06x02 - Coming To America

Episode transcripts for the TV show, "Doctor Who: Confidential". Aired: 26 March 2005 – 1 October 2011.*
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Series is described as focusing on the human element of the series, Confidential features behind-the-scenes footage on the making of Doctor Who through clips and interviews with the cast, production crew and other people, including those who have participated in the television series over the years of its existence.
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06x02 - Coming To America

Post by bunniefuu »

My fellow Americans, this is
President Richard Milhous Nixon,

and this

is Doctor Who Confidential.

BANG
Doctor!

TELEPHONE RINGS

You're going to have to trust us
this time. Trust you?

Fishfingers and custard.

CHILD: I'm scared Mr President.
I'm scared of the spaceman.

There's nothing out there.

I'm pregnant.

g*nsh*t
SHE SCREAMS

Hey, Confidential,
where are we, Darville?

We are in Moab. We are.
Which is in America.

We arrived when
it was really dark,

so we couldn't really
see any of the landscape.

Then we got up this morning
and saw that!

Which is amazing.
It really feels American.

It's because we're in America.
I know, but some places
don't feel that American!

Doctor Who Confidential
are in the US of A.

The team has travelled Stateside
to Utah to tell you the story

of how Doctor Who created
their very own American dream.

Day one and the crew arrived
to find the perfect backdrop

for the scene that says "America".

The director arrives at location

and the team discuss how they'll
capture that monumental scene.

That opening sh*t has to be epic.

We wanted a location that
said America like nowhere else

and these monuments
are so identifiable. One sh*t,
you know exactly where you are.

This is the country of John Wayne.

This is the US of A.

I'd like to start on the floor,
looking at the floor,

then we come up
and meet the bus as it's going past.

See the angle we're at
with the road now.

Travel with the bus a little bit,
then on to... Let the bus...

Let it go ahead,
then reveal the monuments.

So, we got here yesterday. Yeah.

We got a big plane to Denver.

A big jumbo jet.

It took hours.
Which was fine because it was
a sturdy, beefy beast of a plane.

Then... Then,
little to our knowledge,

we were getting on a rickety old...

-seater plane with no real back.

Have you seen how small
this plane is!

It was like a kind of tube
with two...

It was so narrow, wasn't it?
It was so narrow. Quite terrifying.

Me and Karen were sat by the
emergency exit - basically a window.

Part of the plane you could pull off.

The handles were right there,
beckoning me.

Yeah, slightly worried about that.

It was really weird because
the cockpit was just tiny.

Absolutely tiny. There was no door,
so you could just see the pilot

and it was just the pilot and the
guy who was like the air steward,

and that was it.

But it was fun, I've never
done anything like that before.

That's the moment when it felt like
we're on a massive road trip.

It feels like were on a bit
of an adventure. It does.

Arthur and are I are trying
to take this in

because this is what Amy and Rory
would have gone through to get
to the Doctor initially.

The stage is set but there's a small
problem - anyone seen the Doctor?

We've had to hire a charter plane
to fly him from LA

to the nearest airport
which can accept a flight at night,

which is still two hours' drive away.

So we've got to go and pick
him up about : tonight,

from an airstrip
in the middle of nowhere!

Then he'll be on set
first thing tomorrow morning.

The poor guy's
not going to sleep.

We're at that stage where
all the planning has gone ahead,

we think
we are there with the planning,

now we're just looking down
that road waiting for trucks

that have been driving all day
from Salt Lake City.

Our camera truck had a flat tyre
in Salt Lake City,

so we're sitting here
with fingers crossed.

Thankfully,
the trucks start arriving and the
crew get ready for the day's action.

"General announcement
that there may be rattlesnakes

"under the stage brush, so...

"don't go pee
without being careful!"

Every single year,
you're trying to say

"How do we come
crashing through the door this time?"

We said to Stephen,
"What do you really want to do?

"What is the thing you can't do
that you'd really love to do?"

