Transcript: 8x04 Listen
Dec. 18th, 2016 04:35 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
jpgrLook! It finally happened! So sorry it took so long. As always, if you find anything wrong, tell me in the comments so I can fix it.
SPACE
The TARDIS doors are open and we hear different instruments clicking away. The camera pans upward and we see the DOCTOR sitting cross-legged on the roof. His eyes are closed as he seems to be meditating. The camera closes in on his face and his eyes open.
DOCTOR:
(harsh whisper) Listen!
INT. TARDIS
The DOCTOR walks around the console, a lit candle in his hand.
DOCTOR:
Question! Why do we talk out loud when we know... (blows out candle) we're alone? Conjecture... because we know we're not. (writes on a chalkboard) Evolution perfects survival skills.
EXT. AFRICAN SAVANNAH, DAY
The DOCTOR watches through binoculars as a lioness takes down a water buffalo.
DOCTOR: (v.o.)
There are perfect hunters.
UNDERWATER
The DOCTOR stands in the open doors of the TARDIS as it rests on the bottom of the ocean.
DOCTOR: (v.o.)
There is perfect defence.
We see a puffer fish expand, showing its spikes.
INT. TARDIS
The DOCTOR finishes writing on the board.
DOCTOR:
Question - why is there no such thing as perfect hiding? Answer! How would you know? (paces) Logically, if evolution were to perfect a creature whose primary skill were to hide from view - how could you know it existed? (puts chalk down in crack of book) It could be with us every second and we would never know. How would you detect it, even sense it... except in those moments when, for no clear reason... you choose to speak aloud? What would such a creature want? What would it do? Well? (yells into the TARDIS) What would you do?
The DOCTOR turns back to the book and discovers the chalk isn’t there. It then rolls along the floor towards him. He kneels down, picks it up and then looks at the chalkboard. “LISTEN” is written across it.
**********************************************************************
Peter Capaldi
Jenna Coleman
DOCTOR WHO
“Listen”
By
Steven Moffat
PRODUCER
Peter Bennett
DIRECTOR
Douglas Mackinnon
**********************************************************************
INT. CLARA’S FLAT, NIGHT
CLARA opens the door and enters her apartment. Things must not have gone well as she falls back against the door.
**********************************************************************
>>>FLASHBACK>>>
INT. RESTAURANT, NIGHT
CLARA enters the restaurant where DANNY is waiting for her at a table. She walks over and waves and he stands.
DANNY:
Hey.
CLARA:
Hey.
Danny kisses her on the cheek.
DANNY:
Sorry.
>>> LATER >>>
They are sitting at the table and clink glasses. Danny is having beer and Clara is having wine.
CLARA:
So the famous drink at last. (takes a sip)
DANNY:
Yeah. Took a bit of time - family stuff but here we are.
CLARA:
Dinner, in fact.
DANNY:
Yeah, straight to dinner.
CLARA:
I like a man who moves fast.
DANNY:
Yeah! I might go straight for extras. Afters. Dessert.
CLARA:
Yes, I know, I know, dessert.
DANNY:
Straight to dessert.
CLARA:
Gotcha.
DANNY:
So, erm...how was your day?
CLARA:
Good. You know...teaching.
DANNY:
Yep, teaching.
CLARA:
Teaching, teaching.
DANNY:
Totally teaching.
CLARA:
We probably shouldn't talk about work.
DANNY:
God, yeah!
CLARA:
Though, do you take Courtney for anything?
>>> LATER >>>
DANNY is laughing out loud.
DANNY:
(laughing) Ser…are you serious?
CLARA:
She said she couldn't concentrate on her work, because my face was too wide. (holds her hands up to the sides of her face)
DANNY:
Wide?
CLARA:
I could kill that girl some days.
DANNY:
Me too.
CLARA:
And from you, that means something.
DANNY:
Sorry?
**********************************************************************
INT. CLARA’S FLAT, NIGHT
CLARA drops her heeled shoes on the counter by her tea mug.
**********************************************************************
>>>FLASHBACK>>>
INT. RESTAURANT, NIGHT
DANNY:
I dug 23 wells.
CLARA:
I'm sorry?
DANNY:
23 wells - when I was a soldier. 23!
CLARA:
OK. Good. Good wells.
DANNY:
Yeah, they were good, actually.
CLARA:
I'm not doubting the quality of your wells.
DANNY:
Whole villages, saved. Actual towns full of people. People I didn't shoot. People I kept safe!
CLARA:
OK. Point taken. Seriously.
DANNY:
So why doesn't that ever get mentioned?
CLARA:
I'm sorry I didn't mention your 23 wells!
The WAITER arrives with water.
WAITER:
Excuse me.
CLARA:
Sorry.
WAITER:
Er, water for the table?
CLARA:
Don't you worry - he'll probably dig for it!
The WAITER leaves. DANNY and CLARA stare at each other before DANNY cracks a small smile and laughs.
DANNY:
Sorry.
CLARA:
It's OK.
DANNY:
Sensitive subject.
CLARA:
Yes. Can slightly see that.
DANNY:
Sometimes people like you get the wrong end of the stick.
CLARA:
People like me?
**********************************************************************
INT. CLARA’S FLAT, NIGHT
CLARA sips her tea.
**********************************************************************
>>>FLASHBACK>>>
INT. RESTAURANT, NIGHT
DANNY:
I wasn't making assumptions about you.
CLARA:
That really is exactly what you were doing.
DANNY:
You were making assumptions about me!
CLARA:
I made a joke.
DANNY:
A not-funny joke.
CLARA:
Yeah, well, do you know what I'm making now?
DANNY:
A fuss?
CLARA:
An exit!
CLARA puts on her jacket and walks out of the restaurant.
EXT. RESTAURANT, NIGHT
Once outside, CLARA sighs and walks away. Through the window we see DANNY drop his head onto the table.
**********************************************************************
INT. CLARA’S FLAT, HALL, NIGHT
CLARA walks down the hall and opens her bedroom door but it’s blocked.
INT. CLARA’S FLAT, BEDROOM, NIGHT
The door is blocked by the TARDIS. The DOCTOR is sitting at her vanity facing three mirrors.
DOCTOR:
You just have to squeeze through.
CLARA:
Doctor?
DOCTOR:
Why do you have three mirrors? Why don't you just turn your head?
CLARA:
(enters the room) What are you doing in here?
DOCTOR:
You said you had a date - I thought I'd better hide in the bedroom in case you brought him home. Bit early, aren't you? Did it all go wrong, or is this good by your standards?
CLARA:
(curls up on her bed) It was a disaster and I am extremely upset about it, since you didn't ask.
DOCTOR:
(leans against the TARDIS) Fine, I need you, for a thing!
CLARA:
I can't! (Picks up her mobile)
DOCTOR:
Oh, of course you can - you're free. More than usually free, in fact.
CLARA:
It's possible that I might get a phone call.
DOCTOR:
From the date guy? It's too late. You've taken your make-up off.
CLARA:
No, I haven't. I'm still wearing my make-up.
DOCTOR:
Oh, well, you probably just missed a bit. Come on, come on, come on, come on!
INT. TARDIS
The DOCTOR enters the TARDIS and CLARA follows somewhat reluctantly and closes the door behind her.
CLARA:
I haven't actually said yes.
DOCTOR:
Yes, you know sometimes when you talk to yourself, what if you're not?
CLARA:
Not what?
DOCTOR:
What if it's not you you're talking to? Proposition - what if no-one is ever really alone, what if every single living being has a companion - a silent passenger, a shadow? What if the prickle on the back of your neck, is the breath of something close behind you?
CLARA:
How long have you been travelling alone?
DOCTOR:
Perhaps I never have.
The DOCTOR shows CLARA the chalkboard with “Listen” written on it.
CLARA:
It looks like your handwriting.
DOCTOR:
Well, I couldn't have written it and forgotten, could I?
CLARA:
Have you met you? (sees a desk with papers and books strewn on it) What's all this? (sits)
DOCTOR:
Dreams. Accounts of dreams, by different people, all through history. You see, I have a theory.
CLARA:
I'll bet you have. What theory?
DOCTOR:
I think everybody, at some point in their lives, has the exact same nightmare.
INT. BOY’S BEDROOM, NIGHT
A boy is asleep on the bed but stirs and sits up.
DOCTOR: (v.o.)
You wake up, or you think you do, and there's someone in the dark, someone close, or you think there might be.
The boy turns on the light.
INT. GIRL’S BEDROOM, NIGHT
A girl is sitting up in bed looking out at the night sky.
DOCTOR: (v.o.)
So you sit up, turn on the light.
The girl reaches for the light.
INT. WOMAN’S BEDROOM, NIGHT
An older woman turns on her bedside lamp and sits up.
DOCTOR: (v.o.)
And the room looks different at night. It ticks and creaks and breathes. And you tell yourself there's nobody there...
The woman lifts the bedclothes and turns to get out of bed.
INT. BOY’S BEDROOM, NIGHT
The boy gets out and puts his feet on the floor.
DOCTOR: (v.o.)
...nobody watching, nobody listening, nobody there at all...
INT. GIRL’S BEDROOM, NIGHT
The girl puts her feet on the floor.
INT. WOMAN’S BEDROOM, NIGHT
The woman puts her feet on the floor.
INT. BOY’S BEDROOM, NIGHT
DOCTOR: (v.o.)
…and you very nearly believe it. You really, really try...and then...
A hand reaches out from under the bed and grasps the boy’s left ankle.
INT. GIRL’S BEDROOM, NIGHT
A hand reaches out from under the bed and grasps the girl’s left ankle.
INT. WOMAN’S BEDROOM, NIGHT
A hand reaches out from under the bed and grasps the woman’s left ankle.
INT. BOY’S BEDROOM, NIGHT
The boy gasps.
INT. WOMAN’S BEDROOM, NIGHT
The woman gasps.
INT. GIRL’S BEDROOM, NIGHT
The girl gasps.
INT. TARDIS
The DOCTOR walks down the steps to the center console and CLARA follows.
DOCTOR:
There are accounts of that dream throughout human history, time and time again, the same dream. Now, there is a very obvious question I'm about to ask you. Do you know what it is?
CLARA:
Have you had that dream?
DOCTOR:
Exactly.
CLARA:
No - that was me asking you, have you had that dream?
DOCTOR:
I asked first.
CLARA:
No, I did.
DOCTOR:
You really didn't.
CLARA:
OK, yeah, probably. Yes. But everyone dreams about something under the bed!
DOCTOR:
Why?
The DOCTOR gently presses CLARA’S fingers into a panel of the TARDIS. It squishes at her touch.
DOCTOR:
Just hold on tight. If anything bites, let it.
CLARA:
What is it?
DOCTOR:
TARDIS telepathic interface. You're in mental contact with the TARDIS. So don't think anything rude.
CLARA:
Why not?
DOCTOR:
It might end up on all of the screens. (walks around to another panel) The TARDIS is extrapolating your entire timeline, from the moment of your birth, to the moment of your death.
CLARA:
Which I do not need a preview of.
DOCTOR:
(presses buttons) I'm turning off the safeguards and navigation - slaving the TARDIS to you. (slides one of the screens over to CLARA) Focus on the dream, focus on the details, picture them, feel them. The TARDIS will track on your subconscious and extract the relevant information. It should be able to home in on the moment in your timeline when you first had that dream. And then...we'll see.
CLARA:
What will we see?
DOCTOR:
What's under your bed. (pulls the lever that dematerializes the TARDIS)
CLARA:
(jolted by the TARDIS’ movement) Ooh!
DOCTOR:
OK, now don't get distracted. Remember, you are flying a time machine.
