06x06 - Double Trouble

[bunniefuu]

What, are you all identical twins?

Confidential does a double-take
as the cast come face-to-face
with themselves.

Are you two twins?

We get to kind of do
all the, "Oh, my God" stuff.

But how similar does
a look-alike need to be?

Of course I'm better looking but,
you know, he does all right.

As the UK is gripped by
the coldest winter in decades,

the country grinds to a halt.

It's so cold. I can't tell you
how cold it is.

But there's still no stopping
the Doctor Who crew.

I've got a sneaky one.
You've got one.

You've got one and
you're stealing mine, Gillan!

♪ I don't ever want to be here!

♪ Like punching in a dream

♪ Breathing life into
the nightmare. ♪

I can't leave her out there.

Rory! I know you understand that.
Get in here. Get in here.

And watch out, Amy. Rory has
his eye on another woman.

Amy's kind of strong,

"I don't care" facade is starting
to cr*ck a little bit.

I think if Jennifer had any taste,
she would fancy Rory!

Amy's a lucky girl. Yes, she is.

♪ Do you count the flakes
when it snows?

♪ Can you feel the heat or
only the afterglow?

♪ Do you count the flakes
when it snows? Yeah. ♪

At Caerphilly Castle,

snow has fallen on the set
of Doctor Who.

But despite the freezing
temperatures,

the cast and crew are soldiering on.

We've been very lucky. The snow
came down quite heavily on Saturday

and we managed to get the crew
through the snow.

Fortunately, we've been inside
for the last couple of days,

so despite the cold temperatures,
we've managed to keep filming.

Today's interesting
because we hadn't imagined

sh**ting these scenes with
the castle snowbound,

but actually it looks lovely,
so we're going to go with it.

Gloves, I've got a couple
of heat packs on my back.

I haven't got any heat packs.
I should get some.

Hand warmers in my socks.
That's funny. That must be lumpy.

It's lumpy and bumpy
but it's warm.

I don't have any room in my shoes.
Hi, guys.

I've got sheep skin.

I've got them! Yes!
You've both got them.

It's created a lack of space
in my shoes...

Claustrophobic toes.
I can't do that.

..And therefore my feet are
colder. Really? Yes.

Oh, look at the birds.

Birds are having a nice time,
you see.

They're like, "We don't
care about the cold,

"we just want to fly around."

Christmas birds. Ah, pinch, punch,
first of the month, no returns.

It's the st of December,
Confidential.

No. Taking it away. No!

One of the problems we get with
weather like this is the worry

that the cast might end up
under the weather.

It is a gruelling schedule

and Matt, Karen and Arthur
are at the brunt of it.

You've got one. You've got one
and you're stealing mine, Gillan!

I've got multiple layers. Ooh.

We try and look after them but
they're all young, they're all fit.

They're hopefully coping well.

What Karen does is this,

she puts it on her silly old nose,
her big red conker. I know!

That's because it gets really
cold and runny. Cos it's massive.

Don't take it off!
Take your coats off.

Come on. This is what happens
in checks, with Arthur.

Come on, Arthur. Do it. Ahhh!

It's OK, Arthur. It's OK!

Man up, old bean. OK,
I'm doing it. Aah! Gloves off.

The gloves, I forgot. Come on,
Karen, we're all getting cold.

'Travellers and shoppers
are facing major disruption,

'with roads, rail and airports
and parts of the UK severely
affected by snow and ice.'

It's one of the coldest winters
since records began,

and the country's
pretty much at a standstill.

Across the whole of Wales, the
temperature's well below freezing.

But at Caerphilly,
it's business as usual.

Everybody got here through the snow.

Nobody rang up
and said they couldn't make it in.

Everybody's been pushing hard
to get through the day's material

because they know the show
goes on the air in a few months,

so we haven't really
got time to waste.

But it's been bitter and people
have been suffering with the cold,

but they've just got their
head down and got on with it.

We'll make sure we pass round soup
and hot drinks at regular intervals.

So, who's your friend?
Charlie the Badger. Hi, Charlie.

Nice to meet you.

"I think you look really weird
when you fall asleep in make-up."

You weren't even there, Charlie,
so don't you give me that.

I love this little of head rest.

"Get off my head, man."
Oh, sorry. Woo!

"Oh, I kind of like that.
That's kind of nice." Oh, yes.

"OK, I'm going to go now."
Love his voice. Bye, Charlie.

