(This is a complete transcript of Doctor Who Series 7 Episode 6 : The Snowmen. I thank Tardisblue.net for hosting streams of this episode. Happy Holidays! I hope fellow Whovians find the transcript useful.)
(Snow is falling to earth from far higher than any clouds float, from space. As it falls, a few of the snowflakes float close to the camera and gnash their teeth at it.)
[cut]
(We see the large, snow-covered yard with a single tree in the center. Overlaid on the snow, on our screens, is the date “England 1842”. A matronly WOMAN addresses a young BOY, who is building a SNOWMAN.)
WOMAN:
Walter, don't you want to go and play with the other boys and girls?
They're very nice.
WALTER:
I don't need anyone else.
WOMAN (to the awkwardly staid MAN who has come out of the building and over to her):
He never talks to anyone!
He's so alone!
It's not right!
It's not healthy!
(The WOMAN and MAN go back inside.)
WALTER (to the SNOWMAN):
I don't want to talk to them.
They're silly.
VOICE:
They're silly.
(WALTER looks around, but no-one is nearby.)
VOICE (coming from the SNOWMAN):
Don't talk to them. They're silly.
(WALTER runs away from the SNOWMAN, but pauses when it speaks to him again):
SNOWMAN:
Don't need anyone else...
(WALTER cautiously re-approaches the SNOWMAN.)
SNOWMAN:
I can help you.
WALTER:
How?
(WALTER'S childish face fades into the stern face of an OLD MAN in a tophat, standing somewhere dim. Over the screen, we see the words “50 Years Later”.
Various figures are working on snowmen, either collecting snow from them or adding snow to it, into or from glass jars.)
27 December 2012
01 October 2012
transcript : Doctor Who, Series 7, Episode 5 : The Angels Take Manhattan
(I thank Tardisblue.net for hosting the streams of this episode I watched to prepare this
transcript. Cheers. I hope fellow Whovians find these transcripts useful.)
FIRST MAN, a VOICE heard as fingers hit the keys of a typewriter:
New York. The city of a million stories. Half of them are true. The other half ... just haven't happened yet.
(We see statues around the city.)
'Statues', the man said.
'Living statues that moved in the dark.'
(We see two statues looking out across a park at a large house.)
SECOND MAN'S VOICE:
So, will you take the case, Mr Garner? (Inside the house, we see a bundle of money, payment, tossed down onto a desk.)
FIRST MAN (GARNER):
Sure. Why not?
SECOND MAN:
Because you don't believe me.
GARNER:
For $25 a day, plus expenses, I'll believe any damn thing you like.
SECOND MAN:
But you don't believe that statues can move. (The second man laughs.)
And you're right, Mr Garner. They can't.
*Of course* they can't...
..when you're looking.
GARNER (taking the money):
Good night, Mr Grayle.
(GARNER turns and leaves. After GARNER has left the house, GRAYLE watches him through the window. GARNER walks past the two statues on a plinth. GRAYLE turns away, then looks back: only one statue is on the plinth. GRAYLE looks alarmed.)
[cut] (We see a typewriter beating out these words as they are spoken by GARNER:)
The address Grayle gave me was an apartment block near Battery Park.
He said it was where the statues lived.
I asked him why he didn't go look himself.
(GARNER looks at the Statue of Liberty.)
He didn't answer.
Grayle was the scariest guy I knew.
If something scared him, I kinda wanted to shake its hand.
(GARNER, having exited a taxi, walks up to the staircase which leads up to a large building. Weeping angel statues stand on plinths on either side of the staircase, their eyes covered. Several other figures decorate a frieze high over the door.
Looking in the windows, we and GARNER see an older man and a little girl in separate windows. The girl covers her eyes with her hands, then moves her hands out of the way again, wing-like.
As GARNER approaches the door, we see the angel statue on his left has its eyes covers. The camera rises.
The doors open, and GARNER walks in, unaware that, as the camera lowers again, the angel has its eyes uncovered, its mouth open in a silent scream.)
GARNER (inside):
Hello? Hello? (In his accent, it sounds like "hullo".)
(The lift descends automatically to his floor. He enters. He turns around as its doors close, and notices a weeping angel statue standing where he had been standing in the lobby.)