CLARA’S phone rings and she thinks of her date with DANNY.
DOCTOR:
No, no. Don't you get... (runs over and takes CLARA’S phone, tossing it away) No, Don't! Don't, don't. Just ignore it.
The TARDIS materializes with a jolt.
DOCTOR:
OK, that's good. (checks coordinates) That worked, we're here.
CLARA:
Sorry - I think I got distracted.
DOCTOR:
No, no, no, no, no - the date's fine. (heads for the door) Come on!
CLARA:
Come on where?
DOCTOR:
Your childhood! (goes outside)
After a few tries, CLARA frees her hands from the TARDIS, rubs them together and then follows the DOCTOR.
EXT. BUILDING, NIGHT
CLARA looks around as she walks after the DOCTOR.
DOCTOR:
The West Country Children's Home. Gloucester - by the ozone level and the drains, mid-'90s. You must have been here when you had the dream.
CLARA:
Never been to Gloucester in my life and I've never lived in a children's home.
DOCTOR:
You probably just forgotten - have you seen the size of human brains, they're hilarious. Little you must be in here somewhere, with your little brain.
CLARA:
Isn't it bad if I meet myself?
DOCTOR:
It is potentially catastrophic.
CLARA:
So why did you bring me out here?
DOCTOR:
I was still talking, I needed someone to nod, probably best for you to wait in the TARDIS. (pushes CLARA towards the TARDIS)
CLARA:
Doctor...
DOCTOR:
See you in a minute. TARDIS.
CLARA:
Doctor! If I had have been distracted, what would have happened?
DOCTOR:
We would probably have ended up in the wrong place. But don't think we have, cos the time zone's right. I won't be long. (heads inside)
CLARA looks at the building and sees a light on in a top-floor window. A young black boy waves at her, reminding her of DANNY waving to her at their date. The boy opens the window.
BOY:
What are you doing down there?
CLARA:
Nothing. Er... I'm just... What's your name?
BOY:
Rupert.
CLARA:
Oh. OK. Hello, Rupert.
RUPERT:
Rupert Pink. It's a stupid name.
CLARA:
No, it isn't. I know somebody called Pink.
RUPERT:
I meant Rupert. I'm going to change it.
CLARA:
Why are you awake? Are you scared?
INT. CHILDREN’S HOME, HALL, NIGHT
The DOCTOR walks down an empty hallway, his sonic screwdriver held by his side, buzzing and ready. He peers into an empty outer office, a TV casting shadows and voices from the inner office. A MAN walks out of the inner office and sees the DOCTOR.
MAN:
How did you get in?
INT. CHILDREN’S HOME, OFFICE, NIGHT
The DOCTOR enters the office.
DOCTOR:
Your door must be faulty. (holds up psychic paper for the man to read)
MAN:
An inspection? It's two in the morning.
DOCTOR:
When better? Do you always work here nights? (puts away psychic paper)
MAN:
Most nights, yes.
DOCTOR:
Ever end up talking to yourself?
MAN:
All the time - it's this place...you can't help it.
DOCTOR:
What about your coffee?
MAN:
My coffee? (looks at his full cup on the desk)
Behind them in the hall, CLARA sneaks up the stairs.
DOCTOR:
Sometimes, do you put it down, and look round, and it's not there?
MAN:
Everybody does that.
DOCTOR:
Yes. Everybody.
The television in the other room turns off.
DOCTOR:
Who turned your telly off?
MAN:
(looks to the other room) It does that. It…(turns around to find the DOCTOR is gone) …just goes off. (looks at his desk and the coffee mug is gone)
INT. CHILDREN’S HOME, HALL, NIGHT
The DOCTOR walks down the hall and sips the coffee.
INT. CHILDREN’S HOME, UPSTAIRS HALL, NIGHT
CLARA walks the hall quietly, looking for RUPERT’S room. She finds the room by a soft light coming through the crack of the open door. She knocks on the door before entering. RUPERT is sitting on the floor.
INT. CHILDREN’S HOME, RUPERT'S ROOM, NIGHT
CLARA:
Hello.
RUPERT:
Hello.
CLARA looks around the room as she walks over.
CLARA:
Nice room. (pulls over a chair) You know, you should have more than one chair. What do you do when people come ‘round?
RUPERT:
Sit on the bed.
CLARA:
Why aren't you sitting on it, then? Do you think that there's something underneath it?
RUPERT nods.
CLARA:
Hey... everyone thinks that...sometimes. That's just how people think at night.
RUPERT:
Why?
CLARA:
Did you have a dream, a hand grabbing your foot? You have, haven't you? You've had that exact dream.
RUPERT:
How did you know?
CLARA:
Do you know why dreams are called dreams?
RUPERT:
Why?
CLARA:
Because they're not real. If they were, they wouldn't need a name. (gets up and walks to the bed)
RUPERT:
What are you doing?
CLARA:
(looks under the bed before turning back to RUPERT and whispering) Do you know what's under there?
RUPERT:
What?
CLARA:
Me! (crawls under the bed) Come on! It's perfectly safe.
RUPERT walks over and crawls under the bed with CLARA. She is lying on her back staring up at the mattress above them.
CLARA:
See? Nobody here. Except us.
RUPERT:
Sometimes I hear noises.
CLARA:
It's a house full of people, of course you hear noises.
RUPERT:
They're all asleep.
CLARA:
They're all dreaming.
RUPERT:
Can you hear dreams?
CLARA:
If you're clever enough, but they can't harm you. You know, sometimes we think there's something behind us - and the space under your bed is what's behind you at night. Simple as that. There's nothing to be afraid of.
The mattress above CLARA sinks and the springs squeak. Someone has sat on the bed.
CLARA:
(whispers) Who else is in this room?
RUPERT:
(whispers) Nobody.
CLARA:
(whispers) Someone must have come in.
RUPERT:
(whispers) Nobody came in.
CLARA gets out from under the bed and looks to the bed. On top sits a figure completely covered by the blanket.
CLARA:
Hello? (helps RUPERT stand) Who's this? This is a friend of yours playing a game.
RUPERT shakes his head.
CLARA:
Playing a trick, are you, hey, a little trick on Rupert here?
The figure rises from the bed.
CLARA:
OK. It's not funny this, you know.
A light comes on.
DOCTOR:
Where is he?
CLARA and RUPERT turn their heads to see the DOCTOR sitting in a chair flipping through a book.
CLARA:
Doctor?
DOCTOR:
I can't find him. Can you find him?
CLARA:
Find who?
DOCTOR:
Wally.
CLARA:
(looks quickly at the figure) Wally?
DOCTOR:
He's nowhere in this book.
RUPERT:
It's not a Where's Wally one.
DOCTOR:
How would you know? Maybe you just haven't found him yet.
RUPERT:
He's not in every book.
DOCTOR:
Really? Well, that's a few years of my life I'll be needing back. (gets up and whispers to RUPERT) Are you scared? (bends over so her can look the boy in the eyes) The thing on the bed, whatever it is... look at it. Does it scare you?
RUPERT:
Yes.
DOCTOR:
That's good. Want to know why that's good?
RUPERT:
Why?
DOCTOR:
Let me tell you about scared. Your heart is beating so hard, I can feel it through your hands. There's so much blood and oxygen pumping through your brain, it's like rocket fuel. Right now, you could run faster and you could fight harder you could jump higher than ever in your life, and you are so alert it's like you can slow down time. What's wrong with scared? Scared is a superpower. It's your superpower. There is danger in this room and guess what? It's you. Do you feel it? Do you think he feels it? Do you think he's scared? Nah! Loser! Turn your back on him.
RUPERT:
What?
DOCTOR:
Yeah, turn your back on him, come on. You too, Clara.(walks to the window) Clara, your back, now. (CLARA walks to the window) Do it, just do it now, turn your back. Do it now, turn your back. Lovely view out this window.
RUPERT joins them at the window.
CLARA:
Yeah. Come and see all the dark.
DOCTOR:
The deep and lovely dark - we'd never see the stars without it. Now. There are two possibilities. Possibility one - it's just one of your friends standing there, and he's playing a joke on you. Possibility two - it isn't.
CLARA:
So, plan? Plans are good.
DOCTOR:
You on the bed, I'm talking to you now. Go in peace. We won't look. Just go. If all you want to do is stay hidden, it's OK. Just leave.
The springs creak and the figure moves to stand behind them.
CLARA:
Is it gone?
DOCTOR:
Don't look round, not yet.
RUPERT:
I can't hear anything.
DOCTOR:
Don't look ‘round.
RUPERT starts to turn his head.
DOCTOR:
Look away! Look away now! Don't look at it! Don't look round. Don't look round - don't look at the reflection.
RUPERT:
What is it?
DOCTOR:
Imagine a thing that must never be seen. What would it do if you saw it?
Behind CLARA, the figure pulls off the blanket. The focus isn’t clear bit it looks misshapen and hairless.
RUPERT:
I don't know.
DOCTOR:
Neither do I. Close your eyes.
RUPERT:
What?
DOCTOR:
Close your eyes. You too, Clara. Give it what it wants. Prove to it that you're not going to look at it. Make a promise - promise you're never going to look at it.
RUPERT:
(closes eyes tightly) I promise never to look.
DOCTOR:
The breath on the back of your neck... like your hairs standing on end... that means don't look ‘round!
The door to the room slams shut. CLARA and RUPERT turn around quickly. The DOCTOR turns slowly.
CLARA:
Gone?
DOCTOR:
Gone.
RUPERT:
He took my bedspread.
DOCTOR:
Oh, the human race - you're never happy, are you?
RUPERT:
Am I safe now?
DOCTOR:
(looks at a toy robot) Nobody's safe, especially not at night in the dark, anything can get you, and you're up here all alone...
CLARA slaps the DOCTOR on the head.
DOCTOR:
What was that for?
CLARA:
(takes a box of toy soldiers from the shelf) Shut up, leave this to me.
CLARA takes the box over to RUPERT who is sitting cross-legged on his bed.
CLARA:
These yours? (starts taking soldiers from the box)
RUPERT:
They're the home's.
CLARA:
They're yours now.
DOCTOR:
People don't need to be lied to.
CLARA:
People don't need to be scared by a big gray-haired stick insect, but here you are. Stay still, shut up. See what I'm doing? This is your army. (starts lining the army men around the bed)
DOCTOR:
Plastic army. (starts to rise from the chair)
CLARA:
(to the DOCTOR) Sit! (to RUPERT) And they're going to guard under your bed. (holds up one) See this one? This is the boss one, the colonel - He's going to keep a special eye out.
RUPERT:
It's broken, that one. It doesn't have a gun.
CLARA:
That's why he's the boss. A soldier so brave he doesn't need a gun. He can keep the whole world safe. What shall we call him?
RUPERT:
Dan!
CLARA:
Sorry?
RUPERT:
Dan, the soldier man. That's what I call him.
CLARA:
Good. Good name.
RUPERT:
Yeah. Would you read me a story? It'll help me get to sleep.
The DOCTOR gets up from the chair and walks over.
CLARA:
Sure.
DOCTOR:
Once upon a time… (puts an index finger to RUPERT’S forehead and he falls asleep) The end. Dad skills.
INT. TARDIS
CLARA is sitting on a set of stairs as the DOCTOR walks around the console.
CLARA:
So... is it possible we just saved that kid from another kid in a bedspread?
DOCTOR:
Entirely possible, yes. The bigger question why did we end up with him, and not you?
CLARA:
(stands) I got distracted.
DOCTOR:
But why that particular boy? You don't have any...you don't have any kind of connection with him, do you?
CLARA:
No. No, no, no, of course not. Why do you ask?