"Get back to your boring conversation
about yourself. See you later."

Yes, bye.

The freezing temperature may
not have deterred the cast,

but it's proving a total nightmare
for the special effects team.

Any kind of liquid, any kind of
water on set is particularly very

hazardous, very dangerous - there's
people working electrics and stuff.

So that has its problems,
but today, it's extremely cold

and it's not really slime,
it's ice today.

We've put the slime
down and it's freezing.

It's just turning into ice.
I'm having a bit of a battle today.

We see this rupture and start to
flood round, which we've just sh*t.

And then the Doctor comes down
and goes to the TARDIS,

and his feet start smoking,
he's like, "Ooh!" Steps back...

The ice has been a bit of a pain
for the director too.

On Friday night
and Saturday morning

I got up, came out of my apartment
to get in the car to come here,

and just went. Ankle went both ways
and then I landed on it.

So, yes, I'm hobbling around
on a stick. It's tricky.

The first couple of days
were difficult.

I have to go down the stairs last
because if I go down first,

you've got people just waiting
for you to hobble down the stairs.

Action.

Behold, the cockerel!

Serious, serious power issue.

The only thing keeping us
warm has just turned off.

Not to sound like I'm moaning,
cos I'm not. But it's
really cold without it.

It's suddenly really cold.
Because the heating's gone, Karen.

Are you telling Confidential?
Yes, I am -

this is what they need to know!

Calm down. YOU need to calm down.
We're going to fix this.

He has this habit of getting
a bit a overdramatic sometimes

when the Red Rads are turned off.

WE'RE COLD! Sorry.

I'm sorry about that.
I overreacted a bit. Yes? Yes.

I've got two hot-water bottles,
a dressing down and
a coat load of thermals.

I think we're going to be fine.
Well, I'm going to be fine.

While the crew set up
for the next scene,

the cast are playing hard
at keeping warm.

Knock the bin over. Oh!

Agh, rubbish!

"I can't stop myself!" Agh!

"She just drives me insane."

You really need to get that thing
put into something to contain it!

"I've just been doing my stuff,
really.

"Bit of acting, sh**ting some
B-ball." You need to calm down.

You like this, don't you Charlie?
"I like it like that. Oh, yes."

That calms him right on down. Woo!

Whoa! No, Charlie. "OK, bye."

SHOUTING

That's just shows you, doesn't it?

The rest of the country's
come to a standstill

because of the snow and ice
and the cold,

but Doctor Who...prevails.

A monastery. Er, th century.

Oh, we've gone all medieval.

This episode of Doctor Who
is set in the nd century,

on an island monastery.

So, where are these
Dusty Springfield loving monks
then? I think we're here.

A great idea on paper,
but a bit of a challenge to turn

those locations from script
to screen. Yes, I know.

I'm really happy with
the guests we've got.

Nicky, working with Julian,
the director,

and Michael, our designer, have
chosen fantastic locations.

They've given the show
a real scale that makes it feel
like a movie sometimes.

You look at the corridors
of Cardiff Castle, which just
go on for miles and miles...

..and you're clearly not
in a studio.

They look fabulous. They
give it real depth and scale,

and that's what we're fighting
for with the shows,

to make it compete with things
like Harry Potter - these days

you can just flick across a channel
and be on a million movie.

So we've got to keep it up
to that standard.

When we get the scripts, we break
them down and look at the locations.

When we look at the scripts, Matthew
had described his fancy monastery,

which we were praying would exist
but suspected wouldn't.

A writer just imagines a monastery.
And then the reality is you often

can't get everything you
want from one monastery.

And the job of finding this fantasy
monastery fell to the location team.

When I first read the script,
"monastery above crashing sea",

I thought,
how am I going to find this?

My monastery had to have a church
in it. It had to have a courtyard,

it had to have turrets, a tower,
a dungeon, a crypt, it had
to have so much stuff.

I didn't realistically
think we'd be able to find
them all in one place.

Obviously it was a big challenge.

But with all of the amazing
castles that we have in South Wales,

it provided us
with wonderful material.

So, the team had the monumental
task of piecing together

the monastery from several
different locations.

This is Caerphilly Castle.

We chose this because obviously
the scale of the outside

suited what we were looking for.

It offered us most
of the rooms that we needed.

And also, because it has
a moat around it,

we were able to put crashing sea
quite easily underneath it in CGI.

I don't have a great knowledge
of CGI, but I know...

(LAUGHS) it'll look amazing!