GARNER (as the lift goes up):
What the...?
(The lights flicker as the lift reaches its destination, a floor with red carpet.
GARNER notices that one of the hotel-like rooms is labelled 'S. Garner'.
He approaches the door, which seems to open automatically. He knocks.)
GARNER:
Hello? Anyone home?
(He notices a hat like his hanging on a coatrack.
A wallet with an ID is on the table. He compares his to it: it is an older version of his.
He hears muttering in another room, and enters. In it, an old man lies in a bed.)
GARNER:
Hello?
(gruffly:) Who are you?
OLD MAN:
They're coming for you.
They're going to send you back.
GARNER:
Who's coming? Back where?
OLD MAN:
In time. Back in time.
I'm you.
I'm... you!
(GARNER strides out of the room, but in the hall notices that there are WEEPING ANGELS in the hallway in both directions.
He darts into the stairwell. ANGELS are coming up it. He darts upwards. He reaches the roof, as the ground shakes from the footsteps of something massive.
Behind him, we see a gaping grey maw.
GARNER turns, as we briefly see 'The Dying Detective' typed out by a typewriter.
He sees the statue of liberty standing, mouth open in a scream, by the 'Winter Quay' sign.)
GARNER:
You gotta be kiddin' me!
(The introductory time vortex is dark grey this time, at first. 'Doctor Who' is in green, and during the display of the title, the vortex turns grey as well. This is supposedly to represent the Weeping Angels.)
(As we look across a body of water at New York, "Englishman in New York" plays:
"Whoa, I'm an alien /
I'm a legal alien /
I'm an Englishman in New York.")
DOCTOR (unseen, his voice a voiceover):
New York growled at my window, but I was ready for it. My stocking seams were straight, my lipstick was combat-ready, and I was packing cleavage that could fell an ox at twenty feet...
AMY (sitting beside him on a large rock in a park):
Doctor, you're doing it again.
(AMY is wearing a white shirt with thin, black, horizontal stripes, and a khaki jacket, and blue jeans. The DOCTOR is wearing his typical light-coloured shirt, bow tie, and brown overcoat.)
DOCTOR:
I'm reading!
AMY:
Aloud.
Please could you not?
DOCTOR (to AMY):
There's something different about you, isn't there?
AMY:
What's the book?
DOCTOR:
Melody Malone. She's a private detective in old town New York.
AMY (mockingly):
"She's got ice in her heart and a kiss on her lips, and a vulnerable side she keeps well hidden."
DOCTOR:
Oh, you've read it?
AMY:
*You* read it. Aloud.
RORY or AMY(?):
And then went "Yowzah!"
RORY:
Only you could fancy someone in a book.
FIRST MAN, a VOICE heard as fingers hit the keys of a typewriter:
New York. The city of a million stories. Half of them are true. The other half ... just haven't happened yet.
(We see statues around the city.)
'Statues', the man said.
'Living statues that moved in the dark.'
(We see two statues looking out across a park at a large house.)
SECOND MAN'S VOICE:
So, will you take the case, Mr Garner? (Inside the house, we see a bundle of money, payment, tossed down onto a desk.)
FIRST MAN (GARNER):
Sure. Why not?
SECOND MAN:
Because you don't believe me.
GARNER:
For $25 a day, plus expenses, I'll believe any damn thing you like.
SECOND MAN:
But you don't believe that statues can move. (The second man laughs.)
And you're right, Mr Garner. They can't.
*Of course* they can't...
..when you're looking.
GARNER (taking the money):
Good night, Mr Grayle.
(GARNER turns and leaves. After GARNER has left the house, GRAYLE watches him through the window. GARNER walks past the two statues on a plinth. GRAYLE turns away, then looks back: only one statue is on the plinth. GRAYLE looks alarmed.)
[cut] (We see a typewriter beating out these words as they are spoken by GARNER:)
The address Grayle gave me was an apartment block near Battery Park.
He said it was where the statues lived.
I asked him why he didn't go look himself.
(GARNER looks at the Statue of Liberty.)
He didn't answer.
Grayle was the scariest guy I knew.
If something scared him, I kinda wanted to shake its hand.