DOCTOR:
The TARDIS was slaved to your timeline. (works on a device) Theoretically, there should have been some connection.
CLARA:
Will, um... will he remember any of that?
DOCTOR:
Scrambled his memory, gave him a big old dream about being Dan the soldier man.
CLARA sighs heavily and rests her head on the console. The DOCTOR puts down what he’s working on and walks over to her, concerned.
DOCTOR:
Are you OK?
CLARA:
(raises her head) Doctor... I am sorry to ask, (walks over to the DOCTOR) and I realise this is probably against the laws of time, or summat...um... (puts her hands on his shoulders) Could you do me a favour?
EXT. RESTAURANT, NIGHT
CLARA walks out of the restaurant and through the window we see DANNY knock his head on the table. We hear the TARDIS in the background.
EXT. STREET, NIGHT
The TARDIS door opens and the DOCTOR and CLARA exit. CLARA sees herself walking away.
CLARA:
Is that what I look like from the back?
DOCTOR:
It's fine.
CLARA:
I was thinking it was good.
DOCTOR:
(looks at her) Really?
CLARA just walks away to the restaurant.
INT. RESTAURANT, NIGHT
CLARA walks into the restaurant and sits at the table across from DANNY. He lifts his head from the table and looks at her.
CLARA:
Sorry!
DANNY:
Hey.
CLARA:
(holds her hand out) Hello. I am Clara Oswald. I'm a bit tricky sometimes, a bit up myself, and I don't like my surname, but I think that's basically everything you need to worry about.
DANNY:
(shakes her hand) Hello, I'm... I'm sorry...
CLARA:
Also, I mouth off when I'm nervous and I've got a mouth on me. Seriously, it's got a mind of its own. I'm worried it wants to go solo.
DANNY:
(releases her hand) I don't know what to say.
CLARA:
Don't say anything. Or say something nice.
DANNY:
I like your name.
CLARA:
(smiles) It's a start.
DANNY:
Oswald. It suits you.
CLARA:
Drifting now.
DANNY:
It's better than Pink.
CLARA:
No, Pink...Pink is nice. I like pink.
DANNY:
You can have it.
CLARA:
Oh, a bold offer, Mr Pink.
DANNY:
I meant... No... (stammers)
CLARA:
I know, I know.
DANNY:
Why can't I speak today?
CLARA:
It's that foot you're keeping in your mouth.
DANNY:
Is that where I put it?
CLARA:
(chuckles) Anyway. Clara Pink - too much.
DANNY:
Yeah, it is a bit much.
They both laugh.
CLARA:
Mind you - RUPERT Pink!
DANNY:
Sorry?
CLARA:
Er... (laughs nervously) Rupert...Pink. It's not good.
DANNY:
Rupert?
CLARA:
Yeah. That was your name, yeah?
DANNY:
Who told you that?
CLARA:
Um...someone in the school. (clicks tongue)
DANNY:
No, I haven't used that name for years.
CLARA:
I cannot remember who it was, er...
DANNY:
Are you making fun of me?
CLARA:
No! No, no, no - no way!
DANNY:
Is this a joke?
CLARA:
Danny, nothing about this is any kind of joke!
The door to the restaurant opens and in walks a man in a spacesuit. Believing it’s the DOCTOR, CLARA is distracted.
DANNY:
Where's your coat?
CLARA:
My what?
DANNY:
You put your coat on when you left.
CLARA:
I'm really sorry. Danny, um... there is something I should probably be honest about.
DANNY:
How about everything?
CLARA:
Everything, in my case, is actually quite a lot.
DANNY:
Well, that's weird.
CLARA:
No, it's not weird, not really... Where are you going?
DANNY:
(gets up from table) I don't do weird.
CLARA:
Don't go.
DANNY:
(leans over) Then do something for me - tell me the truth, because I know when people are lying to me. However weird this thing might be, just tell me the truth!
CLARA:
(shakes head) It's not weird… (sees the man motion to her) …exactly.
The figure leaves through the kitchen.
DANNY:
I've had enough. (leaves)
CLARA sighs before standing deliberately and striding to the kitchen and into the TARDIS.
INT. TARDIS
CLARA storms in after the man who is still wearing the spacesuit.
CLARA:
I am trying to have a date - a real life, inter-human actual date! It's a normal nice, everyday, meeting-up sort of thing, and I would just like to know, is there any other way you can make this any more surreal than it already is?
The man takes off the helmet to reveal a man that looks eerily similar to DANNY. He looks a bit older and has more hair. CLARA just stares.
MAN:
Hello.
DOCTOR:
Ah, Clara! (runs up to the console) Well done, you found her. (catches his breath) Now this is really a bit strange.
CLARA:
(points at the MAN) Danny?
DOCTOR:
What's gone wrong with your face? It's all eyes! Why are you all eyes? Get them under control.
MAN:
Who's Danny?
DOCTOR:
This is Colonel Orson Pink, from about 100 years in your future.
CLARA:
(laughs nervously) Orson Pink?
DOCTOR:
Yeah, I laughed too. (to ORSON) Sorry! (to CLARA) Do you have any connection with him?
CLARA:
Connection?
DOCTOR:
Yes, maybe you're like a distant relative or something?
CLARA:
(stammers) How would I know?
DOCTOR:
Right, OK. (to ORSON) Um, well...do you have any old family photographs of her? You know, probably quite old and really fat-looking?
ORSON:
I don't.
CLARA pulls the DOCTOR aside.
CLARA:
How did you find him?
DOCTOR:
You left a trace in the TARDIS telepathic circuits. I fired them up again and the TARDIS brought me straight to him. So he's something to do with your timeline.
CLARA:
OK...
DOCTOR:
And you'll never guess where I found him.
EXT. DESOLATE PLANET
The planet is barren and windswept with craggy rocks. There is a crashed spaceship.
INT. SPACESHIP
CLARA looks out the window onto the planet.
CLARA:
Where are we?
DOCTOR:
The end of the road - this is it, the end of everything... the last planet.
CLARA:
(looks at the DOCTOR) The end of the universe?
DOCTOR:
The TARDIS isn't supposed to come this far but some idiot turned the safeguards off. Listen!
CLARA:
(stands and looks around) To what?
DOCTOR:
Nothing. There's nothing to hear. There's nothing anywhere... not a breath, not a slither, not a click or a tick. All the clocks have stopped. This is the silence at the end of time.
CLARA looks to where ORSON is emptying a cabinet into a duffle.
CLARA:
Then how did he get here? If he's from 100 years in my future...
DOCTOR:
Pioneer time traveller. (Uses the sonic on a screen to pull up footage of ORSON’S farewell) Rode the first of the great time shots. They were supposed to fire him into the middle of the next week.
CLARA:
What happened?
DOCTOR:
He went a bit far.
CLARA:
A bit?
DOCTOR:
A big bit. Look at him now. Robinson Crusoe at the end of time itself - the last man standing in the universe. I always thought that would be me.
CLARA:
It's not a competition.
DOCTOR:
I know it's not a competition, course it isn't. Still time, though.
CLARA:
He looks like he's packing.
DOCTOR:
He's been stranded for six months, just met a time traveller - of course he's packing.
ORSON:
(runs back to them) You can do it, then? You can get me home?
DOCTOR:
I just showed you, didn't I? A test flight to a restaurant.
ORSON:
Yes, but to my family, to my own time?
DOCTOR:
Easy! I can do that, can't I, Clara?
CLARA:
(quickly) He can, yes.
ORSON:
Is everything OK?
CLARA:
Yeah, fine. I'm fine.
ORSON:
Do I know you?
CLARA:
No, nope.
DOCTOR:
Is she doing the "all eyes" thing? It's because her face is so wide. She needs three mirrors!
CLARA:
Doctor...!
DOCTOR:
We can't leave immediately, though. The TARDIS needs to recharge.
CLARA:
Sorry... what?
DOCTOR:
Overnight, that should do it, shouldn't it Clara?
ORSON:
Overnight?
DOCTOR:
(walks over to ORSON, arms crossed) One more night, that's... that's not a problem, is it?
ORSON:
(hesitates) No. No, no problem.
DOCTOR:
Oh, that's a shame, isn't it?
ORSON:
What's a shame?
DOCTOR:
There's only three people left in the universe and you're lying to the other two. It was the first thing I noticed when I stepped in here. You must have seen it, too, Clara - you've got eyes out to here!
CLARA:
Seen what?
DOCTOR:
The universe is dead. Everything that ever was is dead and gone. There is nothing beyond this door but nothingness forever. So why is it locked?
ORSON:
Please... don't make me spend another night here.
DOCTOR:
Afraid of the dark? But the dark...is empty now.
ORSON:
No. No, it isn't. (looks out window)
INT. TARDIS
CLARA leads ORSON into the TARDIS. She has his duffle over her shoulder and he is carrying a metal case in each hand.
CLARA:
You'll be safe in here. Nothing gets through those doors, I promise.
ORSON:
And you two are going to wait out there?
CLARA:
(continues down stairs) That would seem to be the plan. Wait for what exactly?
ORSON:
(follows CLARA) Why can't we just leave?
CLARA:
Like he said - it's recharging.
ORSON:
You didn't look like you believed him.
CLARA:
That's just how my face looks when he talks.
CLARA puts down the duffle and a plastic container falls out. Through the clear top she can see Dan the Soldier Man. She picks it up and stares at it.
ORSON:
It's just a silly toy thing, family heirloom – supposed to bring good luck.
CLARA:
Right. Yes. Didn't do a very good job, did it?
ORSON:
It did. You're here, aren't you? What were the chances of you two finding me?
CLARA:
Orson... (walks over and hands him to figure) do me a favour, take my advice when you get home, stay away from time travel. (walks away up the stairs)
ORSON:
It runs in the family.
CLARA:
(stops at the top of the stairs and turns around) What? Sorry - what do you mean, "runs in the family"?
ORSON:
Nothing - it's just silly stories - one of my grandparent - well, great-grandparents...
CLARA:
What is it? Tell me! You asked if you knew me.
ORSON holds the figure, now out of its box, out to her. She pushes it away, not wanting to take it.
CLARA:
It's a family heirloom?
ORSON:
Yeah.
For a moment, they’re both holding the toy.
INT. SPACESHIP
The DOCTOR is staring at the screen, head resting in his hand. CLARA is sitting in a chair, just staring.
CLARA:
What are we doing?
DOCTOR:
Waiting.
CLARA:
For what? For who? If everybody in the universe is dead, then there's nobody out there.
DOCTOR:
That's one way of looking at it.
CLARA:
What's the other?
DOCTOR:
That's a hell of a lot of ghosts.
The interior lights change from red to a deep blue.
CLARA:
Do you have your own mood lighting now? Because, frankly, the accent is enough.
The DOCTOR gives CLARA a double-take and then follows her gaze. She is looking at the airlock where the words “DON’T OPEN THE DOOR” are written at the top.
CLARA:
Where did that come from?
DOCTOR:
It's always been there. It's only visible in the night light.
CLARA:
But who wrote it?
DOCTOR:
Colonel Pink. Apparently, at night, he needs a reminder. Six months stranded alone, I suppose it must be tempting.
CLARA:
What is?
DOCTOR:
Company.
There is a loud metal creaking.
CLARA:
What's that?
DOCTOR:
What kind of explanation would you like?
CLARA:
A reassuring one.
DOCTOR:
(leans forward) Well, the systems are switching to low power. There are temperature differentials all over this ship. It's like pipes banging when the heating goes off.
CLARA:
Always thought there was something in the pipes.
DOCTOR:
Me, too. (sits back) Who were you having dinner with?
CLARA:
Are you making conversation?
DOCTOR:
I thought that I would give it a try.
