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.

DOCTOR:
I'm just reading it. I just like the cover.

AMY (turning around to look over the DOCTOR'S shoulder):
Ooh, can we see the cover?

(The DOCTOR pulls the book away and leans away from her, looking back at her.)

DOCTOR:
No, no, I'm busy.
(He pauses for a moment, looking at her.) It's your hair!
(He leans in, his face close to hers, and sniffs.) Is it your hair?

(His nose bumps into hers.)

AMY:
Oh, shut up, it's the glasses.
(fiddling with her glasses) I'm wearing reading glasses now, on my nose, see?
There you go.

DOCTOR:
I don't like them. They make your eyes look all line-y.
(He pulls the glasses up and takes a look at her face under the glasses. He realizes she looks the same.) No, actually, sorry. They're fine, carry on.

RORY (excusing himself at this awkward moment):
OK, I'm going to go and get us some more coffee. Who wants more coffee? Me too, I'll go!

AMY:
Rory, do I have noticeable lines on my eyes now?

DOCTOR:
Yes.

RORY:
No.

AMY:
You didn't look.

RORY:
I noticed them earlier — didn't notice them! I specifically remember *not* noticing them.

AMY:
You walk among fire pits, Centurion!

RORY (seductively):
Do I have to come over there?

AMY:
Can if you like.

RORY:
Well, we have company.

AMY:
I'll get a babysitter.

(AMY and RORY start to kiss.)

DOCTOR:
Oh, do you know, it is so humiliating when you do that.

RORY (embarrassed):
Coffee?

AMY (also embarrassed):
Coffee.

DOCTOR (taking the glasses off her face):
Can I have a go?

(She chuckles slightly as he takes the glasses off her face and puts them on his and then looks at his book.)

DOCTOR:
Oh, actually, that is much better.
That is exciting.

AMY (laughing):
Read to me!

DOCTOR:
I thought you didn't like my reading aloud.

AMY:
Shut up, and read me a story. Just don't go "Yowzah!"

(The DOCTOR laughs. He then rips out the last page of the book. She hears, turns, and notices.)

AMY:
Why did you do that?

DOCTOR:
I always rip out the last page of a book.
Then it doesn't have to end.
(enunciating each word) I hate endings.

(He sets the page in the picnic basket.)

DOCTOR (reading):
"As I crossed the street, I saw the thin guy, but he didn't see me."

[cut] (We see RORY walking across a busy street.)

DOCTOR (still reading, now as a voiceover):
"I guess that's how it began..."

(We see RORY passing a fountain with one angel atop it and many small angels around its base. He is carrying two or three cups of coffee.

We hear child-like giggling in the distance.

RORY approaches what may be an underpass; a room, open to the outdoors on two sides through three massive arches on each side, but dark in its depths.

We hear more giggling; RORY turns to face the fountain and the giggling. We see that one of the baby statues has opened its mouth to reveal sharp teeth.

We see RORY turn back to the underpass; when we see the fountain again, the central baby, which had bared its teeth, is gone. Two babies remain on either side of the empty space it had occupied.

We continue to hear flashes of giggling as RORY enters the dark room.

He hears giggling, and a flit, as if of wings. He looks, but sees nothing around the tops of the columns supporting the roof, where the sound came from.

RORY looks alarmed.)

[cut] (The DOCTOR is sitting on the railing of a bridge; AMY is sprinkling something, likely duck-food, into the water.)

DOCTOR (reading as Amy dashes to look over the other side of the bridge):
"I followed the skinny guy for two more blocks before he turned and I could ask exactly what he was doing here. He looked a little scared, so I gave him my best smile and my bluest eyes..."

AMY:
Beware the yowzah.
(she turns to look at him, giving him a stern look of warning, raising her eyebrows) Do not, at this point, yowz.

(The DOCTOR stops reading aloud, and looks concerned. This causes AMY to look concerned and run back over to him.)

AMY:
Doctor? What did the skinny guy say?

DOCTOR:
He said, "I just went to get coffees for the Doctor and Amy."

DOCTOR (perhaps reading or perhaps perceiving the identity of the author):
Hello, River.



[cut]

(It is night. We are in a different New York.)