Neath Abbey is now in ruins but
there's one very special room left.

It has a crypt that is amazing.

It has windows that we
can light through.

It has pillars and it's
just very beautiful.

St Donat's Castle offered us
the courtyard.

We had a courtyard here,
but it was lots of grass

and it looked
really like a castle inside.

But St Donat's
looks like a castle outside

but it actually felt more like a
monastery inside. And action!

I'm sorry, Doctor. You were right.

You've lost all power
to the factory.

Doctor, I abandoned my team.
Then let's go and get help.

Cardiff Castle was great.

We were looking everywhere
and couldn't find any corridors.

We went to look at it
and there they were, big, long,
hugely long corridors.

That was the last piece
of our jigsaw, really.

Even though we were spread between
six different sites in South Wales,

we've got to make it
feel like we're in one building

and when they walk out of
a room in Caerphilly

and arrive in a corridor
in Chepstow, they're actually
in the same building.

For want of a better word, ow.

Please! You're not in your harness.

I'm sorry, Doctor, you were right.

You've lost all power to the factory.

Doctor, I abandoned my team.

Then let's go and get help.

How long would you say we were
unconscious for? Not long.

A minute? Two minutes? I'd hazard
we've been out a bit longer.

Well, how long? An hour.

I've seen whole worlds
turn inside out in an hour.

A lot can go wrong in an hour.

Hand in hand with the fact we're
getting these fabulous locations

are the problems of filming
in historic buildings.

These buildings have been here
for hundreds of years before

and hopefully hundreds
of years after.

The crew are respectful of
the properties we're filming in,

but it does place limitations on you.

For instance, in Doctor Who,
you always have special effects.

And even the smoke effects that
we use, we've had to use

a special kind of smoke that's
approved by the National Trust,

that doesn't leave an oil
residue, because we don't want
to corrode the building.

This is a scheduled monument.

we can't just go drilling into
the walls and screwing into them.

So prior to them filming, we
do have quite a few site meetings

and we'll have a person like
the location manager here

and we will run through what
they want to do,

how they intend to put
the set into one of our rooms.

It's absolutely amazing what
they can do without using

any screws or nails
and it looks absolutely amazing.

We haven't -
touch wood at the moment -

had any issues regarding
any problems.

But they are really professional
in the way that they go about

working on our ancient monuments.
So we're happy to have them here.

It's interesting seeing
the locations.

I've been thrilled by how
close to what I had in my head

they've found, it's fantastic.

Filming an episode almost entirely
on location means the crew

are on the road for weeks at a time,

and Doctor Who
doesn't travel lightly.

There's two -foot costume artics,

one for the principal artists,
one for any supporting artists,

a main make-up artic, and possibly
a second make-up artic,

for when we've got more
guest artists in.

We've a prosthetic artic,
American trailers for the artists,

toilets, generators,
there's an office artic...

It's like Billy Smart's circus
when we're on the road,

this long convoy of vehicles.

Moving the units from A to B,
from one place to another,
takes time.

We pack up that night when we wrap,
pack everything up,

and then the technical vehicles
go back to Treforest, our base,

then the facility vehicles, costume,
make-up, will go to the next base,

whether it's miles away or
miles away, they'll go there,

they'll set up and everything
will be ready for the next morning.

We're at Chepstow Castle
at the moment,

and then we've got a mile
move or thereabouts,

with the way have to take
the trucks around to St Donat's,

which is the other
side of Cowbridge.

We have drivers here tonight
to help us with the move.

I think it's probably an hour
and minutes' drive for us,

then to park them up and set them up
ready for tomorrow morning...

It's going to be a long night.

If we want to live,
it's time to go to w*r.

The main monster of these episodes
are the gangers,

and they're a modern take
on the kind of Frankenstein
idea of creating life.

'I don't think there's
any getting away from the fact'

the gangers are scary.

I'm very aware that this goes
out on Saturday evenings

and I'm very aware
this is a family show,

but Doctor Who was always scary
when I was a kid,

and this is certainly
going to scare people.

I wanted it to be scary, and
icky and nasty and cool to watch,

but I didn't want it to be about,
"I want to take over the world

"just for the sake of it."

You can really sympathise with them.

They've got this
vulnerability to them,

because you can really see
their point of view, I guess,

because they're just trying to
protect themselves and each other,

and, you know, they think
of the humans as the enemy.

Where's the real Jennifer?

I am Jennifer Lucas.