CLARA:
I told you. A date.
DOCTOR:
Serious?
CLARA:
It's a date.
DOCTOR:
A serious date?
CLARA:
(laughs) Do I have to bring him to you for approval?
DOCTOR:
Well, I would like to know about his prospects. If you like, I can pop ahead and check them out.
CLARA:
Frankly, you've already done enough.
There is a loud screeching. The DOCTOR stands slowly, looking around.
DOCTOR:
Atmospheric pressure equalising...
CLARA:
Or?
DOCTOR:
Company. (walks around the room)
CLARA:
Why are we doing this? (stands) Why don't we just go?
DOCTOR:
Because I need to know.
CLARA:
Why? About what?
DOCTOR:
Suppose that there are creatures that live to hide - that only show themselves to the very young or the very old or the mad or anyone who wouldn't be believed...
CLARA:
OK...
DOCTOR:
What would those creatures do when everyone was gone, when there was only one man left standing in the universe?
There is a metallic knocking and they both look to the airlock.
CLARA:
What's that?
DOCTOR:
Potentially, the hull cooling.
CLARA:
"Potentially"?
DOCTOR:
Believably.
Three knocks sound at the airlock.
DOCTOR:
Someone knocking.
Three more knocks sound.
DOCTOR:
Yes.
The knocks sound again as the DOCTOR approaches the airlock.
CLARA:
Doctor, you don't actually believe all this, do you? Hiding creatures - things from under the bed.
The knocking repeats.
DOCTOR:
What's that in the mirror? Or the corner of your eye? What's that footstep following, but never passing by?
The knocking sounds again.
CLARA:
Did we come to the end of the universe because of a nursery rhyme?
The knocking repeats twice more, growing in intensity. The DOCTOR uses the sonic screwdriver on the airlock and it unlocks. The door then turns as it opens.
CLARA:
That's you turning, right?
DOCTOR:
No. Get in the TARDIS.
CLARA:
Why?
DOCTOR:
(backs away from the airlock) I have to know.
CLARA:
Doctor. Doctor...
DOCTOR:
The TARDIS, now!
CLARA:
OK. OK. Somebody is out there - now we know we can leave! (heads for the TARDIS but turns back when he doesn’t follow) Oh, Doctor!
DOCTOR:
It's a pressure lock - releasing it could've triggered the opening mechanism.
CLARA:
Is there an atmosphere out there?
DOCTOR:
There's an air shell round the ship. Why are you still here?
CLARA:
Because I'm not going to leave you in danger!
DOCTOR:
Then you will never travel with me again, because that is the deal! TARDIS, now! Do as you are told!
CLARA runs to the TARDIS and pauses at the door.
CLARA:
You're an idiot. (enters the TARDIS)
DOCTOR:
I know.
The airlock door stops spinning.
INT. TARDIS
CLARA walks past ORSON straight to the monitor screen.
ORSON:
What's happening?
CLARA:
He's opening the door.
INT. SPACESHIP
DOCTOR:
Perhaps they're all just waiting, perhaps when we're all dead, out they'll come a-slithering from underneath the bed.
The door opens.
INT. TARDIS
CLARA:
Oh, no, no, no, not now, come on! (slaps the monitor as the picture flickers)
INT. SPACESHIP
The DOCTOR watches the door.
INT. TARDIS
CLARA:
Oh-h! Always when it's important!
There is a thumping and CLARA and ORSON are thrown off-balance.
CLARA:
What's happening?
An alarm begins beeping.
CLARA:
What's that?
ORSON:
The alarm - the air shell's breached. Stay here. (leaves)
CLARA watches the screen and sees the DOCTOR holding on to one of the counters as he is blown horizontally as the air is sucked out of the ship.
INT. SPACESHIP
The DOCTOR holds on for dear life as debris blows around him. Just as he fingers begin to lose their grip, his hand is grabbed by ORSON who is safely in his spacesuit.
INT. TARDIS
ORSON sets the unconscious DOCTOR into a chair.
CLARA:
Is he OK?
ORSON:
He's out cold. He'll be fine, though.
CLARA:
(touches the DOCTOR’S temple) Something hit him.
ORSON:
Everything was flying out of that door.
CLARA:
Could've been that.
ORSON:
Yeah.
CLARA:
What was out there? What were you so afraid of?
ORSON:
I've been here a long time - my own shadow, probably.
CLARA:
Yeah.
There is a rumbling from the ship and both look to the TARDIS doors.
ORSON:
That's probably just the rest of the air escaping.
CLARA:
You say "probably" a lot.
There is a banging and the TARDIS shakes.
ORSON:
We are safe? Nothing can get in here, right?
CLARA:
Probably.
They look to the door as the spaceship hisses. In the background, the cloister bell sounds. CLARA hurries to one of the console panels.
ORSON:
Have you got a plan?
CLARA:
Telepathic circuits. I left a trace in them before. (puts her hands into the panel)
ORSON:
So?
CLARA:
So, apparently that can do a "thing".
ORSON:
That's your plan?
CLARA:
It's not a plan. It's a "thing". (softly to herself) OK. Come on, come on, you can do it!
The DOCTOR lurches forward in the chair with a gasping breath.
CLARA:
Come on! (looks at the others) Sorry!
The TARDIS dematerializes with a lurch.
CLARA:
Here we go!
The TARDIS lights flash and machinery grinds.
CLARA:
Come on!
Everything stops with a jolt. CLARA removes her hands and moves to the scanner monitor.
ORSON:
Is that it?
CLARA:
I don't know. I think so. (heads for the door)
ORSON:
Where are we?
CLARA:
Somewhere else. I hope! (stops ORSON from following) No, no, no, you stay, look after the Doctor.
ORSON:
You can't go out there by yourself.
CLARA:
(runs back to ORSON) Thing is, my timeline, it keeps on... Orson, you don't want to meet yourself. It's really embarrassing.
INT. BARN, NIGHT
CLARA opens the TARDIS door and steps cautiously into the barn. She looks around and sees someone sleeping on a bed in the loft. CLARA closes the TARDIS door behind her and walks towards the figure who is sobbing. She climbs a few rungs of the ladder to the loft.
CLARA:
Rupert?
CLARA climbs up the rest of the way and walks around the foot of the bed. The child is under a blanket, crying.
CLARA:
Orson?
She starts to reach for the figure when the barn door opens and a MAN and WOMAN enter. We only see their legs and feet.
MAN:
Why does he have to sleep out here?
WOMAN:
He doesn't want the others to hear him crying.
CLARA crawls under the bed.
MAN:
Why does he have to cry all the time?
WOMAN:
You know why.
MAN:
There'll be no crying in the army.
WOMAN:
Hush!
The couple climbs to the loft.
MAN:
Don't pretend you're not awake. We're not idiots.
WOMAN:
(talks to the boy) Come and sleep in the house. You don't have to be alone! If you can hear me, you're very welcome in the house, with the other boys. I'll leave the door on the latch. Come in, any time.
They walk away.
MAN:
He can't just run away crying all the time if he wants to join the army.
WOMAN:
He doesn't want to join the army. I keep telling you.
MAN:
Well, he's not going to the Academy, is he, that boy? He'll never make a Time Lord.
Under the bed, CLARA’S eyes widen as she realizes the boy is the DOCTOR as a child.
INT. TARDIS
The DOCTOR gets up suddenly from his chair.
DOCTOR:
Sontarans! Perverting the course of human history!
ORSON:
Doctor?
DOCTOR:
You're confusing me. Shut up, shut up! Where's Clara?
INT. BARN, NIGHT
DOCTOR:
(from inside the TARDIS) Clara! Clara!
BOY:
Hello, who's there?
CLARA looks around for the DOCTOR.
BOY:
Hello?
The BOY sits up, putting his legs on the floor. Reacting, CLARA reaches out and grabs an ankle. She then realizes what she’s done.
CLARA:
(swallows before whispering) It's OK. This is just a dream. Just lie back again, just lie back on the bed. It will all be OK if you just lie down and go to sleep. Just do that for me. Just sleep.
CLARA releases the BOY’S ankle and he goes back under the covers. CLARA climbs out from under the bed and looks down on the bed. The BOY continues to cry. She gently sits on the bed next to him and softly strokes his hair.
CLARA:
Listen...
INT. TARDIS
ORSON:
What happened? What did you see? What's out there?
CLARA:
(enters and walks to the DOCTOR) What if there was nothing? What if there never was anything? Nothing under the bed, nothing at the door. What if the big bad Time Lord doesn't want to admit he's just afraid of the dark.
DOCTOR:
(worried) Where are we? Have we moved? Where have we landed?
CLARA:
Don't look where we are. Take off, and promise me you'll never look where we've been.
DOCTOR:
Why?
CLARA:
Just take off, don't ask questions.
DOCTOR:
I don't take orders, Clara!
CLARA:
Do as you're told!
The DOCTOR and CLARA stare at each other.
INT. BARN, NIGHT
The TARDIS dematerializes with its familiar sound. The BOY sits up in bed.
CLARA:
'Listen...'
>>>FLASHBACK>>>
CLARA continues to stroke the BOY’S head.
CLARA:
This is just a dream. But very clever people can hear dreams. So, please, just listen. I know you're afraid...
CONTINUED, INTERCUT WITH –
- CUT TO:
EXT. TARDIS
The DOCTOR, CLARA and ORSON exit the TARDIS.
CLARA: (v.o.)
…but being afraid is all right. Because didn't anybody ever tell you...
CLARA:
…fear is a superpower?
The DOCTOR and CLARA shake hands and say goodbyes to ORSON.
CLARA: (v.o.)
Fear can make you faster and cleverer and stronger.
CLARA:
And one day, you're going to come back to this barn,
EXT. DESERT, DAY
The “War” DOCTOR walks the desert on his way to the barn.
CLARA: (v.o.)
…and on that day you are going to be very afraid indeed. But that's OK.
INT. BARN, NIGHT
CLARA:
Because if you're very wise and very strong... fear doesn't have to make you cruel or cowardly...
EXT. TARDIS
CLARA looks across the console area at the DOCTOR.
CLARA: (v.o.)
…fear can make you kind.
CLARA walks over and hugs the DOCTOR.
DOCTOR:
No, no! Not the hugging! No, no, no. I'm against the hugging, please...
INT. HALL
The TARDIS dematerializes leaving CLARA.
INT. DANNY’S FLAT
DANNY is sitting, dejected. The doorbell rings and he answers it. It’s CLARA.
DANNY:
I am so...
CLARA:
I know.
INT. TARDIS
The DOCTOR walks up the steps to the upper level.
INT. BARN, NIGHT
CLARA continues to stroke the BOY’S hair.
CLARA:
It doesn't matter if there's nothing under the bed or in the dark, so long as you know it's OK to be afraid of it.
INT. DANNY’S FLAT
DANNY and CLARA are sitting in his living room.
DANNY:
I just get nervous.
CLARA:
Me too.
DANNY:
I don't even know what I'm nervous of!
CLARA:
I'll show you.
INT. TARDIS
The DOCTOR looks at one of the chalkboards and sees “LISTEN” written on it.
CLARA: (v.o.)
So, listen. If you listen to nothing else, listen to this.
INT. BARN, NIGHT
CLARA:
You're always going to be afraid... even if you learn to hide it. Fear is like... a companion... a constant companion, always there. But that's OK,
INT. DANNY’S FLAT
CLARA leans forward and kisses DANNY.
CLARA: (v.o.)
…because fear can bring us together.
INT. TARDIS
CLARA: (v.o.)
Fear can bring you home.
The DOCTOR underlines the word.
INT. BARN, NIGHT
CLARA:
I'm going to leave you something, just so you'll always remember... fear makes companions of us all.
