Doctor Who IVB

"Valentines day or no such thing as second chances"

Written by:

Daniel Harma

Doctor Who, BBC

Doctor who, the tardis all

copyright the BBC
Story, "VDonsTaSC"
copyright Dan Harma, 2010.
1 EXT. SPACE VISTA - CGI -- NIGHT
A traditional SLO PAN across space, all black, maybe a few
DISTANT STARS. Then, REVEAL: RAVENNA, floating space.
Small, beautiful, lots of WATER and SEAS.
THE SUN of Ravenna rotates INTO FRAME, eclipsing the planet.

We continue to SLO PAN round even as we...

DISSOLVE TO:

2 EXT. RAVENNA - WASTELANDS -- NIGHT

WIDE MATTE SHOT: The massive empty PLAINS, and...

PRAC FX: the SUNFLOWERS blowing and rustling in the wind,
blowing from side to side.

SOUND FX: The WIND howls longer, moaning.

PAN across this, past the HILL with TOMBSTONE
Then, with NO NOISE...

FX: the GHOSTS pull themselves to their feet, lots of

GNAECIANS and HUMANS, like Johns Ghost in 4B.4, bluey and
transparent.
They stand there, soulless, staring out...

On this we..
CUT TO TITLES:
CUT TO:

3 INT. TARDIS - CONSOLE ROOM -- DAY

Florence standing there, thinking.
THE DOCTOR busy hammering buttons, pulling levers, the
works.
THE DOCTOR
You okay?
FLORENCE
I... think so. But theres
something I...?

(CONTINUED)
CONTINUED: (2) 2.

THE DOCTOR
Oh, yeah, that, get it all the
time. Music, in your head, a song,
cant quite remember what it is?!
Going round and round your head,
few lines of the song,
bump-bump-bumpp.... [Starts to
hum...] Like that, yeah? Actually
what is that song?! Got any idea? I
dunno why I choose it, but now its
stuck there, its um...

Comical, charades in following dialogue

FLORENCE
Ooooh! Oooh! I know, erm... Old
song?!

THE DOCTOR
(Beckoning her on)
Yes, old, definitely old, feels
sort of... groovey?

FLORENCE
Oh, erm.... Classic rock,
definitely rock...
THE DOCTOR
Yes, the, bump-bump-bumpp, bump
bump bump bump bump, yep, thats the
one...
FLORENCE
By the yardbirds? No, not that....

THE DOCTOR
yes! Wait, no!! Not that, but on
the right lines, getting there...
FLORENCE
The Kinks!!
THE DOCTOR
You really got me!!!! Thats the
one!

Great BIG SMILE, HUGS.

But then....
FLORENCE
What was it...?

(CONTINUED)
 CONTINUED: (3) 3.

THE DOCTOR
What was what?
CU: The Doctor, looking around, side to side, confused.
CU: Florence struggling to remember something, frowning, bit
sad.
Then, she turns, and WALKS OUT, bit of a hurry.
The Doctor looks up, worried

OFF HIS EXPRESSION we...

CUT TO:

4 INT. TARDIS - BEDROOM -- DAY. CONTINUOUS

MUSIC PATIENCE, by GUNS N ROSES
Small, bit of a mess; typical young persons bedroom:
CLOTHES on floor, LAPTOP and DVDs, Empty mugs of COFFEE
everywhere! A few FAG ENDS as well on the floor.
Florence enters, sits on the edge of the BED, thinking. The
bed is NEATLY MADE, completely out of place with the rest of
the room; she hasnt slept for days.

She pulls her legs up to her chest, hugs herself, rocks back
and forth, remembering...
FADE TO:

5 EXT. RAVENNA CITY - LOWER LEVELS -- NIGHT

The CITY OF RAVENNA from 4B.6. Its a deserted, ghost town
type of place; NO-ONE around.
Theres a...

SOUND FX: A whistling of the WIND, a howling. Creepy, bit

spooky.
PRAC FX: The Wind stirs the PLANTS, rustling in the wind.

Beat.
CUT TO:
 4.

6 EXT. RAVENNA CITY - HIGHER LEVELS -- DAY. FLASHBACK

FLASHBACK: 4B.5. Sc 30...

JOHN
(So happy, yet so sad)
Ive got Florence, and shes
wonderful.

And he JUMPS, up into the air.

Graceful, like a leaf in the wind, slowly tumbling.
Then GONE.

Dead.
REVERSE TO:

7 EXT. RAVENNA CITY - HIGHER LEVELS -- DAY. FLASHBACK.

FLASHBACK: DIFFERENT ANGLE: HIGH (CRANE)

JOHN
(So happy, yet so sad)
...Shes wonderful.

And he JUMPS, up into the air.

Graceful, like a leaf in the wind, slowly tumbling.
Then GONE.

Dead.
Then with a WHUMPH!!!
We...

JUMP CUT TO:

8 INT. TARDIS - BEDROOM -- DAY

Florence looks up with a sudden JUMP, so sad.

As if suddenly remembering...
FLORENCE
...Valentines day

As if saying it makes it clearer, says it again

(CONTINUED)
CONTINUED: (2) 5.

FLORENCE
...Valentines day
Then, NATURAL FX: KNOCK at the DOOR
Florence looks up, slowly, NO HURRY.

Another KNOCK.
MUSIC PATIENCE FADE OUT

FLORENCE
...Come in...
THE DOCTOR enters, bit awkward, bit uncomfortable
THE DOCTOR
You okay?
Realizes: shes not.
Sighs, walks over, sits down next to her on the bed.

THE DOCTOR
Is it him?
He knows.
She NODS.

OFF HIS EXPRESSION...

FLORENCE
I knew there was something, its
just... Its valentines day today,
I think... hard to tell anything in
here though... It reminds me of...
him...
Beat.

She starts to CRY.

FLORENCE
It hurts so much, Doctor.

THE DOCTOR
Pain makes us human, Florence.
FLORENCE
What the hell would you know about
it? About being human!? Youre not
human? Dont give me that... that
(MORE)
(CONTINUED)
CONTINUED: (3) 6.

FLORENCE (contd)
sentimental stuff, you know
nothing!! Nothing important. Just
facts, and figures, and numbers and
names. You dont understand!
THE DOCTOR
(So sad, so simple)
But I do. Really, trust me, I
understand pain, Florence.
FLORENCE
(Whispers)
... I know.

He looks at her sadly, pulls her into a hug.

Then, on those words...
SOUND FX: The CLOISTER BELL

Donnngggg!!!!!! Donnngggg!!!!!!
CU: The Doctor looks up, scared, shocked, but all SLO-SLO,
CAMERA SHAKE, like moving through treacle, stilted, jilting
movement.

Donnngggg!!!!!!
B/G: He tries to stand up, but hes moving so slowly, like
theres a great weight on him. He struggles anyway.
F/G: Florence looks up, frowning.

FLORENCE
(SLO)
Doctor.....

ECU: Florences WATCH; a mickey mouse, RETRO style thing,

completely FILLING FRAME.
SLO-SLO: The SECOND HAND moves forwards, just, struggling...
Then...

TWITCHES!
And... STOPS!
Beat on ECU: Watch. Stopped. Not moving, not twitching.

Time has FROZEN!!!

We SLOWLY PULL AWAY TO...

(CONTINUED)
 CONTINUED: (4) 7.

BCU: Watch, and Florences arm, a few tiny hairs...

PULL AWAY TO...
CU: Her arm, frozen, unmoving...

PULL AWAY TO: Normal shot, the whole of the room frozen, the
Doctor just half STANDING, Florence SITTING down.
Beat

SLOW PAN around the room, all angles, unmoving.

PRAC FX: The whole room is cast in a REDDISH LIGHT.
The MOMENT is FROZEN like a picture, a photo, a postcard.
Then, slowly, at first as a-

PRAC FX: The LIGHTS DIM, fading away to nothing, getting

darker and darker...
UNTIL its PITCH BLACK- total darkness.

FADE TO:

9 INT/EXT. BLACK SCREEN -- DAY/NIGHT

A perfectly BLACK FRAME. No light (NB: This is still inside
Florences bedroom effectively)
Then,
SOUND FX: (Gradually fading in...): SOUNDS OF WAR, of
battle.

INTERCUT: Sounds of steel and Armour clashing, the neighing

of horses, the sound of a war horn blowing a signal, cannon
fire, gun shots, people screaming in pain, the sound of
heavy boots marching to war, more gunshots, the noise of
bullets hitting flesh, a ghostly wailing/moaning, swords
clashing... The sounds of death.
This montage lasts approximately 30 seconds, very sinister.
FADE TO:
 8.

10 INT. TARDIS - BEDROOM -- DAY

Still PITCH BLACK. The SOUNDS OF WAR are fading out, to
silence

Beat
Gradually....
PRAC FX: Light fades back in SLO, gradually, we barely
realize its happening, until we can...

JUST see the SILHOUETTES of people in the room... THE

DOCTOR, frozen, Florence, frozen and.... (B/G:) Another
Person!?!? A TALL FIGURE in a HOOD, probably male, but
thats all we can tell at the moment.

Light levels stay the same, this half-light of shapes and

shadows.
Then, the TALL FIGURE seems to move, just a little.
APPROACHES CAMERA, and Florence.

Stands in front of her, moves his hands towards her...