(GARNER, having exited a taxi, walks up to the staircase which leads up to a large building. Weeping angel statues stand on plinths on either side of the staircase, their eyes covered. Several other figures decorate a frieze high over the door.
Looking in the windows, we and GARNER see an older man and a little girl in separate windows. The girl covers her eyes with her hands, then moves her hands out of the way again, wing-like.
As GARNER approaches the door, we see the angel statue on his left has its eyes covers. The camera rises.
The doors open, and GARNER walks in, unaware that, as the camera lowers again, the angel has its eyes uncovered, its mouth open in a silent scream.)
GARNER (inside):
Hello? Hello? (In his accent, it sounds like "hullo".)
(The lift descends automatically to his floor. He enters. He turns around as its doors close, and notices a weeping angel statue standing where he had been standing in the lobby.)
GARNER (as the lift goes up):
What the...?
(The lights flicker as the lift reaches its destination, a floor with red carpet.
GARNER notices that one of the hotel-like rooms is labelled 'S. Garner'.
He approaches the door, which seems to open automatically. He knocks.)
GARNER:
Hello? Anyone home?
(He notices a hat like his hanging on a coatrack.
A wallet with an ID is on the table. He compares his to it: it is an older version of his.
He hears muttering in another room, and enters. In it, an old man lies in a bed.)
GARNER:
Hello?
(gruffly:) Who are you?
OLD MAN:
They're coming for you.
They're going to send you back.
GARNER:
Who's coming? Back where?
OLD MAN:
In time. Back in time.
I'm you.
I'm... you!
(GARNER strides out of the room, but in the hall notices that there are WEEPING ANGELS in the hallway in both directions.
He darts into the stairwell. ANGELS are coming up it. He darts upwards. He reaches the roof, as the ground shakes from the footsteps of something massive.
Behind him, we see a gaping grey maw.
GARNER turns, as we briefly see 'The Dying Detective' typed out by a typewriter.
He sees the statue of liberty standing, mouth open in a scream, by the 'Winter Quay' sign.)
GARNER:
You gotta be kiddin' me!
(The introductory time vortex is dark grey this time, at first. 'Doctor Who' is in green, and during the display of the title, the vortex turns grey as well. This is supposedly to represent the Weeping Angels.)
(As we look across a body of water at New York, "Englishman in New York" plays:
"Whoa, I'm an alien /
I'm a legal alien /
I'm an Englishman in New York.")
DOCTOR (unseen, his voice a voiceover):
New York growled at my window, but I was ready for it. My stocking seams were straight, my lipstick was combat-ready, and I was packing cleavage that could fell an ox at twenty feet...
AMY (sitting beside him on a large rock in a park):
Doctor, you're doing it again.
(AMY is wearing a white shirt with thin, black, horizontal stripes, and a khaki jacket, and blue jeans. The DOCTOR is wearing his typical light-coloured shirt, bow tie, and brown overcoat.)
DOCTOR:
I'm reading!
AMY:
Aloud.
Please could you not?
DOCTOR (to AMY):
There's something different about you, isn't there?
AMY:
What's the book?
DOCTOR:
Melody Malone. She's a private detective in old town New York.
AMY (mockingly):
"She's got ice in her heart and a kiss on her lips, and a vulnerable side she keeps well hidden."
DOCTOR:
Oh, you've read it?
AMY:
*You* read it. Aloud.
RORY or AMY(?):
And then went "Yowzah!"
RORY:
Only you could fancy someone in a book.
09 September 2012
a darker Doctor (and a series 7 storyline)
After watching Dinosaurs on a Spaceship, two thoughts are foremost in my mind:
First, that Moffat meant it when he said Series 7 was more a series of disconnected episodes than a multi-part story.*
Second, that we are seeing a darker Doctor.
First, that Moffat meant it when he said Series 7 was more a series of disconnected episodes than a multi-part story.*
Second, that we are seeing a darker Doctor.
transcript : Doctor Who, Series 7, Episode 2 : Dinosaurs on a Spaceship
(I thank Tardisblue.net for hosting the streams of this episode I watched to prepare this
transcript. Cheers, Michele, and cheers, fellow Whovians. I hope you find these transcripts useful.)
(We see a wall, dimly lit, inscribed with hieroglyphs.
The screen shows “Egypt, 1334 B.C.”