CLARA leaves Dan the Soldier Man on the side table.
SPACE
The TARDIS doors are open and we hear different instruments clicking away. The camera pans upward and we see the DOCTOR sitting cross-legged on the roof. His eyes are closed as he seems to be meditating. The camera closes in on his face and his eyes open.
DOCTOR:
(harsh whisper) Listen!
INT. TARDIS
The DOCTOR walks around the console, a lit candle in his hand.
DOCTOR:
Question! Why do we talk out loud when we know... (blows out candle) we're alone? Conjecture... because we know we're not. (writes on a chalkboard) Evolution perfects survival skills.
EXT. AFRICAN SAVANNAH, DAY
The DOCTOR watches through binoculars as a lioness takes down a water buffalo.
DOCTOR: (v.o.)
There are perfect hunters.
UNDERWATER
The DOCTOR stands in the open doors of the TARDIS as it rests on the bottom of the ocean.
DOCTOR: (v.o.)
There is perfect defence.
We see a puffer fish expand, showing its spikes.
INT. TARDIS
The DOCTOR finishes writing on the board.
DOCTOR:
Question - why is there no such thing as perfect hiding? Answer! How would you know? (paces) Logically, if evolution were to perfect a creature whose primary skill were to hide from view - how could you know it existed? (puts chalk down in crack of book) It could be with us every second and we would never know. How would you detect it, even sense it... except in those moments when, for no clear reason... you choose to speak aloud? What would such a creature want? What would it do? Well? (yells into the TARDIS) What would you do?
The DOCTOR turns back to the book and discovers the chalk isn’t there. It then rolls along the floor towards him. He kneels down, picks it up and then looks at the chalkboard. “LISTEN” is written across it.
Peter Capaldi
Jenna Coleman
DOCTOR WHO
“Listen”
By
Steven Moffat
PRODUCER
Peter Bennett
DIRECTOR
Douglas Mackinnon
**********************************************************************
INT. CLARA’S FLAT, NIGHT
CLARA opens the door and enters her apartment. Things must not have gone well as she falls back against the door.
**********************************************************************
>>>FLASHBACK>>>
INT. RESTAURANT, NIGHT
CLARA enters the restaurant where DANNY is waiting for her at a table. She walks over and waves and he stands.
DANNY:
Hey.
CLARA:
Hey.
Danny kisses her on the cheek.
DANNY:
Sorry.
>>> LATER >>>
They are sitting at the table and clink glasses. Danny is having beer and Clara is having wine.
CLARA:
So the famous drink at last. (takes a sip)
DANNY:
Yeah. Took a bit of time - family stuff but here we are.
CLARA:
Dinner, in fact.
DANNY:
Yeah, straight to dinner.
CLARA:
I like a man who moves fast.
DANNY:
Yeah! I might go straight for extras. Afters. Dessert.
CLARA:
Yes, I know, I know, dessert.
DANNY:
Straight to dessert.
CLARA:
Gotcha.
DANNY:
So, erm...how was your day?
CLARA:
Good. You know...teaching.
DANNY:
Yep, teaching.
CLARA:
Teaching, teaching.
DANNY:
Totally teaching.
CLARA:
We probably shouldn't talk about work.
DANNY:
God, yeah!
CLARA:
Though, do you take Courtney for anything?
>>> LATER >>>
DANNY is laughing out loud.
DANNY:
(laughing) Ser…are you serious?
CLARA:
She said she couldn't concentrate on her work, because my face was too wide. (holds her hands up to the sides of her face)
DANNY:
Wide?
CLARA:
I could kill that girl some days.
DANNY:
Me too.
CLARA:
And from you, that means something.
DANNY:
Sorry?
**********************************************************************
INT. CLARA’S FLAT, NIGHT
CLARA drops her heeled shoes on the counter by her tea mug.
**********************************************************************
>>>FLASHBACK>>>
INT. RESTAURANT, NIGHT
DANNY:
I dug 23 wells.
CLARA:
I'm sorry?
DANNY:
23 wells - when I was a soldier. 23!
CLARA:
OK. Good. Good wells.
DANNY:
Yeah, they were good, actually.
CLARA:
I'm not doubting the quality of your wells.
DANNY:
Whole villages, saved. Actual towns full of people. People I didn't shoot. People I kept safe!
CLARA:
OK. Point taken. Seriously.
DANNY:
So why doesn't that ever get mentioned?
CLARA:
I'm sorry I didn't mention your 23 wells!
The WAITER arrives with water.
WAITER:
Excuse me.
CLARA:
Sorry.
WAITER:
Er, water for the table?
CLARA:
Don't you worry - he'll probably dig for it!
The WAITER leaves. DANNY and CLARA stare at each other before DANNY cracks a small smile and laughs.
DANNY:
Sorry.
CLARA:
It's OK.
DANNY:
Sensitive subject.
CLARA:
Yes. Can slightly see that.
DANNY:
Sometimes people like you get the wrong end of the stick.
CLARA:
People like me?
**********************************************************************
INT. CLARA’S FLAT, NIGHT
CLARA sips her tea.
**********************************************************************
>>>FLASHBACK>>>
INT. RESTAURANT, NIGHT
DANNY:
I wasn't making assumptions about you.
CLARA:
That really is exactly what you were doing.
DANNY:
You were making assumptions about me!
CLARA:
I made a joke.
DANNY:
A not-funny joke.
CLARA:
Yeah, well, do you know what I'm making now?
DANNY:
A fuss?
CLARA:
An exit!
CLARA puts on her jacket and walks out of the restaurant.
EXT. RESTAURANT, NIGHT
Once outside, CLARA sighs and walks away. Through the window we see DANNY drop his head onto the table.
**********************************************************************
INT. CLARA’S FLAT, HALL, NIGHT
CLARA walks down the hall and opens her bedroom door but it’s blocked.
INT. CLARA’S FLAT, BEDROOM, NIGHT
The door is blocked by the TARDIS. The DOCTOR is sitting at her vanity facing three mirrors.
DOCTOR:
You just have to squeeze through.
CLARA:
Doctor?
DOCTOR:
Why do you have three mirrors? Why don't you just turn your head?
CLARA:
(enters the room) What are you doing in here?
DOCTOR:
You said you had a date - I thought I'd better hide in the bedroom in case you brought him home. Bit early, aren't you? Did it all go wrong, or is this good by your standards?
CLARA:
(curls up on her bed) It was a disaster and I am extremely upset about it, since you didn't ask.
DOCTOR:
(leans against the TARDIS) Fine, I need you, for a thing!
CLARA:
I can't! (Picks up her mobile)
DOCTOR:
Oh, of course you can - you're free. More than usually free, in fact.
CLARA:
It's possible that I might get a phone call.
DOCTOR:
From the date guy? It's too late. You've taken your make-up off.
CLARA:
No, I haven't. I'm still wearing my make-up.
DOCTOR:
Oh, well, you probably just missed a bit. Come on, come on, come on, come on!
INT. TARDIS
The DOCTOR enters the TARDIS and CLARA follows somewhat reluctantly and closes the door behind her.
CLARA:
I haven't actually said yes.
DOCTOR:
Yes, you know sometimes when you talk to yourself, what if you're not?
CLARA:
Not what?
DOCTOR:
What if it's not you you're talking to? Proposition - what if no-one is ever really alone, what if every single living being has a companion - a silent passenger, a shadow? What if the prickle on the back of your neck, is the breath of something close behind you?
CLARA:
How long have you been travelling alone?
DOCTOR:
Perhaps I never have.
The DOCTOR shows CLARA the chalkboard with “Listen” written on it.
CLARA:
It looks like your handwriting.
DOCTOR:
Well, I couldn't have written it and forgotten, could I?
CLARA:
Have you met you? (sees a desk with papers and books strewn on it) What's all this? (sits)
DOCTOR:
Dreams. Accounts of dreams, by different people, all through history. You see, I have a theory.
CLARA:
I'll bet you have. What theory?
DOCTOR:
I think everybody, at some point in their lives, has the exact same nightmare.
INT. BOY’S BEDROOM, NIGHT
A boy is asleep on the bed but stirs and sits up.
DOCTOR: (v.o.)
You wake up, or you think you do, and there's someone in the dark, someone close, or you think there might be.
The boy turns on the light.
INT. GIRL’S BEDROOM, NIGHT
A girl is sitting up in bed looking out at the night sky.
DOCTOR: (v.o.)
So you sit up, turn on the light.
The girl reaches for the light.
INT. WOMAN’S BEDROOM, NIGHT
An older woman turns on her bedside lamp and sits up.
DOCTOR: (v.o.)
And the room looks different at night. It ticks and creaks and breathes. And you tell yourself there's nobody there...
The woman lifts the bedclothes and turns to get out of bed.
INT. BOY’S BEDROOM, NIGHT
The boy gets out and puts his feet on the floor.
DOCTOR: (v.o.)
...nobody watching, nobody listening, nobody there at all...
INT. GIRL’S BEDROOM, NIGHT
The girl puts her feet on the floor.
INT. WOMAN’S BEDROOM, NIGHT
The woman puts her feet on the floor.
INT. BOY’S BEDROOM, NIGHT
DOCTOR: (v.o.)
…and you very nearly believe it. You really, really try...and then...
A hand reaches out from under the bed and grasps the boy’s left ankle.
INT. GIRL’S BEDROOM, NIGHT
A hand reaches out from under the bed and grasps the girl’s left ankle.
INT. WOMAN’S BEDROOM, NIGHT
A hand reaches out from under the bed and grasps the woman’s left ankle.
INT. BOY’S BEDROOM, NIGHT
The boy gasps.
INT. WOMAN’S BEDROOM, NIGHT
The woman gasps.
INT. GIRL’S BEDROOM, NIGHT
The girl gasps.
INT. TARDIS
The DOCTOR walks down the steps to the center console and CLARA follows.
DOCTOR:
There are accounts of that dream throughout human history, time and time again, the same dream. Now, there is a very obvious question I'm about to ask you. Do you know what it is?
CLARA:
Have you had that dream?
DOCTOR:
Exactly.
CLARA:
No - that was me asking you, have you had that dream?
DOCTOR:
I asked first.
CLARA:
No, I did.
DOCTOR:
You really didn't.
CLARA:
OK, yeah, probably. Yes. But everyone dreams about something under the bed!
DOCTOR:
Why?
The DOCTOR gently presses CLARA’S fingers into a panel of the TARDIS. It squishes at her touch.
DOCTOR:
Just hold on tight. If anything bites, let it.
CLARA:
What is it?
DOCTOR:
TARDIS telepathic interface. You're in mental contact with the TARDIS. So don't think anything rude.
CLARA:
Why not?
DOCTOR:
It might end up on all of the screens. (walks around to another panel) The TARDIS is extrapolating your entire timeline, from the moment of your birth, to the moment of your death.
CLARA:
Which I do not need a preview of.
DOCTOR:
(presses buttons) I'm turning off the safeguards and navigation - slaving the TARDIS to you. (slides one of the screens over to CLARA) Focus on the dream, focus on the details, picture them, feel them. The TARDIS will track on your subconscious and extract the relevant information. It should be able to home in on the moment in your timeline when you first had that dream. And then...we'll see.
CLARA:
What will we see?
DOCTOR:
What's under your bed. (pulls the lever that dematerializes the TARDIS)
CLARA:
(jolted by the TARDIS’ movement) Ooh!
DOCTOR:
OK, now don't get distracted. Remember, you are flying a time machine.
CLARA’S phone rings and she thinks of her date with DANNY.
DOCTOR:
No, no. Don't you get... (runs over and takes CLARA’S phone, tossing it away) No, Don't! Don't, don't. Just ignore it.
