in her Union Jack T-shirt
just felt like
it had so much flair, and...
What more could you want
from Doctor Who?
A lot of the things he does are
incredibly simple and effective.
Something like the gas mask imagery
is something we're all familiar with,
something not
that long ago in history,
and there's something horrible
about it.
You know, it...
And particularly the image
of a child in a gas mask.
MOFFAT: Gas masks are scary, and
gas masks are hardline Doctor Who
because they take away
a person's face.
A very, very simple thing
that Doctor Who often does
is make people faceless.
What was the cause of death?
There wasn't one.
They're not dead.
Instead of something
amazingly spectacular happening,
it can just be very, very slight.
Like, the phone in the door of
the TARDIS ringing is incredible.
It's an incredible moment,
because you're really, really
not expecting it.
Hello? It's also the use of
things like loudspeakers...
CHILD: 'And I can hear you!
'Coming to find you!'
..little taps on the window...
TAPPING
Mummy...?
..or the realisation that what you're
frightened of is still in the room
with you. Sounds, things like that,
the tape running out, the flicking
noise. That kind of thing is great.
Steven sets himself certain tasks
when he's writing.
He loves a good cliffhanger.
He likes to send the audience out
feeling quite thrilled,
as if there is no way out
of what he's seeing.
And I think that that Empty Child
cliffhanger - again, because it's
his very, very first cliffhanger,
where he's having everybody
being advanced on by these strange,
infected gas-mask creatures -
may be his very, very best.
It is genuinely extremely scary.
Mummy...
CHILDREN CHANT:
Mummy... Mummy... Mummy... Mummy...
What's happening? I don't know.
Don't let them touch you.
What happens if they touch us?
You're looking at it.
"Go to your room"
is a wonderful moment, because
again, it's one of those things that
after you've seen it happen,
you think, "Well, of course
that's how you get out of it."
Go to your room!
I mean it.
I'm very, very angry with you.
I'm very, very cross.
Go...to...your...room!
But it's not the traditional way
of getting out of things in
Doctor Who, or in most shows.
The obvious answer to "Are you
my mummy?" is "Go to your room".
Really boringly, I'd have to say that
my favourite Steven script is Blink,
because that ability
to scare you in such a simple,
clever way was just astonishing.
And when Steven explains
the simplicity of Blink,
and the fact that really
it's just a childhood game,
you realise
how incredibly simple it is.
Again it was one of those things
where you think,
"Has anybody had this idea before?
"And if they haven't,
why haven't they had it?"
The statues in Blink,
especially at the end,
it's emphasised that they could
be everywhere, they are everywhere.
"When you're walking
down the street, children,
"and you see a statue in a park -
run!
"And don't blink!"
I think that's wonderful.
Don't turn your back.
Don't look away.
And don't...blink.
Good luck.
I'm incredibly proud of Blink,
but it took everybody else
to tell me that I should be.
I know that's nearly everybody's
favourite, but I remember reading
the script of
The Girl in the Fireplace
and thinking it was incredible.
And I think I prefer it, because
it's got more of the Doctor in it.
# I could have spread my wings,
and done a thou... #
Have you met the French?
My God, they know how to party!
Oh, look at what the cat dragged in.
The oncoming storm.
Ooh, you sound
just like your mother.
I think the funniest moment
has got to be the horse, when it
first follows the Doctor through.
There's something lovely and mad
about the idea of this horse
wandering between
different dimensions.
Will you stop following me?
I'm not your mother.
And he comes through a mirror,
on a giant white horse...
That moment, in a way, for me,
sums up Doctor Who, the kind of...
the broad and the heroic
and the epic and the magnificent,
but then undercut
with an element of humour.
Madame de Pompadour.
You look younger every day.
What the hell is going on?
Oh...
This is my lover, the King of France.
Yeah? Well, I'm the Lord of Time.
You think about Steven's writing,
you think about big emotions.
So many questions...so little time.
MOFFAT: I always think
when you watch Girl in the Fireplace,
you know where it's going.
You know,
we're romping through her life, and
the Doctor hasn't done the sums...
And it's just so sad,
when he makes
this huge and rare, for him,
connection with this wonderful girl,
and it's over before you can properly
acknowledge that it's happened.
