07x11 - Crimson Horror

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EXT. STREET, NIGHT

Workers trudge up the cobbled street away from the mills, their tall chimneys belching smoke.

MAN: (V.O.) If I have not returned in an hour, you must fetch the police.

INT. FACTORY, HALL, NIGHT

In the hall, a young WOMAN is with a MAN.

WOMAN: Edmund! (kisses him)

EDMUND: Don't fret, Effie, my dear. All will be well. But we must get to the bottom of this dark and q*eer business, no matter what the cost.

EDMUND walks down the hall to the door at the end. There is a round window in the door and we can see a red glow. He looks back at EFFIE before going through the doorway. Almost as soon as he had gone through, the lift arrives. EFFIE turns around to see a number of women exit, all clad in demure black gowns with black bonnets.

EFFIE: Mrs Gillyflower!

In the centre of the group is an older woman, MRS GILLYFLOWER. She speaks with a local accent.

GILLYFLOWER: We have come about your husband, my dear. A tragedy.

EFFIE: My husband?

GILLYFLOWER: Your... late husband.

EFFIE: There must be some mistake. My husband is quite well.

An agonized scream comes from behind the closed door. EFFIE looks at the door before turning back to face GILLYFLOWER. The woman has a look of feigned concern on her face.

GILLYFLOWER: We are so very sorry for your loss.

EFFIE screams as the other women advance towards her.

INT. MORGUE, DAY

The CORONER lowers the sheet from the body to reveal it to EDMUND'S brother, Mr THURSDAY. EDMUND'S skin is a deep red and his face is set in terror.

CORONER: Hell fire! That's put me right off me mash. Another one!

THURSDAY: (holds handkerchief over nose and mouth) Another?

CORONER: He's not the first I've had in 'ere looking like that. The Crimson Horror! That's what they're calling it!

THURSDAY: I have no interest in the deplorable excesses of the penny-dreadfuls. (turns to leave)

CORONER: (snaps fingers) Hey, hey. Payment in advance, flower.

THURSDAY reaches into his pocket and takes out some coins. He reaches across the body to pay the CORONER. The CORONER grabs his hand.

CORONER: Taking a big risk, you see, I am. They'd have my vitals for fiddle-strings if they knew I'd let you come to have a look at one of their precious stiffs.

THURSDAY: (pulls hand free) This "stiff" is my brother. I've come up from London to bring him home. (walks away)

CORONER: Oh, aye?

LONDON

EXT. STREET, DAY

A horse-drawn hansom cab passes in front of an impeccably kept row of white houses, probably somewhere in Mayfair.

THURSDAY: (V.O.) Thank you for agreeing to this meeting, I'm told you are the investigator to see if there are strange goings-on.

INT. VASTRA'S HOUSE, CONSERVATORY, DAY

VASTRA sits in a large wicker chair, JENNY standing at her side. THURSDAY sits in the chair opposite.

VASTRA: I read of your brother's death. Another victim of the Crimson Horror, I believe?

THURSDAY: So it is claimed. He was a newspaper man. He and a young woman were working undercover. (leans forward) Tell me, Madame, do you know what an optogram is?

VASTRA: It is a silly superstition, sir. The belief that the eye can retain an image of the last thing it sees.

---

FLASHBACK

INT. MORGUE, DAY

THURSDAY takes a photograph of his brother's staring eyes.

---

INT. VASTRA'S HOUSE, CONSERVATORY, DAY

THURSDAY stands and reaches into his pocket. He takes out a photograph and hands it to JENNY. JENNY passes it to VASTRA.

VASTRA: (removes veil) Good grief!

THURSDAY: Oh, God! (faints)

INT. VASTRA'S HOUSE, DARK ROOM, DAY

JENNY is making enlargements of the photograph. She clips it on the line to dry and looks closer.

JENNY: Well, I'll be blowed! I think, Madame, that we'd better make plans to head North!

VASTRA comes over to look at the photo. In the dead man's eye is the DOCTOR.

---

Matt Smith
Jenna-Louise Coleman

DOCTOR WHO
"The Crimson Horror"
By
Mark Gatiss

PRODUCER
Marcus Wilson

DIRECTOR
Saul Metzstein

---

INT. CARRIAGE, DAY

VASTRA and JENNY are facing forward and STRAX is facing them.

VASTRA: According to my research, Sweetville's proprietor holds recruitment drives for her little community. She is only interested in the fittest and the most beautiful.

STRAX: You may rely on me, ma'am.

VASTRA: I was, in fact, speaking to Jenny.

STRAX: Jenny? If this weak and fleshy boy is to represent us, I strongly recommend the issuing of scissor grenades, limbo vapour and triple-blast brain splitters.

VASTRA: What for?

STRAX: Just generally. Remember, we are going to the North.

EXT. BUILDING, DAY

A poster has been pasted to the brick wall. It reads "Tonight! In Person! Mrs. Winifred Gillyflower on the Present Moral Decay and the Coming Apocalypse!"

GILLYFLOWER: (V.O.) Bradford, that Babylon for the Moderns, with its crystal light and its glitter.

INT. CHURCH HALL, DAY

Mrs. GILLYFLOWER is standing at the raised podium flanked by two young men and two young women, all dressed in black. To one side is a screened area and on the other is an easel with a cloth draped over it. There is a large audience. JENNY is in the audience.

GILLYFLOWER: All aswarm with the wretched ruins of humanity. Men and women crushed by the devil's juggernaut! And moral turpitude can destroy the most delicate of lives. Believe me, I know. I know.

One of the young women pulls a cord and the screen opens to reveal another young woman sitting down and dressed in a light grey coat.

GILLYFLOWER: My own daughter. Blinded in a drunken rage by my late husband! (the daughter turns around) Her once-beautiful eyes, pale and white as mistletoe berries. (the daughter stands and walks across the stage with a cane) And what, my friends, is your story? Will you be found wanting when the End of Days is come, when judgement rains down upon us all? Or will you be preserved against the coming apocalypse? Do not despair! I offer a way out! There is a different path! Sweetville! (the daughter removes the drape on the easel to reveal an artistic rendering of an idyllic village) Join us! Join us in this shining city on the hill! (sings) Bring me my bow of burning gold Bring me my arrows of desire...