Touches her, on the head? Hard to see.
ECU: Florences watch, just, just, just distinguishable
(White face) in the gloom.
SLO-SLO: A flicker of movement, and it... twitches; the
second hand moves, forwards. Great!
NORMAL SHOT: Florence is back in normal time, looks up,
confused, groggy. Suddenly, remembers, looks at the Doctor,
doesnt notice Tall Figure
FLORENCE
Doctor? Doctor? Are you-

TALL FIGURE
He wont answer you. He cant hear
you.
She JUMPS round, surprised, suddenly NOTICING.

FLORENCE
What are you? What have you done
with us?

(CONTINUED)
CONTINUED: (2) 9.

TALL FIGURE
Nothing. I have done nothing. I am
nothing. I have brought nothingness
into the TARDIS, so I talk to you.

FLORENCE
Talk to... Us?!
TALL FIGURE
Talk to... You

FLORENCE
Me?! Why?
TALL FIGURE
I am here to help

FLORENCE
Help with what? I dont need help.
Just let us go, set the Doctor
free...
TALL FIGURE
To help with John!
Pause. The only thing he could possibly have said to make
her listen.
FLORENCE
What about him? If this is some
kind of sick joke...
TALL FIGURE
No joke. Do you want to see John
again... alive. Walking?
FLORENCE
What do you want?
TALL FIGURE
Him.
The Doctor.
FLORENCE
What for?!

TALL FIGURE
His power. His existence.
FLORENCE
You want me to say to...

(CONTINUED)
CONTINUED: (3) 10.

TALL FIGURE
Do you want to see John again?
She stands up from the bed...
OVER SHOULDER: Tall figure, seeing Florence, bit lighter
now, still very dark though.
She APPROACHES
FLORENCE
(Desperate)
Is it possible?
TALL FIGURE
(Simply)
Yes

FLORENCE
And you want... him?
TALL FIGURE
I do.

FLORENCE
(wavering)
Cant you just... take him?
TALL FIGURE
I need your permission. I cannot
interact with your environment. I
am not part of it, I am more... a
concept.
FLORENCE
What do you call this?
TALL FIGURE
Bending the rules

PROFILE SHOT: Tall figure and Florence face to face, head to

head
FLORENCE
Why should I ever sell the Doctor
to you? Make a pact with the Devil?
Hes been so good to me, saved my
life...
TALL FIGURE
And what about John? was he good to
you?

(CONTINUED)
CONTINUED: (4) 11.

FLORENCE
(Uncertainly)
He had the choice... He died for me
TALL FIGURE
More than the Doctor has ever done
for you!
FLORENCE
I cant...

TALL FIGURE
You can. Just say the words.
FLORENCE
...The words?

TALL FIGURE
You know what they are... Maybe you
will say them to John some day...
If he ever comes back...
FLORENCE
Who are you?
TALL FIGURE
Take a look.
PROFILE SHOT: The tall figure and Florence, close to FRAME,
but still way to dark to make out any details of his face,
probably humanoid.
She lifts up her arm, with the watch in it...

BCU: The WATCH... her finger moves closer, to the

illuminate button at the side...
Her finger presses it.
REVERSE TO:

OVER SHOULDER: tall figure.

CU: FLORENCE s face ILLUMINATED by PRAC GREEN ELECTRONIC
BACKLIGHT from watch. She

OFF HER EXPRESSION...

FLORENCE
Oh my god... you!
Tall figure EXTENDS a HAND, clenches her wrist in it,
squeezes the watch...

(CONTINUED)
 CONTINUED: (5) 12.

PRAC FX: LIGHT stops; CRUNCH! of WATCH BREAKING.

Were plunged back into PURE DARKNESS!

TALL FIGURE
Well?
FLORENCE
...I do.

No!!!
FX: Tall figure FADES AWAY, at the same time as...
We TUNNEL IN on Florence, HAND HELD, CAMERA SHAKES, rapidly
PUSHING IN
CU: Horrified. What has she done!?
JUMP CUT TO:

11 EXT. WW2 BATTLEFIELD - GERALD SCARFE STYLE ANIMATIONS -- DAY

FLASHBACK: ANIMATED/CARTOON SEQUENCE: These are all the
memories and visions of the Tall Figure, the deaths hes
witnessed, all pouring inside Florence. She made a deal with
him...
SOUND FX: SOUNDS OF BATTLE, as earlier, terrible to
behold...., DEATH SOUNDTRACK runs though entire ANIMATED
SEQUENCE

The GROUND is drowned deep in MUD AND DIRT, massive TANKS

RUMBLING across the battlefield, SCREAMS of PAIN.
A BURNING AEROPLANE leaving a trail of FIRE behind it moves
towards FRAME, FAST.

Closer, closer, closer....

It DWARFS SCREEN, unable to see anything, just black...
FADE THU BLACK TO:

12 EXT. WW1 BATTLEFIELD - GERALD SCARFE STYLE ANIMATIONS -- DAY

Similar FLASHBACK scenes, showing an earlier battle, even
MORE HORRIFFIC.

Death, dying people, EVERYWHERE...

PULL AWAY TO:

(CONTINUED)
 CONTINUED: (2) 13.

The Soldiers, everywhere, running TO AND FRO, are smaller,

smaller, like ants...
FADE TO:

13 EXT. NICE PLACE - GERALD SCARFE STYLE ANIMATIONS -- DAY

The Soldiers gradually fade into real ANTS, nasty jaws,
attacking a HUGE SPIDER, really VIOLENT...

It moans and cries, PAIN!

Until it falls down, dead...
CARTOON BLOOD runs down from it, filling up at the BOTTOM OF
FRAME, then RISING; higher, higher, until the WHOLE FRAME IS
RED (Blood).
FADE THRU BLOOD TO:

14 EXT. ALIEN PLANET - GERALD SCARFE STYLE ANIMATIONS -- NIGHT.

BLOOD RUNS DOWN to reveal asteroid battle field, ROCKY,

CRATERS.
ALIENS are battling, firing RAY GUNS; nasty aliens,
insectoid, reptilian, scary.

WE PUSH IN ON: RAY GUN

FADE TO:

15 EXT. NAVAL SHIP - GERALD SCARFE STYLE ANIMATIONS -- NIGHT.

RAY GUN against NIGHT SKY mutates, the ray gun changing a
bit, size, proportions, shape, mutating into a...
NAVAL CANNON! On a battleship, at night!

PULL AWAY TO: Normal shot, the SHIPS firing, broadsides, MEN
falling overboard, jumping? Death everywhere.
We PUSH IN ON: NAVAL LIEUTENANT.

CUT TO:
 14.

16 EXT. DESERT - GERALD SCARFE STYLE ANIMATIONS -- DAY

The NAVAL LIEUTENANT mutates; face turns gray, eyes bulge,
into a...

Hideous, SCARFE STYLE PERSON, Clothes bursting, and we fix

on him as...
CUT TO:

17 EXT. GALLOWS - GERALD SCARFE STYLE ANIMATIONS -- DAY

The DESERT MUTATES into a GALLOWS, STOCK, SCARFE STYLE

PERSON is just one of many on the blocks and we...
FADE BACK TO:

18 INT. TARDIS - BEDROOM -- DAY

BCU: Florence: In PHYSICAL PAIN; all these memories, from
Tall Figure are inside her, and theyre sick, evil...

She CLUTCHES her face, groans, moans, SCREAMS,until,

suddenly, falls over forwards...
It STOPS.

Phewww!! Glad thats over. But what about...

HER P.O.V: The DOCTOR is GONE! Just faded away!
She stands up, terrified.

FLORENCE
Doctor? Doctor?
TALL FIGURE (V.O)
Start running.... if you want to
see John, then get out of here
now... goodness knows where Ill
take the TARDIS!
FLORENCE
No, but...

Then she thinks...

Takes his advice. Starts RUNNING
All around her...

(CONTINUED)
 CONTINUED: (2) 15.

FX: The TARDIS is fading away around her, dissapearing into

nothing.
CUT TO:

19 INT. TARDIS - CONSOLE ROOM -- DAY. CONTINUOUS.

Florence enters, RUNNING, out of breath.
The TIME ROTOR is still, not moving. Landed. But the TARDIS
is till dissapearing, semi-transparent now.
She turns round, one last look, then hears...
TALL FIGURE (V.O)
Get out Florence! Now!

And she BANGS OPEN THE DOOR!

One last look, then...
EXITS.

CUT TO:

20 EXT. RAVENNA - HILLSIDE -- DAY

On the HILL, in the WASTELANDS, THE TOMBSTONE, THE TREE.

She stops, blinking; bright sunlight.
Turns to the TARDIS

FLORENCE
Well?
TALL FIGURE (V.O)
Ive fulfilled my side of the
bargain. Turn around, walk way.
Hell follow.
FLORENCE
Eh?

TALL FIGURE (V.O)

I do go in for theatrics, Ill give
you that. Now, start walking, one
foot in front of the other, you
just about manage the rest of the
time. And if you turn around...
Hes lost for ever.

(CONTINUED)
CONTINUED: (2) 16.

FLORENCE
But the Doctor?
TALL FIGURE (V.O)
Too late for a that. Hes gone. Now
Walk! And dont turn back. If you
do, you know what happens.
FLORENCE
But I...

TALL FIGURE (V.O)

Do it!
So scared, she does.
HER P.O.V: She walks down the hillside, through the long
flowers. Deep Breathing. Nervous.
SOUND FX: The TARDIS engines grind, heave, fade away.
HER.P.O.V: Jerky, hand-held, she starts to run.