The TARDIS materializes with a jolt.
DOCTOR:
OK, that's good. (checks coordinates) That worked, we're here.
CLARA:
Sorry - I think I got distracted.
DOCTOR:
No, no, no, no, no - the date's fine. (heads for the door) Come on!
CLARA:
Come on where?
DOCTOR:
Your childhood! (goes outside)
After a few tries, CLARA frees her hands from the TARDIS, rubs them together and then follows the DOCTOR.
EXT. BUILDING, NIGHT
CLARA looks around as she walks after the DOCTOR.
DOCTOR:
The West Country Children's Home. Gloucester - by the ozone level and the drains, mid-'90s. You must have been here when you had the dream.
CLARA:
Never been to Gloucester in my life and I've never lived in a children's home.
DOCTOR:
You probably just forgotten - have you seen the size of human brains, they're hilarious. Little you must be in here somewhere, with your little brain.
CLARA:
Isn't it bad if I meet myself?
DOCTOR:
It is potentially catastrophic.
CLARA:
So why did you bring me out here?
DOCTOR:
I was still talking, I needed someone to nod, probably best for you to wait in the TARDIS. (pushes CLARA towards the TARDIS)
CLARA:
Doctor...
DOCTOR:
See you in a minute. TARDIS.
CLARA:
Doctor! If I had have been distracted, what would have happened?
DOCTOR:
We would probably have ended up in the wrong place. But don't think we have, cos the time zone's right. I won't be long. (heads inside)
CLARA looks at the building and sees a light on in a top-floor window. A young black boy waves at her, reminding her of DANNY waving to her at their date. The boy opens the window.
BOY:
What are you doing down there?
CLARA:
Nothing. Er... I'm just... What's your name?
BOY:
Rupert.
CLARA:
Oh. OK. Hello, Rupert.
RUPERT:
Rupert Pink. It's a stupid name.
CLARA:
No, it isn't. I know somebody called Pink.
RUPERT:
I meant Rupert. I'm going to change it.
CLARA:
Why are you awake? Are you scared?
INT. CHILDREN’S HOME, HALL, NIGHT
The DOCTOR walks down an empty hallway, his sonic screwdriver held by his side, buzzing and ready. He peers into an empty outer office, a TV casting shadows and voices from the inner office. A MAN walks out of the inner office and sees the DOCTOR.
MAN:
How did you get in?
INT. CHILDREN’S HOME, OFFICE, NIGHT
The DOCTOR enters the office.
DOCTOR:
Your door must be faulty. (holds up psychic paper for the man to read)
MAN:
An inspection? It's two in the morning.
DOCTOR:
When better? Do you always work here nights? (puts away psychic paper)
MAN:
Most nights, yes.
DOCTOR:
Ever end up talking to yourself?
MAN:
All the time - it's this place...you can't help it.
DOCTOR:
What about your coffee?
MAN:
My coffee? (looks at his full cup on the desk)
Behind them in the hall, CLARA sneaks up the stairs.
DOCTOR:
Sometimes, do you put it down, and look round, and it's not there?
MAN:
Everybody does that.
DOCTOR:
Yes. Everybody.
The television in the other room turns off.
DOCTOR:
Who turned your telly off?
MAN:
(looks to the other room) It does that. It…(turns around to find the DOCTOR is gone) …just goes off. (looks at his desk and the coffee mug is gone)
INT. CHILDREN’S HOME, HALL, NIGHT
The DOCTOR walks down the hall and sips the coffee.
INT. CHILDREN’S HOME, UPSTAIRS HALL, NIGHT
CLARA walks the hall quietly, looking for RUPERT’S room. She finds the room by a soft light coming through the crack of the open door. She knocks on the door before entering. RUPERT is sitting on the floor.
INT. CHILDREN’S HOME, RUPERT'S ROOM, NIGHT
CLARA:
Hello.
RUPERT:
Hello.
CLARA looks around the room as she walks over.
CLARA:
Nice room. (pulls over a chair) You know, you should have more than one chair. What do you do when people come ‘round?
RUPERT:
Sit on the bed.
CLARA:
Why aren't you sitting on it, then? Do you think that there's something underneath it?
RUPERT nods.
CLARA:
Hey... everyone thinks that...sometimes. That's just how people think at night.
RUPERT:
Why?
CLARA:
Did you have a dream, a hand grabbing your foot? You have, haven't you? You've had that exact dream.
RUPERT:
How did you know?
CLARA:
Do you know why dreams are called dreams?
RUPERT:
Why?
CLARA:
Because they're not real. If they were, they wouldn't need a name. (gets up and walks to the bed)
RUPERT:
What are you doing?
CLARA:
(looks under the bed before turning back to RUPERT and whispering) Do you know what's under there?
RUPERT:
What?
CLARA:
Me! (crawls under the bed) Come on! It's perfectly safe.
RUPERT walks over and crawls under the bed with CLARA. She is lying on her back staring up at the mattress above them.
CLARA:
See? Nobody here. Except us.
RUPERT:
Sometimes I hear noises.
CLARA:
It's a house full of people, of course you hear noises.
RUPERT:
They're all asleep.
CLARA:
They're all dreaming.
RUPERT:
Can you hear dreams?
CLARA:
If you're clever enough, but they can't harm you. You know, sometimes we think there's something behind us - and the space under your bed is what's behind you at night. Simple as that. There's nothing to be afraid of.
The mattress above CLARA sinks and the springs squeak. Someone has sat on the bed.
CLARA:
(whispers) Who else is in this room?
RUPERT:
(whispers) Nobody.
CLARA:
(whispers) Someone must have come in.
RUPERT:
(whispers) Nobody came in.
CLARA gets out from under the bed and looks to the bed. On top sits a figure completely covered by the blanket.
CLARA:
Hello? (helps RUPERT stand) Who's this? This is a friend of yours playing a game.
RUPERT shakes his head.
CLARA:
Playing a trick, are you, hey, a little trick on Rupert here?
The figure rises from the bed.
CLARA:
OK. It's not funny this, you know.
A light comes on.
DOCTOR:
Where is he?
CLARA and RUPERT turn their heads to see the DOCTOR sitting in a chair flipping through a book.
CLARA:
Doctor?
DOCTOR:
I can't find him. Can you find him?
CLARA:
Find who?
DOCTOR:
Wally.
CLARA:
(looks quickly at the figure) Wally?
DOCTOR:
He's nowhere in this book.
RUPERT:
It's not a Where's Wally one.
DOCTOR:
How would you know? Maybe you just haven't found him yet.
RUPERT:
He's not in every book.
DOCTOR:
Really? Well, that's a few years of my life I'll be needing back. (gets up and whispers to RUPERT) Are you scared? (bends over so her can look the boy in the eyes) The thing on the bed, whatever it is... look at it. Does it scare you?
RUPERT:
Yes.
DOCTOR:
That's good. Want to know why that's good?
RUPERT:
Why?
DOCTOR:
Let me tell you about scared. Your heart is beating so hard, I can feel it through your hands. There's so much blood and oxygen pumping through your brain, it's like rocket fuel. Right now, you could run faster and you could fight harder you could jump higher than ever in your life, and you are so alert it's like you can slow down time. What's wrong with scared? Scared is a superpower. It's your superpower. There is danger in this room and guess what? It's you. Do you feel it? Do you think he feels it? Do you think he's scared? Nah! Loser! Turn your back on him.
RUPERT:
What?
DOCTOR:
Yeah, turn your back on him, come on. You too, Clara.(walks to the window) Clara, your back, now. (CLARA walks to the window) Do it, just do it now, turn your back. Do it now, turn your back. Lovely view out this window.
RUPERT joins them at the window.
CLARA:
Yeah. Come and see all the dark.
DOCTOR:
The deep and lovely dark - we'd never see the stars without it. Now. There are two possibilities. Possibility one - it's just one of your friends standing there, and he's playing a joke on you. Possibility two - it isn't.
CLARA:
So, plan? Plans are good.
DOCTOR:
You on the bed, I'm talking to you now. Go in peace. We won't look. Just go. If all you want to do is stay hidden, it's OK. Just leave.
The springs creak and the figure moves to stand behind them.
CLARA:
Is it gone?
DOCTOR:
Don't look round, not yet.
RUPERT:
I can't hear anything.
DOCTOR:
Don't look ‘round.
RUPERT starts to turn his head.
DOCTOR:
Look away! Look away now! Don't look at it! Don't look round. Don't look round - don't look at the reflection.
RUPERT:
What is it?
DOCTOR:
Imagine a thing that must never be seen. What would it do if you saw it?
Behind CLARA, the figure pulls off the blanket. The focus isn’t clear bit it looks misshapen and hairless.
RUPERT:
I don't know.
DOCTOR:
Neither do I. Close your eyes.
RUPERT:
What?
DOCTOR:
Close your eyes. You too, Clara. Give it what it wants. Prove to it that you're not going to look at it. Make a promise - promise you're never going to look at it.
RUPERT:
(closes eyes tightly) I promise never to look.
DOCTOR:
The breath on the back of your neck... like your hairs standing on end... that means don't look ‘round!
The door to the room slams shut. CLARA and RUPERT turn around quickly. The DOCTOR turns slowly.
CLARA:
Gone?
DOCTOR:
Gone.
RUPERT:
He took my bedspread.
DOCTOR:
Oh, the human race - you're never happy, are you?
RUPERT:
Am I safe now?
DOCTOR:
(looks at a toy robot) Nobody's safe, especially not at night in the dark, anything can get you, and you're up here all alone...
CLARA slaps the DOCTOR on the head.
DOCTOR:
What was that for?
CLARA:
(takes a box of toy soldiers from the shelf) Shut up, leave this to me.
CLARA takes the box over to RUPERT who is sitting cross-legged on his bed.
CLARA:
These yours? (starts taking soldiers from the box)
RUPERT:
They're the home's.
CLARA:
They're yours now.
DOCTOR:
People don't need to be lied to.
CLARA:
People don't need to be scared by a big gray-haired stick insect, but here you are. Stay still, shut up. See what I'm doing? This is your army. (starts lining the army men around the bed)
DOCTOR:
Plastic army. (starts to rise from the chair)
CLARA:
(to the DOCTOR) Sit! (to RUPERT) And they're going to guard under your bed. (holds up one) See this one? This is the boss one, the colonel - He's going to keep a special eye out.
RUPERT:
It's broken, that one. It doesn't have a gun.
CLARA:
That's why he's the boss. A soldier so brave he doesn't need a gun. He can keep the whole world safe. What shall we call him?
RUPERT:
Dan!
CLARA:
Sorry?
RUPERT:
Dan, the soldier man. That's what I call him.
CLARA:
Good. Good name.
RUPERT:
Yeah. Would you read me a story? It'll help me get to sleep.
The DOCTOR gets up from the chair and walks over.
CLARA:
Sure.
DOCTOR:
Once upon a time… (puts an index finger to RUPERT’S forehead and he falls asleep) The end. Dad skills.
INT. TARDIS
CLARA is sitting on a set of stairs as the DOCTOR walks around the console.
CLARA:
So... is it possible we just saved that kid from another kid in a bedspread?
DOCTOR:
Entirely possible, yes. The bigger question why did we end up with him, and not you?
CLARA:
(stands) I got distracted.
DOCTOR:
But why that particular boy? You don't have any...you don't have any kind of connection with him, do you?
CLARA:
No. No, no, no, of course not. Why do you ask?
DOCTOR:
The TARDIS was slaved to your timeline. (works on a device) Theoretically, there should have been some connection.
CLARA:
Will, um... will he remember any of that?