It's taken years for her,
but for him it's in one giddy
afternoon on a spaceship.
My lonely angel.
Stuck on the slow path with me.
Yep, the slow path.
Here's to the slow path.
SHE LAUGHS
The utter deadness
with which he reads
Madame de Pompadour's letter...
He doesn't even cry.
It's so blank, he's just so shut down
at that moment, it's just so awful.
He doesn't even react, in a way, it's
so awful for him to read that letter.
'My dear Doctor.
'The path has never seemed more slow,
and yet I fear I am nearing its end.
'Reason tells me that you and I
are unlikely to meet again,
'but I think I shall not
listen to reason.
'I have seen the world inside
your head, and know that
all things are possible.
'Hurry, though, my love.
'My days grow shorter now,
and I am so very weak.
'Godspeed, my lonely angel.'
When I wrote Girl in the Fireplace,
because that was basically a story of
love and long sentences and frocks,
I knew it had to have some
really good monster hits in it.
And when I thought of the idea
of the tick-tock man under the bed,
I thought,
"Well, I've got to do that."
HE MAKES TICK-TOCK NOISES
Even though it's actually only a very
brief moment within the episode,
the "monster under the bed"
is such a potent fear, it's such
a familiar fear for its audience,
and it works absolutely brilliantly.
TICKING
I mean, I never, ever stick my foot
out over the edge of the mattress,
because the monster under my bed
will grab it.
Reinette...don't look round.
You, stay exactly where you are.
I was racking my brains at the time,
thinking, "Surely
"someone in Doctor Who before now
has put a monster under the bed?"
But I think that was the first time
we've had a monster under the bed.
And I was delighted with the idea. I
was so excited when I thought of it.
But I can't claim I INVENTED it.
Steven was also behind Silence in
the Library and Forest of the Dead,
where the Doctor met
this time-travelling professor
for the very first time.
I'm a time traveller. I point
and laugh at archaeologists. Ah.
Professor River Song...archaeologist.
River Song is the ultimate
Steven Moffat character, really.
I mean, it's just the ultimate
dysfunctional relationship.
This is somebody who is meeting the
Doctor, and has an affection for him,
and has a whole history with him,
but he's not yet met HER.
One day, I'm going to be someone
that you trust completely.
But I can't wait
for you to find that out.
In Silence in the Library,
the time paradox is about
River Song and the Doctor
encountering each other
in the wrong order. And indeed,
him seeing her...sort of death
right at the beginning
of their relationship.
And doesn't that make that
a fascinating relationship?
We wait for the future, to see
where that extraordinary thing goes.
There's only one reason
I would ever tell anyone my name.
There's only one time I could.
Hush now...
Spoilers.
I think Steven has that great ability
to combine very intricate plotting
with huge emotional moments.
So if you think of the end of
the Forest of the Dead,
where the Doctor
is suddenly realising
that he knows and will forever know
how River is going to die,
so that when he meets her again,
he will always know about her death
even before she has now met him.
There's an enormous
emotional impact there.
I think the big emotional scenes
are a joy to write, to be honest.
I think if you set everything else up
for that moment to BE emotional,
then topping it off
is in some ways not hard.
It's great, because the emotion
that comes out in these moments
is a result of everything
you've seen to date.
Steven Moffat has got the most
extraordinary imagination.
I would love to spend
a day in his brain.
He creates worlds that are
completely fictional, but
completely and utterly believable.
He's got
an extraordinary imagination,
he's got an extraordinary regard
for the audience
and the history of the show,
but he's also willing
to take risks along the way.
And he combines really big ideas
with just fantastic storytelling,
and he's a very, very witty man.
So it was...
He is the only man for the job.
Oh! Hello!
Sorry to burst in on you like this.
I'm on fire!
Ha!
Are you my mummy?
Don't look away, and don't blink.
Run!
Are you my mummy? Doctor!
Give me some Spock for once.
Would it kill you?
Use the thingy! I can't, it's wood.
What, it doesn't do wood?!
I'll give you moves.
Everybody lives!
If you understand me,
look very, very scared.
Sally!
Are you my mummy?
Donna Noble has left the Library.
Donna..?
Show yourself.