Beat.
This continues for a few seconds.
Nervy, panting, hurried footsteps.

Then...
JOHN (O.O.V)
You can turn around now.
BCU: Florence: Her EYES fill frame, bridge of her nose,
pale, panting. Big moment. Last chance.
Deep breath.
Starts to turn OFF FRAME

HER P.O.V: Slowly, scared, she turns to face...

JOHN! Alive, not a ghost! Great big GRIN!
JOHN
Do I get a hug?
OFF HER EXPRESSION...
FADE OUT:

FADE IN:
 17.

21 EXT. RAVENNA CITY - LOWER LEVELS -- DAY

FADE IN: TAG LINE: RAVENNA CITY, LOWER LEVELS: FADE OUT
FADE IN: TAG LINE 2: 20 YEARS LATER: FADE OUT

SLO PAN across the CITY; THE HIGHER LEVELS CITY obscured by
CLOUDS
So different to last time they were here, the city vibrant;
alive: GNAECIANS and HUMANS milling around, talking.

PUSH IN TO:

22 INT. FLORENCES HOUSE - KITCHEN - RAVENNA -- DAY

MUSIC: FOR YOUR PRECIOUS LOVE by OTTIS REDDING

Since JOHN was brought back to life he and Florence have

started living here; since the events of 4b.6, Ravenna has
been RE-COLONISED by HUMANS.

Both of them are in this room now, a KITCHEN.

PRAC LIGHT is streaming in through the FRENCH WINDOWS,
Florence is drying up CROCKERY with a TEA TOWEL, and JOHN is
standing there as well, TALKING, LAUGHING, helping her, both
with a glass of RED WINE.

SOUNDLESS apart from music and:

NATURAL FX: Laughing, talking that we cant quite hear,
chink of glasses.

So happy. Perfect!
DISSOLVE TO:

23 INT. FLORENCES HOUSE - BEDROOM -- RAVENNA. DAY

NATURAL FX: Muted, quiet sounds; a baby gurgling and

laughing, a few aaahhs.
Inside the bedroom; its small, a young childs bedroom. In
the middle of the room is a COT, with inside a BABY. This is
ROBERT. Looking over him, beaming, smiling, are Florence and
JOHN, tickling him a bit, reading him a bedtime story.
DISSOLVE TO:
 18.

24 EXT. FLORENCES HOUSE - GARDEN - RAVENNA -- DAY

A nice, small YARD, bit of grass, a few well tended FLOWER
TUBS, a WASHING LINE.
SOUNDLESS apart from...
NATURAL FX: Hissing of food on BBQ, lots of laughing, bit of
talking.

They are having a BARBECUE, all the gang; Florence, JOHN,

SOME GNAECIANS, also SOME HUMANS.
All standing up, finger food, plates of ketchup and mayo;
lovely, nice atmosphere.

Baby ROBERT is a bit older now, maybe five or six,

dungarees, rattle, baby toys.
Florence turns TO FRAME, looking right at us.

CU: FLORENCE; a bit lined, a bit worried, cant be really

happy whole she knows she betrayed the Doctor, this life is
stolen.
Beat.

PAN UP TO:

25 EXT. NIGHT SKY -- NIGHT

MUSIC FOR YOUR PRECIOUS LOVE FADE OUT

The NIGHT SKY, very BLACK, not spoiled by street lights, no

noise pollution, lovely and peaceful.
We SLO-PAN across the Sky; a SHOOTING STAR, a few normal
stars: not a cloud in the sky.

Beat.
FLORENCE (V.O)
Sometimes I wonder... How many
people have died because of me? All
because I saved John? Ive never
been able to tell him, he... he
remembers bits of it, but he has no
idea that... that hes been dead
for over one thousand years... And
the Doctor... Dead? How many lives
would he have saved?
PAN DOWN TO:
 19.

26 EXT. FLORENCES HOUSE - GARDEN - RAVENNA -- NIGHT

The same day as the BBQ, but later, night time.
HIGH SHOT: Florence lying on her back looking up at the sky,
wearing a CARDIE; not that chilly, warm night.
Her eyes are darting back and forth; shes thinking.
She doesnt have the answers. Shes living a stolen life,
with John, but no Doctor.

PULL SLOWLY AWAY: Until shes tiny, microscopic.

FADE TO BLACK:
FADE IN:

27 EXT. OUT OF TIME -- DAY/NIGHT.

DARK; cant make out much, just blackness filling frame.

Then, from out of the dark.

THE DOCTOR (O.O.V)
(Not got upper hand, but
defiant)
Where am I?

THE DOCTOR (O.O.V)

I said, where am I?
Then with a Click! Click! Click!

PRAC FX: A line of SPOTLIGHTS flick on, from bottom of FRAME

to top, strong contrast.
And we see... THE DOCTOR!
Standing on his feet, looking around, anger in his eyes.

And, to LEFT OF FRAME...

A WALL! Higher than FRAME, and stretching out of FRAME in
both directions, SO long! Not a clean wall, rough BRICK,
old, MOSSY

He notices it, his head snaps round, to look at it.

THE DOCTOR
(Murmuring)
And what do we have here?

(CONTINUED)
CONTINUED: (2) 20.

HAND HELD CAM: To the Doctors left, in front of wall. This

CAM begins, to PULL AWAY, FAST. But not backwards; UP! Hand
Held CAM is ASCENDING WALL, FAST!
Scuttling, twitching, up the wall, all the while FOCUS ON
DOCTOR
Further, further....
How big is this wall? The Doctor is looking right at us....

Now were at the TOP!

And CAMERA SLOW PANS round, to take it in:
A HUGE, vast landscape, just black; no texture, no scenery,
just flat black floor, occasional SPOTLIGHTS in the floor.
And the wall! As we PAN we can see it stretches WAY OFF
FRAME, miles long, and looking down, SO HIGH!
The Doctor is still looking right at us though.
LOW ANGLE: From by THE DOCTORS SNEAKERS, looking up at the
RED BRICK WALL, so high.
Then... A Scuttling, hopping, galloping sound, hoarse
breath!
ALIEN P.O.V: About EIGHT FEET TALL, moving towards the
Doctor, fast, running, breathing deeply.
The Doctor hears, SPINS round to face us!
THE DOCTOR
Hello, hello, hello! You again.
Care to tell me whats going on?
Nothing.
THE DOCTOR
Really?
TALL FIGURE (V.O)
...I can.
This comes from the side of the wall.

THE DOCTORS P.O.V: He spins to face the wall, but nothing

there. He spins back to ALIEN CREATURE but....
Nothing there. This is getting weird, creepy.

(CONTINUED)
CONTINUED: (3) 21.

THE DOCTOR
Where am I?

TALL FIGURE (V.O)

Removed from reality. Removed
from... existence. Dead.
THE DOCTOR
Nah, now, come on! Thats just
lame. Dead?! Im, not dead, Im
talking to you, last thing I
remember I was in the TARDIS with
Florence and... Florence! Is she
okay? What have you done with her?
If youve hurt her Ill...

TALL FIGURE (V.O)

She is fine...
Something in his voice, the way he says it makes the Doctor
stop, turn round.

THE DOCTOR
(Dark)
What does that mean?
TALL FIGURE (V.O)
She is fine. Living her life. With
John.
THE DOCTOR
Whhaaaaatttt!? Hes dead!

TALL FIGURE (V.O)

Evidently not, Doctor.
THE DOCTOR
Then how-?! I saw him die.

TALL FIGURE (V.O)

And I brought him back.
THE DOCTOR
(Sad, wishing it could be
true)
Hes dead. When people die, they
stay dead. People do everything
they can to change it, I know, but
nothing... One million trillion
years in the future, the only fact
in life is death. Changing that
isnt possible, Id know. Ive
tried everything.

(CONTINUED)
CONTINUED: (4) 22.

TALL FIGURE (V.O)

But it is possible... in a trade
THE DOCTOR
(dark)
Meaning??

TALL FIGURE (V.O)

Florence allowed me into the world,
allowed me to take your life
without a second thought. Ran
joyfully from the TARDIS and out.
THE DOCTOR
(Not angry, sad)
Florence?

TALL FIGURE (V.O)

Yes Doctor. Florence.
The Doctor slumps against the wall, leaning against it
heavily.

Alone.
Long Pause.
THE DOCTOR
(Defeated)
Why would she do that?
TALL FIGURE (V.O)
For the purest reason doctor. For
love. For life. Can you deny her
that? Is it worth fighting against?
The deed is done.
THE DOCTOR
(a bit understanding)
No. Its not. But how is that
possible? Who has that much power?!

TALL FIGURE (V.O)

See for yourself.
He SHRUGS off his HOOD, and we see-

Its ENIGMA!!
THE DOCTOR
You! Again!!

(CONTINUED)
 CONTINUED: (5) 23.

ENIGMA
Yes, Doctor, me...
CU: THE DOCTOR. Scared, because Enigma is powerful!
BCU: Fear.

ECU: His pupils, black, dilated, and beyond them... Images.

Pictures moving, stars.
PUSH THROUGH TO:

28 EXT. STARRY SCREEN -- DAY/NIGHT

Like before, BLACK FRAME, filled with STARS, NEBULAS...

Silent.
Beat.
Then, same as before, noises...

Sounds of battle, of death.