I don't think the gangers
are evil, necessarily,

they're just fighting for survival,

and people do extreme things
in extreme situations.

If there are villains in this story,
the villains are the humans,

who have been maltreating
this sort of sl*ve class they have,
albeit accidentally, created.

It feels like a very adult idea,
in many ways,

even though it's an episode
of Doctor Who.

If we create clones of ourselves
to do the dirty work,

what happens if they've
got minds of their own?

And who has the right to live
if the original humans feel that

the gangers don't have souls and
therefore can be destroyed at will,

but the gangers feel
that they do have souls

and have exactly the same memories
and feelings as their doppelgangers?

Then they're inevitably going to
fight back, and that is the problem

for all of our characters
in episode five -
it's a fight for survival.

We have the advantage, now.

The thing I've wondered
about any of these creatures

that perfectly
duplicate human beings is,

don't they feel they have rights too?

Don't they take on some of
the qualities of the human being
they're impersonating so well?

In a lot of Doctor Whos you'd
have a situation where somebody

could outguess the monster,
but how do you outguess yourself?

It's one of the most challenging
things you could fight with.

And what exactly is
the flesh beneath these unusual
Doctor Who monsters?

Basically, the flesh
is manufactured organic matter

that can be programmed,

through electrical impulses, really,
and the flesh takes on the shape

of the person with all their
characteristics and everything.

And there you are.

Meet the government's
worst-kept secret - the flesh.

It's fully programmable matter.

In fact, it's even learning
to replicate itself
at the cellular level.

Ah, I understand!

Doctor, are you all right?

I have no idea, no idea.

But I felt it in my mind,
I reached out to it and it to me.

For this scene, we need the flesh
bowl to give a bubbling effect,

so all we've done is put
a bubble rig inside the bowl,

which is basically just a network
of pipes, some open-ended,

some with holes in them.

We then connect that round
through here to our air bottle,

and that just gives us the ability
to feed air into the flesh bowl

to hopefully make it bubble.

We've got this great sequence
in episode five

where we see Jennifer's ganger
being created in front of us.

We see the flesh taking form
and turning into Jennifer.

And action!

There's a load of
great images there.

You've got the huge flesh bowl
being electrified

and filling a kind of sarcophagus,
and you wonder what's going
to pop out of it,

whether it's going
to be some man or machine.

And there's all sorts of echoes
from loads of sci-fi movies

to reference to, but I think
what Matthew's done in this
episode is create something unique.

SHE GASPS

Well, I can see why you keep it in
a church - the miracle of life. Cut.

It's just that freakiness of
seeing yourself being created
in front of you.

In the Doctor Who studios, there's
a sense of calm before the storm.

Aaaargh!

We're going to do the scene

where the Doctor's climbing up
the tower to pull apart the cables,

and there's a spark and he gets
blown backwards off the tower

onto the floor
and he's left unconscious.

We've already filmed, prior to this,
Matt doing the fall onto the floor.

How far are we saying I've fell now?

You've fallen ...

So, a long, long way? Yeah.

♪ I feel myself falling

♪ I'm feeling happy now... ♪

Now we need to recreate the actual
fall with Gordon, the stunt double.

If we can make it quite a dramatic
spark from there,

you can be flying out
and landing around here. Go for it.

I'm going to pull that off,

then I'm going to go up the step,
or I can start there. Is that better?

That's where you started
the last one.

That's where I was formerly.

So, pull that off, fiddle around,
maybe go into there for a bit
and then go...

'The main thing is,'

at the start of the fall,
whatever he does there,

I'll try and replicate exactly his
reaction to the sparks going off.

Action!

I do the middle bit. Yeah.
The bit in the air.

Obviously, I'm going backwards,
so I can't see where I'm going,

so I have to set my mats
in the right place for myself.

It's not too high so it's not
too much of a concern.

A usual day's work, I guess.
HE LAUGHS

We didn't want the Gangers
to just suddenly decide

they wanted to be liberated.

We wanted to find a device that
forced it to happen, and when we came

up with the idea of a solar tsunami,
it seemed like the perfect fit,

because it's Mary Shelley,
it's Frankenstein,

so it just felt like it
was right for the story.

During the tsunami,
the flesh creatures,

their doppelgangers,
start acting independently
of the humans they are based on.

That's my record.
Who's playing my record?

Your Gangers, they've gone walkabout.

No, it's impossible. They're not
active. Cars don't fly themselves,

Greens don't lift themselves,
and Gangers don't...