RIVER (raising her head to reveal who she is under her black hat):
Hello, Dad.

RORY:
Where am I?
(in a whisper:) How the hell did I get here?

RIVER:
I haven't the faintest idea,
but you'll probably want to put your hands up.

(RORY turns to see that one person is pointing a gun at him. RORY raises his hands, dropping his coffees.

We see that another man is behind RIVER, pointing a gun at her. Like almost all Doctor Who episodes, this episode contains a single minor character who is black.)

TOKEN BLACK CHARACTER:
Melody Malone?

RORY (to RIVER):
*You're* Melody?

(A car pulls up abruptly.)

TOKEN BLACK CHARACTER (nodding in the direction of the car, although RIVER is facing away from him and cannot see this gesture):
Get in.


[cut]

AMY:
What's River doing in a book? What's Rory doing in a book?

DOCTOR:
He went to get coffee. Pay attention!

AMY:
He went to get coffee and turned up in a book. How does that work?

DOCTOR (as he and AMY return to the TARDIS):
I don't know, we're in New York!


[cut]

RORY (getting into the car):
What is going on?

[cut]

AMY (to the DOCTOR, in the TARDIS):
Where did you get this book?

DOCTOR:
It was in my jacket.

AMY:
How did it get there?

DOCTOR:
How does anything get there? I've given up asking! Date, date, does she mention a date? When is this happening?

AMY (flipping through the pages on either side of the page she's on):
Yes, hang on. Ah... ooh, April 3rd, 1938.

[cut]

RIVER (to RORY, in the car):
You didn't come here in the TARDIS, obviously.

RORY:
Why?

RIVER:
He couldn't have.

[cut]

DOCTOR (popping up behind AMY, who has been reading):
Couldn't have? What does she mean? Couldn't have?

[cut]

RIVER (as they pass Grand Central Terminal):
This city's full of time distortions. It'd be impossible to land the TARDIS here,
like trying to land a plane in a blizzard: even I couldn't do it.

[cut]

DOCTOR (wound up):
Even who couldn't do it?

AMY:
Don't you two fall out, she's only in a book.

DOCTOR (fiddling with controls, faintly laughing, perhaps nervously):
1938. Easy one!

(The console sparks. The TARDIS appears in the sky briefly, but then disappears, as if it bounced off an invisible wall around the city.)

AMY:
What was that?

DOCTOR:
1938. We just bounced off it.

RORY:
So how did you get here?

RIVER:
Vortex Manipulator.
Less bulky than a TARDIS. A motorbike through traffic.
(to RORY:) You?

RORY:
I'm ... not sure.

DOCTOR or AMY (?):
The Weeping Angels?

DOCTOR:
It makes sense.

AMY:
It makes what?

DOCTOR:
That's what happened to Rory.
That's what the Angels do. It's their preferred form of attack.
They zap you back in time, let you live to death.

AMY:
Well, we've got a time machine, we can just go and get him,

DOCTOR:
Well, tried that, if you've noticed, and we are back where we started in 2012.

AMY:
We didn't start in a graveyard.
Why are we here?

DOCTOR:
Don't know.
Probably causally linked somehow, doesn't matter.
(to the TARDIS:) Extractor fans on!

AMY:
Well, we're going to get there somehow. We're in the rest of the book.

DOCTOR:
What?

AMY:
Page 43.
You're going to break something.

DOCTOR:
I'm what?

AMY (reading):
"'Why do you have to break mine?' I asked the Doctor. He frowned and said 'because Amy read it in a book and now I have no choice.'"

DOCTOR (running over and grabbing the book away from him):
Stop, no, no! Stop!
You can't read ahead. You mustn't, and you can't do that.

AMY:
But we've already been reading it.

DOCTOR:
Just the stuff that's happening now, in parallel with us, that's as far as we go.

AMY:
It could help us find Rory!

DOCTOR:
And if you read ahead and find that Rory dies?
This isn't any old future, Amy, it's ours.
Once we know what's coming, it's fixed.
I'm going to break something, because you told me [that] I'm going to do it.
No choice now.

AMY:
Time can be rewritten.

DOCTOR:
Not once you've read it.
Once we know what's coming, it's written in stone.

