Torchwood: Children of Earth, Day Five - Part Two
Torchwood: Children of Earth, Day Five
CUT to the holding facility where Jack and Lois are being kept. The guard opens the hatch in the door of Jack's cell. He sits with his head bowed and fingers interlaced, thumbs pressed to the bridge of his nose. The guard closes the hatch again and goes to the opposite cell to look into the window of Lois's door.
Suddenly, a group of armed men in black burst into the hallway at both ends, shouting at the guard.
SOLDIER: On the floor! On the floor!
Hearing the commotion, Jack leaps to his feet, going to the door to try and see what's happening.
SOLDIER: Stay down!
One of the armed men knocks the guard to the floor. In her cell, Lois goes to the window in the door. The men open Jack's door.
JACK: What's going on? Hey!
SOLDIER: Move.
They drag him out of the cell and rush him down the hall.
LOIS: Captain!
SOLDIER: Go! Go!
LOIS: What's happening?
She bangs on her door.
LOIS: Captain Harkness! Captain Harkness!
The soldiers scurry out, closing the barred door behind them as the guard gets to his feet.
CUT to a helicopter flying over London. The view of the city focuses in on a tall tower with a helipad on top. As the shot moves in closer, Jack can be seen with four of the armed men in black. He is still handcuffed. The helicopter comes to a landing.
CUT to the storeroom where Dekker kept the original equipment from the 1965 visit. Other men in black are loading everything they can into wire baskets. Outside the room, Dekker approaches, removing his coat and opening the door, apparently unaware of the intruders; he enters the room to see them rifling through his things.
DEKKER: Here, what are you doing?
One of them neatly clocks him with the butt of a rifle, knocking him out.
CUT to the Cromwell Estate. Soldiers are moving around on the road.
GWEN: (voice-over) Yeah, they're spies. Hush now, darling. Nice and quiet.
CUT inside the Davies house. Gwen is putting a pink coat on a little girl.
GWEN: Don't make a sound, that's right, like a game, yeah?
ANDY: (into the radio on his jacket) Alpha one-eight-six to Control. Is anyone there?
GWEN: Fingers on lips.
She puts her finger to her lips and the little girl imitates her.
RHIANNON: Now, you don't make a noise until we get there, OK? You stay nice and quiet, and I'll get you some sweets, yeah?
RHYS: Where is this place?
RHIANNON: It's down by the field, it's all boarded up.
GWEN: Right, look. We've gotta go, right now.
RHiANNON: OK. Come on, everyone.
She continues the same general encouraging words under Andy's next line.
ANDY: Alpha one-eight-six to Control. Can you hear me?
RHIANNON: Come on, everyone, we're like spies. We're playing spies. Now, come on. That's it, no one makes a sound.
She and Rhys begin to herd the children out the back door in a line.
GWEN: Are you coming? Andy?
Andy, looking mutinous, goes out the front door. Gwen looks back at him, but she can't wait any longer; she follows the others out the back. Andy emerges from the front, hat in hand, as a line of soldiers run up to a nearby door.
ANDY: Control, this is Alpha one-eight-six. What's going on?
In back, Gwen and Rhys begin to lead the kids out. From the back, one of the troop carriers and some of the soldiers standing by it can be plainly seen. Rhys lifts the first girl into his arms.
RHYS: Take it easy. Take it easy, come on.
He leads them along; Rhiannon is further down the line.
RHYS: Hurry, come on. Come on. Keep tight, yeah.
JOHNNY: Rhi!
More soldiers run up to another house and bang on the door. Inside, a woman can be heard shouting.
WOMAN: What the hell are you doing?
Johnny comes out of the house next, jogging up to Rhiannon.
JOHNNY: You take them. I'm going out the front. Somebody's gotta stop them.
RHIANNON: No, Johnny, don't be stupid.
JOHNNY: It's not just us, you daft sod.
He kisses Rhiannon briefly, then goes. Soldiers are breaking into the houses now, and Gwen exhorts the children to move faster. They run along behind a low wall. Johnny's out front, running down the street to some other men who are standing on a corner.
JOHNNY: Danno! Where's Richie? Go get him, get Sammy, get all the boys.
MAN #1: What's happening?
MAN #2: What is it?
Another man, presumably Danno, starts off.
MEN: What's wrong, what's wrong?
JOHNNY: All that stuff on the news, all that inoculation stuff, it's bollocks, right? The government has sold us out. They're coming to get our kids, and we're not getting them back, boys, right? We got to stop them?
Another man runs up during this speech, into which the other men interject exclamations. Andy can be seen nearby as the soldiers move from one house to the next.
JOHNNY: We got to stop them...
The music is rising and Johnny's words become lost in the shouting. A line of soldiers forms up with clear riot shields and sticks. Johnny continues to shout, urging the other men on, and together the group, now larger, begins to march toward the soldiers. Other soldiers are carrying children screaming out of a house. At this sight, the crowd breaks and runs toward the soldiers, throwing bricks as they come.
The children are running in a line now, around a long brick wall and out of sight, as Johnny's mob engages with the soldiers. Another soldier continues to carry a screaming girl toward a troop carrier. Two other soldiers restrain the girl's father. Gwen, Rhys, and their charges run down and across a street, away from the violence. Johnny punches one soldier, then goes for another. Across the street, Andy looks on, his eyes angry. The soldiers are bearing Johnny down. Another child is taken from a nearby house, his mother in pursuit and stopped by more soldiers.
WOMAN: No! Give him back! Give him back!
Suddenly, Andy's had all he can take. He tears off the police jacket and the flak jacket underneath, undoing his belt, and wades into the fray. The children with Gwen, Rhys and Rhiannon continue to run. Andy belts one soldier. Another pushes Johnny down and holds him with his stick to Johnny's neck. Andy's punched in the stomach by another soldier, who pushes him down to the pavement, getting the stick against the back of Andy's neck.
Rhys is leading the children away from the estate, past a fence, down a gravel road to a couple of sheds; all are running as fast as they can go. Rhys puts down the little girl so that he can kick in a piece of corrugated-tin siding, and he ducks inside, holding it to let everyone in and directing them to go further in. Gwen is the last, and Rhys shifts the piece of siding to cover the opening again.
DAVID: Oh, it's stinking!
RHIANNON: (whispering) Keep your voice down.
The children all find places to sit, and Gwen kneels to talk to them.
GWEN: Yeah, what I need you to do is to be as quiet as you possibly can, like mice.
CUT to Ashton Down, where Dekker is being escorted down a hallway by four of the men in black. Further down the hall, Alice sits with Steven. As the group passes them, Alice stands, and then Steven does as well when he sees who's coming next.
Steven: Uncle Jack!
He runs at Jack, who also has an escort (which includes Johnson) and who is still handcuffed.
JACK: Hey, soldier!
Steven hugs Jack, grinning.
JOHNSON: We haven't got time!
JACK: Listen, stay with your mom, OK?
Steven goes back to Alice, and Jack and his escort continue down the hallway. Jack looks at Alice as he goes by, but they have no time to talk. Suzanne is behind them, and Alice approaches her.
ALICE: Sorry, would you...
She bends to kiss Steven on the cheek.
ALICE: I'll be back.
She hurries after Jack. Suzanne leads Steven away.
Dekker and Jack are brought into the big open area previously used for footie. Dekker's equipment has been brought here as well, and lights are set up to illuminate the empty space. Dekker and Jack are led into the center of the circle of equipment; their cuffs are undone.
JOHNSON: This should be everything you need. And if it's not, we'll find it.
JACK: For what?
JOHNSON: Wavelengths. The 456 are named after a wavelength, and that's got to be the key to fighting back.
DEKKER: You're wasting your time. There's nothing you can do. I've analysed those transmissions for forty years and never broke 'em.
Without batting an eyelash, Johnson turns, draws, and fires. Dekker shouts in pain and collapses to the floor. She reholsters her gun and returns her attention to Jack.
JOHNSON: What do you think, Captain? She told me you were good. Was she right?
At 'she', she nods slightly to Alice, who's standing back a bit behind Jack. Jack turns to look at Alice, and for the first time in quite a while, a smile comes to Jack's face.