HIGH-PITCHED WHINE

And Gangers on the loose
spells double-trouble.

Action.

MUSIC: "Bad Body Double"
by Imogen Heap

This is...

You're telling me.

'When I first read the script,
they sent me episode five,'

and you start off thinking,
"This is kind of interesting,"

because you've got
a few guest characters,

the Doctor, Amy and Rory,
then just five or six people,

and you go, "This is nice.
This is almost like a play."

Then you turn the page and realise
every single one of them

has suddenly just been doubled.

This is just like
the Isle of Sheppey.

It seems the storm has
animated your Gangers.

And so, even the simplest dialogue
scene now has actor A talking
to another version of actor A.

I can make it home
for Adam's birthday.

What about me? He's my son, too.

So, the scenes where normally
you'd just put the camera down
and sh**t a dialogue scene,

suddenly it's a day's work
because everything is
a split screen or motion control

or some kind of clever
head replacement or something,
to get round it,

to create an
illusion that sends you back

to the idea that this all happens in
a small space, among a small group
of people and was all terribly easy.

♪ It's not me now,
it's my bad body double

♪ I've got a bad body double... ♪

What I'm suggesting is that we just
do this, go round,

catch the line, bless you, over,
and then come back,

and go back round again and
round again, and every now and again

we will catch, throughout the scene,
we will catch lines that we can use.

We're using
a motion control system today,

which means the same cameras,
but they go on a different rig.

This is apparently the
first block of Doctor Who

since the relaunch with Christopher
Eccleston that it's been used.

The essence of motion control
is that it can replicate
camera moves perfectly.

What it basically does is,
we can do a camera move ourselves,
a normal camera move,

and then a computer records
every single aspect of that move

and can replicate it
over and over again,

which means that if
the camera move is identical,

I can just put one person here,
move the camera across them,

then move them to the next position,

do the same camera move on them
and they all stitch together
at any point I want them to

because the move will be
completely invisible.

This afternoon, the main reason
I've got it in is for a sh*t that
I hope you are going to see

in the finished version,
which is kind of Doctor's POV

on all the real people
lined up with their doubles.

We're not talking about an accident
that needs to be mopped up here.

We are talking about sacred life.
Cool. That's that.

Swapsies! Gangers in.

Guys, are you on your right marks?

Yeah. Leon, are you...?

I need absolutely everyone
dead on their exact marks.

It allows me to do one smooth move
that will start
on one person's face,

so it'll go round the real people

and then seamlessly move onto their
doubles and come round like that,

so it'll feel as if we've
got several copies of
the real actor in the room.

These are not copies.

The storm has hard-wired them -
they are becoming people.

With souls? Rubbish.

HE SNEEZES
Bless you.

THE DOCTOR: We were all jelly once -
little jelly eggs sitting in goop.

Yeah, thanks, too much information.

We are not talking about an accident
that needs to be mopped up.

We are talking about sacred life.

On previous takes,
when you both looked at him
when he said "bless you",

it worked a lot better
because it carried the camera across

and suggested that he was there
before you even saw him.

It's a desperately difficult thing
to plot out

because you're constantly trying
to remember which actor's where

and who that double's meant to be
and that kind of thing.

That was much closer to good
than we've been so far.

'It's a massive technical headache
but it's like a maths problem.'

You just have to break it down
and work it out

and hope you don't trip yourself up
further down the line,

which I think we almost certainly
will do in about two hours' time.
The circus has gone on long enough!

ELECTRONIC CRACKLING

Oh, great(!) You see,
that is just so typically me.

Doctor, tell it to shut up. And cut.

'It's one of those stories'

that watching it filming,
it's very confusing to watch.

It's amazing that Julian, the
director, has got it all in his head

because he's constantly working
with split screens

because he's doubling up.
Half the cast
have to be doubled up in post.

I'm thrilled. I'll be so excited
to see how it all comes out.

It's going to be a bun-fight of
multiple Raquel Cassidys,

Marshall Lancasters and Matt Smiths
running around. It'll be great.

It's not about showing off,
it's about telling a story

and making the effects
and the equipment we use invisible.

Which is where you guys
completely bust us!

The doubles that we used
for the actors,
you don't need them to look the same.

They're going
to be completely replaced.

There's two real essentials -
they have to be the same height,

because if you're looking at
your double

and I'm sh**ting you from
over here, I need your eyeline

to be exactly where it will be
when you're looking back at yourself.