And he came back very quickly
with this idea

of setting the first two episodes,

starting the series
with a two-parter,

a big juicy story the audience
could get their teeth into,

and setting them not just in
America, but in s America.

If we are going to go to America
let's do big American stuff,

something vast you don't normally see
in Doctor Who.

Howdy, Confidential,
and we are in the US of A!

Yee-ha!
We start off with
Amy and Rory and River Song

being summoned by the Doctor,

by these special blue envelopes,
to a particular point on the map.

Howdy! Doctor!

THEY LAUGH

Look at you. Hello!

Come here.
Someone's been a busy boy!

Did you see me? Hello, stalker.

Flirt! Husband!
Rory the Roman, come here, you!

One of the things we wanted to do
while we were here

was get American icons
into the story,

so in this scene, the original script
had a truck pulling up

and the Doctor getting out

but we wanted a way of getting
another of those American icons in,

so Toby had the brilliant idea of
swapping it for a yellow school bus,

which everybody knows from movies.

It's just another little bit of
America that we can't get in the UK.

I didn't believe that we would be
filming in America.

I thought they'd find some location
that would stand in for Utah.

I just couldn't quite believe it.

It was just extraordinary.
The light is different.

Here we go. Quiet, please.

'Obviously, the landscape
is very different..

River's entrance
had to be impressive.

At first, I didn't want you to see
who she was straight away.

I wear a Stetson now.
Stetsons are cool.

MAN: Bang!

And she makes
her entrance as she likes to,
by sh**ting a hat of the Dr's head.

She sh**t the g*n.

g*nsh*t

She blows the smoke off it.

Just as she does that,
she blocks the sun from the camera
and you see who it is.

Hello, sweetie.

River pretty much

in every episode
has said, "Hello, sweetie."

And obviously...
Spoilers.

It's quite fun, actually,
to have a catchphrase.

Shout if you get in trouble.
Don't worry, I'm quite the screamer.

Now there's a spoiler for you.

I was talking to Matt about River
and he said what's so lovely

is she's got this flirtatious edge to
her and I said, "Have I? Really? Me?"

Dr Song, you've got that face on
again. What face?

The clever face.

This is my normal face. Yes, it is.

Oh, shut up! Not a chance.

Roll sound...

Alex. Everyone is flirting today!

River is just the biggest flirt
in the world.

I guess she does have
a flirtatiousness.

I mean, it's very easy to flirt
with Matt because he's flirty, too.

She's in for a match
this year, though.

What, from you? Yeah, all right!

Dr River Song,
you bad, bad girl,

what trouble have you got for me
this time?

I did slap Matt.

You couldn't fake it.

He was very brave and he just kept
saying, "It's OK, just hit me."

So I was like, "OK, then." Whack.

But we had to do it so many times
that he was starting to get
really red cheeked.

And I could see him starting to get
a bit cross with me as well,

because every time I hit him,
I could see him go...

SEETHES AND SIGHS

Like that.

OK!

I'm assuming that's for something
I haven't done yet.

Yes, it is.

I felt so bad,
but at the same time I thought,
"I've got to do it again, I'm sorry."

So he was a bit cross.

But he's got his own back
in this episode.

I'm your new undercover agent
on loan from Scotland Yard,
codename the Doctor.

These are my top operatives.

The Legs, the Nose and Mrs Robinson.
I hate you. No, you don't.

I, um, was described as Mrs Robinson.

These are my top operatives.
The Legs, the Nose, Mrs Robinson.

LAUGHTER

And in a way, it's kind of,
I guess, true.

The icon of all sexiness,
Mrs Robinson.

Just because she is, of course,
the mature and sassy woman

terrifying the hell
out of our wise and ancient,
but rather young-looking, Doctor.

Bless! She's funny, flirtatious,
mad and she can fly the TARDIS.

River, have you got my scanner
working yet?

Oh, I hate him.
No, you don't!

I adore writing her. I have so much
more fun when River's in the show.

River, make her blue again!

There are certain things you want to
do. Where can you park the TARDIS?