ROSE SCREAMS
The entire human race is going
to be torn down, and nothing
in the world can stop it.
Always a death at the end.
You need a good death.
Or there'd only be comedies.
I'm the Doctor!
And I just snogged
Madame de Pompadour!
HE LAUGHS TRIUMPHANTLY
Jack Harkness.
I've been hearing all about you.
And it's a real pleasure
to meet you, Mr Spock.
"Mr Spock"?
Hello, sweetie.
Please tell me you know who I am.
It's OK. It's OK, it's not over
for you. You'll see me again.
That's how you do it.
The future is looking bleak
for Father Octavian.
I'm desperate for the Doctor
to move on, and he's pre-occupied.
So in that instance,
I get caught by an Angel.
But Steven can't
resist a bit of comedy.
MATT: Well, I think in anything
tragic there's something funny,
and erm...you know,
the line sets it up to be funny.
So the Doctor's there going,
"Aaagh!"... In his mad sort of way.
"There's much worse here than
the Weeping Angels, you idiot."
Doof!
I beg to differ, sir.
I think one of the worst
moments for the Doctor in that whole
story is having to leave Octavian,
and I think what's going
through his mind...
I think Matt is wonderful in that
scene, he's beautiful in that scene.
Let him go.
Well, it can't let me go, sir, can
it? Not while you're looking at it.
Can't stop looking at it.
It'll kill you.
It's going to kill me anyway.
Think it through.
He very quickly knows there's
only one way out of this -
"I've got to leave him." Now, the
Doctor is quite a pragmatic man.
He will, in the end, go for
the best result if the perfect
one is not available for him.
So he knows he's going to leave him.
And what Matt does is
he's so full of regret,
because he knows what's coming,
he knows this guy's going to die.
I wish I'd known you better.
I think, sir...
you know me at my best.
With Amy all alone in the forest
and the Angels picking up the pace,
the Doctor knows
she'll face a similar fate -
unless HE can rescue her.
"What's the worst
thing that could happen,"
I was thinking when I was
writing this, "if you're
surrounded by Weeping Angels?"
Well...unable to open your eyes
is good, obviously.
I thought first of all blind.
I thought blind, surrounded by
Weeping Angels and walking like
you can see. That would be cool.
Then I thought,
that's kind of ordinary
for Doctor Who, being blind.
What if you were in a situation -
which I think would be
so frightening - where if you
open your eyes, you'll die?
So imagine forcing yourself
to keep your eyes shut when you're
surrounded by scary monsters,
knowing that if you open your eyes,
you'll die.
When I read episode five,
where Amy has to
just kind of like, fight against the
Angels without being able to see,
which is the whole thing, that you
don't take your eyes off the Angels,
I just thought, "That's
a bloody brilliant idea that
Steven Moffat just came up with."
'When the communicator sounds like
my screwdriver,
you're facing the right way.'
Follow the sound.
You have to start moving now.
There's time energy
spilling out of that crack,
and you have to stay ahead of it.
First of all, I had to make
myself aware of where they were,
what they were doing and what poses
they were in and things, and kind of
work out a route through them.
And action rehearsal.
The Angels are scared and running.
Right now, they're not
that interested in you.
They'll assume you can't see them
and their instincts will kick in.
All you've got to do -
walk like you can see.
MUSIC:
"A Forest" by The Cure
And once I'd done that,
I had to do it with my eyes closed,
which was quite difficult, because
the ground was pretty uneven,
it was a muddy place.
And I had to fall over
a step at the end -
with my eyes closed still -
which was the most scary thing,
because it was just sort of
throwing myself into the unknown.
And all Karen has to do is
start the trip,
and as long as she ducks out
through a tight one, we're OK.
'Although I knew there was
a crash mat there, your instincts
tell you not to do it.'
But I had to, so erm...
so that was quite a challenge.
Doctor?
I can't find the communicator.
Acting with your eyes open,
you kind of channel a lot of emotion
into your eyes and out of your eyes.
Without the eyes, you kind of have
to up your performance and make it
a little bit more animated,
almost as if you've got a mask on,
and you have to be
a bit more animated
to convey the emotions
that you want to get across.
The Doctor, however, is struggling
to keep HIS emotions under wraps.