SOUND FX: (Gradually fading in...): SOUNDS OF WAR, of
battle.
INTERCUT: Sounds of steel and Armour clashing, the neighing
of horses, the sound of a war horn blowing a signal, cannon
fire, gun shots, people screaming in pain, the sound of
heavy boots marching to war, more gunshots, the noise of
bullets hitting flesh, a ghostly wailing/moaning, swords
clashing... (Etc)

MONTAGE CONTINUES BRIEFLY OVERLAID WITH NEXT SCENE

DISSOLVE TO:

29 EXT. OUT OF TIME -- DAY/NIGHT.

ECU: THE DOCTORS PUPIL.

SOUNDS OF BATTLE MONTAGE: SLO-SLO FADE OUT
His Pupil, black but...

Moving images...
PUSH THROUGH TO:
 24.

30 EXT. BATTLEFIELD - GERALD SCARFE STYLE ANIMATIONS -- DAY

MUSIC: GOODBYE BLUE SKY by PINK FLOYD
The Battlefield grim, a rout: People fleeing, running in
terror from...
KNIGHTS!
CLOSE ON: KNIGHT #1; Steel armour, lance, charging down
innocent VILLAGER, running him down and....

RUNS his LANCE through VILLAGER!

Villager falls down, on the floor.
CU: Knight raises his VISOR, turns round and his eyes WIDEN
as he sees....
HIS P.O.V: A HUGE DRAGON breathing fire.
We HOLD on FIRE...

FADE TO:

31 EXT. HELL - GERALD SCARFE STYLE ANIMATIONS -- DAY

The FLAMES from the Dragon fade and Mutate to....

FLAMES OF HELL!
Black ROCK, PUMICE, OBSIDIAN, and everywhere MASSIVE FLAMING
PITS which are SPEWING jets of FLAME! SLAVES are moving TO
AND FRO with shovels, picks, spades, wearing jsut
loincloths.
Watching over them is ALIEN OVERLORD! Bit like a huge frog.
We PUSH IN on ALIEN FACE until we are...
CLOSE: ALIEN FACE.

He LAUGHS, and PUSH IN ON...

BCU: His EYES. We can see REFLECTION of SLAVE #1 BEING
WHIPPED by ALIEN.

Alien Overlord LAUGHS

CU: Alien Overlord: His Tongue (forked, of course, long)
whips out, and we...
PUSH IN ON: (SLO-SLO) TONGUE darting out...
 25.

FADE TO:

32 EXT. SPACE BATTLE - GERALD SCARFE STYLE ANIMATIONS -- NIGHT

THE TONGUE mutates and FADES TO: MISSILE, moving through
space....
PULL AWAY TO: HUGE SPACE BATTLE, with ROCKETS and SHIPS and
people in spacesuits.
PUSH IN: One ASTRONAUT in SPACESUIT floating through space,
injured, flailing...
FADE TO:

33 EXT. POND -- DAY.

The ASTRONAUT mutates and FADES TO: A WORM, WHITE ,
vulnerable, being...

(PULL AWAY TO: REVEAL:) ATTACKED by HUGE BIRD, a crane or

stalk, with BIG BEAK, pecking at WORM.
Worm BLEEDS and BLOOD runs down screen, filling up,
coalescing, until screen fades to...

FADE TO:

34 INT/EXT. RED SCREEN - GERALD SCARFE STYLE ANIMATIONS -- DAY

RED SCREEN.
Gradually RED COLOR gains DEFINITION, FRAME melds itself
into...
FADE TO:

35 EXT. POPPY FIELD -- DAY

A POPPY FIELD! Loads of FLOWERS all beautiful, silent...

Beat.
Then, with a...
NATURAL FX: Crunch! Crunch! Of footsteps we see....

LOTS OF HEAVY ARMY BOOTS!

Lines and lines of them.....

(CONTINUED)
 CONTINUED: (2) 26.

PULL AWAY TO: WS: CROWD MULTIPLICATION ARMY EXTRAS:

Thousands of ARMY SOLDIERS (WW2?) MARCHING across poppy
fields, towards...
PRAC FX: MASSIVE GUNS! All FIRING and KILLING HUNDREDS of
soldiers with every shot.
Certain death.
More and more fall, as we PULL OUT

PULL AWAY TO:

36 EXT. OUT OF TIME -- DAY/NIGHT.

ECU: The DOCTORS PUPIL

PULL AWAY TO: CU: THE DOCTOR

In so much PAIN. Agony. It hurts him.
PULL AWAY: Hes lying slumped on the floor, eyes staring but
not seeing, so distressed.
ENIGMA stands over him...
ENIGMA
And now you know.

THE DOCTOR
And that... What I just saw...
thats you. Defined by evil. Shaped
by years of cruelty. Built out of
suffering. Death.

ENIGMA
Yes. Does that pain you Doctor?
Doesnt fit in with your view of
the world?

THE DOCTOR
Why? Why, would you choose that
life?
ENIGMA
Because death is life. Death is
predictable, it permeates
everything. Death is everything. A
constant ticking, always there,
burning you up. It is...
controllable. A single blood clot,
a tiny bullet, a thin blade. And
(MORE)
(CONTINUED)
CONTINUED: (2) 27.

ENIGMA (contd)
when you realize that death is a
tool, can be harnessed... its
liberating!! It sets you free.
Because you know the secret of
life... is death. And you control
it, and you have power. So much
power.
THE DOCTOR
If you believe you control it, then
youre not free. Youre just like
all the others. She controls you,
and she drives a hard bargain.
Wading further into the blood,
crawling further up the mountain of
corpses built by your own sick
hand. No turning back. You like it?
Enjoy it? Or do you just want it to
stop.
ENIGMA
You are so weak, Doctor. Your creed
is life; mine is death. You are
broken, and I am strong. Where is
the life you invested in Florence
now?

Beat.
ENIGMA
Goodbye Doctor.
THE DOCTOR
I will beat you. You cant keep me
here forever.
ENIGMA
Do you know who- what?- I am yet?
Do you understand me, my genesis?

THE DOCTOR
...Yes. I do.
ENIGMA
Then you know that you cannot win.

And hes gone.

The Doctor climbs to his feet, looks around.
He walks over to THE WALL, begins CLAWING at it, trying to
pull himself up, tear it down, anything.

(CONTINUED)
 CONTINUED: (3) 28.

But he CANTT!!
And he lets out a MOAN, of pain, of sorrow.

FADE TO BLACK
FADE IN:

37 INT. FLORENCES HOUSE - BEDROOM - RAVENNA -- DAY

MUSIC: WHOLE LOTTA ROSIE by AC/DC
The same BEDROOM, a few years later; a typical TEENAGE style
room; Computers, (quite hi-tech), GADGETS, MUSIC POSTERS,
GUITAR, bit of a mess.
Inside ROBERT (about 12) and ELSHILLA, a Gnaecian child;
quite small.
They are playing on....

FX: VIRTUAL TABLE FOOTBALL; projected graphics in the air,

touch sensitive, lots of BANTER, LAUGHTER.
PAN TO:

38 INT. FLORENCES HOUSE - STAIRS - RAVENNA -- DAY. CONTINUOUS

A small LANDING at the top of the stairs, cream carpet, all
very nice.

We PAN (SLO-SLO) down the stairs, downstairs, and into...

PAN TO:

39 INT. FLORENCES HOUSE - KITCHEN - RAVENNA -- DAY

Same kitchen, decorated the same, few years later.

Florence is there, and she looks different. Older. Keeping
the secret is killing her, face lined, tired.

She is doing the WASHING UP, in the sink, with her BACK TO
FRAME, looking out of the FRENCH WINDOWS into the GARDEN.
MUSIC WHOLE LOTTA ROSIE FADE OUT
The SUN is brightly shining, nice day. She doesnt notice.

The RADIO is running, a TALK SHOW, as well of a BIT OF

MUSIC.

(CONTINUED)
CONTINUED: (2) 29.

RADIO
And that concludes the weather.
Now, Brian, with the sports news.
Brian, what...

[Static, hissing, Radio FADES OUT]

Florence TUTS, reaches a HAND(WASHING GLOVES) and starts
fiddling with the KNOB; its a bit, old fashioned RADIO, 60s
style, and adjusts it...

RADIO
For that, Charles.... [Static]...
the...is certainly improving...
[static]
Florence SIGHS, sod it, gives it a good thwack!!!

RADIO
And so we have to... [static]...
[Now when the Radio speaks its the DOCTOR!! SPEAKING!;
trying to get through]

RADIO
Florence? Florence, is that you?
Its me, listen.... The Doctor...
Beat.

BCU: FLORENCE. What the hell? Stands still, unable to move.

RADIO
Florence, can you hear me? This is
important, hes torturing me, if
you can hear me, please, say
something, I can hear you...
CU: FLORENCE; what to do?

Aaahh!!! Speak!!
She doesnt, still UN ABLE to MOVE; shocked, a ghost of her
past!
RADIO
Florence, you must be able to hear
me, just speak, I can hear...
STATIC resumes
Then, suddenly, as though she gets it

(CONTINUED)
CONTINUED: (3) 30.

FLORENCE
Doctor!?! Doctor, its me...
CLOSE: RADIO
Beat.

SOUND FX: STATIC!

RADIO
...[speaking with voice of
Newsreader] To move up the table.
Back to you, Charles...
RADIO RESUMES
No!!!

She desperately starts hitting buttons, twiddling knobs...

FLORENCE
Doctor? Its me!