JACK: Let's get to work.
He takes off his coat and walks off to get started. Johnson begins to smile.
Over the classic Torchwood music, Jack starts to it, going to a keyboard.
JACK: Get me access to the Torchwood software.
He goes to a laptop and starts typing.
JACK: Log on to the servers and...
A computer-generated sound almost like a voice comes up as Jack gets into the server.
JACK: Welcome back.
Dekker's behind him, leaning on a crate, his injured leg wrapped with a bandage.
DEKKER: It still won't work. There's nothing on there. It's useless.
JACK: We've got technology way beyond you.
DEKKER: We hacked into Torchwood years ago, you idiot. There's nothing.
JOHNSON: Bring him over here.
ALICE: Dad, come and look at this.
She's at another laptop. Dekker groans as two of the soldiers lift him to his feet. Jack joins Alice at her laptop.
ALICE: It's some sort of pirate station. They're trying to get the story out to the public. But they're taking the kids.
On the laptop, we see video of the school busses rolling by, one after another, each full of children.
WOMAN: We're broadcasting this on digital one four one. It's the kids! Tell everyone to tune in to one four one.
The shot cuts to an image of a bus disappearing behind chickenwire fencing.
CUT to a troop carrier leaving an army base, followed by school bus after school bus. The busses are driven up to a line of soldiers standing in wait. The children inside are let out and guided away in lines.
CUT to the shed where Gwen, Rhys, Rhiannon, and the children are hiding. The children fidget nervously, but are generally quiet. The wind can be heard, rattling the tin of the building. Gwen is holding the small girl who was carried by Rhys earlier, and the camera pans up to her face, revealing that she's in the middle of the speech shown at the beginning of the episode. Rhys holds the camera.
GWEN: There's one thing I always meant to ask Jack. Back in the old days. I wanted to know about that Doctor of his. All those times in history when there's no sign of him, I wanted to know why not. But I don't need to ask anymore. I know the answer now. Sometimes the Doctor must look at this planet and turn away in shame. I'm recording this in case anyone... in case anyone ever finds it. So you can see... you can see how the world ended.
Slowly, Rhys lowers the camera. He has to wipe a tear from his face; then he looks up at Gwen again.
RHYS: Y-y-y-you didn't mean it, did you? About... getting rid of it?
GWEN: No, of course I didn't.
RHYS: OK.
GWEN: I would never...
Rhys crosses the gap between them and hugs her.
GWEN: Never. I wouldn't do that to you, sweetheart. No, I wouldn't, and I'm sorry.
He sits back again, wiping under his eye and sniffing hard.
GWEN: I'm sorry. All right, darling?
She smooths the little girl's hair absently.
CUT to the conference room.
GENERAL PIERCE: Illegal broadast on digital one four one. Close it down. And take out the whole network if you have to.
DENISE: We're up to eighty percent. The people are starting to fight back.
General Pierce presses a button on the phone in the middle of the table.
GENERAL PIERCE: Colonel, we're predicting eighty percent. Is that acceptable?
CUT to Floor 13. The 456 gurgle ominously in their tank.
COLONEL ODUYA: We have up to eighty percent of the designated children. Is that enough?
The 456 are silent for a long moment.
THE 456: All of them. All of the designated to us.
CUT to the conference room, as General Pierce absorbs this.
COLONEL ODUYA: (on the phone) Not acceptable, sir.
Denise and General Pierce exchange looks.
GENERAL PIERCE: We need the rest. Authorising maximum force.
Bridget Spears enters the room with a folder.
BRIDGET: The latest report from Germany. Old-fashioned hard copy, I'm afraid. The system's gone into meltdown.
DENISE: You don't have to be here.
BRIDGET: It's what he would have wanted.
DENISE: Do you think so? I can't imagine anyone wanting to be in this bloody room.
She walks past Bridget, who turns her gaze on Prime Minister Green, seated at the head of the table. He seems to have nothing to do; he is watching others work.
WOMAN: (on phone) Yes. Yes.
The shot closes in on a tight focus of Bridget's eyes.
CUT to Ashton Down. Jack talks with Johnson.
JACK: If we cycle the wavelength back at them...
DEKKER: I know what you're trying to do. A constructive wave.
Jack watches him warily.
DEKKER: Do you think people aren't working on that all over the world? But it's never gonna work. The effect would be like shouting at the 456, that's all. Just shouting.
JACK: Why did Clem die?
JOHNSON: It was the 456 that killed him.
CUT to the image from Day Four, Clem clutching his ears and screaming in pain as Gwen holds him.
JACK: But how did they do it? Why did they do it?
JOHNSON: We've got the recording here.
JACK: His mind must have synced to the 456 back when he was a child. But they didn't need to kill him. He wasn't any threat. Unless maybe that connection hurt them.
JOHNSON: This is the 456 at the moment of his death. We've lifted the sound from the Thames House link.
Dekker gets up to listen as the sound of the 456 screeching plays on Jack's laptop. It shows on the screen as a waveform.
JACK: That sound, Mr Dekker, what's that sound?
DEKKER: I don't know, it's new.
JACK: Exactly. It's new.
He's starting to look more hopeful.
CUT to an army base, where soldiers herd children into a large circle: one of the designated rendezvous points. The men stand around the children to corral them in place. Another bus comes in, then another, bringing more children. Soon the larged paved area is completely full of children below puberty.
CUT to Ashton Down. Alice has taken interest in the discussion now.
JACK: We don't have to analyse the wavelength, just copy it. Turn it into a constructive wave. But we've got no way of transmitting.
DEKKER: Of course you have.
JACK: Shut up.
DEKKER: Same way as them.
JACK: I'll find something else.
JOHNSON: What does he mean?
JACK: Don't listen to him.
JOHNSON: Dekker, tell me.
DEKKER: The 456 used children. To establish the resonance.
JOHNSON: Meaning what?
DEKKER: We need a child.
ALICE: What do you mean?
DEKKER: Centre of the resonance. Hoo! That child's gonna fry.
He chuckles. Jack is quiet, his eyes dark as he seeks solutions. Alice's face begins to grow scared.
ALICE: No, Dad. No, tell them no.
JOHNSON: One child or millions.
ALICE: Dad, no. Dad, tell them no!
JOHNSON: We're running out of time.
ALICE: Dad, no! No, Dad!
JOHNSON: Captain!
His face blank, Jack quickly nods. Alice's eyes are round with fright and she goes running.
ALICE: Steven!
CUT to the shed behind the estate. David is peeking out the opening. He sees soldiers running up to a woman on the street, who points in the direction of the shed.
DAVID: Rhys. Quick.
Rhys leaves Gwen to go look. When he peers out, he sees several soldiers jogging toward the shed.
RHYS: Incoming! Everybody out! Quick! Everybody out!
At his shout, everyone gets to their feet, heading for the far end of the shed.
RHYS: Quick! Come on! Let's go!
Outside, the soldiers approach.
RHYS: Quick! Come on! Quick! Come on. Quick, out.
He helps rush the children along. They have to climb up a ladder. Behind another ladder, a girl has hidden herself, crying.
GWEN: Come on, quick, quick, quick, quick, quick.
At the top, Rhys pushes out a piece of plywood closing up the entrance and hops out, leading the kids, grabbing at a little girl's hand. The soldiers kick in the tin blocking the front entrance and enter the shed. They shout directions to each other. The little girl behind the ladder shrinks, trying to not be seen. It's no good; one of the soldiers picks her up.
GIRL: Get away! Get away!
She screams as she's taken. The other soldiers run out the back way, pursuing the others.
ALICE: (voice-over) Steven! Steven! Steven!
CUT to Ashton Down; Alice is pelting down a hallway, three of the men in black in pursuit. One of them manages to stop her; another hikes Steven over his shoulder.
STEVEN: Mummy!
ALICE: No! Steven!
STEVEN: Mummy!
The men take Steven past Alice while she's held to the wall, unable to stop them.
STEVEN: Mummy!
ALICE: My baby!
STEVEN: Mummy! Mummy!
ALICE: Steven, run away!