DOCTOR:
Scrambled his memory, gave him a big old dream about being Dan the soldier man.
CLARA sighs heavily and rests her head on the console. The DOCTOR puts down what he’s working on and walks over to her, concerned.
DOCTOR:
Are you OK?
CLARA:
(raises her head) Doctor... I am sorry to ask, (walks over to the DOCTOR) and I realise this is probably against the laws of time, or summat...um... (puts her hands on his shoulders) Could you do me a favour?
EXT. RESTAURANT, NIGHT
CLARA walks out of the restaurant and through the window we see DANNY knock his head on the table. We hear the TARDIS in the background.
EXT. STREET, NIGHT
The TARDIS door opens and the DOCTOR and CLARA exit. CLARA sees herself walking away.
CLARA:
Is that what I look like from the back?
DOCTOR:
It's fine.
CLARA:
I was thinking it was good.
DOCTOR:
(looks at her) Really?
CLARA just walks away to the restaurant.
INT. RESTAURANT, NIGHT
CLARA walks into the restaurant and sits at the table across from DANNY. He lifts his head from the table and looks at her.
CLARA:
Sorry!
DANNY:
Hey.
CLARA:
(holds her hand out) Hello. I am Clara Oswald. I'm a bit tricky sometimes, a bit up myself, and I don't like my surname, but I think that's basically everything you need to worry about.
DANNY:
(shakes her hand) Hello, I'm... I'm sorry...
CLARA:
Also, I mouth off when I'm nervous and I've got a mouth on me. Seriously, it's got a mind of its own. I'm worried it wants to go solo.
DANNY:
(releases her hand) I don't know what to say.
CLARA:
Don't say anything. Or say something nice.
DANNY:
I like your name.
CLARA:
(smiles) It's a start.
DANNY:
Oswald. It suits you.
CLARA:
Drifting now.
DANNY:
It's better than Pink.
CLARA:
No, Pink...Pink is nice. I like pink.
DANNY:
You can have it.
CLARA:
Oh, a bold offer, Mr Pink.
DANNY:
I meant... No... (stammers)
CLARA:
I know, I know.
DANNY:
Why can't I speak today?
CLARA:
It's that foot you're keeping in your mouth.
DANNY:
Is that where I put it?
CLARA:
(chuckles) Anyway. Clara Pink - too much.
DANNY:
Yeah, it is a bit much.
They both laugh.
CLARA:
Mind you - RUPERT Pink!
DANNY:
Sorry?
CLARA:
Er... (laughs nervously) Rupert...Pink. It's not good.
DANNY:
Rupert?
CLARA:
Yeah. That was your name, yeah?
DANNY:
Who told you that?
CLARA:
Um...someone in the school. (clicks tongue)
DANNY:
No, I haven't used that name for years.
CLARA:
I cannot remember who it was, er...
DANNY:
Are you making fun of me?
CLARA:
No! No, no, no - no way!
DANNY:
Is this a joke?
CLARA:
Danny, nothing about this is any kind of joke!
The door to the restaurant opens and in walks a man in a spacesuit. Believing it’s the DOCTOR, CLARA is distracted.
DANNY:
Where's your coat?
CLARA:
My what?
DANNY:
You put your coat on when you left.
CLARA:
I'm really sorry. Danny, um... there is something I should probably be honest about.
DANNY:
How about everything?
CLARA:
Everything, in my case, is actually quite a lot.
DANNY:
Well, that's weird.
CLARA:
No, it's not weird, not really... Where are you going?
DANNY:
(gets up from table) I don't do weird.
CLARA:
Don't go.
DANNY:
(leans over) Then do something for me - tell me the truth, because I know when people are lying to me. However weird this thing might be, just tell me the truth!
CLARA:
(shakes head) It's not weird… (sees the man motion to her) …exactly.
The figure leaves through the kitchen.
DANNY:
I've had enough. (leaves)
CLARA sighs before standing deliberately and striding to the kitchen and into the TARDIS.
INT. TARDIS
CLARA storms in after the man who is still wearing the spacesuit.
CLARA:
I am trying to have a date - a real life, inter-human actual date! It's a normal nice, everyday, meeting-up sort of thing, and I would just like to know, is there any other way you can make this any more surreal than it already is?
The man takes off the helmet to reveal a man that looks eerily similar to DANNY. He looks a bit older and has more hair. CLARA just stares.
MAN:
Hello.
DOCTOR:
Ah, Clara! (runs up to the console) Well done, you found her. (catches his breath) Now this is really a bit strange.
CLARA:
(points at the MAN) Danny?
DOCTOR:
What's gone wrong with your face? It's all eyes! Why are you all eyes? Get them under control.
MAN:
Who's Danny?
DOCTOR:
This is Colonel Orson Pink, from about 100 years in your future.
CLARA:
(laughs nervously) Orson Pink?
DOCTOR:
Yeah, I laughed too. (to ORSON) Sorry! (to CLARA) Do you have any connection with him?
CLARA:
Connection?
DOCTOR:
Yes, maybe you're like a distant relative or something?
CLARA:
(stammers) How would I know?
DOCTOR:
Right, OK. (to ORSON) Um, well...do you have any old family photographs of her? You know, probably quite old and really fat-looking?
ORSON:
I don't.
CLARA pulls the DOCTOR aside.
CLARA:
How did you find him?
DOCTOR:
You left a trace in the TARDIS telepathic circuits. I fired them up again and the TARDIS brought me straight to him. So he's something to do with your timeline.
CLARA:
OK...
DOCTOR:
And you'll never guess where I found him.
EXT. DESOLATE PLANET
The planet is barren and windswept with craggy rocks. There is a crashed spaceship.
INT. SPACESHIP
CLARA looks out the window onto the planet.
CLARA:
Where are we?
DOCTOR:
The end of the road - this is it, the end of everything... the last planet.
CLARA:
(looks at the DOCTOR) The end of the universe?
DOCTOR:
The TARDIS isn't supposed to come this far but some idiot turned the safeguards off. Listen!
CLARA:
(stands and looks around) To what?
DOCTOR:
Nothing. There's nothing to hear. There's nothing anywhere... not a breath, not a slither, not a click or a tick. All the clocks have stopped. This is the silence at the end of time.
CLARA looks to where ORSON is emptying a cabinet into a duffle.
CLARA:
Then how did he get here? If he's from 100 years in my future...
DOCTOR:
Pioneer time traveller. (Uses the sonic on a screen to pull up footage of ORSON’S farewell) Rode the first of the great time shots. They were supposed to fire him into the middle of the next week.
CLARA:
What happened?
DOCTOR:
He went a bit far.
CLARA:
A bit?
DOCTOR:
A big bit. Look at him now. Robinson Crusoe at the end of time itself - the last man standing in the universe. I always thought that would be me.
CLARA:
It's not a competition.
DOCTOR:
I know it's not a competition, course it isn't. Still time, though.
CLARA:
He looks like he's packing.
DOCTOR:
He's been stranded for six months, just met a time traveller - of course he's packing.
ORSON:
(runs back to them) You can do it, then? You can get me home?
DOCTOR:
I just showed you, didn't I? A test flight to a restaurant.
ORSON:
Yes, but to my family, to my own time?
DOCTOR:
Easy! I can do that, can't I, Clara?
CLARA:
(quickly) He can, yes.
ORSON:
Is everything OK?
CLARA:
Yeah, fine. I'm fine.
ORSON:
Do I know you?
CLARA:
No, nope.
DOCTOR:
Is she doing the "all eyes" thing? It's because her face is so wide. She needs three mirrors!
CLARA:
Doctor...!
DOCTOR:
We can't leave immediately, though. The TARDIS needs to recharge.
CLARA:
Sorry... what?
DOCTOR:
Overnight, that should do it, shouldn't it Clara?
ORSON:
Overnight?
DOCTOR:
(walks over to ORSON, arms crossed) One more night, that's... that's not a problem, is it?
ORSON:
(hesitates) No. No, no problem.
DOCTOR:
Oh, that's a shame, isn't it?
ORSON:
What's a shame?
DOCTOR:
There's only three people left in the universe and you're lying to the other two. It was the first thing I noticed when I stepped in here. You must have seen it, too, Clara - you've got eyes out to here!
CLARA:
Seen what?
DOCTOR:
The universe is dead. Everything that ever was is dead and gone. There is nothing beyond this door but nothingness forever. So why is it locked?
ORSON:
Please... don't make me spend another night here.
DOCTOR:
Afraid of the dark? But the dark...is empty now.
ORSON:
No. No, it isn't. (looks out window)
INT. TARDIS
CLARA leads ORSON into the TARDIS. She has his duffle over her shoulder and he is carrying a metal case in each hand.
CLARA:
You'll be safe in here. Nothing gets through those doors, I promise.
ORSON:
And you two are going to wait out there?
CLARA:
(continues down stairs) That would seem to be the plan. Wait for what exactly?
ORSON:
(follows CLARA) Why can't we just leave?
CLARA:
Like he said - it's recharging.
ORSON:
You didn't look like you believed him.
CLARA:
That's just how my face looks when he talks.
CLARA puts down the duffle and a plastic container falls out. Through the clear top she can see Dan the Soldier Man. She picks it up and stares at it.
ORSON:
It's just a silly toy thing, family heirloom – supposed to bring good luck.
CLARA:
Right. Yes. Didn't do a very good job, did it?
ORSON:
It did. You're here, aren't you? What were the chances of you two finding me?
CLARA:
Orson... (walks over and hands him to figure) do me a favour, take my advice when you get home, stay away from time travel. (walks away up the stairs)
ORSON:
It runs in the family.
CLARA:
(stops at the top of the stairs and turns around) What? Sorry - what do you mean, "runs in the family"?
ORSON:
Nothing - it's just silly stories - one of my grandparent - well, great-grandparents...
CLARA:
What is it? Tell me! You asked if you knew me.
ORSON holds the figure, now out of its box, out to her. She pushes it away, not wanting to take it.
CLARA:
It's a family heirloom?
ORSON:
Yeah.
For a moment, they’re both holding the toy.
INT. SPACESHIP
The DOCTOR is staring at the screen, head resting in his hand. CLARA is sitting in a chair, just staring.
CLARA:
What are we doing?
DOCTOR:
Waiting.
CLARA:
For what? For who? If everybody in the universe is dead, then there's nobody out there.
DOCTOR:
That's one way of looking at it.
CLARA:
What's the other?
DOCTOR:
That's a hell of a lot of ghosts.
The interior lights change from red to a deep blue.
CLARA:
Do you have your own mood lighting now? Because, frankly, the accent is enough.
The DOCTOR gives CLARA a double-take and then follows her gaze. She is looking at the airlock where the words “DON’T OPEN THE DOOR” are written at the top.
CLARA:
Where did that come from?
DOCTOR:
It's always been there. It's only visible in the night light.
CLARA:
But who wrote it?
DOCTOR:
Colonel Pink. Apparently, at night, he needs a reminder. Six months stranded alone, I suppose it must be tempting.
CLARA:
What is?
DOCTOR:
Company.
There is a loud metal creaking.
CLARA:
What's that?
DOCTOR:
What kind of explanation would you like?
CLARA:
A reassuring one.
DOCTOR:
(leans forward) Well, the systems are switching to low power. There are temperature differentials all over this ship. It's like pipes banging when the heating goes off.
CLARA:
Always thought there was something in the pipes.
DOCTOR:
Me, too. (sits back) Who were you having dinner with?
CLARA:
Are you making conversation?
DOCTOR:
I thought that I would give it a try.
CLARA:
I told you. A date.
DOCTOR:
Serious?
CLARA:
It's a date.
DOCTOR:
A serious date?