REVERSE TO: Florence, looking AT FRAME (out window), bit

distraught.
JOHN approaches behind her, leans on her shoulder.
JOHN
(entering)
All right, darling?
No reply.
JOHN
Darling, whats wrong?
MUSIC: THE CHAIN by FLEETWOOD MAC FADE IN
FLORENCE
Theres a storm coming. A big one.

REVERSE TO:
HER P.O.V: The WINDOW is SPLATTERED with RAIN; its raining
HARD, REALLY HARD, belting it down.

F/G: OFF HER EXPRESION, scared, and...

B/G: OFF HIS EXPRESSION, confused, worried, we...
FADE TO:
 31.

40 EXT. OUT OF TIME -- DAY/NIGHT.

WS: (PRAC STUNT? GREEN SCREEN?) THE DOCTOR is suspended,
lying on his back, apparently floating in mid air.
Apparently, hes in some discomfort; suddenly SCREAMING,
WRITHING, SPASMING etc.
When ENIGMA speaks, it comes from NOWHERE!

ENIGMA (V/O)
(Calm, quiet)
What was the point Doctor? Why did
you do it? When I thought we were
getting along so well? And then you
tried to contact her?

THE DOCTOR
I... Aaaah!.... would not....
will... aaah!... not.... ever get
along with..... Aaaaah!

ENIGMA (V/O)
But Doctor. You are stuck here,
anyway. At least be with a friend.
I enjoy our... conversations. Your
ideology is refreshing, and your
conversations.... enlightening.
THE DOCTOR
(Laughs grimly, spitting out
blood)
Friends? Aaaaaahhhhh! Company,
no.... Im a prisoner here...
ENIGMA (V/O)
But I am a prisoner just as much as
you, a prisoner, a slave to my
ambitions...

THE DOCTOR
What... are you asking for....
aaaah!... sympathy?
ENIGMA (V/O)
I am... unfortunately.... compelled
to keep on killing, yes...
sooooo insincere!
THE DOCTOR
Then why dont you just....
stop.....Aaaaahhhhhhhhh!
FX: He is THROWN up, ROLLING over, CONVULSING!!! Ouch!!!

(CONTINUED)
 CONTINUED: (2) 32.

ENIGMA (V/O)
(sadly)
You have been punished enough.

PRAC FX: Hes THROWN to the floor, landing on his front;

HARD!!
CLOSE: His FACE, sideways on the floor, bruising.

THE DOCTOR
Ouch!
ENIGMA (V/O)
We will talk more later.

Gone.
The Doctor pulls himself to his feet, and with a WAIL OF
FURY hurls himself at the wall.
PULL AWAY TO: (VERY)HIGH SHOT, looking down at Doctor from
high up.
THE DOCTOR
Let me go!!!
FADE TO:

41 EXT. OUT OF TIME -- DAY/NIGHT.

CAPTION (TAG LINE): LATER,

The Doctor is TEARING and BANGING at the walls with his

HANDS, his fingers are BLOODY AND TORN, cut, and he is
hammering away without regard, ignoring the pain.
THE DOCTOR
Let me go!!!!

FADE TO BLACK
FADE TO:

42 EXT. CONCENTRATION CAMPS - RAVENNA -- DAY

CLOSE: A SHOVEL smashes into the ground, TEARING out the
earth, clods FLYING into the AIR.
TAGLINE: 10 YEARS LATER...

We HEAR a MALE GRUNTING, deep breathing with exertion; worn

out. Phew!

(CONTINUED)
 CONTINUED: (2) 33.

REVEAL: Its JOHN, dressed in a BOILER SUIT, heaving away in

a LONG LINE of MEN, digging a trench, outside...
A massive FENCED ENCLOSURE, WIRE FENCE, GUARD TOWERS.
CU: the SIGN on the fence: POLITICAL DISSIDENTS.

The line of men continues to work: they are almost slaves,

but if they carry on behaving, following orders, at least
they stay alive....

PULL AWAY TO:

WIDE SHOT: The enclosure: inside it, herds of POLITICAL
PRISONERS, rounded up, being directed round, etc, while
outside, they just carry on digging...

FADE TO:

43 INT. POSH HOUSE - KITCHEN - RAVENNA -- DAY

A HUGE KITCHEN, like on an ocean liner of airplane, very
old-fashioned. HUNDREDS of MAIDS, in white and black
traditional outfit are on their hands and knees, working,
preparing food. Push in on one of them...
Florence! Cleaning the floor with a RAG, wiping at marks.
She looks pretty rough, downbeat.

Then, another woman, HEAD COOK, calls out to her..

HEAD COOK
Oi! You there, Florence!

FLORENCE
Yes Maam?
HEAD COOK
Git youself over here, theres
work to be done!

Florence gives a little curtsy

FLORENCE
Yes Maam

HEAD COOK
That food, bring it in! Our masters
dont like to be kept waitin, eh?

(CONTINUED)
 CONTINUED: (2) 34.

FLORENCE
Maam!
Hurries over to a FOOD TROLLEY, and a few other WOMEN help
her lift a HUGE PLATTER of food onto it. Its a HUGE HOG,
roast, nice, juicy. Mmm!

One of the WOMEN reaches out a hand, towards the VEGETABLES

on the side. (shes SO hungry!)But...
Smackkkk!!!!

Head Cook gives her a mighty SLAP on the cheek.

HEAD COOK
Ow dare you, stealing food Betty?
What av we told you before? Get
outside! Youre in the rain
tonight!
BETTY
No, please, I wont do it again...

HEAD COOK
No. You wont, willya?! -Get rid
of er!!
A few WOMEN move in, carry Betty KICKING and SCREAMING
outside!!

HEAD COOK
And as for you... Git that food in
there, now!
CU: FLORENCE. Downbeat, sad.

Leaves OFF FRAME, hunched over trolley.

FADE TO:

44 EXT. CONCENTRATION CAMPS - RAVENNA -- DAY

SUNSET: Long shadows, red light
JOHN is still there, digging. Mighty tired, though, sweat
running down his face...

Then, some JEERS, laddish CHANTS. A small OBJECT (COIN,

PEBBLE?) FLIES THROUGH AIR, and HITS John in the forehead.
Ouch.
CU: JOHN: Bit of BLOOD running from the cut in his forehead.

(CONTINUED)
 CONTINUED: (2) 35.

Beat.
More jeers, shouts.
HIS P.O.V: A MILITARY TRUCK type thing, soft, fabric sides,
with people in the back, and driving it. We cant quite make
out their appearance, human/alien, what they look like, just
silhouettes.
REVERSE TO: THEIR P.O.V: From back of truck, looking down at
him, leaning on his shovel. (Bit of a bumpy ride!)

NORMAL SHOT: Truck drives over a ramp, into the complex.

FADE TO:

45 INT. POSH HOUSE - DINING HALL - RAVENNA -- DAY

F/G: Florence is leaning on the TROLLEY, keeping low,
pushing it along, FAST.
B/G: LONG TABLES, drinking den. Shouts, roars, whistles:
they (Whoever they are!) are drunk. Floor is coated with
MESS, FOOD, STRAW.
Florence approaches highest table, stops, and starts to
unload trolley, FAST, looking down, not making eye contact.

HER P.O.V: Her feet, the filthy floor, the straw, the
trolley. HER HANDS pick up the PLATTER, and put it on high
table, when...
ALIEN
You there...

She turns, tries not to meet its eyes. Drops a CURTSY.

ALIEN
(Slurred)
Look at me!

She looks up, defiantly.

And its face...
Its HUGE! At least EIGHT FEET TALL! Its sort of human, but
distorted, more feral, more wild: Long hair, whiskers, huge
teeth, claws, more muscle, pointed ears, half human, half
BEAR. Its wearing BIG BONED BATTLE ARMOUR! Quite viking,
pointed helmet, steel, rust. Massive TANKARD of MEAD on
table.

(CONTINUED)
 CONTINUED: (2) 36.

ALIEN
Do you know... what my problem is,
human? Theres something...
wrong... with the univershe,
lately... Itsh a more... dangeroush
placshe... Our own planet,
Balshker... there has been
faminesh, and floodsh, and
deaths... and we communicated with
the resht of out brood, spread out
across the galaxshy... they have
had the shame omensh, and so have
our cousinsh... It is...
univershal. The cosmic balancshe
has been altered.. the univershe is
unfriendly theshe daysh. So we have
proposhed an... alliancshe... with
all our foesh in the galaxshhyy, it
is quite hishtoric! Every racshe is
working together to find the
caushe, and the difference... the
differencshe is hear! Thissh
planet! But whatever it ish... we
will find it...
He releases her, smell of wine of his breath, slumps back.
Florence turns, SCARED, hurries away as quickly as she can.
She knows what he is talking about...
FADE TO:

46 INT. POSH HOUSE - KITCHEN - RAVENNA -- DAY

Florence is slumped against the wall, the bright lights on

her face, cold, unfriendly, waiting desperately for...
HEAD COOK (O.S)
Home time, boys and girls! Git back
to your ouses if you av them, av
your beauty sleep! Cos its annover
hard day tomorrow!
Florence stands to her feet, gets a CANVAS SATCHEL with her
belongings, walks out with the others, all TALKING, but
quietly, bit sad.

CUT TO:
 37.