LATER

JENNY is in line to sign up to join Sweetville.

GILLYFLOWER: You wish to join us, my dear?

JENNY: If it's all the same with you, ma'am.

GILLYFLOWER: Oh, yes, dear. You'll do very nicely.

GILLYFLOWER hands JENNY the pen and she signs the ledger.

EXT. ALLEY, DAY

VASTRA and STRAX stand opposite a wall bearing one of the posters for Mrs. GILLYFLOWER'S lecture.

VASTRA: If our strategy is to succeed, Jenny will infiltrate deep into the black heart of this place.

STRAX: And how will she locate the Doctor?

VASTRA: To find him, she needs only to ignore all keep-out signs, go through every locked door, and run towards any form of danger that presents itself.

STRAX: Business as usual, then.

VASTRA: Business as usual.

INT. SWEETVILLE, MAIN BUILDING, ATTIC HALL, DAY

Mrs. GILLYFLOWER'S daughter, ADA, climbs a spiral staircase with her cane under her arm and a plate in hand. She reaches the top of the stairs and walks up to a locked door. She fumbles with her hand on the door until she finds a handle. She kneels and slides a panel up from the bottom. She pushes the plate inside and closes the panel.

ADA: Did you think I'd forgotten you, dear monster? Hmm?

There is a loud rattle of heavy chains just inside the door and ADA pulls back. She stands and heads back down the stairs using her cane.

EXT. STREET, DAY

THURSDAY walks up to the door of a non-descript door, pushing hanging sheets out of the way. He uses the door knocker and the door opens.

THURSDAY: I have travelled from London expressly to see Madame Vastra. If you'd be so kind as to announce me, my good man. (hands over his calling card)

STRAX: Whom should I say is calling?

THURSDAY looks up, sees STRAX and promptly faints.

INT. VASTRA'S HOUSE, PARLOR, DAY

THURSDAY is unconscious on the couch and STRAX is using a lady's fan to give him air. VASTRA is sitting on a chair looking at a photograph.

STRAX: It asked for permission to enter and then it fell over. What are we to make of it?

VASTRA: I imagine Mr Thursday wants to know what progress we are making. (stands) The question is, how did the Doctor's image come to be preserved on a dead man's eye? It is a scientific impossibility. I wonder how Jenny is getting on.

STRAX: If she hasn't made contact by nightfall, I suggest a massive frontal as*ault on the factory, Madame. Casualties can be kept to perhaps as little as 80%.

VASTRA: I think there may be subtler ways of proceeding, Strax.

STRAX: Suit yourself. (turns back to fanning THURSDAY)

INT. SWEETVILLE, MAIN BUILDING, HALL, DAY

JENNY is waiting in a long line for entry into the community. A young local woman stands beside her.

WOMAN: I'm dead nervous, aren't you? They have to be sure, you see. Only the best for Sweetville! I hope me teeth don't let me down. I'm Abigail.

JENNY: Pleased to meet you.

ABIGAIL: You're not local, are you?

JENNY: Nah. Up from London.

ABIGAIL: Different here, I bet.

JENNY: Oh, yeah! Like a bleedin' horse-market. Do you know anyone who's come to live here? In Sweetville, I mean.

ABIGAIL: I... I had a pal who come here three month back. She wrote to tell me how perfect it all were. Funny, though. I've not heard a peep from her since.

MAN: (O.C.) Next, please!

ABIGAIL: Hang on. We're moving.

ABIGAIL steps forward and JENNY slips over to a door marked "No Entry". JENNY looks around then unrolls her lock-

picks.

ABIGAIL: What you doin'?

JENNY: (works the lock) Do us a favour. Cause a distraction.

ABIGAIL: What?

JENNY: Swoon. Have a funny turn. Fit of the vapours.

ABIGAIL: Are you crackers?

JENNY: Go on. There's a guinea in it for you. (holds out the coin)

ABIGAIL: (takes coin) Done.

ABIGAIL takes deep wheezing breaths and faints. The people in line rush to her aid and JENNY slips through the door unnoticed.

INT. SWEETVILLE, MAIN BUILDING, HALL, DAY

JENNY opens a large heavy door.

INT. SWEETVILLE, FACTORY FLOOR, DAY

JENNY enters the room and looks around in amazement. As she walks into the room, we hear machinery. JENNY covers her ears and we see the sound is a recording projected by three large bell-shaped speakers. She steps past them, uncovers her ears and looks around at the large empty space. She sees some men crossing the floor carrying large glass flasks and ducks behind one of the speakers. In one of the flasks she can see a red liquid. They enter a lift.

INT. MORGUE, DAY

The CORONER pushes open a curtain revealing a number of glass jars on shelves. VASTRA looks over his shoulder.

CORONER: Them new manufacturers can do 'orrible things to a person. 'Orrible. I've pickled things in here that'd fair turn your hair snowy as top of Buckden Pike. (rubs tongue along lips in anticipation)

VASTRA: You know what I'm looking for.

CORONER: Oh, aye. All them bits found in't canal. The Crimson Horror!

The CORONER bends over and picks up a long-necked bottle containing a red liquid. He turns and gives it to VASTRA who lifts her veil.

VASTRA: It hardly seems possible.

CORONER: Eh?

VASTRA: I think... I think I've seen these symptoms before.

CORONER: Oh, aye?

VASTRA: A long time ago.

CORONER: Oh, aye? How long?

VASTRA: (turns around) About 65 million years!

INT. SWEETVILLE, MAIN BUILDING, PARLOUR, DAY

Mrs. GILLYFLOWER and ADA are sitting to dinner. ADA sits ramrod straight, delicately eating her soup as her mother slouches forward and slurps her soup.

ADA: I trust you had a pleasant day, Mama?

GILLYFLOWER: Tolerable.

ADA: Will Mr Sweet ever join us for dinner, Mama?

GILLYFLOWER: Mr Sweet is rather tired tonight, I fear.