I think the Doctor does feel bad
that he's left her by herself.
And it's very difficult for him,
because he knows he's got to get her
out and he's got to be very brutal.
Turn on the spot.
Just do it. Turn on the spot.
Can you imagine walking
through a forest of Weeping Angels
with your eyes shut? It's hideous!
That's as bad as it gets!
Steven gives you a lot to learn.
And some of it's just bonkers!
You know, you're saying things like,
"Oh, it's a proximity detector."
It'll beep
if there's something in your way.
Manoeuvre till the beeping stops,
then you've got a clear path.
Because, Amy, this is important.
'The forest is full of Angels.'
Then he gets all that great sciencey
stuff in there, and the quickness
of the Doctor's brain.
If the time energy catches up,
you'll never have been born.
It will erase every
moment of your existence.
You will never have lived at all.
But also, all of that vulnerability,
and the rage of this Doctor as well
which is in there somewhere,
is all Steven.
You're going to have to
walk like you can see.
Well, what do you mean?
'Look, just keep moving.'
RIVER: So, that time energy...
What's it going to do? Keep eating.
How do we stop it? Feed it!
Feed it what?
Well, a big, complicated time/space
event should shut it up for a while!
Like what, for instance?
Like me...for...instance!
And the Doctor is trying to hold
it together for her sake
over the communicator, and trying to
make her feel assured and safe...
But I know you can do it.
The Angels are scared and running.
Right now, they're not
that interested in you.
They'll assume you can see them...
and their instincts will kick in.
But actually, you see that
he is incredibly worried,
and you really see how much he
cares about this girl, and you see
him start to crack a little bit.
You're not moving.
You have to do this.
'Now!'
You have to do this!
I mean, there were moments
where he literally...
I could see he had tears in his eyes,
and he was so angry.
And it was quite shocking, because
I've never seen any former Doctor
be quite that sort of angry and
passionate and vulnerable all at
the same time. And slightly lost.
Now, keep your eyes shut
and keep moving.
It's never going to work.
WHAT ELSE HAVE YOU GOT?
River, tell me!
I hope we ARE seeing a vulnerable
Doctor, yeah, because it's...
I think it's more interesting to see
someone who's not infallible,
and then his brilliant moments
are even more brilliant.
Luckily for River Song and Amy,
the Doctor's grand plan
CAN save the day.
So - as the Angels
fall to their death,
it's just a matter of holding tight.
This scene involved all three
actors wearing wires, and some of
them got on better than others.
I wasn't the greatest at the wires!
I wasn't as good as Matt, actually.
He was quite good. We had to
do a bit of gravity action, where
the gravity sort of flips over.
So yeah, we had to get on the wires,
and we were in the Byzantium,
holding on to these bars,
and then we'd have wires attached
to our waists,
and then they would just
suddenly pull us up.
And there'd be a big
wind machine blowing air on to us.
It is, may I say,
a jolly painful experience.
Oh, dear...
You know, you're really hoisted and
supported from your nether regions.
And after four hours of it,
it can be tough. But it's good fun.
It requires a lot of strength to
keep your body rigid and straight...
and I was kind of bent!
So we had to go quite a few times,
and Crispin the stunt co-ordinator
had to hold my ankles up sometimes.
But I tried, I tried!
The thing is, Bob, the Angels
are draining all the power from
this ship, every last bit of it.
And you know what? I think they've
forgotten where they're standing.
I think they've forgotten
the gravity of the situation.
Or to put it another way, Angels...
night-night.
Three, two, one, lift!
Fantastic feet,
but crap legs that time.
What - in terms of being straight?
Your straight
was a bit too straight.
Yeah. It was Matt's legs.
OK, let's go again.
Let's get into it, guys.
I've got bow legs,
like a cowboy. And erm...
Well at least, I like to
think it's like a cowboy.
And I think I had to
put them together
or keep them as straight as I could.
But you have to keep them straight
and not let your bum basically
sort of ride up...
I know, it's pretty graphic,
isn't it? Like that,
if that makes any sense.
So that's your bum.
And what they want is that.
And I think I was doing that.
Or that, maybe.
So er...yeah,
got a bit of feet and leg
er...direction, I guess.
And bum, at the same time.
That's a day in Doctor Who!