47 EXT. CONCENTRATION CAMPS - RAVENNA -- DAY

THE LINE OF MEN stops working, EXHAUSTED. Straightens up, as
they are shown away by ALIEN TASKMASTER. With a WHIP, he
walks along the line, checking, giving them permission to
leave.
LOW SHOT: Hundreds of feet, of all the men, wearing the same
ORANGE BOILER SUITS.
Beat.

PERFECTLY IN SYNC all the FEET turn 360 degrees, and then...
Beat.
All of them WALK OFF FRAME...

Gone.
DISSOLVE TO:

48 EXT. FLORENCES HOUSE - STREET - RAVENNA -- DAY

The STREET outside Florences HOUSE. Was quite a nice area,
bit of a mess now, disorder. Mess, rubish, overgrown.
Florence ENTERS FRAME, (FROM LEFT), stops, hands on hips,
sighs. All lights are off in house.
JOHN ENTERS FRAME, (FROM RIGHT), sees her.
JOHN
Florence!

FLORENCE
(weary)
Hey
JOHN
Another bad day?
FLORENCE
They said to me that... I...
JOHN
They said what? Whats happening?
Is someone giving you a hard time?
I could speak to the...

(CONTINUED)
 CONTINUED: (2) 38.

FLORENCE
(exploding out)
Speak to who? The government
surrendered when they first
arrived? Theres no-one left. You
know the law. We work for them
during the day, of we die. We try
and fight back, were put in the
concentration camps. And all so the
overlords can rule in comfort,
achieving nothing...

The argument is interrupted by...

SOUND FX: A WHINE, a shrill NOISE from...
CU: PA SYSTEM

PA
This is an official notice from the
United Workers Movement of Ravenna.
All citizens will prepare for a
planetary landing, and all must
prepare to present themselves in an
inspection to the Fraecian task
Force. All papers and
identification will be kept to hand
during the process. That is all.

Through this, OFF FLORENCES EXPRESSION...

JOHN
(Disbelief)
Why do we need our papers? Were
being invaded, again! And they say
we need our passports? Whats that
for.
FLORENCE
To identify the bodies.

FADE TO:

49 INT. FLORENCES HOUSE - KITCHEN - RAVENNA -- DAY

Florence, JOHN and ROBERT huddled under KITCHEN TABLE(Robert
is older, bit of an EMO) in front of FRENCH WINDOWS.
Through french windows we can see...
FX (PRAC?): EXPLOSIONS, HUGE ONES, everywhere! Fire,
burning, and...

(CONTINUED)
 CONTINUED: (2) 39.

PRAC FX: A RED LIGHT illuminates them all.

There is so much noise, the sound of bombs and explosions,
breaking glass, and...
CAM SHAKES: Constant vibrations from bombs.
The THREE OF THEM huddle together, crying.

The destruction continues...

FADE TO BLACK:
FADE IN:

50 EXT. OUT OF TIME -- DAY/NIGHT.

SLO-PAN: The OTHER SIDE OF THE WALL. Its massive,
monolithic, lit from below by PRAC FX: unseen spotlights.

MUSIC: MOTHER by PINK FLOYD.

Then, LO-SHOT, the WALL...
PRAC FX: SLO-MO: the wall BURSTS outwords, the bricks
SHOWERING down on CAM, from CENTRE of wall, collpasing!

PRAC FX: On other side of wall (Where Doctor is...) BRIGHT

WHITE LIGHT! Streaming through, like sun through the forest
canopy.
DISSOLVE THRU WHITE TO:

51 EXT. OUT OF TIME -- DAY/NIGHT.

The opposite side of the WALL. The DOCTOR standing there,
looking up.

THE DOCTOR
It ends.
And he USES his HANDS and FISTS and FEET to ATTACK the wall!
Mad, fury, intense

SLO-MO: BCU: HIS FOOT, moving FAST, SLAMS into wall....

REVERSE TO: Behind the Doctor, and his THROWS HIMSELF at the
WALL!

CU: The DOCTORS FIST punches the wall...

CU: THE DOCTOR, determined, angry.

(CONTINUED)
 CONTINUED: (2) 40.

CU: One Brick, inches, just a bit...

NORMAL SPEED: He throws himself at it, more and more, and
gradually we can see it working until....
THE WALL SMASHES APART!

Releasing so much....
CUT TO:

52 EXT. WW2 BATTLEFIELD - GERALD SCARFE STYLE ANIMATIONS -- DAY

REPEAT SCENES: ANIMATIONS-EVIL:
(NB: All scenes are really FAST, SPED UP, HIGH SPEED, almost
like STILL IMAGES...)(All animated scenes should take max 1
minute)
SOUND FX: SOUNDS OF BATTLE, as earlier, terrible to
behold...., DEATH SOUNDTRACK runs though entire ANIMATED
SEQUENCE

The GROUND is drowned deep in MUD AND DIRT, massive TANKS

RUMBLING across the battlefield, SCREAMS of PAIN.
A BURNING AEROPLANE leaving a trail of FIRE behind it moves
towards FRAME, FAST.

Closer, closer, closer....

It DWARFS SCREEN, unable tos see anything, just black...
FADE THU BLACK TO:

53 EXT. WW1 BATTLEFIELD - GERALD SCARFE STYLE ANIMATIONS -- DAY

Similar FLASHBACK scenes, showing an earlier battle, even
more horrific.

Death, dying poeple, EVERYWHERE...

PULL AWAY TO:
The Soldiers, everywhere, running TO AND FRO, are smaller,
smaller, like ants...
FADE TO:
 41.

54 EXT. NICE PLACE - GERALD SCARFE STYLE ANIMATIONS -- DAY

The Soldiers gradually fade into real ANTS, nasty jaws,
attacking a HUGE SPIDER, really VIOLENT...

It moans and cries, PAIN!

Until it falls down, dead...
CARTOON BLOOD runs down from it, filling up at the BOTTOM OF
FRAME, then RISING; higher, higher, until the WHOLE FRAME IS
RED (Blood).
FADE THRU BLOOD TO:

55 EXT. ALIEN PLANET - GERALD SCARFE STYLE ANIMATIONS -- NIGHT

BLOOD RUNS DOWN to reveal asteroid battle field, ROCKY,

CRATERS.
ALIENS are battling, firing RAY GUNS; nasty aliens,
insectoid, reptilian, scary.

WE PUSH IN ON: RAY GUN

FADE TO:

56 EXT. NAVAL SHIP - GERAL SCARFE STYLE ANIMATIONS -- NIGHT.

RAY GUN against NIGHT SKY mutates, the ray gun changing a
bit, size, proportions, shape, mutating into a...
NAVAL CANNON! On a battleship, at night!

PULL AWAY TO: Normal shot, the SHIPS firing, broadsides, MEN
falling overboard, jumping? Death everywhere.
We PUSH IN ON: NAVAL LIEUTENANT.

CUT TO:

57 EXT. DESERT - GERALD SCARFE STYLE ANIMATIONS -- DAY

The NAVAL LIEUTENANT mutates; face turns gray, eyes bulge,
into a...
Hideous, SCARFE STYLE PERSON, Clothes bursting, and we fix
on him as...
CUT TO:
 42.

58 EXT. GALLOWS - GERALD SCARFE STYLE ANIMATIONS -- DAY

The DESERT mutates into a GALLOWS, STOCK, SCARFE STYLE
PERSON is just one of many on the blocks.
PULL AWAY, until...
IMAGE SHATTERS outwards, splintering, fragmenting, into
shards, which fall away, and we...

BURST THRU TO:

59 EXT. OUT OF TIME -- DAY/NIGHT.

REPEAT:
SLO-PAN: The OTHER SIDE OF THE WALL. Its massive,
monolithic, lit from below by PRAC FX: unseen spotlights.
Then, LO-SHOT, the WALL...

PRAC FX: SLO-MO: the wall BURSTS outwords, the bricks

SHOWERING down on CAM, from CENTRE of wall, collpasing!
PRAC FX: On other side of wall (Where Doctor is...) BRIGHT
WHITE LIGHT! Streaming through, like sun through the forest
canopy.
And STEPPING THROUGH IT.... THE DOCTOR! Such power,
confidence
HERO SHOT: Striding through, full of confidence, a SWAGGER!!
-HANDS BLEEDING, doesnt notice.
WALKS TOWARDS FRAME...
THE DOCTOR
Time to fly.

FADE TO BLACK:
FADE IN:

60 EXT. RAVENNA - WASTELANDS -- NIGHT

WS: PRAC FX: Explosions, the skyline is shattered,
dangerous, torn apart by WAR.
FX: Descending from the sky; SPACE PODS, invasion ships,
hundreds of different types, a million alien races.
CUT TO:
 43.

61 INT. FLORENCES HOUSE - KITCHEN - RAVENNA -- DAY

SOUNDLESS except for MUSIC
Florence is huddling under the table, and watches in DIS
BELIEF, as with a nod, ROBERT and JOHN stand, ignoring the
FALLING OBJECTS, and with a sad glance at each other, leave.
Robert is around 15 now, John in his late forties. Where are
they going?

Florence mouths wordlessly after them, but no good. Theyre

gone.
She starts to her feet, to follow them but-
-PRAFOOOOFFFF-

A massive TIMBER BEAM falls down, and she JUMPS in fear.

Then, hating herself, she crawls back under the table.
A COWARD.

CUT TO:

62 EXT. RAVENNA CITY - LOWER LEVELS -- DAY

Across the CITY, a huge BATTLE: HUMANS and GNAECIANS,

together, against the INVADERS.
CLOSE ON: ROBERT and JOHN, with STICKS, AN OLD RIFLE.
Fighting for their planet.