CUT to the estate. The children scream as they run across wet, muddy ground, away from the pursuing soldiers. Gwen carries the little girl she was holding before; she lags behind the others. The images are blurred and jolted; much of the screaming is lost in the music overlaying these scenes.
GWEN: Run! Run!
CUT to Ashton Down. Jack sets up the necessary equipment as Steven is brought into the circle. He's set down on a stand in the middle of it.
STEVEN: What are we doing, Uncle Jack?
Jack doesn't respond, going from one laptop to another.
STEVEN: What's happening? What do you want me to do?
Alice, in the hallway, continues to scream.
ALICE: Steven, get away!
She finally manages to tear away from the soldiers holding her and goes running
CUT to the estate; the soldiers are catching up, nearly on the group of children, Rhys, Gwen, and Rhiannon. They descend, grabbing at coats to stop the children. One grabs David; another gets Rhiannon as a third starts to carry off Mica.
RHIANNON: No!
Her other shouts are indistinguishable over the music. Rhys is forced to the ground by another soldier. Gwen keeps running with her burdern.
CUT to Ashton Down. Alice runs back to the big room, but the door is locked and she can't get in.
ALICE: Steven! Steven!
Jack's work has become fast-paced and frantic now.
CUT to the estate, as soldiers continue to pursue Gwen.
CUT to Ashton Down.
ALICE: Run! Run!
Jack has completed his work. Steven stands in the center of the circle, confused. He looks around.
CUT to the estate. Gwen is still running.
CUT to Ashton Down. Jack stands before the laptop, his eyes swimming with unshed tears. Then he stabs a single key. A humming, buzzing sound begins to emerge from the equipment. Behind Dekker, screens show sound waveforms moving on a graph. Steven suddenly goes still. Jack types another command on the laptop, presumably copying the wavelength. Then he stands back.
Steven begins to make the shrill sound first given out by the children in Day One, the sound of attunement. On the other side of the reinforced glass, Alice can only watch in terror.
CUT to the army base. Every child on the pavement opens their mouth and begins to make the same shrill sound.
CUT to the estate. Gwen has set down the girl she was carrying as she, too, begins to make the sound.
CUT to an overhead shot of Thames House. Inside, on Floor 13, Colonel Oduya still stands before the tank. He can hear the sound, and so can the other UNIT soldiers in the room. And so can the 456. They begin to groan. Colonel Oduya watches in interest.
CUT to the army base. The children are all giving the sound in the exact same note.
CUT to Ashton Down. Steven begins to twitch as he makes the sound. His body jerks more and more violently as seconds pass. Alice hammers on the glass.
ALICE: Steven!
Steven's body moves so quickly it becomes a blur to the eye. Blood trickles from his nose and down onto his shirt.
CUT to Floor 13. The 456 react more violently. CUT to the army base. The children make the same sound. Cut to Floor 13. One of the UNIT soldiers trains his gun on the tank as the 456 flail in earnest, slapping their flippers on the glass and screeching. Then - instead of snot - blood splashes on the inside of the tank. Colonel Oduya covers his face instinctively. The 456 slam the tank hard.
CUT to Ashton Down. Steven's jerking and shaking grows more violent. Johnson has to look away. Only Jack remains witness, his face wet. Outside, Alice sobs, barely able to see through the glass through the condensation of her breath.
The cuts are very fast now. Floor 13: the 456 writhing. The army base, the children continuing. Floor 13 to the army base to Floor 13. Ashton Down: Steven's spasms are enormous and both nostrils leak dark blood. Tears slide down Johnson's face. Jack suppresses some show of emotion, his eyes shining.
Suddenly, the sound stops. On Floor 13, another violent gout of blood splashes the inner wall of the tank, followed by several smaller ones on every inner surface. Then the whole inside of the tank lights up in flames, startling Colonel Oduya and the UNIT soldiers, who shield their eyes. As they watch, the transportation process reverses, the fire shooting upward through the ceiling and into the sky, much faster than when it descended. The clouds close over the hole made in them and then disappear altogether.
CUT to the conference room. All that can be seen on the video feeds for Floor 13 is static.
GENERAL PIERCE: Colonel, do we have a report?
The room is completely silent.
GENERAL PIERCE: Colonel, what happened?
CUT to Floor 13. Colonel Oduya is still processing the events he just witnessed.
GENERAL PIERCE: (on phone) Colonel!
COLONEL ODUYA: It's gone, sir. The 456 has gone.
He walks slowly toward the tank, which is now completely empty, the inside walls clean, the atmosphere also apparently taken in the fire that removed the 456.
CUT to the estate, where Rhys has joined Gwen with the little girl.
GWEN: What did you do, clever girl? What did you do?
She hugs the girl tight and sinks back.
GWEN: What did you go?
RHYS: Hey!
Now that the threat has passed, the soldiers have released the children. Rhiannon sinks to her knees as Mica runs to her.
CUT to Ashton Down. Alice is still pressed to the glass.
JOHNSON: Let her in.
A buzzer sounds, and the door unlocks. Alice darts inside and runs straight through the circle to Steven, who lays limp on the stand in the middle of the equipment. Dried blood crusts his ears as well as his nose. Alice sits and pulls him into her lap, smoothing his hair, sobbing.
ALICE: No, no, no, no, no!
She turns her grieving face on her father as she gathers Steven's body to her.
ALICE: No! No! Somebody help him! Help him!
Jack stands passively, letting the tears fall, as the camera pulls away from his face. Alice's sobs echo in the room and she rocks Steven's body in her arms.
ALICE: No, please, no. Why? Why? Oh, please.
CUT to the conference room. The last of the officials are leaving the room. General Pierce stands at one end of the room, facing Prime Minister Green, who's still seated at the head of the table, while Denise Riley arranges some folders on the table and Bridget Spears stands nearby.
GENERAL PIERCE: Prime Minister.
He salutes, then turns and leaves the room. Once the Americans are all gone, Denise turns to the Prime Minister.
DENISE: The public will be wanting a statement, sir.
Green inhales deeply.
PRIME MINISTER GREEN: I suppose you could say we were lucky.
DENISE: A bit soon to tell. We don't know exactly what happened yet.
PRIME MINISTER GREEN: Lucky with the Americans, I mean. General Pierce took charge without ratification from the United Nations. We can say that today's events were in American hands.
BRIDGET: And do you think that's lucky?
PRIME MINISTER GREEN: (laughing) Yes, I, I do, rather.
BRIDGET: Your first thought now is to save your own skin. In which case, you might like to know, I paid a visit this morning, sir. I went to see Lois Habiba. You might remember her. I sat with her a while. We had a number of things to discuss. And while I was there, I used the emergency protocols to sign out a particular piece of evidence.
CUT to a flashback, showing Bridget signing a piece of paper while a policeman removes something from a plastic bag.
POLICEMAN: Thank you.
Bridget takes the item - a contact lens case. CUT to the present.
BRIDGET: Contact lenses, sir. The Torchwood contact lenses. And Lois was very helpful. She told me how they worked.
CUT to a flashback of Lois talking; no sound can be heard, but she seems to be illustrating the use of the lenses. CUT to the present moment.
BRIDGET: I can hardly feel them, sir.
We see a shot of the Prime Minister through the lenses.
BRIDGET: But everything that happened in this room has been recorded, sir. All waiting to be made public by me. Including your statement just now that after the events of today you feel, as you said in your very own words, sir, "lucky".
PRIME MINISTER GREEN: You wouldn't dare. I can have you arrested.
DENISE: I don't think so. Thank you, Bridget, you're free to go. And Miss Habiba will be released, I'll see to it myself. I think I'll be taking charge of very many things in the days to come. Is that all, sir?
The Prime Minister looks dazed, trying to form words but then giving up.
CUT to Ashton Down. Jack sits on a narrow bench in a long hallway. His silhouette is dark in the hall, with sunlight on the wall just beyond him; at the far end is a set of double doors. One of the doors opens, and Alice steps out; Jack's head turns when he hears the door open. Alice stops as the door swings shut behind her. She catches sight of Jack and goes still. Jack sits on the bench, his hands folded and expression guarded. After a moment, Alice steps backward, leaning on the door to press it open, and turns, walking away. Jack continues to sit for a moment as -- very faintly -- dialogue from earlier plays.