Parking the Tardis
in the Oval Office

was just ridiculously exciting.

I just walked
into the highest security office
in the United States,

parked a big blue box on the rug -
you think you can just sh**t me?

You're used to seeing
the Oval Office and the police box,

but you haven't seen
one inside the other.

Don't sh**t! No sh**ting.
No need to sh**t us either.

Very much not in need
of getting sh*t!

I remember being awestruck
and thinking,

"Can we do that?
Can we make an Oval Office?"

Michael Pickwoad said,
"Yes, it's just a room."

There's an awful lot of pictures
of it, there's enough references,

you can find measurements, and
so we drew up the set, and built it.

Yes! Look at this.

What a set!

I think it's less
that it's the seat of all power,

and more that it was
regularly featured in the West Wing

that really made me excited.

I've actually been
in the Oval Office.

Years ago,
when I was still on ER,

we were taken around the White House
and the Oval Office.

I wasn't expecting it to be
as true to the actual room,

but it really was.

It's brilliant. Amazing.

It's accurately measured, so
this is exactly to the plans

of the real Oval Office,
the same size, the same height,

so it is actually this tall.

I love the colours,
the carpets are fantastic.

There's even an
eagle that they've done,

the same crest as inside the
White House, set into our carpet.

What's really weird
is when we put Stewart,
who's playing President Nixon,

behind this desk
and turned the camera on him,

he really does inhabit it
really well.

I was always destined
for this, I think.

I played George Bush,

I played Eisenhower,

but I've never actually been
in my own Oval Office.

So here I am now, finally. And it's
absolutely beautiful. Beautiful.

Family back there.

Meeting various people.

Over there is my Chief of Staff,
that's his office over there.

Over there is my reception area,
where my secretary is.

And that heads out
into the West Wing.

It's absolutely astonishing,
because it's as good as
anything I've been in.

I know the plasterers
had a nightmare.

Because it's an oval set
and not a square room,

with a square set
you can do two walls,

that gives you corners
to stop the plastering,

then you can do the other walls

and the plastering has time to
dry in between.

But an oval room, once the guys
start, there's no stopping.

it's all the way in one coat.

Hence there's a team of four guys
here today

who are going to do it
in one complete go.

It's time for new leadership
in the United States of America.

Richard Milhous Nixon.

Vietnam, Watergate.
There's some good stuff too.

But there is this wonderful
kind of delivery.

Every day, wherever I am.

I get a phone call.

Usually late at night. Man or woman?

Neither.

Listen.

And he was very loose with his mouth.

"Who is this?"

"This is President Nixon,
who's calling?"

All the Ps, "presidency", would be
the President of the United States.

This is a personal matter.

And, of course, because
I'm wearing these fake teeth,

that was another challenge.

So I had to wear these
for about a week or two

to get used to the fact
that I've got this bridge here,

get used to getting my
tongue around all the words

so that it didn't sound slushy.

But it was... To concentrate on it,
you listened, you work on it,

you improvise and try to make it as
much about Nixon as you possibly can.

It's all right,

I'm sending my best people.

This is Neill Gorton, he does
all our special effects make-up.

But he's with us today because
we're doing President Nixon.

We started off with looking at me.

No, your face is more that.

Two huge cheek pieces.

He had a very jowly
kind of face, like that.

And the nose, of course.

Look at that.

What a fantastic proboscis that is.

The ears. It's just that little bit.

I've got these pieces behind me here

that push my ears out slightly.

His ears were magnificent.

Nice.

There you go, Mr President.
There it is, Richard Milhous Nixon.

Well, the day usually starts
with porridge, tea

and a bunch of meetings.

We're filming the White House scenes
of episodes one and two,

but this morning, we're checking
the special-effect sh*ts
for the Christmas special.

We've only got a few weeks
before these have to be finished.

I come on set and we, er,
do what we call the block-through.

Welcome to the White House.

Morning, Mr President.
Morning, Tobes.