As the camera pans, we see into a room; it is dark, its walls are likewise of stone.)
The screen shows “Egypt, 1334 B.C.”
As the camera pans, we see into a room; it is dark, its walls are likewise of stone.)
DOCTOR (stepping around a corner, towards the door of the TARDIS):
Bye then! Lovely meeting you, sorry
about the mess.
(A woman is following him, covered in a flowing, translucent white robe, with a tall blue crown on her head.
She pushes him against the door of the TARDIS like Amy did in her bedroom.)
WOMAN (NEFERTITI):
You think I'll let you leave without
me? After what we've just been through?
(She presses close to him, moving her face to his, closing her eyes and inhaling.)
DOCTOR (his voice growing progressively higher):
You've got the Egyptian people to rule,
Queen Nefertiti!
They'll need reassuring after that
weapon-bearing giant alien locust attack we just stopped rather
brilliantly.
(A toy horn
sounds from his pocket.)
DOCTOR:
Oh, dear; sorry! Got it set to temporal
news-feed...
(He takes something out of his pocket
and reads his message.) Oh, that's interesting!
NEFERTITI (breathing heavily, taking an interest in what he is looking at):
Oh, what is?
DOCTOR (to her):
Nothing! Nothing interesting. Not at...
(As he continues reading) Ooh-hoo! Never
been there, (as she runs her hands over his body and pushes him into the TARDIS) exciting!
(The DOCTOR seems to protest “no,
no, not me; coming” as we look up, from the
TARDIS, into the darkness.
[cut] The darkness becomes space. We see a ship in space, many
rocky brown pods are connected by spindly lines to a central hub.
04 September 2012
transcript : Doctor Who, Series 7, Episode 1 : Asylum of the Daleks
(Inspired by jpgr, who posted excellent transcripts of series 4, series 5 and series 6, I've decided to transcribe the first episode of the seventh series. I was fortunate to find the episode online; I watched it five times to make this transcript, after watching it twice for fun. That took a lot of time, so I don't know if I'll transcribe the second episode which is soon to air...
[Brackets with slashes/slashes in brackets] are places I wasn't sure of.)
(A WOMAN'S voice begins the story as the camera moves across a rust-red landscape, barren, as what seems like acid rain falls. We see a Dalek—it is massive, a monument, or is the camera merely very close, playing tricks we perspective? The clouds above are red; the Dalek is corroded. Lightning sounds in the distance. The sun is behind the red haze.)
VOICEOVER:
First, there were the Daleks. And then, there was a man who fought them. And then, in time, he died. There are a few, of course, who believe this man somehow survived, and that one day, he will return.
(We see a ball of fire roll across a floor littered with debris. Someone walks into the scene, but we see only the pair of ankle boots. The (FIRST) WOMAN continues to narrate.)
VOICEOVER:
For both our sakes, dearest Hannah, we must hope these stories are true.
(We see the profile of the figure who is walking in as a shadow—the recognisable profile of the Eleventh Doctor. We then see a hooded figure standing before a circular window, overlooking the red landscape. We see her Gothic high heels, and then part of her face as she turns; she has short hair.)
DOCTOR:
I got your message. Not many people can do that—send me messages.
FIRST WOMAN, DARLA(?):
I have a daughter. Hannah. She's in a Dalek prison camp. They say you can help.
DOCTOR:
Do they? I wish they'd stop.
Hell of a choice of meeting place.
DARLA:
They said I'd have to intrigue you.
DOCTOR:
Skaro. The original planet of the Daleks. Look at the state of it. (He surveys it.)
[Brackets with slashes/slashes in brackets] are places I wasn't sure of.)
(A WOMAN'S voice begins the story as the camera moves across a rust-red landscape, barren, as what seems like acid rain falls. We see a Dalek—it is massive, a monument, or is the camera merely very close, playing tricks we perspective? The clouds above are red; the Dalek is corroded. Lightning sounds in the distance. The sun is behind the red haze.)
VOICEOVER:
First, there were the Daleks. And then, there was a man who fought them. And then, in time, he died. There are a few, of course, who believe this man somehow survived, and that one day, he will return.
(We see a ball of fire roll across a floor littered with debris. Someone walks into the scene, but we see only the pair of ankle boots. The (FIRST) WOMAN continues to narrate.)