We see there is a third place setting that remains untouched. Mrs. GILLYFLOWER reaches for the salt cellar and knocks it over, spilling some on the table.

GILLYFLOWER: Dear me. How clumsy I'm getting. (tosses salt over her shoulder) To keep the Devil at bay.

Mrs. GILLYFLOWER looks up at the man waiting on them. He nods and walks away. When she's sure he can't see, GILLYFLOWER pulls the napkin from the neckline of her gown and puts some salt down inside.

INT. SWEETVILLE, MAIN BUILDING, HALL, DAY

JENNY steps out of the lift and into the hall. She looks both ways and sees it is empty. At one end is a door with a round window through which she could see red. JENNY walks cautiously towards the door and peers through the window. She hears a noise and walks to the other end of the hall and finds the spiral staircase.

INT. SWEETVILLE, MAIN BUILDING, ATTIC HALL, DAY

She climbs the stairs and hears the banging coming from the room that contains ADA'S "monster". She steps up to the door and tries the handle to find it locked. She kneels down and lifts the panel to peer inside. A hand reaches out and grabs her neck. The skin is red. JENNY falls back as the hand lets go and the panel slams shut. JENNY stands and goes to the door.

JENNY: All right, mate. You just stay calm now! (chains slam against the door) I could open this door. Would you like that? (chains rattle a little softer) Thought you might. But you and me has got to come to an arrangement, savvy? (chains knock again) Now, you stand well back. (takes out lock-picks) Do you hear me? I don't mean no harm to ya'. But you try anything funny and I'll leave you here to rot. Is that understood? (two knocks) Right.

INT. SWEETVILLE, MAIN BUILDING, ATTIC ROOM, DAY

JENNY slowly opens the door. Standing directly opposite the door is a figure wearing combinations.

JENNY: Doctor?

We see it is the DOCTOR. His skin is red like the bodies found in the canal. His mouth his locked open and he reaches out towards her with a groan. He lunges towards her awkwardly, a regular Frankenstein's monster.

JENNY: What's happened to you?

The DOCTOR grunts and looks over to his clothes lying on the floor.

JENNY: Can't you speak?

The DOCTOR groans and JENNY tentatively taps his face and it sounds like wood.

JENNY: Right. We're getting out of here. (works the locks on the shackles)

INT. SWEETVILLE, MAIN BUILDING, HALL, DAY

JENNY helps the DOCTOR walk down the hall. He has his boots on but moves straight-legged, knees unable to bend.

JENNY: Come on!

They pass the lift that is on its way up.

JENNY: Come on! (hurries the DOCTOR along)

The lift opens and ADA steps out. She listens as the DOCTOR and JENNY keep walking but dismisses it. She walks the way JENNY and the DOCTOR had come from while the latter make their way through the door at the end of the hall.

INT. SWEETVILLE, MAIN BUILDING, "RED" HALL, DAY

JENNY looks stops and looks through a large window and the DOCTOR looks over her head.

INT. SWEETVILLE, MAIN BUILDING, VAT ROOM, DAY

A large vat bubbles away with the red liquid. A large rack is moved over the vat with six people suspended from it. A man moves a lever and the people are lowered into the liquid.

INT. SWEETVILLE, MAIN BUILDING, "RED" HALL, DAY

JENNY: Oh, my God. (looks at the DOCTOR)

The DOCTOR raises his arm and points down the hall.

INT. SWEETVILLE, MAIN BUILDING, ATTIC HALL, DAY

ADA approaches the door, another plate in her hand.

ADA: You're all I have, monster. But all will be well. Imperfect as we are, there be will room for us in the new Jerusalem!

ADA puts her hand on the door and it moves. She pushes it open.

INT. SWEETVILLE, MAIN BUILDING, ATTIC ROOM, DAY

ADA enters the room moving her cane back and forth over the floor. It hits the unlocked chains. She kneels down and feels with her hands.

ADA: No... NO! Where are you, monster? Where are you?

INT. SWEETVILLE, MAIN BUILDING, "RED" HALL, DAY

JENNY helps the DOCTOR to what looks to be a booth set into the wall. With a groan, the DOCTOR reaches both arms towards the handle on the door.

JENNY: What is it? You want to go there?

The DOCTOR groans even louder. JENNY opens the door and helps the DOCTOR inside, handing him his clothes. The DOCTOR reaches into his pocket and pulls out the sonic screwdriver and uses it on the controls. JENNY closes the door and ducks out of sight as two of GILLYFLOWER'S "helpers" walk by the open door. Strange noises come from the booth and a green light shows through the slates. Suddenly the door opens and the rejuvenated – and clothed – DOCTOR pops out.

DOCTOR: Ah! Missed me?

JENNY: Doctor!

DOCTOR: Jenny! Jenny, Jenny, Jenny! (runs down the hall, jumps in the air and clicks his heels) Just when you think your favourite lock-picking Victorian chambermaid will never turn up! (slides back to JENNY) Jenny! (dips her and kisses her)

The DOCTOR pulls her back up and slaps him.

DOCTOR: You've no idea how good that feels! Right! Mrs Gillyflower! We've got to stop her! (backs towards the door) And then there's Clara. Poor Clara. Where's Clara?

JENNY: Clara? Doctor, wait!

DOCTOR: Can't. Clara. Got to find. (leaves)

JENNY: What happened to you? How long have you been like that?

DOCTOR: (slides back) Days. Weeks. Don't know. Long story. I'll keep it short.

---

FLASHBACK

EXT. STREET, DAY

The TARDIS materializes and the DOCTOR steps out, followed by CLARA. CLARA is dressed in a period gown and the DOCTOR has a bowler.

DOCTOR: OK. Not London 1893. Yorkshire 1893. Near enough. (closes TARDIS door)

CLARA: You're making a habit of this. Getting us lost.

DOCTOR: Sorry. It's much better than it used to be. (puts a companionable arm around her shoulder) I once spent a hell of a long time trying to get a gobby Australian to Heathrow Airport.

CLARA: What for?

DOCTOR: Search me. Anyway...

A woman screams.

DOCTOR: Brave heart, Clara!

They run towards the scream.