After the read-through,
we do the block,

where I put all the actors
in the positions I want them to be.

They play it out,
I look at where they're standing

and think about
where to put the camera.

OK, well, let's start off.

So Mr President,
if you would like to step this way.

Mark, if I put you
in that seat over there.

"This is President Nixon.
Who's calling?"

I talked it through with my DOP,
Stephan Pehrsson.

This way doesn't involve
any special effects,

so it means we get moving
and we get a leg on.

He sorts out his lighting
and we always sh**t one way first.

Normally we start with a nice, big,
wide sh*t, and then break it down

into individual sh*ts on each actor,
so they each get a go.

When we finish a scene,
what you think has been one moment,

for them, they've been running
the scene or times.

While that's happening here,
I'm about to go and check

on a green screen stage, another
sh*t I'm doing for this episode.

Come with me. Let's go.

So here we are, we call this
the old TARDIS stage

because this is where
David Tennant's TARDIS used to be.

In this scene, we put Matt
into a Laurel and Hardy film.

You're pulled in a hundred
directions, but that's fun.

We need you to do a rehearsal
just so you can give us an example...

Of this.

OK.

Best thing about directing
is how much tea you get.

You just go, "Can I have a cup of
tea?" and someone goes and makes it.

Got to be about that colour, there.

They've got to get it exactly right,
the right temperature or I just...

Come this way, come on, come on.

You'll do five or six takes then
when you see the right one...

See?

It's that magic moment
when you see the perfect take,

because it all comes together.

Yeah, Toby's watching.

Toby? You want to try and get
the eagle and the flag in.

That would be rather nice.

I don't ever get to say "action"
because I don't have a radio.

Martin, the First AD,
gets to say "action"

which is the tragedy of this job.

He's stripped me
of my own authority.

But I get to say "cut"
and that's the real power.

Good, and we'll cut there.

Cut. Good, excellent, nicely done,
very nice, let's move on.

So we're going to push in from here.
And then you lean forward.

Can you lean forward? That's nice.

Another good thing about Doctor Who
is how many sets we get built.

I love seeing how scrappy it looks
from the outside and then inside...

..you're in the White House.

I've spent a year doing Doctor Who,
which is great.

I used to watch it as a kid
and now I get to do it for real,

now I'm grown up.

It's the perfect job to do
if you don't want to grow up.

Nice waving there.

Oh, that's great, that's good.
How's the White House?

Going very well, very nice.

I'll pop over.
Good, OK. We all good? Yeah.

Cool, OK, back over.

A lot of walking in this job.
You never sit down.

Cut there.

Working very nicely.

Good stuff,
let's do a close-up on Matt.

We'll get you stepping off a box.
Let's take it slow.

It's a sh*t where the Doctor
bumps into the TARDIS.

We planned to sh**t it
from behind glass,

but I've seen what he's doing on the
floor and it's kind of funny anyway.

And getting a big pane of glass
on set here,

that's going to take about
minutes to set up,

so you're constantly thinking about
ways of getting more sh*ts,

getting more for your money,
more for your time.

Martin's my First AD.

Some of the questions I get asked,
he can answer,

so I can concentrate on the sh*ts
I want, the performances I want

and what the script needs.

Best part of the day, lunch.

So we're back, we've had our lunch,
it's always good

to get a first sh*t in quickly,
get the crew moving again.

Something nice and wide here.

We've got three pages of dialogue
to do in the last set-up,

so that's a lot of screen time for
what little of the day we have left,

but what I'm getting is great
and I'm really happy,

that's the important thing.

Let's, er, let's start you guys
over there and then everybody is...

This is a viewfinder,
this is how you choose your sh*t.

It's just a way of giving you what
the camera is going to see later on

and what you'll show your audience.

As a kid, all I ever used to do
was close one eye.

And then you're a film camera

and then you can just move around
and do the move.

Why don't we come here?

That's fine,
the TARDIS covers the chair.

We can set up this,
this works for a lot of it.