STEVEN: Uncle Jack!
JACK: Hey, soldier.
Finally, Jack takes a deep breath and stands, walking down the hall in the opposite direction from Alice. He pushes open the double doors leading outside and exits into light.
CUT to a dirt road, wet, overhung with trees and greenery. A car's headlights show and come closer as the title card comes up.
Title card: SIX MONTHS LATER
As the car approaches, the occupants are revealed: Gwen and Rhys. Rhys is driving. He pulls the car off to the side of the road and cuts the engine. Both unbuckle their seatbelts, and Rhys gets out, coming around to open Gwen's door for her. Her smile is fond.
RHYS: There's no more road. We'll have to walk from now on. You all right?
Out of the car, Gwen's huge belly is revealed.
GWEN: You fuss over me one more time...
RHYS: I'm just saying.
GWEN: Well, don't.
Rhys locks the car with a little beep from the remote, and they start to walk, smiling at each other.
The view from the top of the hill shows Cardiff spread out below them, lights marking the roads and buildings. Gwen and Rhys hold hands as they climb to the top. They pause part of the way there, seeing something, and the camera turns to reveal Jack standing at the top of the hill, his coat buckled around him. Gwen chuckles, holding her belly, and she and Rhys finish walking up to meet him.
GWEN: Couldn't have just chosen a pub, could you?
RHYS: It's bloody freezing. My feet.
JACK: Oh, I missed that, the Welsh complaining. You look good.
GWEN: I look huge.
RHYS: She's bloody gorgeous.
Jack smiles at that, and Gwen approaches him.
GWEN: You OK?
JACK: Yeah.
She touches his collar as if to neaten it.
GWEN: Did it work?
JACK: Travelled all sorts of places. This planet is too small. The whole world is like a graveyard.
GWEN: Come back with us.
JACK: Haven't travelled far enough yet. Got a lot of dirt to shake off my shoes. And right now, there's a cold-fusion cruiser surfing the ion reefs just at the edge of the solar system, just waiting to open its transport dock.
As he speaks, he looks up, and a light winks in the sky high above. Then he returns his gaze to Gwen.
JACK: I just need to send a signal.
Gwen holds up a finger: 'one second'. She digs in her pocket and produces Jack's wriststrap.
GWEN: They found it in the wreckage. Indestructible. Like its owner.
She gives it to him, and he places it on his wrist.
GWEN: I, eh, put on a new strap for you.
RHYS: Cost me fifty quid, that.
JACK: Bill me!
GWEN: Are you ever coming back, Jack?
JACK: What for?
GWEN: Me.
Gwen begins to get teary.
GWEN: It wasn't your fault.
JACK: I think it was.
GWEN: No.
JACK: Steven and Ianto and Owen and Tosh and Suzie and... All of them. Because of me.
GWEN: But you, you saved us. Didn't you?
JACK: I began to like it. And look what I became. Still. I have lived so many lives. It's time to find another one.
He steps back from Gwen and lifts his wriststrap (which, despite the claim of having a new leather band, still has the old marks of use). He presses a button and it begins to send a continuous beep.
GWEN: Th-they died, and I am sorry, Jack, but you cannot just run away. You cannot run away.
The teleportation field begins to shimmer over Jack.
JACK: Oh, yes, I can. Just watch me.
He's gone in a shimmering ball of light that shoots upward. A moment later, a light shines brightly from the sky, then winks out. Gwen stands, looking up and crying, as Rhys walks up behind her. Gwen puts her face in her hands and sobs. Gently, Rhys leans in.
RHYS: Let's go home, yeah?
Gwen turns to Rhys, still crying.
GWEN: Yeah. Yeah.
She looks up again, her hands still folded, and then turns and walks away with him, his arm around her shoulders. She looks back, once, but then continues walking with Rhys, leaning on him and patting his back as they make their way down the hill.
END CREDITS
CAST
Captain Jack
JOHN BARROWMAN
Gwen Cooper
EVE MYLES
Rhys Williams
KAI OWEN
John Frobisher
PETER CAPALDI
Brian Green
NICHOLAS FARRELL
Bridget Spears
SUSAN BROWN
Alice Carter
LUCY COHU
Mr Dekker
IAN GELDER
PC Andy
TOM PRICE
Lois Habiba
CUSH JUMBO
Johnson
LIZ MAY BRICE
General Pierce
COLIN McFARLANE
Denise Riley
DEBORAH FINLAY
Rhiannon Davies
KATY WIX
Johnny Davies
RHODRI LEWIS
Anna Frobisher
HILARY MACLEAN
David Davies
LUKE PERRY
Mica Davies
AIMEE DAVIES
Steven Carter
BEAR McCAUSLAND
Holly Frobisher
JULIA JOYCE
Lilly Frobisher
MADELEINE RAKIC-PLATT
456 Voice
SIMON POLAND
Female Teacher
LORNA BENNETT
Mum
RHIANNON OLIVER
Newsreader
LOUISE MINCHIN
1st Assistant Director
STEFFAN MORRIS
2nd Assistant Director
JAMES DeHAVILAND
3rd Assistant Director
DAVID CHALSTREY
Location Manager
NICKY JAMES
Assistant Location Manager
GARETH SKELDING
Unit Manager
RHYS GRIFFITHS
Production Co-ordinator
CLARE RUTTEMAN
Production Secretary
CLAIRE THOMAS
Runners
ALISON JONES
NICOLA BROWN
TOM EVANS
Drivers
SEAN EVANS
WYNFORD FINNEY
Assistant Production Accountant
CAROLE WAKEFIELD
Continuity
NON ELERI HUGHES
Camera Operators
JAMES LEIGH
ALWYN HUGHES
Focus Puller
STEVE REES
JAMIE SOUTHCOTT
Grip
CLIVE BALDWIN
Camera Assistant
TOM HARTLEY
JON VIDGEN
Boom Operator
JEFF WELCH
Sound Assistant
BRYN THOMAS
Gaffer
MARK HUTCHINGS
Best Boy
STEVE SLOCOMBE
Electricians
BEN GRIFFITHS
JONATHAN COX
GARETH WILLIAMS
Stunt Co-ordinator
TOM LUCY
Supervising Art Director
STEPHEN NICHOLAS
Standby Art Director
ARWEL WYN JONES
Standby Props
PHIL SHELLARD
JACKSON POPE
Standby Carpenter
WILL POPE
Rigger
KEITH FREEMAN
Props Master
STUART WOODDISSE
Set Decorator
JULIAN LUXTON
Construction Manager
MATTHEW HYWEL-DAVIES
Graphics
BBC WALES GRAPHIC DESIGN
Costume Supervisor
LINDSAY BONACCORSI
Costume Assistant
SARA MORGAN
GEMMA EVANS
Make-up Supervisor
ABI BROTHERTON
Make-up Artists
NEL BATT
HANNAH PROVERBS
Casting Associate
ANDY BRIERLEY
Assistant Editor
CARMEN SANCHEZ ROBERTS
Post Production Supervisors
HELEN VALLIS
CHRIS BLATCHFORD
On Line Editor
GERAINT PARI HUWS
Colourist
JON EVERETT
Dubbing Mixer
TIM RICKETTS
Sound Supervisor
DOUG SINCLAIR
Sound Effects Editor
HOWARD EAVES
With Thanks to the
BBC National Orchestra of Wales
Casting Director
ANDY PRYOR CDG
Production Accountant
CERI TOTHILL
Sound Recordist
JULIAN HOWARTH
Costume Designer
RAY HOLMAN
Make-up Designer
MARIE DORIS
Title Music
MURRAY GOLD
Composer
BEN FOSTER
Visual Effects
THE MILL
Special Effects
ANY EFFECTS
Prosthetics
MILLENNIUM FX
Editor
PHILIP KLOSS
Production Designer
EDWARD THOMAS
Director of Photography
RORY TAYLOR
Assistant Producer
BRIAN MINCHIN
Production Executive
JULIE SCOTT
Associate Producer
CATRIN LEWIS DEFIS
Executive Producers
RUSSELL T DAVIES
JULIE GARDNER
CUT to the holding facility where Jack and Lois are being kept. The guard opens the hatch in the door of Jack's cell. He sits with his head bowed and fingers interlaced, thumbs pressed to the bridge of his nose. The guard closes the hatch again and goes to the opposite cell to look into the window of Lois's door.