(As AMY and the DOCTOR dash back into the TARDIS, we notice one of the gravestones:
IN LOVING MEMORY
RORY ARTHUR WILLIAMS)


[cut]

RIVER (entering a large house, admiring a vase):
Ah, early Ch'in [Qin] dynasty, I'd say.

GRAYLE (speaking from the second or third floor):
Correct.
Are you an archaeologist as well as a detective?

[cut]

DOCTOR (standing on the TARDIS console):
OK, landing a plane in a timey-wimey blizzard.
I could push through, but if I'm out by a nanosecond, the engines will phase and I'll shatter the planet.
I need landing lights.

AMY:
Landing lights?

DOCTOR:
Yes, I need a signal to lock on to.
What did she say? Early what dynasty?

[cut]

GRAYLE:
Early Ch'in, just as you say.
You're very well-informed.

RIVER:
And you're very afraid. That's an awful lot of locks for one door.

(We see that the man has seven locks on his door.)

RORY (noticing that the Chinese characters on one of the vases have re-arranged themselves to form the English words 'rapture of summer'):
River, I'm translating.

RIVER:
It's a gift of the TARDIS, it hangs around.

GRAYLE:
This one, put him somewhere uncomfortable.

TOKEN BLACK CHARACTER:
With the babies, sir?

GRAYLE:
Yes, why not? Give him to the babies.

RORY (as the TOKEN BLACK CHARACTER grabs his arm):
Ah-ah-ah-ow-ow...

(RORY is thrown to the bottom of the stairs of the darkened basement.)

TOKEN BLACK CHARACTER (throwing RORY a box of matches):
The lights are out. You'll last longer with these.

RORY:
What do you care?

TOKEN BLACK CHARACTER (smirking):
It's funnier.

(The TOKEN BLACK CHARACTER leaves and closes and locks the door, plunging the room into total darkness.

We hear child-like giggling.)

[cut]

(We see a plate with several depressions in it containing different spices or pigments, a palette. On the screen, text reads 'China 221 BC'.

We hear the TARDIS materialise.)

DOCTOR (to an elderly Chinese man):
Ah, hello, yes.
(holding up his psychic paper:) Special commission from the Emperor!

[cut]

(RIVER is removing her coat in the man's room. She notices that a vase on the table reads 'Yowzah'.)

RIVER:
Hello, sweetie.
(She turns to face him.) Let's see, crime boss with a collecting fetish.

(RIVER turns to a niche in the wall which is closed off from view by curtains.)

RIVER:
Whatever you don't let anyone else see has got to be your favourite.
Or possibly your girlfriend.
(She pulls open the curtains to reveal a damaged, shackled WEEPING ANGEL.)
So, girlfriend, then.

(She starts to press buttons on her vortex manipulator.)

GRAYLE:
What are you doing?

RIVER:
Oh, you know, texting a boy.

[cut]

(In the TARDIS, the screen flashes 'Yowzah: signal located'; a map comes up.)

DOCTOR:
Landing lights!
We have a signal.
Locking on...

[cut]

GRAYLE:
These things are all over, but people don't seem to notice. It never moves while you're looking.

RIVER:
Oh, I know how they work.

GRAYLE:
So I understand. Melody Malone, the detective who investigates Angels.

RIVER:
Badly damaged.

GRAYLE:
I wanted to know if it could feel pain.

RIVER:
You realise it's screaming?
The others can hear.
Is that why you need all the locks?

GRAYLE:
You're going to tell me all about these creatures.

(He flicks the lights off for an instant. As she turns around, RIVER notices that the WEEPING ANGEL has grabbed her wrist.)

GRAYLE (flicking the lights off again):
And you're going to do it quickly.

(RIVER gasps as darkness falls.)

[cut]

(RORY is lighting a match in the basement.

We hear more child-like giggling and the flitting of feet or wings from one side of the room to the other.)

RORY:
Hello, is someone there?

(RORY notices and inspects several baby statues, until the match burns down to where he is holding it. He drops it.

When he strikes another, he notices that the BABY ANGELS have moved. He drops his new match, still lit, and backs away.)

RORY (as he tries to light another match):
Come on, come on...

(He lights another match, then notices than a BABY ANGEL is right near him. It blows out his match.)