It's like a wide,
but then comes in. Look...

I mean, rattle off,
give me an hour to do him

because you've seen how many words
he's got to say.

Mr President, that child just told
you everything you need to know.

But you weren't listening.

Never mind, though,
cos the answer is yes.

Good, cut there, well done.

There we are, that's a wrap.

That's the end of my day on set.

Tonight, I'll go back... Thanks
very much, thank you, thank you.

..I'll go back to my flat,
and prepare for the next day

and the show goes on.

Steven just wanted a character,
a monster

that was going to challenge
all the other monsters

to being the scariest
Doctor Who has ever done.

Who's that?
HISSING

It was just a creepy idea I had once,
I've always been slightly haunted

by the idea of memory and
what memories were missing from you.

I was thinking how much of any
given year I completely forget.

I remember. Amy?
What do you remember?

I don't know.
HISSING

SPOOKY NOISES

There's nothing out there.

The idea of a monster that
you look away and you forget,

you don't know you've seen it,
I think is so creepy.

No, please, you've got to stay back.

Back, honey? Back from what?

You see one and you are terrified.

But the minute you turn away
or stop looking,

you've forgotten you've seen it.

All clear. They could have been there
for all time, you wouldn't know.

I have to tell the Doctor.

Tell him what, Ma'am?

What they represent
is a very, very much bigger deal.

Sorry, I don't know why I said that.

I can't remember a thing about them.

I don't know how important switching
from serious to funny actually is.

I just know it's great fun to watch.

If you want the full roller-coaster
of Doctor Who,

it should be proper scary,
proper funny.

Lots of shows do one or other.

Very few go as blatantly as we do,

to be as blatant as having
the Doctor starting naked,

appearing from under
a lady's skirt.

You know, this isn't nearly as bad
as it looks.

Then appearing upside down
in that tunnel in World w*r Two.

Just to warn you,
they're going to be dropping
some earth through the hole.

OK. And action.

Doctor? Doctor, what can you see?
Are we past the wire?

Are we in the wood?

Is the commandant's office
painted a sort of green colour

with a big flag on the wall?

I think the answer is probably yes.

They're filming
the very beginning of episode one.

They're filming a sequence
in which the Doctor

finds his way into a prisoner of
w*r camp in the Second World w*r,

and he sends a trick...

Sorry, sends a trick?!

Oh, look who it is. It's Beth and
Piers, the executive producers.

Piers is just saying
everything wrong.

Thanks for coming to set. Bye.

Thanks, Beth.

Amy and Rory are at home in their
flat, reading a history book...

It's a sort of prequel to quite a,
you know....

one of the darkest moments, well,
the darkest moment of his life.

It's a very funny sequence.

The key thing is
he's sending messages to Rory and Amy
through time, which they pick up.

He's waving at them from history.

He's being deliberately ridiculous
to attract our attention.

Are you watching this again?
Yeah, I've explained the jokes.

DOORBELL

Do you really think he's trying to
wave to us out of history books?

It's the sort of thing he'd do.

Here's our green screen stage,
where we sh**t this bit.

The green screen helps you get
an edge around somebody

you can cut them out
and put them on anything,

so we're putting Matt
into a Laurel and Hardy film.

It's when
they're both doing this.

So you're waving up front there and
you go back and you join them there.

So it's da-dum, da-dum, da-dum...

That's pretty much it.
You'll see yourself on the screen.

Shall we give it a go?
Play it for me this way.

So you're coming up to the camera,
Matt, you're doing this,

then you're going back...
Doing the dance.

Like that. I hope you're recording.

Then you turn around.

In behind them, though.

So whatever that is.

See where the position is on him?
We've got to get the camera up.

Shall we try it here?
Just one second.

If you're the camera, I want you
starting at the front of the frame

as if you've run up to the camera
going "Hello,"

like that.
Then you join into the dancing.

Give me the waves,
that's the important thing, you're
waving out of the telly at them.