Suddenly, a group of armed men in black burst into the hallway at both ends, shouting at the guard.
SOLDIER: On the floor! On the floor!
Hearing the commotion, Jack leaps to his feet, going to the door to try and see what's happening.
SOLDIER: Stay down!
One of the armed men knocks the guard to the floor. In her cell, Lois goes to the window in the door. The men open Jack's door.
JACK: What's going on? Hey!
SOLDIER: Move.
They drag him out of the cell and rush him down the hall.
LOIS: Captain!
SOLDIER: Go! Go!
LOIS: What's happening?
She bangs on her door.
LOIS: Captain Harkness! Captain Harkness!
The soldiers scurry out, closing the barred door behind them as the guard gets to his feet.
CUT to a helicopter flying over London. The view of the city focuses in on a tall tower with a helipad on top. As the shot moves in closer, Jack can be seen with four of the armed men in black. He is still handcuffed. The helicopter comes to a landing.
CUT to the storeroom where Dekker kept the original equipment from the 1965 visit. Other men in black are loading everything they can into wire baskets. Outside the room, Dekker approaches, removing his coat and opening the door, apparently unaware of the intruders; he enters the room to see them rifling through his things.
DEKKER: Here, what are you doing?
One of them neatly clocks him with the butt of a rifle, knocking him out.
CUT to the Cromwell Estate. Soldiers are moving around on the road.
GWEN: (voice-over) Yeah, they're spies. Hush now, darling. Nice and quiet.
CUT inside the Davies house. Gwen is putting a pink coat on a little girl.
GWEN: Don't make a sound, that's right, like a game, yeah?
ANDY: (into the radio on his jacket) Alpha one-eight-six to Control. Is anyone there?
GWEN: Fingers on lips.
She puts her finger to her lips and the little girl imitates her.
RHIANNON: Now, you don't make a noise until we get there, OK? You stay nice and quiet, and I'll get you some sweets, yeah?
RHYS: Where is this place?
RHIANNON: It's down by the field, it's all boarded up.
GWEN: Right, look. We've gotta go, right now.
RHiANNON: OK. Come on, everyone.
She continues the same general encouraging words under Andy's next line.
ANDY: Alpha one-eight-six to Control. Can you hear me?
RHIANNON: Come on, everyone, we're like spies. We're playing spies. Now, come on. That's it, no one makes a sound.
She and Rhys begin to herd the children out the back door in a line.
GWEN: Are you coming? Andy?
Andy, looking mutinous, goes out the front door. Gwen looks back at him, but she can't wait any longer; she follows the others out the back. Andy emerges from the front, hat in hand, as a line of soldiers run up to a nearby door.
ANDY: Control, this is Alpha one-eight-six. What's going on?
In back, Gwen and Rhys begin to lead the kids out. From the back, one of the troop carriers and some of the soldiers standing by it can be plainly seen. Rhys lifts the first girl into his arms.
RHYS: Take it easy. Take it easy, come on.
He leads them along; Rhiannon is further down the line.
RHYS: Hurry, come on. Come on. Keep tight, yeah.
JOHNNY: Rhi!
More soldiers run up to another house and bang on the door. Inside, a woman can be heard shouting.
WOMAN: What the hell are you doing?
Johnny comes out of the house next, jogging up to Rhiannon.
JOHNNY: You take them. I'm going out the front. Somebody's gotta stop them.
RHIANNON: No, Johnny, don't be stupid.
JOHNNY: It's not just us, you daft sod.
He kisses Rhiannon briefly, then goes. Soldiers are breaking into the houses now, and Gwen exhorts the children to move faster. They run along behind a low wall. Johnny's out front, running down the street to some other men who are standing on a corner.
JOHNNY: Danno! Where's Richie? Go get him, get Sammy, get all the boys.
MAN #1: What's happening?
MAN #2: What is it?
Another man, presumably Danno, starts off.
MEN: What's wrong, what's wrong?
JOHNNY: All that stuff on the news, all that inoculation stuff, it's bollocks, right? The government has sold us out. They're coming to get our kids, and we're not getting them back, boys, right? We got to stop them?
Another man runs up during this speech, into which the other men interject exclamations. Andy can be seen nearby as the soldiers move from one house to the next.
JOHNNY: We got to stop them...
The music is rising and Johnny's words become lost in the shouting. A line of soldiers forms up with clear riot shields and sticks. Johnny continues to shout, urging the other men on, and together the group, now larger, begins to march toward the soldiers. Other soldiers are carrying children screaming out of a house. At this sight, the crowd breaks and runs toward the soldiers, throwing bricks as they come.
The children are running in a line now, around a long brick wall and out of sight, as Johnny's mob engages with the soldiers. Another soldier continues to carry a screaming girl toward a troop carrier. Two other soldiers restrain the girl's father. Gwen, Rhys, and their charges run down and across a street, away from the violence. Johnny punches one soldier, then goes for another. Across the street, Andy looks on, his eyes angry. The soldiers are bearing Johnny down. Another child is taken from a nearby house, his mother in pursuit and stopped by more soldiers.
WOMAN: No! Give him back! Give him back!
Suddenly, Andy's had all he can take. He tears off the police jacket and the flak jacket underneath, undoing his belt, and wades into the fray. The children with Gwen, Rhys and Rhiannon continue to run. Andy belts one soldier. Another pushes Johnny down and holds him with his stick to Johnny's neck. Andy's punched in the stomach by another soldier, who pushes him down to the pavement, getting the stick against the back of Andy's neck.
Rhys is leading the children away from the estate, past a fence, down a gravel road to a couple of sheds; all are running as fast as they can go. Rhys puts down the little girl so that he can kick in a piece of corrugated-tin siding, and he ducks inside, holding it to let everyone in and directing them to go further in. Gwen is the last, and Rhys shifts the piece of siding to cover the opening again.
DAVID: Oh, it's stinking!
RHIANNON: (whispering) Keep your voice down.
The children all find places to sit, and Gwen kneels to talk to them.
GWEN: Yeah, what I need you to do is to be as quiet as you possibly can, like mice.
CUT to Ashton Down, where Dekker is being escorted down a hallway by four of the men in black. Further down the hall, Alice sits with Steven. As the group passes them, Alice stands, and then Steven does as well when he sees who's coming next.
Steven: Uncle Jack!
He runs at Jack, who also has an escort (which includes Johnson) and who is still handcuffed.
JACK: Hey, soldier!
Steven hugs Jack, grinning.
JOHNSON: We haven't got time!
JACK: Listen, stay with your mom, OK?
Steven goes back to Alice, and Jack and his escort continue down the hallway. Jack looks at Alice as he goes by, but they have no time to talk. Suzanne is behind them, and Alice approaches her.
ALICE: Sorry, would you...
She bends to kiss Steven on the cheek.
ALICE: I'll be back.
She hurries after Jack. Suzanne leads Steven away.
Dekker and Jack are brought into the big open area previously used for footie. Dekker's equipment has been brought here as well, and lights are set up to illuminate the empty space. Dekker and Jack are led into the center of the circle of equipment; their cuffs are undone.
JOHNSON: This should be everything you need. And if it's not, we'll find it.
JACK: For what?
JOHNSON: Wavelengths. The 456 are named after a wavelength, and that's got to be the key to fighting back.
DEKKER: You're wasting your time. There's nothing you can do. I've analysed those transmissions for forty years and never broke 'em.
Without batting an eyelash, Johnson turns, draws, and fires. Dekker shouts in pain and collapses to the floor. She reholsters her gun and returns her attention to Jack.
JOHNSON: What do you think, Captain? She told me you were good. Was she right?
At 'she', she nods slightly to Alice, who's standing back a bit behind Jack. Jack turns to look at Alice, and for the first time in quite a while, a smile comes to Jack's face.
JACK: Let's get to work.