EXT. CANAL SIDE, DAY

A body is floating face-down in the water. Its skin is red and it's clothed in white combinations. EDMUND is being restrained by a policeman.

EDMUND: It's another one, don't you see? Another victim! Why won't any one of you listen?

DOCTOR: We'll listen.

EXT. SWEETVILLE GATES, DAY

EDMUND walks with them to the gates of Sweetville and they look through the bars into the courtyard.

EDMUND: Mrs Winifred Gillyflower. An astonishing woman. A prize-winning chemist and mechanical engineer. So why...

DOCTOR: Why has she decided to open up a match factory in her old home town?

EDMUND: And no-one who ever goes to live there ever seems to come out.

INT. MORGUE, DAY

The DOCTOR, CLARA, EDMUND and the CORONER look at the body.

EDMUND: Same as the rest. All dead from causes unknown and their flesh...glowing.

CORONER: Like something manky in a coal cellar. They keep turning up in't canal. The Crimson Horror!

DOCTOR: Ooh. Good name. Hey, that's good, isn't it? The Crimson Horror! I wonder what it is. (examines boyd's eye with magnifying glass) Do you know the old Romany superstition, Clara? That the eye of a dead person retains an image of the last thing it sees?

CLARA takes a look for herself. Mrs. GILLYFLOWER is reflected in the eye.

DOCTOR: Nonsense, of course. Unless the chemical composition of the body has been massively corrupted.

The DOCTOR rubs the skin with his white gloves.

LATER

The DOCTOR uses the lab's chemistry set to analyze the red liquid.

DOCTOR: Wow. This is nasty. An organic poison. A sort of venom. And you think it's connected to Sweetville?

EDMUND: I do.

DOCTOR: Well, then, we need a plan!

INT. SWEETVILLE, MAIN BUILDING, PARLOR, DAY

GILLYFLOWER: Doctor and Mrs Smith. Oh, yes. You'll do very nicely.

The DOCTOR and CLARA stand side-by-side, acting as a couple. The DOCTOR speaks in a broad Northern accent.

DOCTOR: Oh, grand. Smashing. Eh, the missus and I couldn't be more chuffed, could we, love? (puts an arm around her shoulders and hugs)

EXT. SWEETVILLE COURTYARD, DAY

The DOCTOR and CLARA have linked arms and are following Mrs. GILLYFLOWER as she escorts them by the houses.

GILLYFLOWER: Sweetville will provide you with everything you need. You won't have to worry about a thing... ever again.

CLARA: (Northern accent) The name. Sweetville.

GILLYFLOWER: Yes?

CLARA: Why not name it after yourself? After all, it's your creation.

DOCTOR: Gillyflowertown, eh? Gillyflowerland! You could have roller-coasters.

GILLYFLOWER: (stops) It is named in tribute to my partner.

DOCTOR: Your late partner?

GILLYFLOWER: No. My... silent partner. Mr Sweet likes to keep himself to himself. Shall we move on? (motions to door)

DOCTOR: Who lives here?

GILLYFLOWER: Oh, names don't matter here. All you need to know is that we only recruit the brightest and the best. (pats CLARA on the cheek)

Mrs. GILLYFLOWER opens the door. The DOCTOR and CLARA look in to see a tableau of a husband and wife sitting motionless at their afternoon tea. They are covered by a giant bell jar hooked up to bellows. Men come up behind the DOCTOR and CLARA and the women come from inside the house.

INT. SWEETVILLE, MAIN BUILDING, VAT ROOM, DAY

The DOCTOR is on a rack and lowered into a bubbling vat. He is conscious as he goes under.

LATER

CLARA is one of many women standing in a row, catatonic. Mrs. GILLYFLOWER walks in front of them as if they are soldiers on parade. ADA stands opposite the women.

GILLYFLOWER: Like pretty maids all in a row. The process improves with every attempt! Mr Sweet is such a clever old thing. (looks down on the floor) Oh, into the canal with the rejects, Ada. (leaves)

ADA: Yes.

ADA walks over to the reject pile and hears a grunt. She kneels down and reaches out a hand and finds another that moves.

ADA: Ma...

ADA puts her hand in the palm of the other and it grips hers.

INT. SWEETVILLE, MAIN BUILDING, ATTIC ROOM, DAY

ADA locks the shackles around the DOCTOR'S wrists.

ADA: Sometimes, the preservation process goes wrong. Only Mr Sweet knows why. And only Mama is allowed to talk to Mr Sweet. But if you're very good, you can stay here. You'll be my secret. My special monster. (puts her fingers on his face) Shh.

ADA walks to the door and the DOCTOR grunts and reaches out to her. She closes the door.

LATER

The DOCTOR sits on the floor, legs stretched out in front of him. There is a noise from outside and the door bursts open and EDMUND enters screaming, dressed in combinations and dripping with venom. The last thing he sees is the DOCTOR. The DOCTOR puts his hands out and EDMUND falls to the floor.

---

INT. SWEETVILLE, MAIN BUILDING, HALL, NIGHT

The DOCTOR winds up his story and he walks with JENNY.

DOCTOR: Poor Edmund must have come looking for us. And then fallen into a vat of the pure venom. (looks out window) Or was pushed. Didn't stand a chance.

JENNY: What is that stuff, though?

DOCTOR: (crosses hall) Deadly poison. (scans with sonic) And Mrs Gillyflower's dipping her Pilgrims in a dilute form to protect them. Preserve them. Process didn't work on me. Maybe because I'm not human. I ended up on the reject pile. (looks out different window)

JENNY: Preserve them against what?

DOCTOR: Well, according to her, the coming apocalypse! (whistles as he spins his finger on the side of his head)

JENNY: "When the End of Days is come and judgement rains down upon us all..."

DOCTOR: (turns around and looks at her) What?

JENNY: Nothing.

DOCTOR: (walks back to her) No, what?

JENNY: Something Mrs Gillyflower said. One of her sermons. Madame will come looking for me. We'd best get on.

DOCTOR: Yes! Clara, got to find Clara. (hurries off)

JENNY: But, Doctor... Clara's dead. Isn't she?