Beat.
Pick out scenes of battle.
CUT TO:

63 EXT. RAVENNA CITY - HIGHER LEVELS -- DAY

A MASSIVE ALIEN SPACESHIP lands, disgorging hordes of
ALIENS.

CUT TO:
 44.

64 EXT. RAVENNA CITY - LOWER LEVELS -- DAY

SOUNDLESS:

JOHN turns in horror as....

ROBERT FALLS TO THE FLOOR! Shot!
John turns, SLO-SLO, cradles his dying body, tears.

Roberts eyes close...

CUT TO:

65 INT. FLORENCES HOUSE - KITCHEN - RAVENNA -- DAY

Florence and JOHN hugging, crying.
CUT TO:

66 EXT. RAVENNA - WASTELANDS -- NIGHT

MUSIC: THE WALLS by JOSH TODD
CLOSE: A TOMSTONE; Roberts

PULL AWAY; REVEAL: Like SC.3, spooky, ghost story,

whistling. The works.
SKYLINE is still burning.

Florence stands at the top of the hill, under the tree,

looks up.
FLORENCE
Well? Well? Where are you?

Pause.
FLORENCE
(furious)
Where are you!?!

ENIGMA is suddenly standing there, with his BACK to us, and

HER.(NO FX:, just appears)
Weirdly, impossibly, its like it suddenly got even darker.

ENIGMA
Here
He TURNS

(CONTINUED)
CONTINUED: (2) 45.

Theyre both BLUNT, RESERVED... working each other out,

playing it cool.
FLORENCE
Enjoying the doctors life?

ENIGMA
Yes thank you. Today there was a
planet, so beautiful, the only
planet in the world with the
Narbeasts on it. Now theyre
extinct. That felt good. That felt
powerful. Hows John?
FLORENCE
Hes well.

ENIGMA
Good. Hows his back?
FLORENCE
Still stiff, hurts him in the
mornings.

ENIGMA
Has he tried cod-liver oil??
FLORENCE
No, should he?

ENIGMA
I dont know... its what old
people advise. But then, they
advise it for most things.

FLORENCE
Ill be sure to tell him.
ENIGMA
And hows your son? He must be so
grown up now, its simply years
since I saw him... But wait. Hes
dead!!
Pause.

FLORENCE
Give the Doctor back.
ENIGMA
No.

(CONTINUED)
CONTINUED: (3) 46.

FLORENCE
Why?

ENIGMA
You sold him to me, gave him up
FLORENCE
Is that how it works?

ENIGMA
Yes.
FLORENCE
Have you seen what they are doing
to this world? Its burning. They
know. The universe has seen that
things have changed without the
Doctor, and they know it started
here.
ENIGMA
Not my problem. The Doctor and I
have had our roles reversed,
unfortunately.
FLORENCE
So then...

ENIGMA
This world dies... And you die with
it. You were a fool to make a deal
with me. Your son is already dead.
Soon you will be. Then I have won.
FLORENCE
No! No, it cant end like this! My
family!

And, she REVEALS a-

GUN!!! In her BELT!!
Aims it at him, really slow....

FLORENCE
(trembling)
Take it back. Change it back. Undo,
whatever youve done.
MUSIC: THE WALLS FADE OUT

Before he can reply, all of a sudden...

SLO-SLO: BAAANNNNNNNNGGGGGGGG!!!!!!!

(CONTINUED)
 CONTINUED: (4) 47.

And, like in previous scenes, there is a...

CUT TO:

67 INT/EXT. BLACK SCREEN -- DAY/NIGHT

SOUND FX: (Gradually fading in...): SOUNDS OF WAR, of
battle.
INTERCUT: Sounds of steel and armour clashing, the neighing
of horses, the sound of a war horn blowing a signal, cannon
fire, gun shots, people screaming in pain, the sound of
heavy boots marching to war, more gunshots, the noise of
bullets hitting flesh, a ghostly wailing/moaning, swords
clashing... The sounds of death.

This montage lasts approximately 30 seconds, very sinister.

FADE TO:

68 EXT. RAVENNA - WASTELANDS -- NIGHT

FX: Reality SPLINTERS!!: Like a 2-D painting, all of a

sudden, the top of the hillside shatters, into fragments,
which fly back. A GAP! Revealing behind it black, empty.
And we know whats behind it...

PRAC FX: A BRIGHT WHITE LIGHT, so intense that Florence

falls to her knees.
THE DOCTOR steps through. He looks about 100 years old, GRAY
HAIR, wrinkles, lined, but with every step he takes...

The AGE falls away, he is REJUVENATED!!

In appearance, anyway. His EYES are still older than ever,
and sadder.

ENIGMA is TERRIFIED, eyes DARTING from Florence to the GUN!

FLORENCE
Doctor!

Shes still HOLDING the GUN!

THE DOCTOR
(Wary)
Hiya.

Beat.

(CONTINUED)
CONTINUED: (2) 48.

THE DOCTOR
Youre holding a gun....

FLORENCE
(Like she just realised it)
...Yeah. Yeah I am.
THE DOCTOR
Put it away, Florence. We dont use
guns.
FLORENCE
Then maybe we should. Cos he, he
ruined my life! He ruined it
TWICE!!

THE DOCTOR
(quiet, sad)
Put it down, Florence. Drop it.
Long PAUSE.

She does.
It hits the ground with a CLINK!!
THE DOCTOR
Although, nice gun. Shiny gun. I
like, its... good.
FLORENCE
Yeah, I like it, its nice.

The Doctor suddenly looses ALL LEVITY!

THE DOCTOR
(furious, all of a sudden)
Well dont! Its a gun, we dont use
guns! Not ever! Where did you get a
gun, anyway!?
FLORENCE
I got it from.... I got it, in case
there was no alternative, no
choice. In case I needed it.
THE DOCTOR
You never, ever, need a gun. They
never make it better. No-one ever
holds a gun, and thinks of peace.
Not ever. Anyone who says that...
is a liar.
Enigma is BACKING AWAY...

(CONTINUED)
CONTINUED: (3) 49.

THE DOCTOR
And you ... You tortured me. I
didnt like that. Didnt like that
at all.

ENIGMA
I...
FLORENCE
Doctor, this world... Its burning.

THE DOCTOR
(Contemptuous)
Theres always a reset switch.
ENIGMA
What?!

THE DOCTOR
Him over there... hes me now. Hes
the Doctor, in the TARDIS. An
alternate me... from an alterante
reality.

FLORENCE
But your him! Your the Doctor!
THE DOCTOR
And so is he. Were part of two
different realities now. Opposites.
Alternate versions of each other,
since you gave him my life-
FLORENCE
Im sorry, I really am-
THE DOCTOR
(hes angry)
Shh. Too late now! Too late for
me!!

Beat.
THE DOCTOR
But yeah... Two alternate versions
of me. And weve just
collided.Interacted. Were both
here. The merging of two parallel
existences. Not good.
FLORENCE
Then what...?

(CONTINUED)
CONTINUED: (4) 50.

THE DOCTOR
Time is resetting itself. Putting
it right.
FLORENCE
But its not, its different, what
about... the people! Real people
have died. John, Robert, my son...
THE DOCTOR
The one thing that no-one can do is
bring people back to life. Not
unless you... cut corners.
PULL AWAY:
The HILL is like an island, surrounded by swirling mist, a
storm, power....
FX: Swirling, faster and faster.
MUSIC: SO FAR FROM THE CLYDE by MARK KNOPFLER.

THE DOCTOR
Time is resetting itself. Ive won.
Youre banished again. Im bigger
than you, and older, and so, so
much badder. You think youve seen
death? Try being me for a while.

ENIGMA
I have. I saw how they see you, saw
the looks in their eyes. Youre
hated. Reviled. Despised. Youre so
much closer to death than I am.
THE DOCTOR
(its true)
But! The point is, you dont count!
I win... youre fading away. Your
gonna loose.
ENIGMA
How can you know that? Time is
malleable, in flux... impossible,
improbable. Anything can happen

THE DOCTOR
Not with me. Im a Time Lord. I can
see the whole of time, the whole of
creation. What is, what cannot be.
Departures. Arrivals, friends and
enemies. Imploding black holes,
(MORE)
(CONTINUED)
CONTINUED: (5) 51.

THE DOCTOR (contd)

exploding supernovas. You kill me,
I kill you, you come, you go, both
are happening. Have happened, will,
wont, should, cant. All a matter
of time. And I can see it. I alone.
Its not much fun.. But when time
is around us, overflowing... This
is my natural habitat. And you
loose. I can see it.

ENIGMA
But....
THE DOCTOR
I always win. Eventually.

And Enigma simply FADES AWAY...

FLORENCE
But what about... the people? The
lives that have changed, in this
time? The experiences? The babies
whove taken their first steps? The
lovers whove had their first kiss?
The authors whove published their
first book? The people whove met
someone special. What happens to
all that?
THE DOCTOR
Just like they were at the start
of... this.

FLORENCE
So they die?
THE DOCTOR
No. Just change.

FLORENCE
The people that they are-were- die
though.
MUSIC: SO FAR FROM THE CLYDE FADE OUT

THE DOCTOR
You think Id let that happen? Cos
like he said, to me... Its just a
swap. An exchange. All we need is a
willing volunteer! And a Type 40
Tardis of course, but where would
we get one of those?