He takes off his coat and walks off to get started. Johnson begins to smile.
Over the classic Torchwood music, Jack starts to it, going to a keyboard.
JACK: Get me access to the Torchwood software.
He goes to a laptop and starts typing.
JACK: Log on to the servers and...
A computer-generated sound almost like a voice comes up as Jack gets into the server.
JACK: Welcome back.
Dekker's behind him, leaning on a crate, his injured leg wrapped with a bandage.
DEKKER: It still won't work. There's nothing on there. It's useless.
JACK: We've got technology way beyond you.
DEKKER: We hacked into Torchwood years ago, you idiot. There's nothing.
JOHNSON: Bring him over here.
ALICE: Dad, come and look at this.
She's at another laptop. Dekker groans as two of the soldiers lift him to his feet. Jack joins Alice at her laptop.
ALICE: It's some sort of pirate station. They're trying to get the story out to the public. But they're taking the kids.
On the laptop, we see video of the school busses rolling by, one after another, each full of children.
WOMAN: We're broadcasting this on digital one four one. It's the kids! Tell everyone to tune in to one four one.
The shot cuts to an image of a bus disappearing behind chickenwire fencing.
CUT to a troop carrier leaving an army base, followed by school bus after school bus. The busses are driven up to a line of soldiers standing in wait. The children inside are let out and guided away in lines.
CUT to the shed where Gwen, Rhys, Rhiannon, and the children are hiding. The children fidget nervously, but are generally quiet. The wind can be heard, rattling the tin of the building. Gwen is holding the small girl who was carried by Rhys earlier, and the camera pans up to her face, revealing that she's in the middle of the speech shown at the beginning of the episode. Rhys holds the camera.
GWEN: There's one thing I always meant to ask Jack. Back in the old days. I wanted to know about that Doctor of his. All those times in history when there's no sign of him, I wanted to know why not. But I don't need to ask anymore. I know the answer now. Sometimes the Doctor must look at this planet and turn away in shame. I'm recording this in case anyone... in case anyone ever finds it. So you can see... you can see how the world ended.
Slowly, Rhys lowers the camera. He has to wipe a tear from his face; then he looks up at Gwen again.
RHYS: Y-y-y-you didn't mean it, did you? About... getting rid of it?
GWEN: No, of course I didn't.
RHYS: OK.
GWEN: I would never...
Rhys crosses the gap between them and hugs her.
GWEN: Never. I wouldn't do that to you, sweetheart. No, I wouldn't, and I'm sorry.
He sits back again, wiping under his eye and sniffing hard.
GWEN: I'm sorry. All right, darling?
She smooths the little girl's hair absently.
CUT to the conference room.
GENERAL PIERCE: Illegal broadast on digital one four one. Close it down. And take out the whole network if you have to.
DENISE: We're up to eighty percent. The people are starting to fight back.
General Pierce presses a button on the phone in the middle of the table.
GENERAL PIERCE: Colonel, we're predicting eighty percent. Is that acceptable?
CUT to Floor 13. The 456 gurgle ominously in their tank.
COLONEL ODUYA: We have up to eighty percent of the designated children. Is that enough?
The 456 are silent for a long moment.
THE 456: All of them. All of the designated to us.
CUT to the conference room, as General Pierce absorbs this.
COLONEL ODUYA: (on the phone) Not acceptable, sir.
Denise and General Pierce exchange looks.
GENERAL PIERCE: We need the rest. Authorising maximum force.
Bridget Spears enters the room with a folder.
BRIDGET: The latest report from Germany. Old-fashioned hard copy, I'm afraid. The system's gone into meltdown.
DENISE: You don't have to be here.
BRIDGET: It's what he would have wanted.
DENISE: Do you think so? I can't imagine anyone wanting to be in this bloody room.
She walks past Bridget, who turns her gaze on Prime Minister Green, seated at the head of the table. He seems to have nothing to do; he is watching others work.
WOMAN: (on phone) Yes. Yes.
The shot closes in on a tight focus of Bridget's eyes.
CUT to Ashton Down. Jack talks with Johnson.
JACK: If we cycle the wavelength back at them...
DEKKER: I know what you're trying to do. A constructive wave.
Jack watches him warily.
DEKKER: Do you think people aren't working on that all over the world? But it's never gonna work. The effect would be like shouting at the 456, that's all. Just shouting.
JACK: Why did Clem die?
JOHNSON: It was the 456 that killed him.
CUT to the image from Day Four, Clem clutching his ears and screaming in pain as Gwen holds him.
JACK: But how did they do it? Why did they do it?
JOHNSON: We've got the recording here.
JACK: His mind must have synced to the 456 back when he was a child. But they didn't need to kill him. He wasn't any threat. Unless maybe that connection hurt them.
JOHNSON: This is the 456 at the moment of his death. We've lifted the sound from the Thames House link.
Dekker gets up to listen as the sound of the 456 screeching plays on Jack's laptop. It shows on the screen as a waveform.
JACK: That sound, Mr Dekker, what's that sound?
DEKKER: I don't know, it's new.
JACK: Exactly. It's new.
He's starting to look more hopeful.
CUT to an army base, where soldiers herd children into a large circle: one of the designated rendezvous points. The men stand around the children to corral them in place. Another bus comes in, then another, bringing more children. Soon the larged paved area is completely full of children below puberty.
CUT to Ashton Down. Alice has taken interest in the discussion now.
JACK: We don't have to analyse the wavelength, just copy it. Turn it into a constructive wave. But we've got no way of transmitting.
DEKKER: Of course you have.
JACK: Shut up.
DEKKER: Same way as them.
JACK: I'll find something else.
JOHNSON: What does he mean?
JACK: Don't listen to him.
JOHNSON: Dekker, tell me.
DEKKER: The 456 used children. To establish the resonance.
JOHNSON: Meaning what?
DEKKER: We need a child.
ALICE: What do you mean?
DEKKER: Centre of the resonance. Hoo! That child's gonna fry.
He chuckles. Jack is quiet, his eyes dark as he seeks solutions. Alice's face begins to grow scared.
ALICE: No, Dad. No, tell them no.
JOHNSON: One child or millions.
ALICE: Dad, no. Dad, tell them no!
JOHNSON: We're running out of time.
ALICE: Dad, no! No, Dad!
JOHNSON: Captain!
His face blank, Jack quickly nods. Alice's eyes are round with fright and she goes running.
ALICE: Steven!
CUT to the shed behind the estate. David is peeking out the opening. He sees soldiers running up to a woman on the street, who points in the direction of the shed.
DAVID: Rhys. Quick.
Rhys leaves Gwen to go look. When he peers out, he sees several soldiers jogging toward the shed.
RHYS: Incoming! Everybody out! Quick! Everybody out!
At his shout, everyone gets to their feet, heading for the far end of the shed.
RHYS: Quick! Come on! Let's go!
Outside, the soldiers approach.
RHYS: Quick! Come on! Quick! Come on. Quick, out.
He helps rush the children along. They have to climb up a ladder. Behind another ladder, a girl has hidden herself, crying.
GWEN: Come on, quick, quick, quick, quick, quick.
At the top, Rhys pushes out a piece of plywood closing up the entrance and hops out, leading the kids, grabbing at a little girl's hand. The soldiers kick in the tin blocking the front entrance and enter the shed. They shout directions to each other. The little girl behind the ladder shrinks, trying to not be seen. It's no good; one of the soldiers picks her up.
GIRL: Get away! Get away!
She screams as she's taken. The other soldiers run out the back way, pursuing the others.
ALICE: (voice-over) Steven! Steven! Steven!
CUT to Ashton Down; Alice is pelting down a hallway, three of the men in black in pursuit. One of them manages to stop her; another hikes Steven over his shoulder.
STEVEN: Mummy!
ALICE: No! Steven!
STEVEN: Mummy!
The men take Steven past Alice while she's held to the wall, unable to stop them.
STEVEN: Mummy!
ALICE: My baby!
STEVEN: Mummy! Mummy!
ALICE: Steven, run away!