So the height's incredibly important.

Also, to get around having to do
a lot of special effects,

the back of the head
becomes quite important, the hair,

because I can put a camera
over someone's shoulder,
looking at another person,

and as long as the back
of the double's head looks fine,

you've got a clean sh*t and
you don't have to worry about it.

From the back,
you're not really sure who it is

and they'll turn around and have
a completely different face.

So, it's really funny,
actually, to see who they choose
to cast as people's doubles.

I had a double once,
for something else,

and she just looked nothing like me.

I mean, I am ghostly white,
but this girl was really tanned.

They just put a ginger wig on her.

Are you two twins?

Well, I think
we're pretty good doubles.

I think we look pretty similar.
We do. We've got similar features.

A similar nose.

Yeah. Quite similar accents
as well.

Crinkles around the eyes.

Of course, I'm the better-looking,
but he does all right.

I think he's slightly more handsome.

Slightly more grey. Result!

And he's got
a slightly better physique.

I think there are some similarities.

My hair's now a lot longer
than what the wig is.

But it's really good
to have them there.

Not just for eyelines and stuff,

but they actually give a lot
as well to a scene, so it's great.

Hi, I'm Marshall Lancaster and
I'm playing Buzzer -
Buzzer One and Buzzer Two.

We're doing a scene around a flesh
bowl. Lots of moving flesh.

We're around Neath Abbey today,
which is really, really beautiful -
a beautiful setting.

But very, very cold.
So, I'm going to need to wrap up.
We've got double coats.

I've got my acid suit on.

The "Feel The Burn" T-shirt
and we're ready to go.

I've run out. We've got
a bit of time, here we go.
Let's work the magic.

It's going to be a long day.
We're going to be here

till probably
about o'clock tonight.

So we've got a long day,
but luckily I'm with
a good group of actors

and we all
have a good laugh and a good time,
so I'm looking forward to it.

I know about my hat.

We're doing a scene about
introducing the Doctor to the flesh -

the first time that he sees it.
He has a touch of it and recognises

that it's a living matter
and that it's more dangerous

than we've figured.

OK, lights, please.
Bitter, bitter cold in there.

I think the temperature's minus two
at the minute,

so a lot of the concentration is on
not shaking and freezing on the spot.

And cut.

There's a lot of downtime
on any film set, really.

Scenes can take a long time to film
and so when you're not involved,

you have a lot of waiting around
and sitting about.

You can wait around all day

to maybe film two, three minutes
of screen time.

So it's the side that people don't
really see or don't really

know about when they're watching
an hour on television or whatever.

The crew have been lovely and yeah,
we're well-looked-after,

as you are always on any sort
of TV show. You're well-fed.

It's dinner-time.
One of my favourite times of the day.

I'm just going to fill up.
Had a bit of a snooze.

We've had a bit of downtime, so make
the most of it. Have you been...?

I had a bit of shut-eye, yeah.
It was good. We've been up
too early, you know.

It's criminal, isn't it, darlings?

A lovely lamb dinner.
That'll set us up for the afternoon.

Shame you don't get smell-o-vision.
Living the dream.

That's what that's called.

Shocking.

HE SCREAMS

We're practising our screams -
our tormented screams.

THEY SCREAM

I can't do it.
HE COUGHS

HE GROANS

That handily doubles as his poo-face!

Make-up artists keep coming in
and touching you up,

making sure spots on your neck
and things like that aren't seen,

making sure you look the same
in each sh*t

so if they cut back to you
and you've been

brushing your hair in a different way
or rolling around on the ground,

they make sure you still look
the same for each individual sh*t.
And action.

SHE GASPS

Well, I can see why you keep
it in a church. The miracle of life.

No need to get poncy. It's just
gunge. Guys, we need to get to work.

OK, everybody, let's cr*ck on, eh?

You need to get out of here.

We've just finished
that scene there.

As you can see,
it's taken most of the day to film.

It takes a long time
to get through it.

You have to be ready to concentrate
when the camera turns round to you

and act as if it's the first time
you're hearing everything.
It was OK.

And you're pretending that you're in
some other body,
looking at yourself,

and that sort of thing. It's good.
That's the end of our day
on Doctor Who.

We'll be back tomorrow for more
Ganger action. Whoo!

Goodbye to Dr Who Confidential.
Goodbye.

Action. Jennifer? Jennifer.