(CONTINUED)
 CONTINUED: (6) 52.

FX: The TARDIS FADES into EXISTENCE!

Meanwhile, time continues fluctuating around them.
The Doctor opens the doors, races inside...

Florence follows...
CUT TO:

69 INT. TARDIS - CONSOLE ROOM -- NIGHT. CONTINUOUS.

The DOCTOR races in!

MUSIC: IN THE SKY by MARK KNOPFLER

He starts grabbing machinery; string, knobs, motherboards.

Some he carries in his mouth, his hands, his pockets, gives
them to Florence... He pulls down the CHAMELEON ARCH from
3.8/9 as well, starts RIGGING THEM TOGETHER, to make a...
THING! A COMPLICATED DEVICE!!

THE DOCTOR
Nearly there...
FLORENCE
Whats nearly there?

THE DOCTOR
The thingy!
FLORENCE
The thingy?!

THE DOCTOR
It doesnt have a name!
FLORENCE
It doesnt have a name?

THE DOCTOR
In case you hadnt noticed, I
havent had time to launch it
commerically, go down to the patent
office, and create a brand
identity!
FLORENCE
So youre trying to save the world
with something youre inventing!
Something that doesnt have name?

(CONTINUED)
 CONTINUED: (2) 53.

THE DOCTOR
Yup, works for me the rest of the
time!
FLORENCE
Name ONE other device like this
thats worked
THE DOCTOR
I cant, I said, they dont have a
name!

Florence stands, watching, not sure how to help.

Outside the OPEN DOORS, the white mist is swirling,
fighting.

Hurry!
And then....
THE DOCTOR
And there we go!

Based around the Chameleon arch headset, connected to the

console.
FLORENCE
(Shouting)
What is it?!
THE DOCTOR
Ill show you!
THEY race to...

CUT TO:

70 EXT. RAVENNA - WASTELANDS -- NIGHT

On the TOP of the HILL.

The Doctor hold the DEVICE, a long cord from which is joined
to the TARDIS CONSOLE.
FLORENCE
So!
MUSIC IN THE SKY FADE OUT.

(CONTINUED)
CONTINUED: (2) 54.

THE DOCTOR
This mist, this mist is all the
possible permutations, possible
alternative timelines! Ive tuned
it in, so it captures, enhances,
the one that youve been living in
for the last years! It will store
the Time-coordinates on those
people, those lifeforms.
FLORENCE
And then what? we just plug it in
and download it?!
THE DOCTOR
Basically, yeah!

FLORENCE
Then do it!
THE DOCTOR
(Sad now)
I cant. I havent lived through
that alternate reality. Loved
through it, even.
FLORENCE
Then give it to me!

THE DOCTOR
(Holds it out of her reach)
Theres a price.
FLORENCE
What?
THE DOCTOR
It means that... Youll die. Youll
have the whole of an alternate
reality in your head. A dead
reality. Thats my choice. I save a
planet, but loose you.
FLORENCE
(sad, but brave)
Thats not your choice. Its mine.
And it was me who... who betrayed
you.
She SNATCHES the device, puts it on, screams. FALLS to her
knees. It HURTS.

FX: Some of the MIST is diverted, into the HEADSET.

(CONTINUED)
 CONTINUED: (3) 55.

CU: The Doctor. Eyes closed in pain. Cant watch.

ENIGMA FADES BACK IN.
Without opening his eyes, not looking, the Doctor SPEAKS.

ENIGMA
Please. Save her. Bend the rules.
ENIGMA NODS

ENIGMA
All I wanted to do was to have a
life.
THE DOCTOR
Please.

FADE TO BLACK:
Beat.
FADE TO:

71 EXT. RAVENNA - HILLSIDE -- DAY

MUSIC: NOVEMBER RAIN by GUNS N ROSES

BCU: Florence, lying on her back, on the grassy hill.

Slowly she opens her eyes.
PULL AWAY:

She stands up. Winces. Holds her head. Turns to someone OFF
FRAME.
FLORENCE
Doctor.

REVEAL: Him, hands in pockets, watching.

THE DOCTOR
Florence.
Beat. Awkward silence

THE DOCTOR
He saved you, you know.

(CONTINUED)
CONTINUED: (2) 56.

FLORENCE
Who?
THE DOCTOR
(Did he hear?)
An atonement, I suppose. He created
an alternate reality- not much of
one, just around this planet.Where
you could download those people.
Where you could live.

He steps closer. They are nose to nose, PROFILE SHOT

FLORENCE
(nodding)
What about me? Have I atoned?

THE DOCTOR
(doesnt answer)
Were both gonna pay the price
FLORENCE
How?
THE DOCTOR
Your reality. Not mine. You cant
survive in mine. I cant in yours.

FLORENCE
But were.... were talking....
Youre here.
THE DOCTOR
This is the meeting point of the
two... realities, dimensions... I
dont know. This little hill. This
is where the reality originated.
This is a crossover point, where
the two realities mix. Intermingle.
But we cant come any closer.

OWWWWW! Florence suddenly stumbles, holds her head.

THE DOCTOR
This is where, the two overlap, the
raw energies of time are swirling
around us.... Thats the line,
right there
CLOSE: A NARROW CRACK, a TINY line, in the hillside. They
are each on opposite sides, TOE to TOE, facing each other.

MUSIC: NOVEMBER RAIN FADE OUT

(CONTINUED)
CONTINUED: (3) 57.

FLORENCE
So if I step over that line...?

THE DOCTOR
You die. Yup.
FLORENCE
This is it?
THE DOCTOR
This is it.
MUSIC: I REMEMBER YOU by SKID ROW

FLORENCE
I always thought... traveling with
you... that I was protected,
safe... Death could never spoil it,
cos it was wonderful...

THE DOCTOR
Thats how it used to be. But this
universe... Death is what makes
Life wonderful.... (Grin) And isnt
it just? Isnt it just brilliant?

FLORENCE THE DOCTOR

(Desperate, sad,
betrayed, knows its
all over)
But its not... its not
fair. Its not. You said
youd protect me! You
promised
(So helpless; so sad.
Its true)
I know, listen, Im sorry,
I really, really am, I
know... Theres nothing
I can do. Im sorry, but I
cant...

FLORENCE
But then... what is there (Choking
back tears...) What is there, just
to stop me, putting one foot
forward, across the line... so
easy. Such a simple thing. What is
there to stop me?

THE DOCTOR
Me. I cant let you. You have a
duty to those people. To Robert. To
John.
FLORENCE
(really crying now)
I know. I wouldnt....
Beat.

(CONTINUED)
 CONTINUED: (4) 58.

FLORENCE
So now we just... say goodbye? Turn
our backs on each other? Walk off?
THE DOCTOR
Not yet. Come on. Walk with me.
CLOSE: Directly above the CRACK in the floor, they link
hands; one on either side of the line. Smile at each other.
CU: Their HANDS, linked against the bright sky, LENS FLARE.

LOW SHOT: Behind them, with the Sun setting, and...

REVEAL: The SKY is like hell, fire, and blood, and chaos;
the majesty of time. Hand in hand, their backs to FRAME,
they walk off into the sunset...

Beat.
Smaller and smaller.
MUSIC: I REMEMBER YOU FADE OUT.

CUT TO:

72 EXT. RAVENNA - PIER -- DAY. CONTINUOUS

MUSIC: I DONT WANT TO MISS A THING by AEROSMITH

HIGH SHOT, they are walking onto a pier, out to sea:
BLACKPOOL PIER style.
Really OLD FASHIONED, quiet, lonely, BACK STEEL, few CANDY
SHOPS...
FLORENCE and THE DOCTOR, unspeaking.
HAND in HAND.

Best friends.
OLDER FLORENCE (V/O)
That was the worst bit, The walk.
saying nothing, cos there was
nothing to say, just walking. It
was so good... so, so good, but it
hurt so much. Because every
footstep we took, we were nearer
the end of the pier, nearer the end
of our time together. And then we
reached the end, looked out over
(MORE)
(CONTINUED)
 CONTINUED: (2) 59.

OLDER FLORENCE (V/O) (contd)

the sea, and just stood there, and
looked at the beauty of it... and
then, I looked at him, he looked at
me, and he was crying, and I was
crying too... I closed my eyes,
and...listened.
FADE TO:

73 INT/EXT. BLACK SCREEN -- DAY/NIGHT

NATURAL FX: The SOUND of GULLS, wheeling, diving in the sky.

FADE IN: Happy, jolly, FAIRGROUND MUSIC (CAROUSEL style).

OLDER FLORENCE (V/O)

Just listened, to the gulls, and
birds, and the sea. And then...He
dropped my hand.I couldnt open my
eyes, couldnt look. And that was
it. There was such a long pause, I
waited, but... he was gone. I did
what he said though. Restored those
people, from my head. Not everyone
gets to bring the little voices in
their heads to life. I Saved them
all. John, as well. So I got my
happy ever after, but hes still
out there, somewhere. Doing what he
always does, saving the world. But
alone. He-... That man, sometimes,
I see, he hates himself so much...

Beat.
OLDER FLORENCE (V/O)
-I still go there, sometimes, to
those hills, that cliff. Sit on the
edge, and look. Because I think, in
a way, that somehow, somewhere,
whatever happened later, in real
life, on that pier... The doctor
and his best friend, will always be
walking, hand in hand, into the
sunset for the last time...
END OF EPISODE 4B.7