DOCTOR: (turns in doorway) It's complicated.

EXT, STREET, NIGHT

STRAX halts the horse pulling the carriage.

STRAX: Horse! You have failed in your mission. We are lost, with no sign of Sweetville. Do you have any final words, before your summary execution? The usual story. (raises w*apon) Fourth one this week, and I'm not even hungry. (charges g*n)

BOY: Sweetville, sir?

STRAX: Do you know it?

A young BOY stands at the side of the road.

BOY: Turn around when possible. Then, at the end of the road, turn right.

STRAX: What?

BOY: Bear left for a quarter of a mile and you will have reached your destination.

STRAX puts the g*n down and holds his hand out to the BOY who climbs onto the seat beside him.

STRAX: Thank you. What is your name?

BOY: Thomas, sir. Thomas Thomas.

STRAX: I think you will do well, Thomas Thomas.

STRAX starts the carriage again.

EXT. SWEETVILLE COURTYARD, NIGHT

JENNY walks alongside the DOCTOR as he searches for CLARA.

JENNY: Are we talking about the same person? About that Clara?

The DOCTOR runs off to check one of the doors.

JENNY: Doctor!

The DOCTOR runs back to JENNY and puts an arm over her shoulders.

DOCTOR: Couldn't see much from where I was, but I think she survived the process. She must be here somewhere. (runs to check another house)

JENNY: But Clara d*ed. The Ice Lady... Doctor?

DOCTOR: (runs back) Well... it's... er... It's complicated. (runs off)

INT. SWEETVILLE HOUSE, PARLOR, NIGHT

The DOCTOR opens a door to one of the houses. Sitting primly under a bell jar with a man standing at her side is CLARA. He hurries in and pounds against the glass as he slides to the floor. JENNY rushes in behind him and stops when she sees CLARA. The DOCTOR stands, grabs a chair and throws it against the jar with a shout. The glass shatters.

INT. SWEETVILLE, MAIN BUILDING, ATTIC ROOM, NIGHT

ADA kneels on the floor of the room, the chains in her hands. She is crying when Mrs. GILLYFLOWER finds her.

GILLYFLOWER: What is the meaning of this?

ADA: (turns around) Oh, Mama, I have been foolish. I have formed a... a sentimental attachment.

GILLYFLOWER: An attachment? To whom?

ADA: A young man. Unlike the others, he survived rejection. He must be strong. Worthy of salvation.

GILLYFLOWER: Wrecker! Berserker! You have loosed a reject onto the outside world!

ADA: I have disappointed you.

GILLYFLOWER: My plans must be accelerated. Nothing must interfere with the Great Work!

ADA: But please say there is still room for me in your new Eden, Mama! Promise me that!

GILLYFLOWER: I will set my Pilgrims onto him. (turns to leave)

ADA: No! (grabs at the hem of GILLYFLOWER'S gown)

GILLYFLOWER: Kindly do not paw and slobber at my crinolines. You know I cannot bear to look at sick people.

ADA: Promise you will not abandon me, Mama, promise me that!

GILLYFLOWER: Do you not yet understand that there can be no place for people such as you? That only perfection is good enough for myself and for Mr Sweet. The bright day is done, child, and you are for the dark.

Mrs. GILLYFLOWER leaves and ADA continues to sob.

INT. SWEETVILLE, MAIN BUILDING, "RED" HALL, NIGHT

The DOCTOR is peering through the slats of the booth in which he was revived.

JENNY: Can she be revived, like you were?

DOCTOR: I hope so.

JENNY turns and sees some Pilgrims enter the hall. She taps the DOCTOR on the shoulder.

JENNY: Doctor.

DOCTOR: (turns) Oh, great. Great. att*ck of the supermodels.

The Pilgrims pull out coshes.

DOCTOR: Time for a plan.

JENNY: Nah, Doctor. This one's on me.

JENNY removes her bonnet and dress to reveal a Victorian style catsuit underneath. The DOCTOR does not how to take this. One of the male Pilgrims advances and JENNY grabs him and flips him on his back, putting her foot on his neck. A second comes forward and JENNY jabs him in the face with her elbow. A third advances and JENNY hits him in the stomach.

DOCTOR: That is a plan!

The remaining Pilgrims start tapping their coshes against their hands.

DOCTOR: OK. Time for a new plan.

The DOCTOR grabs JENNY by the hand and pulls her towards the opposite doorway. He backs away when he hears pounding footsteps. STRAX runs into the hall and fires his g*n towards the Pilgrims and they run away. VASTRA follows STRAX into the hall.

VASTRA: Quickly! Let's go!

DOCTOR: No! (looks into the booth)

JENNY: No, ma'am! We're not escaping! We've got to help the Doctor with Clara!

VASTRA looks at the DOCTOR as if to say "What have you done now".

DOCTOR: (turns around, embarrassed) Long story. (turns back)

STRAX: (walks over) What now, Madame? We could lay mimetic cluster mines.

VASTRA: Strax.

STRAX: Or dig trenches and fill them with acid.

VASTRA: Strax! You're overexcited. Have you been eating Miss Jenny's sherbet fancies again?

STRAX: No.

VASTRA: Go outside and wait for me until I call for you.

STRAX: But, Madame...

VASTRA: Go!

STRAX: (sullen) I'm going to go and play with my grenades. (leaves)

The DOCTOR scans the booth with the sonic.

DOCTOR: OK, I think she's about done. (opens door) I know who you think she is, but she isn't. She can't be.

VASTRA: I was right, then. You and Clara have unfinished business.

CLARA falls forward and the DOCTOR catches her.

DOCTOR: Hello, stranger.

CLARA: Doctor? (taps his nose)

DOCTOR: Uh-huh.

CLARA: (sees VASTRA and JENNY) Hi. (whispers to DOCTOR) What's going on?

DOCTOR: (Northern accent) Haven't you heard, love? There's trouble at t'mill! (normal voice) She's a lizard.

INT. SWEETVILLE, MAIN BUILDING, HALL, NIGHT

The DOCTOR, CLARA, JENNY and VASTRA stride down the hall to the lift.