CLARA:
(laughs) Do I have to bring him to you for approval?
DOCTOR:
Well, I would like to know about his prospects. If you like, I can pop ahead and check them out.
CLARA:
Frankly, you've already done enough.
There is a loud screeching. The DOCTOR stands slowly, looking around.
DOCTOR:
Atmospheric pressure equalising...
CLARA:
Or?
DOCTOR:
Company. (walks around the room)
CLARA:
Why are we doing this? (stands) Why don't we just go?
DOCTOR:
Because I need to know.
CLARA:
Why? About what?
DOCTOR:
Suppose that there are creatures that live to hide - that only show themselves to the very young or the very old or the mad or anyone who wouldn't be believed...
CLARA:
OK...
DOCTOR:
What would those creatures do when everyone was gone, when there was only one man left standing in the universe?
There is a metallic knocking and they both look to the airlock.
CLARA:
What's that?
DOCTOR:
Potentially, the hull cooling.
CLARA:
"Potentially"?
DOCTOR:
Believably.
Three knocks sound at the airlock.
DOCTOR:
Someone knocking.
Three more knocks sound.
DOCTOR:
Yes.
The knocks sound again as the DOCTOR approaches the airlock.
CLARA:
Doctor, you don't actually believe all this, do you? Hiding creatures - things from under the bed.
The knocking repeats.
DOCTOR:
What's that in the mirror? Or the corner of your eye? What's that footstep following, but never passing by?
The knocking sounds again.
CLARA:
Did we come to the end of the universe because of a nursery rhyme?
The knocking repeats twice more, growing in intensity. The DOCTOR uses the sonic screwdriver on the airlock and it unlocks. The door then turns as it opens.
CLARA:
That's you turning, right?
DOCTOR:
No. Get in the TARDIS.
CLARA:
Why?
DOCTOR:
(backs away from the airlock) I have to know.
CLARA:
Doctor. Doctor...
DOCTOR:
The TARDIS, now!
CLARA:
OK. OK. Somebody is out there - now we know we can leave! (heads for the TARDIS but turns back when he doesn’t follow) Oh, Doctor!
DOCTOR:
It's a pressure lock - releasing it could've triggered the opening mechanism.
CLARA:
Is there an atmosphere out there?
DOCTOR:
There's an air shell round the ship. Why are you still here?
CLARA:
Because I'm not going to leave you in danger!
DOCTOR:
Then you will never travel with me again, because that is the deal! TARDIS, now! Do as you are told!
CLARA runs to the TARDIS and pauses at the door.
CLARA:
You're an idiot. (enters the TARDIS)
DOCTOR:
I know.
The airlock door stops spinning.
INT. TARDIS
CLARA walks past ORSON straight to the monitor screen.
ORSON:
What's happening?
CLARA:
He's opening the door.
INT. SPACESHIP
DOCTOR:
Perhaps they're all just waiting, perhaps when we're all dead, out they'll come a-slithering from underneath the bed.
The door opens.
INT. TARDIS
CLARA:
Oh, no, no, no, not now, come on! (slaps the monitor as the picture flickers)
INT. SPACESHIP
The DOCTOR watches the door.
INT. TARDIS
CLARA:
Oh-h! Always when it's important!
There is a thumping and CLARA and ORSON are thrown off-balance.
CLARA:
What's happening?
An alarm begins beeping.
CLARA:
What's that?
ORSON:
The alarm - the air shell's breached. Stay here. (leaves)
CLARA watches the screen and sees the DOCTOR holding on to one of the counters as he is blown horizontally as the air is sucked out of the ship.
INT. SPACESHIP
The DOCTOR holds on for dear life as debris blows around him. Just as he fingers begin to lose their grip, his hand is grabbed by ORSON who is safely in his spacesuit.
INT. TARDIS
ORSON sets the unconscious DOCTOR into a chair.
CLARA:
Is he OK?
ORSON:
He's out cold. He'll be fine, though.
CLARA:
(touches the DOCTOR’S temple) Something hit him.
ORSON:
Everything was flying out of that door.
CLARA:
Could've been that.
ORSON:
Yeah.
CLARA:
What was out there? What were you so afraid of?
ORSON:
I've been here a long time - my own shadow, probably.
CLARA:
Yeah.
There is a rumbling from the ship and both look to the TARDIS doors.
ORSON:
That's probably just the rest of the air escaping.
CLARA:
You say "probably" a lot.
There is a banging and the TARDIS shakes.
ORSON:
We are safe? Nothing can get in here, right?
CLARA:
Probably.
They look to the door as the spaceship hisses. In the background, the cloister bell sounds. CLARA hurries to one of the console panels.
ORSON:
Have you got a plan?
CLARA:
Telepathic circuits. I left a trace in them before. (puts her hands into the panel)
ORSON:
So?
CLARA:
So, apparently that can do a "thing".
ORSON:
That's your plan?
CLARA:
It's not a plan. It's a "thing". (softly to herself) OK. Come on, come on, you can do it!
The DOCTOR lurches forward in the chair with a gasping breath.
CLARA:
Come on! (looks at the others) Sorry!
The TARDIS dematerializes with a lurch.
CLARA:
Here we go!
The TARDIS lights flash and machinery grinds.
CLARA:
Come on!
Everything stops with a jolt. CLARA removes her hands and moves to the scanner monitor.
ORSON:
Is that it?
CLARA:
I don't know. I think so. (heads for the door)
ORSON:
Where are we?
CLARA:
Somewhere else. I hope! (stops ORSON from following) No, no, no, you stay, look after the Doctor.
ORSON:
You can't go out there by yourself.
CLARA:
(runs back to ORSON) Thing is, my timeline, it keeps on... Orson, you don't want to meet yourself. It's really embarrassing.
INT. BARN, NIGHT
CLARA opens the TARDIS door and steps cautiously into the barn. She looks around and sees someone sleeping on a bed in the loft. CLARA closes the TARDIS door behind her and walks towards the figure who is sobbing. She climbs a few rungs of the ladder to the loft.
CLARA:
Rupert?
CLARA climbs up the rest of the way and walks around the foot of the bed. The child is under a blanket, crying.
CLARA:
Orson?
She starts to reach for the figure when the barn door opens and a MAN and WOMAN enter. We only see their legs and feet.
MAN:
Why does he have to sleep out here?
WOMAN:
He doesn't want the others to hear him crying.
CLARA crawls under the bed.
MAN:
Why does he have to cry all the time?
WOMAN:
You know why.
MAN:
There'll be no crying in the army.
WOMAN:
Hush!
The couple climbs to the loft.
MAN:
Don't pretend you're not awake. We're not idiots.
WOMAN:
(talks to the boy) Come and sleep in the house. You don't have to be alone! If you can hear me, you're very welcome in the house, with the other boys. I'll leave the door on the latch. Come in, any time.
They walk away.
MAN:
He can't just run away crying all the time if he wants to join the army.
WOMAN:
He doesn't want to join the army. I keep telling you.
MAN:
Well, he's not going to the Academy, is he, that boy? He'll never make a Time Lord.
Under the bed, CLARA’S eyes widen as she realizes the boy is the DOCTOR as a child.
INT. TARDIS
The DOCTOR gets up suddenly from his chair.
DOCTOR:
Sontarans! Perverting the course of human history!
ORSON:
Doctor?
DOCTOR:
You're confusing me. Shut up, shut up! Where's Clara?
INT. BARN, NIGHT
DOCTOR:
(from inside the TARDIS) Clara! Clara!
BOY:
Hello, who's there?
CLARA looks around for the DOCTOR.
BOY:
Hello?
The BOY sits up, putting his legs on the floor. Reacting, CLARA reaches out and grabs an ankle. She then realizes what she’s done.
CLARA:
(swallows before whispering) It's OK. This is just a dream. Just lie back again, just lie back on the bed. It will all be OK if you just lie down and go to sleep. Just do that for me. Just sleep.
CLARA releases the BOY’S ankle and he goes back under the covers. CLARA climbs out from under the bed and looks down on the bed. The BOY continues to cry. She gently sits on the bed next to him and softly strokes his hair.
CLARA:
Listen...
INT. TARDIS
ORSON:
What happened? What did you see? What's out there?
CLARA:
(enters and walks to the DOCTOR) What if there was nothing? What if there never was anything? Nothing under the bed, nothing at the door. What if the big bad Time Lord doesn't want to admit he's just afraid of the dark.
DOCTOR:
(worried) Where are we? Have we moved? Where have we landed?
CLARA:
Don't look where we are. Take off, and promise me you'll never look where we've been.
DOCTOR:
Why?
CLARA:
Just take off, don't ask questions.
DOCTOR:
I don't take orders, Clara!
CLARA:
Do as you're told!
The DOCTOR and CLARA stare at each other.
INT. BARN, NIGHT
The TARDIS dematerializes with its familiar sound. The BOY sits up in bed.
CLARA:
'Listen...'
>>>FLASHBACK>>>
CLARA continues to stroke the BOY’S head.
CLARA:
This is just a dream. But very clever people can hear dreams. So, please, just listen. I know you're afraid...
CONTINUED, INTERCUT WITH –
- CUT TO:
EXT. TARDIS
The DOCTOR, CLARA and ORSON exit the TARDIS.
CLARA: (v.o.)
…but being afraid is all right. Because didn't anybody ever tell you...
CLARA:
…fear is a superpower?
The DOCTOR and CLARA shake hands and say goodbyes to ORSON.
CLARA: (v.o.)
Fear can make you faster and cleverer and stronger.
CLARA:
And one day, you're going to come back to this barn,
EXT. DESERT, DAY
The “War” DOCTOR walks the desert on his way to the barn.
CLARA: (v.o.)
…and on that day you are going to be very afraid indeed. But that's OK.
INT. BARN, NIGHT
CLARA:
Because if you're very wise and very strong... fear doesn't have to make you cruel or cowardly...
EXT. TARDIS
CLARA looks across the console area at the DOCTOR.
CLARA: (v.o.)
…fear can make you kind.
CLARA walks over and hugs the DOCTOR.
DOCTOR:
No, no! Not the hugging! No, no, no. I'm against the hugging, please...
INT. HALL
The TARDIS dematerializes leaving CLARA.
INT. DANNY’S FLAT
DANNY is sitting, dejected. The doorbell rings and he answers it. It’s CLARA.
DANNY:
I am so...
CLARA:
I know.
INT. TARDIS
The DOCTOR walks up the steps to the upper level.
INT. BARN, NIGHT
CLARA continues to stroke the BOY’S hair.
CLARA:
It doesn't matter if there's nothing under the bed or in the dark, so long as you know it's OK to be afraid of it.
INT. DANNY’S FLAT
DANNY and CLARA are sitting in his living room.
DANNY:
I just get nervous.
CLARA:
Me too.
DANNY:
I don't even know what I'm nervous of!
CLARA:
I'll show you.
INT. TARDIS
The DOCTOR looks at one of the chalkboards and sees “LISTEN” written on it.
CLARA: (v.o.)
So, listen. If you listen to nothing else, listen to this.
INT. BARN, NIGHT
CLARA:
You're always going to be afraid... even if you learn to hide it. Fear is like... a companion... a constant companion, always there. But that's OK,
INT. DANNY’S FLAT
CLARA leans forward and kisses DANNY.
CLARA: (v.o.)
…because fear can bring us together.
INT. TARDIS
CLARA: (v.o.)
Fear can bring you home.
The DOCTOR underlines the word.
INT. BARN, NIGHT
CLARA:
I'm going to leave you something, just so you'll always remember... fear makes companions of us all.
CLARA leaves Dan the Soldier Man on the side table.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2016-12-27 04:41 pm (UTC)