CUT to the estate. The children scream as they run across wet, muddy ground, away from the pursuing soldiers. Gwen carries the little girl she was holding before; she lags behind the others. The images are blurred and jolted; much of the screaming is lost in the music overlaying these scenes.
GWEN: Run! Run!
CUT to Ashton Down. Jack sets up the necessary equipment as Steven is brought into the circle. He's set down on a stand in the middle of it.
STEVEN: What are we doing, Uncle Jack?
Jack doesn't respond, going from one laptop to another.
STEVEN: What's happening? What do you want me to do?
Alice, in the hallway, continues to scream.
ALICE: Steven, get away!
She finally manages to tear away from the soldiers holding her and goes running
CUT to the estate; the soldiers are catching up, nearly on the group of children, Rhys, Gwen, and Rhiannon. They descend, grabbing at coats to stop the children. One grabs David; another gets Rhiannon as a third starts to carry off Mica.
RHIANNON: No!
Her other shouts are indistinguishable over the music. Rhys is forced to the ground by another soldier. Gwen keeps running with her burdern.
CUT to Ashton Down. Alice runs back to the big room, but the door is locked and she can't get in.
ALICE: Steven! Steven!
Jack's work has become fast-paced and frantic now.
CUT to the estate, as soldiers continue to pursue Gwen.
CUT to Ashton Down.
ALICE: Run! Run!
Jack has completed his work. Steven stands in the center of the circle, confused. He looks around.
CUT to the estate. Gwen is still running.
CUT to Ashton Down. Jack stands before the laptop, his eyes swimming with unshed tears. Then he stabs a single key. A humming, buzzing sound begins to emerge from the equipment. Behind Dekker, screens show sound waveforms moving on a graph. Steven suddenly goes still. Jack types another command on the laptop, presumably copying the wavelength. Then he stands back.
Steven begins to make the shrill sound first given out by the children in Day One, the sound of attunement. On the other side of the reinforced glass, Alice can only watch in terror.
CUT to the army base. Every child on the pavement opens their mouth and begins to make the same shrill sound.
CUT to the estate. Gwen has set down the girl she was carrying as she, too, begins to make the sound.
CUT to an overhead shot of Thames House. Inside, on Floor 13, Colonel Oduya still stands before the tank. He can hear the sound, and so can the other UNIT soldiers in the room. And so can the 456. They begin to groan. Colonel Oduya watches in interest.
CUT to the army base. The children are all giving the sound in the exact same note.
CUT to Ashton Down. Steven begins to twitch as he makes the sound. His body jerks more and more violently as seconds pass. Alice hammers on the glass.
ALICE: Steven!
Steven's body moves so quickly it becomes a blur to the eye. Blood trickles from his nose and down onto his shirt.
CUT to Floor 13. The 456 react more violently. CUT to the army base. The children make the same sound. Cut to Floor 13. One of the UNIT soldiers trains his gun on the tank as the 456 flail in earnest, slapping their flippers on the glass and screeching. Then - instead of snot - blood splashes on the inside of the tank. Colonel Oduya covers his face instinctively. The 456 slam the tank hard.
CUT to Ashton Down. Steven's jerking and shaking grows more violent. Johnson has to look away. Only Jack remains witness, his face wet. Outside, Alice sobs, barely able to see through the glass through the condensation of her breath.
The cuts are very fast now. Floor 13: the 456 writhing. The army base, the children continuing. Floor 13 to the army base to Floor 13. Ashton Down: Steven's spasms are enormous and both nostrils leak dark blood. Tears slide down Johnson's face. Jack suppresses some show of emotion, his eyes shining.
Suddenly, the sound stops. On Floor 13, another violent gout of blood splashes the inner wall of the tank, followed by several smaller ones on every inner surface. Then the whole inside of the tank lights up in flames, startling Colonel Oduya and the UNIT soldiers, who shield their eyes. As they watch, the transportation process reverses, the fire shooting upward through the ceiling and into the sky, much faster than when it descended. The clouds close over the hole made in them and then disappear altogether.
CUT to the conference room. All that can be seen on the video feeds for Floor 13 is static.
GENERAL PIERCE: Colonel, do we have a report?
The room is completely silent.
GENERAL PIERCE: Colonel, what happened?
CUT to Floor 13. Colonel Oduya is still processing the events he just witnessed.
GENERAL PIERCE: (on phone) Colonel!
COLONEL ODUYA: It's gone, sir. The 456 has gone.
He walks slowly toward the tank, which is now completely empty, the inside walls clean, the atmosphere also apparently taken in the fire that removed the 456.
CUT to the estate, where Rhys has joined Gwen with the little girl.
GWEN: What did you do, clever girl? What did you do?
She hugs the girl tight and sinks back.
GWEN: What did you go?
RHYS: Hey!
Now that the threat has passed, the soldiers have released the children. Rhiannon sinks to her knees as Mica runs to her.
CUT to Ashton Down. Alice is still pressed to the glass.
JOHNSON: Let her in.
A buzzer sounds, and the door unlocks. Alice darts inside and runs straight through the circle to Steven, who lays limp on the stand in the middle of the equipment. Dried blood crusts his ears as well as his nose. Alice sits and pulls him into her lap, smoothing his hair, sobbing.
ALICE: No, no, no, no, no!
She turns her grieving face on her father as she gathers Steven's body to her.
ALICE: No! No! Somebody help him! Help him!
Jack stands passively, letting the tears fall, as the camera pulls away from his face. Alice's sobs echo in the room and she rocks Steven's body in her arms.
ALICE: No, please, no. Why? Why? Oh, please.
CUT to the conference room. The last of the officials are leaving the room. General Pierce stands at one end of the room, facing Prime Minister Green, who's still seated at the head of the table, while Denise Riley arranges some folders on the table and Bridget Spears stands nearby.
GENERAL PIERCE: Prime Minister.
He salutes, then turns and leaves the room. Once the Americans are all gone, Denise turns to the Prime Minister.
DENISE: The public will be wanting a statement, sir.
Green inhales deeply.
PRIME MINISTER GREEN: I suppose you could say we were lucky.
DENISE: A bit soon to tell. We don't know exactly what happened yet.
PRIME MINISTER GREEN: Lucky with the Americans, I mean. General Pierce took charge without ratification from the United Nations. We can say that today's events were in American hands.
BRIDGET: And do you think that's lucky?
PRIME MINISTER GREEN: (laughing) Yes, I, I do, rather.
BRIDGET: Your first thought now is to save your own skin. In which case, you might like to know, I paid a visit this morning, sir. I went to see Lois Habiba. You might remember her. I sat with her a while. We had a number of things to discuss. And while I was there, I used the emergency protocols to sign out a particular piece of evidence.
CUT to a flashback, showing Bridget signing a piece of paper while a policeman removes something from a plastic bag.
POLICEMAN: Thank you.
Bridget takes the item - a contact lens case. CUT to the present.
BRIDGET: Contact lenses, sir. The Torchwood contact lenses. And Lois was very helpful. She told me how they worked.
CUT to a flashback of Lois talking; no sound can be heard, but she seems to be illustrating the use of the lenses. CUT to the present moment.
BRIDGET: I can hardly feel them, sir.
We see a shot of the Prime Minister through the lenses.
BRIDGET: But everything that happened in this room has been recorded, sir. All waiting to be made public by me. Including your statement just now that after the events of today you feel, as you said in your very own words, sir, "lucky".
PRIME MINISTER GREEN: You wouldn't dare. I can have you arrested.
DENISE: I don't think so. Thank you, Bridget, you're free to go. And Miss Habiba will be released, I'll see to it myself. I think I'll be taking charge of very many things in the days to come. Is that all, sir?
The Prime Minister looks dazed, trying to form words but then giving up.
CUT to Ashton Down. Jack sits on a narrow bench in a long hallway. His silhouette is dark in the hall, with sunlight on the wall just beyond him; at the far end is a set of double doors. One of the doors opens, and Alice steps out; Jack's head turns when he hears the door open. Alice stops as the door swings shut behind her. She catches sight of Jack and goes still. Jack sits on the bench, his hands folded and expression guarded. After a moment, Alice steps backward, leaning on the door to press it open, and turns, walking away. Jack continues to sit for a moment as -- very faintly -- dialogue from earlier plays.