VOICEOVER:
For both our sakes, dearest Hannah, we must hope these stories are true.
(We see the profile of the figure who is walking in as a shadow—the recognisable profile of the Eleventh Doctor. We then see a hooded figure standing before a circular window, overlooking the red landscape. We see her Gothic high heels, and then part of her face as she turns; she has short hair.)
DOCTOR:
I got your message. Not many people can do that—send me messages.
FIRST WOMAN, DARLA(?):
I have a daughter. Hannah. She's in a Dalek prison camp. They say you can help.
DOCTOR:
Do they? I wish they'd stop.
Hell of a choice of meeting place.
DARLA:
They said I'd have to intrigue you.
DOCTOR:
Skaro. The original planet of the Daleks. Look at the state of it. (He surveys it.)
21 August 2012
Phonemisches Pangramm
Ein phonemisches Pangramm der deutschen Sprache:
„Juhu, sah vitale Genies, Ölgüter(, Xenon, Qindarka) und graue Physikromane im Höllendschungel!“ krächzt er (bloß).
Doch pfui! Beamte müssen die deutsche Botschaft jährlich weihen.
/juˈhuː/ /zaː/ /viˈta(ː)lə/ /ʒeˈniː(s)/ /ˈøːlˌɡyːtɐ/ (/ˈkseːnɔn/ /kɪnˈdaʀka/) /ʊnt/ /ɡʀaʊ̯ə/ /fyˈziːk.ˌʀoˈmaːnə/ /ɪm/ /ˈhœln̩ˌd͡ʒʊŋl̩/ /ˈkʀɛçt͡st/ /eːɐ̯/ (/bloːs/).
/ˈdɔx/~/ˈdɔχ/ /p͡fʊɪ̯/. /bəˈʔamtə/ /ˈmʏsn̩/ /diː/ /ˈdɔɪ̯t͡ʃə/ /ˈboːtʃaft/ /ˈj(ɛ/e)ːɐ̯lɪç/ /ˈvaɪ̯ən/.
Diese Sätze enthalten (verwenden) jedes Phonem der deutschen Sprache, einschließlich des ich-Lautes und des ach-Lautes (oft als Allophone angesehen), jedes langen und kurzen Vokals, des langen ‚ä‘ und jedes kurzen Vokals, der in Fremdwörtern vorkommt. (Die fremde Diphthonge enthält es doch nicht.) In Klammern stehen die Wörter, die die Sätze auch zum alphabetischen Pangramm machen (es fehlten sonst Q, X und ß).
„Juhu, sah vitale Genies, Ölgüter(, Xenon, Qindarka) und graue Physikromane im Höllendschungel!“ krächzt er (bloß).
Doch pfui! Beamte müssen die deutsche Botschaft jährlich weihen.
/juˈhuː/ /zaː/ /viˈta(ː)lə/ /ʒeˈniː(s)/ /ˈøːlˌɡyːtɐ/ (/ˈkseːnɔn/ /kɪnˈdaʀka/) /ʊnt/ /ɡʀaʊ̯ə/ /fyˈziːk.ˌʀoˈmaːnə/ /ɪm/ /ˈhœln̩ˌd͡ʒʊŋl̩/ /ˈkʀɛçt͡st/ /eːɐ̯/ (/bloːs/).
/ˈdɔx/~/ˈdɔχ/ /p͡fʊɪ̯/. /bəˈʔamtə/ /ˈmʏsn̩/ /diː/ /ˈdɔɪ̯t͡ʃə/ /ˈboːtʃaft/ /ˈj(ɛ/e)ːɐ̯lɪç/ /ˈvaɪ̯ən/.
Diese Sätze enthalten (verwenden) jedes Phonem der deutschen Sprache, einschließlich des ich-Lautes und des ach-Lautes (oft als Allophone angesehen), jedes langen und kurzen Vokals, des langen ‚ä‘ und jedes kurzen Vokals, der in Fremdwörtern vorkommt. (Die fremde Diphthonge enthält es doch nicht.) In Klammern stehen die Wörter, die die Sätze auch zum alphabetischen Pangramm machen (es fehlten sonst Q, X und ß).
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