When Stan's doing that

and then Laurel is doing that bit
with his coat tails,

you could do your own version
in the background,

doing something else,
like that or something funny.

Or I can try and do the...
I think that's...

They're each doing their own thing,
so you want your own thing.

MUSIC

Two months ago.
Two months is nothing.

He's up to something, I know he is.
I know him.

What is it? Amy?
A date, a time, a map reference.

I think it's an invitation.
From who? It's not signed.

Day three. In America.

It's pretty cold. Here he comes.

Missing the good stuff right here.
Oh, dear.

How's it going out there, Matt?

It's day three in...
We've already done that.

I know, I felt a bit left out.

Come in, get in this sh*t, you.

It's wonderful,
I've got to say.

You know, we've got these
wonderful locations.

This place is, you've seen
it for yourselves,

it's just devastatingly vast
and epic.

Nearly fell on the seaweed there,
well done, Confidential.

Yeah, so you know,

I think it's going to do something
really brilliant

for these first two episodes

and sort of start us off
on a grand scale, you know?

See you on the other side, dudes.

We're on Lone Rock Beach, which is
a beautiful part of Lake Powell,

which is a huge body of water
in Arizona.

In fact, it stretches across
the state line into Utah as well.

In the scene we're sh**ting today -

and tomorrow as well,
because it's a huge scene -

it's one of the kind of
seminal scenes of the episode.

It's a really key moment
for the Doctor's story in the episode

and across the series.

Of course, Stephen has packed in
every element you can imagine.

We've got the four principal cast.

I'm just trying to get in sh*t here
because your hair, Alex, there.

Oh, is that what it is?

We've got the first appearance
of Canton in his older guise.

We've got an astronaut coming
out of the lake, as you do.

An authentic Apollo astronaut,

so we've had to get the suit
specially fabricated.

It's an absolute replica,

right down to the design of
the helmet and the badges on it.

Because it's coming out of the water

and their suits were designed to be
used in space and not in the sea,

we've had to adapt it slightly.
We've got a stuntman inside it.

Action.
Doctor, what's happening?

You have to tell us. You're with me
now. Whatever happens,

promise me you'll stay.

The first time we see Canton is on
the beach, where the Doctor is sh*t,

and old Canton comes down
and gives the can of petrol
on the Doctor's orders.

We were very lucky to get
Mark Sheppard's father,

Morgan Sheppard,
to play that role.

The other actor is my son,
Mark Sheppard.

Apparently, when they said "We're
going to age you up for make up,"

he went, "No, I'll get my dad."

Say we give them five minutes,
see if he delivers. Thanks, Canton.

So here I am.

Who's he? Oh, my God.

You all need to stay back.

Whatever happens now,
you do not interfere.

There's no question
that Time Lords can die.

The Doctor
is running from real death.

He's not running from
the possibility of a new body.

So if you k*ll him fast enough,
then, yes, he won't regenerate.

The Doctor is now standing still,
preparing.

So after you've said it
and agreed to do it,

that's when you just stand ready

and go "OK, it's time now."

He's being reassuring. "It's OK,
it's OK, don't worry, it's fine."

He then closes his eyes,
puts his head back and waits.

The astronaut raises a gloved hand,
pointing at him

and...bang, like that.

You know he's going to die one day.
He's definitely out there.

One of the creepy things
about Doctor Who

is it must occur to him as
he wanders all over space and time,

his body is in a grave somewhere.

Then I see the guys.

Sorry.

Come back.

And then one last...

He really does die in that
first scene and that really is him.

So I'm going to get my arms back,
I look at you and I'm going to go...

Exactly. Action.

Hello. It's OK. I know it's you.

Well, then.

g*nshots

No! We have to stay back.

Doctor!

I'm sorry.

He starts to regenerate

and gets sh*t
during that regeneration cycle

so he doesn't live forever
and he's not indestructible.

g*nsh*t

For all the kind of spacemen,

cowboys and sort of adventure
that Doctor Who has,

at the heart of this was
a very emotional kind of moment,

a true moment
of a friend who's gone.