STEVEN: Uncle Jack!
JACK: Hey, soldier.
Finally, Jack takes a deep breath and stands, walking down the hall in the opposite direction from Alice. He pushes open the double doors leading outside and exits into light.
CUT to a dirt road, wet, overhung with trees and greenery. A car's headlights show and come closer as the title card comes up.
Title card: SIX MONTHS LATER
As the car approaches, the occupants are revealed: Gwen and Rhys. Rhys is driving. He pulls the car off to the side of the road and cuts the engine. Both unbuckle their seatbelts, and Rhys gets out, coming around to open Gwen's door for her. Her smile is fond.
RHYS: There's no more road. We'll have to walk from now on. You all right?
Out of the car, Gwen's huge belly is revealed.
GWEN: You fuss over me one more time...
RHYS: I'm just saying.
GWEN: Well, don't.
Rhys locks the car with a little beep from the remote, and they start to walk, smiling at each other.
The view from the top of the hill shows Cardiff spread out below them, lights marking the roads and buildings. Gwen and Rhys hold hands as they climb to the top. They pause part of the way there, seeing something, and the camera turns to reveal Jack standing at the top of the hill, his coat buckled around him. Gwen chuckles, holding her belly, and she and Rhys finish walking up to meet him.
GWEN: Couldn't have just chosen a pub, could you?
RHYS: It's bloody freezing. My feet.
JACK: Oh, I missed that, the Welsh complaining. You look good.
GWEN: I look huge.
RHYS: She's bloody gorgeous.
Jack smiles at that, and Gwen approaches him.
GWEN: You OK?
JACK: Yeah.
She touches his collar as if to neaten it.
GWEN: Did it work?
JACK: Travelled all sorts of places. This planet is too small. The whole world is like a graveyard.
GWEN: Come back with us.
JACK: Haven't travelled far enough yet. Got a lot of dirt to shake off my shoes. And right now, there's a cold-fusion cruiser surfing the ion reefs just at the edge of the solar system, just waiting to open its transport dock.
As he speaks, he looks up, and a light winks in the sky high above. Then he returns his gaze to Gwen.
JACK: I just need to send a signal.
Gwen holds up a finger: 'one second'. She digs in her pocket and produces Jack's wriststrap.
GWEN: They found it in the wreckage. Indestructible. Like its owner.
She gives it to him, and he places it on his wrist.
GWEN: I, eh, put on a new strap for you.
RHYS: Cost me fifty quid, that.
JACK: Bill me!
GWEN: Are you ever coming back, Jack?
JACK: What for?
GWEN: Me.
Gwen begins to get teary.
GWEN: It wasn't your fault.
JACK: I think it was.
GWEN: No.
JACK: Steven and Ianto and Owen and Tosh and Suzie and... All of them. Because of me.
GWEN: But you, you saved us. Didn't you?
JACK: I began to like it. And look what I became. Still. I have lived so many lives. It's time to find another one.
He steps back from Gwen and lifts his wriststrap (which, despite the claim of having a new leather band, still has the old marks of use). He presses a button and it begins to send a continuous beep.
GWEN: Th-they died, and I am sorry, Jack, but you cannot just run away. You cannot run away.
The teleportation field begins to shimmer over Jack.
JACK: Oh, yes, I can. Just watch me.
He's gone in a shimmering ball of light that shoots upward. A moment later, a light shines brightly from the sky, then winks out. Gwen stands, looking up and crying, as Rhys walks up behind her. Gwen puts her face in her hands and sobs. Gently, Rhys leans in.
RHYS: Let's go home, yeah?
Gwen turns to Rhys, still crying.
GWEN: Yeah. Yeah.
She looks up again, her hands still folded, and then turns and walks away with him, his arm around her shoulders. She looks back, once, but then continues walking with Rhys, leaning on him and patting his back as they make their way down the hill.
END CREDITS
CAST
Captain Jack
JOHN BARROWMAN
Gwen Cooper
EVE MYLES
Rhys Williams
KAI OWEN
John Frobisher
PETER CAPALDI
Brian Green
NICHOLAS FARRELL
Bridget Spears
SUSAN BROWN
Alice Carter
LUCY COHU
Mr Dekker
IAN GELDER
PC Andy
TOM PRICE
Lois Habiba
CUSH JUMBO
Johnson
LIZ MAY BRICE
General Pierce
COLIN McFARLANE
Denise Riley
DEBORAH FINLAY
Rhiannon Davies
KATY WIX
Johnny Davies
RHODRI LEWIS
Anna Frobisher
HILARY MACLEAN
David Davies
LUKE PERRY
Mica Davies
AIMEE DAVIES
Steven Carter
BEAR McCAUSLAND
Holly Frobisher
JULIA JOYCE
Lilly Frobisher
MADELEINE RAKIC-PLATT
456 Voice
SIMON POLAND
Female Teacher
LORNA BENNETT
Mum
RHIANNON OLIVER
Newsreader
LOUISE MINCHIN
1st Assistant Director
STEFFAN MORRIS
2nd Assistant Director
JAMES DeHAVILAND
3rd Assistant Director
DAVID CHALSTREY
Location Manager
NICKY JAMES
Assistant Location Manager
GARETH SKELDING
Unit Manager
RHYS GRIFFITHS
Production Co-ordinator
CLARE RUTTEMAN
Production Secretary
CLAIRE THOMAS
Runners
ALISON JONES
NICOLA BROWN
TOM EVANS
Drivers
SEAN EVANS
WYNFORD FINNEY
Assistant Production Accountant
CAROLE WAKEFIELD
Continuity
NON ELERI HUGHES
Camera Operators
JAMES LEIGH
ALWYN HUGHES
Focus Puller
STEVE REES
JAMIE SOUTHCOTT
Grip
CLIVE BALDWIN
Camera Assistant
TOM HARTLEY
JON VIDGEN
Boom Operator
JEFF WELCH
Sound Assistant
BRYN THOMAS
Gaffer
MARK HUTCHINGS
Best Boy
STEVE SLOCOMBE
Electricians
BEN GRIFFITHS
JONATHAN COX
GARETH WILLIAMS
Stunt Co-ordinator
TOM LUCY
Supervising Art Director
STEPHEN NICHOLAS
Standby Art Director
ARWEL WYN JONES
Standby Props
PHIL SHELLARD
JACKSON POPE
Standby Carpenter
WILL POPE
Rigger
KEITH FREEMAN
Props Master
STUART WOODDISSE
Set Decorator
JULIAN LUXTON
Construction Manager
MATTHEW HYWEL-DAVIES
Graphics
BBC WALES GRAPHIC DESIGN
Costume Supervisor
LINDSAY BONACCORSI
Costume Assistant
SARA MORGAN
GEMMA EVANS
Make-up Supervisor
ABI BROTHERTON
Make-up Artists
NEL BATT
HANNAH PROVERBS
Casting Associate
ANDY BRIERLEY
Assistant Editor
CARMEN SANCHEZ ROBERTS
Post Production Supervisors
HELEN VALLIS
CHRIS BLATCHFORD
On Line Editor
GERAINT PARI HUWS
Colourist
JON EVERETT
Dubbing Mixer
TIM RICKETTS
Sound Supervisor
DOUG SINCLAIR
Sound Effects Editor
HOWARD EAVES
With Thanks to the
BBC National Orchestra of Wales
Casting Director
ANDY PRYOR CDG
Production Accountant
CERI TOTHILL
Sound Recordist
JULIAN HOWARTH
Costume Designer
RAY HOLMAN
Make-up Designer
MARIE DORIS
Title Music
MURRAY GOLD
Composer
BEN FOSTER
Visual Effects
THE MILL
Special Effects
ANY EFFECTS
Prosthetics
MILLENNIUM FX
Editor
PHILIP KLOSS
Production Designer
EDWARD THOMAS
Director of Photography
RORY TAYLOR
Assistant Producer
BRIAN MINCHIN
Production Executive
JULIE SCOTT
Associate Producer
CATRIN LEWIS DEFIS
Executive Producers
RUSSELL T DAVIES
JULIE GARDNER