Wires, feet, leg/bum acting,
and a crazy monster running down
a corridor or something, you know?
When the Doctor encounters
River Song this time around,
he's not particularly pleased
to see her.
I'm nobody's taxi service.
I'm not going to be there to catch
you every time you feel like
jumping out of a spaceship.
And you are so wrong.
But by the end of their time
together, she leaves him intrigued,
and almost looking forward
to their next meeting.
She kind of just brings this whole...
another level of mystery
with her, this notion
that she's committed some crime,
that she's sort of on release
from a prison, and that
she's killed somebody.
There's a great scene,
actually, with Octavian,
whilst he's in the grip of
this malevolent creature
who's about to kill him,
going, "Look, who did she kill?"
'Octavian says...'
A good man. A hero to many.
And the Doctor's line is, "Who?".
Which got us all talking.
She feels let down by Octavian
at that point, because
she made a deal with him.
She absolutely promised that
she would toe the line with him.
I'm taking your word,
because you're the only
one who can manage this guy.
But that only works as long
as he doesn't know who you are.
You cost me any more men, and
I might just tell him. Understood?
Understood.
'But he had to, in turn,'
promise that he wouldn't reveal
first of all that she had
been in jail... And he does.
Dr Song's in my personal custody.
I released her from the Storm Cage
containment facility four days ago,
and I am legally responsible for her
until she's accomplished her mission
and earned her pardon.
Just so we understand each other.
'And I think she's very angry
that he'
spilt those beans, because of course
then the Doctor wants to know why.
You were in Storm Cage.
I imagine it's probably
a planet, and the whole planet
is just one enormous prison.
And it's probably pretty awful.
And she's been there for a long time.
So...she has, she's done something,
actually, really rather terrible.
Can I trust you, River Song?
If you like.
But where's the fun in that?
I think there are certain
things she cannot tell him.
She's sort of, in terms of the erm...
the Time Lords' laws,
she's probably not allowed.
And...
I have my own theories about
who she's killed.
But I can't tell you,
because...spoilers!
Octavian said you killed a man.
Yes, I did.
A good man.
A very good man.
The best man I've ever known.
I think he's completely
intrigued by that, actually.
And it's perfect River,
because she's still not committing
to a "Yes, you CAN trust me".
She's still keeping him on his toes.
And he loves that, you know?
That's the flirt.
That's the thing. "Can I trust you,
can't I trust you? I'm intrigued.
"I want to know everything,
but I don't."
Suddenly, it becomes exciting again.
If he thought it was as simple
as a lot of people have assumed,
but I'm saying nothing,
that this is the future missus...
I think that's quite boring.
But you start saying,
"She could be a major criminal.
Maybe she killed someone. Me...?"
He starts to think, "Actually,
now we've got a game. That's
exciting." That's his idea of fun.
She's coming back, all right.
She IS coming back.
And again, it's a clever teaser from
Steven, isn't it, to set that up.
Who are you?
Professor River Song, University
of... To me. Who are you to me?
Again - spoilers.
Wouldn't it be nice just once
to deliver on a promise like
that? Rather than have all these
fabulous but rather convenient hints
about some fabulous future...
We go way back, that man and me.
Just not this far back.
DONNA: I'm sorry, what?
He hasn't met me yet.
..actually to say, "No, we WILL show
you, it will unfold, you will see
"the whole story of who River Song
is, and what she is to the Doctor
and why all this began."
To actually make that promise and
deliver on it - to actually do it and
make it consistent and make it fit.
Which is tricky, because I didn't
start out with this intention.
But we have now seen the crash
of the Byzantium, that River Song
mentions in the Library episode.
All I can say is...Pandorica.
After her brush with death,
Amy's up for returning home to share
something with the Doctor. Perhaps
a bit more than he was expecting.
So Karen is on set
checking out Amy's bedroom.
Yeah! Well, this is my bedroom.
Amy's bedroom.
Amy's bed is amazing. It's got like,
two mattresses on it,
and it's really high,
and it's kind of like, old and cool.
And I love the blue.
And that was Adam's idea,
Adam the director,
to kind of have lots of blue
in Amy's house, because it kind of
symbolises the colour of the TARDIS
and Amy's love for the Doctor.