VASTRA: My people once ruled this world, as well you know. But we did not rule it alone. Just as humanity fights a daily battle against nature, so did we. And our greatest plague, the most virulent enemy was the repulsive red leech.

The DOCTOR calls the lift.

DOCTOR: Ooh! The repulsive red leech! Nah. On balance, I think I prefer the Crimson Horror. What was it exactly?

VASTRA: A tiny parasite. It infected our drinking water. And once in our systems, it secreted a fatal poison.

DOCTOR: If it's been hanging around, lurking in the shadows, maybe it's evolved. Or maybe it's had help.

CLARA: Doctor, I've been thinking, the chimney...

DOCTOR: Yeah, yeah, yeah. Way past that now! Yucky red parasite from the time of the dinosaurs pitches up in Victorian Yorkshire. Didn't see that one coming!

CLARA: Yeah, but the chimney...

DOCTOR: But what's the connection to Mrs Gillyflower? "Judgement will rain down on us all..." (snaps fingers and slowly spins around) An empty mill.

CLARA: (puts her hands on the DOCTOR'S shoulders) A chimney that doesn't blow smoke.

DOCTOR: Clever clogs.

CLARA: Missed me?

DOCTOR: Yeah, lots! (kisses her forehead)

The lift arrives and they all get in.

INT. SWEETVILLE, FACTORY FLOOR, NIGHT

The DOCTOR, CLARA, JENNY and VASTRA hide behind some various bits of off-cast machinery.

DOCTOR: She's going to poison the air!

JENNY: How?

One of the Pilgrims pulls a lever and we see the method of delivery is a huge rocket.

CLARA: With that, I should think.

They continue to watch as two Pilgrims pull a cloth off a basket containing a flask of the red liquid.

DOCTOR: And there's the poison. All right, g*ng, I've got a plan.

They all stand and someone knocks over a metal pipe. They duck back down.

DOCTOR: (puts finger to lips) Shh! OK.

They slowly stand again.

INT. SWEETVILLE, MAIN BUILDING, PARLOR, NIGHT

Mrs. GILLYFLOWER is sitting at a large pipe organ set against the wall. She pulls the stops in a certain order and then a lever set in the wall beside it. The organ spins and in its place are the controls for the rocket.

INT. SWEETVILLE, MAIN BUILDING, HALL, NIGHT

ADA is sitting on an empty crate in the corner, crying. A door opens and the DOCTOR and CLARA enter the hall. She hears them.

ADA: Who's that? Who is there?

The DOCTOR kneels in front of her and takes her arm. She is startled. He lifts her hand to his face.

ADA: You. It's you! My monster. (puts her other hand to his face) You've come back! But you're...

DOCTOR: Warm. And alive. Thanks to you, Ada. You saved me from your mother's human rubbish tip. Now, what's wrong?

ADA: She does not want me, monster! I am not to be chosen. Perhaps it was my own sin, the blackness in my heart, that my father saw in me.

DOCTOR: Ada, no. That's nonsense. Stupid, backwards nonsense, and you know it! (takes her head in his hands) You know it. (rubs a thumb over the scars by her eyes)

CLARA: What is it?

ADA: (looks up) Who is that?

CLARA: I'm... (kneels beside the DOCTOR) I'm a friend, a friend of his.

DOCTOR: Then you are fortunate, indeed. It isn't good to be alone.

DOCTOR: Now, Ada, I need you tell me something - who is Mr Sweet? Ada?

ADA: (looks away) Oh, dear monster...

DOCTOR: Please. Tell me.

ADA: I cannot! Even now, I cannot! I cannot betray Mama.

DOCTOR: Well, come with us, then. (stands and puts a hand on ADA'S shoulder) There's something you need to know.

INT. SWEETVILLE, FACTORY FLOOR, NIGHT

JENNY and VASTRA watch the Pilgrims as they move about the floor. They also see one of the large flasks. JENNY looks at VASTRA who nods, and they slowly move from their hiding place.

INT. SWEETVILLE, MAIN BUILDING, PARLOR, NIGHT

The DOCTOR opens the door without knocking and strides in followed by CLARA. Mrs. GILLYFLOWER turns around and chuckles.

GILLYFLOWER: You do seem to keep turning up like a bad penny, young man. (walks over)

DOCTOR: Force of habit.

GILLYFLOWER: Can I offer you something? Tea? Seed cake? A glass of Amontillado?

DOCTOR: No, thanks. We've had a skinful already, as you might say.

GILLYFLOWER: Ha! Very funny.

DOCTOR: I'm the Doctor, you're nuts, and I'm going to stop you.

GILLYFLOWER: I'm afraid Mr Sweet and I cannot allow that.

DOCTOR: Oh, yes. Would it be impolite to ask why you and Mr Sweet are petrifying your workforce with diluted
prehistoric leech venom?

CLARA: So when do we get to meet him, this silent partner of yours? Why's he so shy?

GILLYFLOWER: Mr Sweet is always with us.

DOCTOR: You seem to have a very close relationship, you and your pal.

GILLYFLOWER: Oh, yes, Doctor. Exceedingly close. Symbiotic, you might say.

Mrs. GILLYFLOWER unfastens the top part of her gown that partially opens to reveal a large red leech attached to her. It turns its head to reveal a round mouth lined with sharp teeth.

INT. SWEETVILLE, FACTORY, NIGHT

Two gowned Pilgrims take the flask up stairs.

INT. SWEETVILLE, MAIN BUILDING, PARLOR, NIGHT

CLARA and the DOCTOR stare at the leech. Mrs. GILLYFLOWER is sitting and feeding it.

CLARA: Doctor... What is it?

GILLYFLOWER: A survivor! He has grown fat on the filth humanity has pumped into the rivers. That's where I found him.

DOCTOR: Very enterprising.

GILLYFLOWER: His needs are simple. And in return, he gives me his nectar.

DOCTOR: (sits beside her) Mrs Gillyflower, you have no idea what you're dealing with! In the wrong hands, that venom could wipe out all life on this planet!

GILLYFLOWER: (holds hands out in front of her, palms up) Do you know what these are? The wrong hands!