They hurt...so much.
Hey, it's OK, it's over now.

Despite an episode of freezing
temperatures

and icy conditions, things
are definitely hotting up on set.

It's a really interesting twist
in this episode,

for the relationship
between Rory and Amy. Yeah.

You take a wee shine to Jennifer.

Rory? Listen. No, you listen.

Nobody touches her.

Rory does fancy
her a little bit. I think he does.

He's noticed that she's
an attractive girl, as men do.

We can tell the truth now
Karen's not around.

We have a weird
and wonderful relationship.

There's nothing dodgy going on.
No, nothing dodgy at all.

♪ You make me feel like I'm
the only girl in the world

♪ Like I'm the only one
that you'll ever love... ♪

It's the white stuff, isn't it?

It's the fact that you're made of
toothpaste. It's because I'm unique.

Yes, I've never seen anyone
like you. Like a big eyeball before.

I think if Jennifer had any taste
she would fancy Rory.

He's a really sweet and lovely guy.

I think Amy does have
reason to be jealous, you know.

But I think Rory can't help
but help a damsel in distress, too,
and that's his soft side.

Amy's a lucky girl.

Yeah, she is.

He's messing with
a dangerous woman, really.

He's fallen in love with a monster.
But we've all done that, haven't we?

I've got to look at it
from Amy's point of view

and you have taken a bit of a shine
to this girl in particular.

Yeah, I'm definitely protective
over her.

Yeah. Is it because she makes you
feel like a man?

Yeah, in a way, in a sense.

Amy doesn't make you feel
like much of a man. No.

Where's the real Jennifer?

The REAL?

I am Jenifer Lucas.

I remember everything that happened
in her entire life -

every birthday,
every childhood illness.

I feel everything
she has ever felt and more.

I'm not a monster. I'm me!

There's talk of a love triangle
going on,

but for Rory,
it's more of a triangle of trouble.

I think she really likes Rory
and he's a really sweet
and nice person

and he really
takes her under his wing

when he sees her at her
most vulnerable.

Help me, Rory. Help me.

She's in genuine trouble
and clearly likes him.

And yeah, there are moments
when you think it would be nice

if Amy could ever own up to the
fact that she depends on me a bit.

So he's absolutely ripe to be
exploited by someone who says,

"Oh, you're so great.
You're a real comfort to me."

Because he's never heard
those words.

He hasn't heard those words, ever.
He's known Amy since he was a child,
so he's just used to scorn.

I really like this in the story.
I'm glad that it's taken this turn.

It's given me, as an actress
playing Amy, something new to play,

because she's always had Rory
in the palm of her hand,

so to have this happen
just opens up loads of new avenues.

It's really weird for Amy as well

because she's obviously had
a roaming eye in the past herself.

Are you not going to turn your back?
Nope.

So, yeah, she's obviously
not too possessive like that

because she wouldn't expect Rory to
be that possessive over her.

So, it's an interesting one to get.

I think Rory has to try
not to be possessive.

I think he really has
to keep it back.

He actually just wants to be going,
"Hey!" all the time.

But he has to play it cool.
Amy doesn't dig that.

Yeah. Rory just wants to be cool.

Action. What about the flares?

Rory? Jen's out there.

She's out there
and she's on her own.

If she's got any sense,
she's hiding. Rory...!

I can't leave her out there. Rory!

I think that he wants to go out on
a mission and prove himself, almost.

If he does that, he can prove
himself as a man to Amy

and the Doctor, I guess.

Come on, get in here, get in here!

Close the doors. Rory?

I think, just naturally,
as the man in the relationship,

he wants to assert
himself a bit more.

He's got to man-up and finally
he's doing that, which is good.

As Rory and Jennifer get closer,
it seems to pull Rory

away from Amy,
physically and emotionally.

Hopefully, that sets us up nicely
for the big wallop at the end.

At the end of episode five,
we've got everybody -

Gangers and humans alike -

on the brink of w*r. Jennifer!

We've got Rory on the run
looking for Jennifer.

He's out and about and
Jennifer's out and about.

They could be in trouble.

We've got the rest barricaded
behind a door as the Gangers try
and get in.

They're not after him,
they're after us.
CLATTERING

Why? Why?!

Show yourself. Show yourself!

The game-changer for this story is,
what if the Doctor is duplicated?

What on earth happens then?

The most powerful
player in the whole story,

what if there's two of him?

What will he be like?

Trust me.

I'm the Doctor.