SHE SOBS

Won't wake up. You're dead.

It's not possible.

Whatever that was,
it k*lled him in the middle
of his regeneration cycle.

His body was already dead.
He didn't make it to the next one.

Maybe he's a clone or a duplicate.

Doctor Song, I believe I can
save you some time.

That most certainly is the Doctor.

And he is most certainly dead.

He said you'd need this.

Karen, who plays Amy,
when we sh*t the scene,
she was incredibly distraught.

Doctor.

SHE WHISPERS

I know it's a trick, so wake up.
Come on, wake up.

SHE SOBS

Our hearts were in our mouths.

You almost don't want to say cut
because she's crying so much.

It was very emotional.

It was very kind of, she was really
acting her heart out out there,

and it just was, you know,
we knew that it was powerful.

Almost too powerful
and we had to pull it back.

I think it's good to see characters
at that extreme.

We've seen them be happy and jolly.
We've seen them have adventures.

We rarely see them - more often
this year - facing the consequences

of that extraordinary lifestyle
with the Doctor.

People do die. Sometimes
it's be the wrong people

and sometimes
it's the people you love.

We came here a couple of days ago
and recced this place

and knew we had to sh**t
a scene at dusk.

We noticed the sun went down over
there, which is the wrong direction.

We wanted to have a beautiful sunset
over the Doctor's burial,

so we figured
if we do it in the morning
we get a perfect, amazing sky

and it'll look like evening.

But we won't have enough time to do
the whole scene in the morning,

so we split the scenes.

Looked one way in the morning
and got a beautiful sky behind
Arthur and the Doctor burning.

And then we looked the other way
the day before,

and we had beautiful sky
behind everybody else.

After the Doctor is dead, they're
tasked with burning his body.

We actually put him in a boat,
wrap him and put him in a boat,

and set him alight like the Vikings.

It was really, really moving,
actually.

Who are you?

Why have you come?
The same reason as you.

Doctor Song,

Amy,

Rory,

I won't be seeing you again.

But you'll be seeing me.

It did feel like the
end-of-series moment

but it had to feel
like this is going to set off

the whole of the second series for
Matt Smith and Matt Smith's Doctor.

Four.

Sorry, what?
The Doctor numbered the envelopes.

They discover that there has been
one spare invitation to this meeting.

They realise one more person
has been invited to the funeral
and that's the Doctor himself.

All of a sudden the door swings open
and in walks the Doctor.

A younger version of the man they
just saw die, years younger.

They can't tell him
what's happening.

We've been recruited.

Recruited by who?

Someone who trusts you more than
anybody else in the universe.

And who's that?

So, no, he can't know
his own future.

That's wrong.
We've told him all we can.

We can't tell him
we've seen his future self.

River's very strict about it -
she knows the Doctor is very strict
about it,

and if you sat the Doctor down
and told him, he'd be furious.

Who sent those messages?

I know you know. I can see it
in your faces. Would you?

Would you tell someone "I'm a time
traveller, I saw how you die."
Would you want to know?

"I'm scared, Mr President."
I think we've gone a bit darker.

"I'm scared of the spaceman."

I think that's an
inevitable function of just lives
getting more complicated,

the Doctor's continued presence
in that young couple's life,

when he should have gone by now.

Doctor, I need to tell you something.

There are major twists
in the ongoing plot line

and it's all about that pregnancy.

I'm pregnant.

There's a lot of things we're
putting into play at the beginning,

that are going to pay off
later in the series.

Who's that? Now it's starting.

We are, over the course of
episodes,

going to find out who they are
and and what they're up to.

You will tell the Doctor.

Answers are coming,
big answers are coming.

How can you be OK with this?

Not to every single question.

The Doctor's death doesn't
frighten me. Nor does my own.

He will find out
who River Song is, definitely, yes.

There's a far worse day
coming for me.

You do get big and hopefully
surprising answers to big questions.

Spoilers.
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