Mrs. GILLYFLOWER giggles and moves over to the mechanism and pulls another lever.

EXT. SWEETVILLE, FACTORY, NIGHT

The lights on the chimney light up in ascending order. On the ground THOMAS sees and taps STRAX on the shoulder before pointing. STRAX turns around and looks up.

INT. SWEETVILLE, MAIN BUILDING, PARLOR, NIGHT

The DOCTOR sees the lights on the chimney from the window.

DOCTOR: Planning a little fireworks party, are we?

GILLYFLOWER: You've forced me to advance the Great Work somewhat, Doctor. But my colossal scheme remains as it was. My rocket will explode high in the atmosphere, raining down Mr Sweet's beneficence onto all humanity.

CLARA: And wiping us all out! You can't!

CLARA starts towards the older woman but the DOCTOR puts a hand on her arm, stopping her.

GILLYFLOWER: My new Adam and Eves will sleep for but a few months before stepping out into a golden dawn. (clasps hands) Is it not beautiful, Doctor?

DOCTOR: (claps hands) Tell us about Ada, Mrs Gillyflower.

GILLYFLOWER: What?

DOCTOR: Your daughter. You do remember your daughter? Tell us about your daughter. (sits)

GILLYFLOWER: How can you speak of such trivia when my hour is at hand? The child is of no consequence.

DOCTOR: Is that why you experimented on her?

CLARA: Experimented?

DOCTOR: The signs are all there. The pattern of scarring. You used her as a guinea pig, didn't you?

CLARA: God!

GILLYFLOWER: Sometimes, sacrifices must be made.

DOCTOR: (stands) Sacrifices?

GILLYFLOWER: It was necessary! I had to find out how much of the venom would produce an anti-toxin. To immunise myself! Don't you see? It was necessary!

ADA: Mama? (stands at the door) Is it... Is it true?

GILLYFLOWER: Ada.

ADA: It is. It's true. True.

GILLYFLOWER: Ada, listen to me. (takes a few steps towards ADA)

ADA: (walks towards her mother) You hag! You perfidious hag! You virago! You harpy! All these years, I have helped you, served you. Looked out for you. Does it count for nothing? Nothing at all? (strikes her mother with her cane)

GILLYFLOWER: (puts arms up) Stop, stop.

ADA stops and Mrs. GILLYFLOWER leans against a door. CLARA picks up a chair.

DOCTOR: Hang on, I've got the sonic screwdriver!

CLARA: Yeah? I've got a chair!

CLARA throws the chair at the rocket's controls, destroying them and causing sparks to fly.

GILLYFLOWER: No!

DOCTOR: Yeah. That worked. I'm afraid your rocket isn't going anywhere, Mrs G. (puts the sonic away)

EXT. SWEETVILLE, FACTORY, NIGHT

STRAX nods to THOMAS and walks over to the base of the chimney.

INT. SWEETVILLE, MAIN BUILDING, PARLOR, NIGHT

ADA faces opposite her mother who is still by the door. The DOCTOR and CLARA stand in the middle of the room.

GILLYFLOWER: Please, come to me, Ada. My child. (takes the sobbing ADA in a hug) You have always been so very... (puts a revolver to ADA'S head) useful.

DOCTOR: No, Mrs Gillyflower.

ADA: Please, Mama. No more. No more.

GILLYFLOWER: And now, if you'll please forgive us, we must be going. It is long past Ada's bedtime!

Mrs. GILLYFLOWER pushes ADA through the door ahead of her. CLARA rushes over but the door closes and locks before she gets there. She pulls on the door knob.

DOCTOR: No... (reaches out to her) No, Clara. If we follow straight after her, she'll sh**t Ada on the spot.

CLARA: She wouldn't!

DOCTOR: She would!

The DOCTOR grabs the chair, holds it over his head and spins to face CLARA.

DOCTOR: Chairs are useful!

CLARA grins. The DOCTOR then charges towards the window with the chair, smashing the glass.

INT. SWEETVILLE, FACTORY FLOOR, NIGHT

Mrs. GILLYFLOWER pulls ADA along by her hand.

GILLYFOWER:
Come, Ada. Don't dawdle.

ADA: Please, Mama, stop.

Mrs. GILLYFLOWER stops to question some Pilgrims.

GILLYFLOWER: Has the venom been loaded?

PILGRIM: Yes, ma'am.

GILLYFLOWER: Then heaven awaits ya'!

Mrs. GILLYFLOWER continues on her way pulling ADA in her wake. The Pilgrims go the other way.

EXT. SWEETVILLE, COURTYARD, NIGHT

The DOCTOR and CLARA run along the pavement.

INT. SWEETVILLE, CHIMNEY STAIRS, NIGHT

Mrs. GILLYFLOWER pulls ADA backwards up the stairs around the rocket.

INT. SWEETVILLE, FACTORY FLOOR, NIGHT

The DOCTOR and CLARA arrive at the factory. The DOCTOR looks up and continues on. CLARA runs after him.

INT. SWEETVILLE, CHIMNEY, NIGHT

The DOCTOR and CLARA hurry up the stairs.

ADA: (O.C.) Stop!

The DOCTOR and CLARA rush at the sound of terror in ADA'S voice. They stop when they see Mrs. GILLYFLOWER holding ADA in front of her by a power box.

DOCTOR: Just let her go, Mrs Gillyflower. Let Ada go!

GILLYFLOWER: Secondary f*ring mechanism, Doctor! Mr Sweet and I are too smart for you, after all.

DOCTOR: Just let your daughter go, Mrs Gillyflower.

ADA breaks away and falls to the landing, holding herself up by the hand rail.

GILLYFLOWER: Ada! (cocks the revolver)

ADA: sh**t, if you wish, Mama. It is of no matter, for you k*lled me a long time ago!

The DOCTOR starts to move towards ADA but Mrs. GILLYFLOWER fires at him. He falls back, hands over his head. While Mrs. GILLYFLOWER struggles with cocking the p*stol, the DOCTOR tries for ADA again and is sh*t at again. Mrs. GILLYFLOWER opens the power box and begins to sing.