Hi! No-one cares about
your silly bedroom.
It's interesting.
You don't often find them in a
bedroom, sat on a bed, chilling out.
Usually they're being chased by an
Angel or a Silurian or something.
And we're just kind of having
a normal conversation without the
fear of... "A normal conversation"!
Shut up! That's how I talk!
Let me do that again. We're just
having a normal conversation.
We're just having
a normal conversation...
"We're just having a normal
conversation"! Oh, will you shut up!
..without the fear of death,
which is really nice and
refreshing for us to do.
I'm getting married in the morning.
Why did you leave it here?
Why did I leave my engagement ring
off when I ran away with a strange
man the night before my wedding?
You really are an alien, aren't you?
It's a light-hearted scene. It's
at the end of episode five, and Amy
decides to come on to the Doctor!
And he's completely oblivious at
the beginning, so it's quite funny.
And then...
Well, let's hope so. Well...!
As funny as HE gets. Yeah.
It's true. But erm...yeah, and
then they have a little smoochie!
Ooh! Which we call...
BOTH: ..smoochie-smoochie time!
Oh yeah!
Yeah, all right, that's enough.
MUSIC: "Pumpkin Soup"
by Kate Nash
# I just want your kiss, boy,
kiss, boy, kiss boy
# I just want your kiss
# I just want your kiss, boy,
kiss, boy, kiss boy... #
Here's this man, this generally
rather good-looking man -
sometimes older, sometimes younger,
but generally good-looking -
who's wonderful, funny,
passionate and kind
and the nicest, bestest human being -
apparently - you'll ever meet.
And all those girls didn't notice?
Ever? Not once? They didn't think,
"Well, he's quite nice"?
When we rehearsed for the wide,
Karen actually subconsciously put
her hand on Matt's inner thigh.
Subconsciously(!)
I've been batting her off for
months. And denied it afterwards.
But it was on camera, wasn't it? God!
In a word, in one very simple
word even you can understand...
You were lost in the moment, weren't
you? You were. I seduced you.
You didn't seduce... Ohhh!
And come on, you know,
the Doctor... 900 years...
They've been through a tough time.
Amy and the Doctor
have just been through a big,
big adventure, haven't they? Yeah.
So why does that make her
want to kiss him?
They've shared something together.
She was going to die.
And also, sometimes you do things
in the heat of the moment.
Well, SHE does.
Yeah. Well, she certainly does.
I don't know, when you're
excited and you've shared
something with someone and,
you know...
Will you stop?
And he hasn't tried it on yet.
Yeah! Amy can't understand why this
man hasn't tried it on with her.
We know from episode one
that Amy isn't restrained
in thinking about those things.
I heard you on the radio. You called
for backup. It's a pretend radio.
But you're a policewoman.
I'm a kissagram!
The way we've played it up until now
is people falling in unrequited love
with the Doctor. Great, why not?
But actually, Amy isn't
offering that at all.
She's just thinking,
"Well, we've got some time!
"You're kinda hot, and I've had a bad
night!" And I think, "OK, why not?"
Now, Amy, listen to me.
I am 907 years old.
Do you understand what that means?
It's been a while?
And the Doctor isn't very good
at facing off that at all!
He just gets embarrassed and
flustered, which I love
about the Doctor.
He's so wise in so many ways, but
he's tripping over his shoelaces the
moment a woman is behaving that way.
But you're human! You're Amy!
You're getting married
in the morning! In the morning...
Doctor...
It's you. It's all about you.
Everything. It's about you.
Hold that thought.
But possibly the single
most important thing
in the history of the universe
is that
I get you sorted out right now.
That's what I've been
trying to tell you! Come on.
Doctor...
And for those of us who can't read
the base code of the universe...?
Amy, it's time.
Next time on Confidential:
Venezia!
Why has Matt Smith come to Venice?
There's something about it
that is just unlike
anywhere else on the planet.
As a Venetian,
I start to feel an alien!
And what is he doing
with a Venetian count?
Looking for vampires in Venice.
Vampires of Venice!
Where do his ancestors come into it?
The scroll that Pietro da Mosto...
And what has any of this
to do with Doctor Who?
Subtitles by Red Bee Media Ltd