GILLYFLOWER: (sings) I'll labour night and day To be a pilgrim! (pulls lever)

While Mrs. GILLYFLOWER was opening the box, the DOCTOR goes to ADA. After Mrs. GILLYFLOWER, pulls the switch, the rocket's engines power up and it launches. The DOCTOR helps cover ADA against the wall. Mrs. GILLYFLOWER laughs.

EXT. ABOVE SWEETVILLE, NIGHT

The rocket flies up to the sky.

INT. SWEETVILLE, CHIMNEY, NIGHT

Mrs. GILLYFLOWER looks up to the sky.

GILLYFLOWER: Now, Mr Sweet, now the whole world will taste your lethal kiss!

DOCTOR: I don't think so, Mrs Gillyflower. (snaps fingers)

Two veiled figures appear on the landing above holding the flask of venom. They push the veils back to reveal VASTRA and JENNY.

GILLYFLOWER: Very well, then. If I can't take the world with me, you will have to do. Die, you freaks! Die! Die! (aims her g*n at JENNY and VASTRA)

STRAX: Put down your w*apon, human female!

STRAX is at the opening of the chimney and aims his w*apon at Mrs. GILLYFLOWER. She fires at STRAX and he fires back. She loses her balance and falls to the floor.

DOCTOR: Ouch! (winces)

The DOCTOR, CLARA, JENNY and VASTRA run to the last flight of stairs. Mr. Sweet releases his hold on Mrs. GILLYFLOWER and starts to crawl away.

GILLYFLOWER: No... No! Mr Sweet? Where are you going? You can't leave me now, Mr Sweet.

CLARA: What's it doing?

DOCTOR: It knows she's dying. She's no longer any use to it.

Mr Sweet crawls across the floor.

GILLYFLOWER: Mr Sweet!

ADA makes her way down the stairs, her cane tapping the steps.

GILLYFLOWER: Ada? Ada. Are you there?

ADA: (kneels beside her mother) I'm here, Mama.

GILLYFLOWER: Forgive me, my child. Forgive me.

ADA: Never.

GILLYFLOWER: That's... my... girl. (dies)

In the sky above them, the rocket explodes. The DOCTOR whistles and they look back to the floor.

JENNY: What will you do with that thing?

DOCTOR: Take it back to the Jurassic era, maybe. Out of harm's way.

ADA crosses the floor, tapping with her cane. It lands on Mr Sweet and she starts b*ating him to pieces.

DOCTOR: On the other hand... (stutters)

EXT. STREET, DAY

The DOCTOR and CLARA head for the TARDIS. JENNY, VASTRA, STRAX and ADA are there to say good-bye. They have the flask of poison.

DOCTOR: Right, London. We were heading for London, weren't we?

CLARA: Was there any particular reason?

DOCTOR: No. No. Just thought you might... like it.

CLARA: (looks back at ADA) Yeah. Maybe had enough Victorian values for a bit. (steps into the TARDIS)

DOCTOR: You're the boss.

CLARA: (leans out) Am I? (raises eyebrows)

DOCTOR: No. No... Get in.

CLARA goes inside and the DOCTOR walks over to ADA.

DOCTOR: Now, Ada, I'd love to stay and clear up the mess, but...

ADA: I know, dear monster, you have things to do.

DOCTOR: And what about you?

ADA: Oh, there are many things a bright young lady can do to occupy her time. It's time I stepped out of the darkness and into the light.

DOCTOR: Good luck, Ada. You know, I think you'll be just... (kisses her on the cheek) splendid. (goes over to VASTRA, JENNY and STRAX) Well, thanks a million, you three, as ever. Have some Pontefract cakes on me. I love Pontefract cakes! (fakes fencing with sound effects) See you around, eh? I shouldn't wonder. (turns back to the TARDIS)

JENNY: (runs after him) But, Doctor, that girl - Clara. (stops) You haven't explained.

DOCTOR: (goes back to JENNY) No. I haven't. (heads back to the TARDIS) Ah, look at the muck in here! (runs a finger along the TARDIS) Right! (enters)

STRAX takes the flask for VASTRA.

STRAX: Another one for the vault.

THURSDAY spots them and walks over.

THURSDAY: Ah! There you are. I called to see whether there had been any progress.

The TARDIS dematerializes and THURSDAY faints.

INT. MAITLAND HOUSE, FOYER, DAY

CLARA enters and checks herself in the mirror.

CLARA: The boss, yep, that's me!

CLARA continues into the house. On the small monitor screen, we see the TARDIS dematerialize.

INT. MAITLAND HOUSE, KITCHEN, DAY

CLARA walks in and leans on the counter. One of ARTIE'S toys, a Transformer robot is sitting there.

CLARA: (in deep voice as she moves the toy) I am the boss.

She looks over at the table and straightens up after seeing what's on ANGIE'S laptop. She walks over and sits down. On the screen is a group photo taken on the Russian submarine showing herself and the DOCTOR with the crew. She clicks on the picture underneath that to see the four of them at Claiburn House. ANGIE and ARTIE come up behind her.

ANGIE: It's you, isn't it? It's from the '70s, but it's definitely you.

CLARA: Of course it's not.

ARTIE: And that's you too, from 1983. I found it at school.

CLARA: No, it's just someone who looks like me.

ANGIE: And that's someone that looks like your boyfriend?

ARTIE: Is he an alien?

ANGIE: (to ARTIE) Why would he be an alien?

ARTIE: The chin.

ANGIE: And the time travel?

ANGIE clicks on a third picture that is of Victorian governess CLARA.

CLARA: (leans forward) That's not right.

ANGIE: You were in Victorian London.

CLARA: No, I was in Victorian Yorkshire. (eyes widen when she realizes what she's said)

ANGIE: How come you didn't tell us?

ARTIE: Time travel, that's so cool!

ANGIE: Can we have a go?

CLARA: Can you have a what?!

ARTIE: We want a sh*t at the time machine!

CLARA: No, no, no! Listen...

ANGIE: OK, or we'll have to tell Dad that our nanny's a time traveller!