[cut]

RIVER:
The Angels are predators, they're deadly.
What do you want with them?

GRAYLE:
I'm a collector.
What collector could resist these? I'm only human.

RIVER:
That's exactly what
they're thinking.

(The lights flicker. We hear the TARDIS materialising. The DOCTOR'S triumphant musical theme starts up.)

GRAYLE:
What's that? What's happening?
Is it an earthquake?

(The TARDIS starts to materialise in various places around New York, including inside GRAYLE'S house.)

GRAYLE:
What is this?

RIVER (to the DOCTOR, who is not there yet):
Oh, you bad boy. You could burn New York!

GRAYLE:
What does that mean?

RIVER (to the GRAYLE):
It means, Mr Grayle, just you wait till my husband gets home!

(The TARDIS materialises and GRAYLE is thrown backwards, to the floor.)

AMY (rushing to the door):
Come on!

DOCTOR:
Just a moment, final checks.

AMY:
Since when?

(The DOCTOR spits on his hand and slicks his hair back, then checks his appearance in a semi-reflective Rolls Royce manufacturing plate.)

AMY (dashing out of the TARDIS):
Rory?
Rory?
Rory?

DOCTOR (noticing GARYLE, then RIVER; speaking to RIVER):
Sorry I'm late, honey.
Traffic was hell.

(RIVER chuckles. The DOCTOR briefly inspects GRAYLE.)

DOCTOR (to RIVER, explaining why GRAYLE is unconscious):
Shock.
He'll be fine.

RIVER:
Not if I can get loose.

DOCTOR:
So where are we now, Dr Song? How's prison?

RIVER:
Oh, I was pardoned ages ago. And it's Professor Song to you.

DOCTOR (a silent worry is visible in his eyes):
Pardoned?

RIVER:
Mm... turns out the person I killed never existed in the first place.
Apparently, there's no record of him.
It's almost as if someone's gone around deleting himself from every database in the universe.

DOCTOR (touching her nose):
You said I got too big.

RIVER:
And now no-one's ever heard of you.
Didn't you used to *be* somebody?

DOCTOR:
Weren't you the woman who killed the Doctor?

RIVER:
Doctor who?

DOCTOR (scanning the WEEPING ANGEL with his sonic screwdriver):
She's holding you very tight.

RIVER:
At least she didn't send me back in time.

DOCTOR:
I doubt she's strong enough.

RIVER:
Well, I need my a hand back, so which is it going to be? Are you going to break my wrist or hers?

(We see that AMY is now behind the DOCTOR.

RIVER, knowing the DOCTOR'S answer, looks sad.)

RIVER:
Oh, no... really? Why do you have to break mine?

DOCTOR:
Because Amy read it in a book.
(RIVER lets out a short gasp of indignation.)
And now, I have no choice.

DOCTOR (to AMY):
You see?

RIVER (continuing to let out little "uh"s of protest):
Well, what book?

DOCTOR:
Your book.
(He takes it out and shows the cover to her.)
Which you haven't written yet, so we can't read.

RIVER:
I see. I don't like the cover much.

AMY:
But if River's going to write that book, she'd make it useful, yeah?

RIVER:
Well, I'll certainly try. But we can't read ahead. It's too dangerous.

AMY:
I know. But there must be something we can look at.

DOCTOR:
What, a page of handy hints? Previews? Spoiler free?

AMY (pronouncing the second 't' in 'titles' as a glottal stop):
Chapter titles?

DOCTOR (reading over the titles):
He's in the cellar.

AMY (asking for the sonic screwdriver):
Gimme!

(AMY darts out of the room. The DOCTOR kisses RIVER on the cheek. She smiles. He, too, darts out of the room. Then he stops.)

RIVER (noticing with alarm that he has stopped):
Doctor?
Doctor, what is it, what's wrong? Tell me!
Doctor? Doctor, what is it, tell me!

(We see the last chapter titles: 'Death at Winter Quay' and 'Amelia's Last Farewell'.)

RIVER:
OK, I know that face. Calm down, talk to me.

(The DOCTOR angrily slams the book down against the back of a chair but does not let go of it. He growls.)

DOCTOR:
No!

RIVER:
Talk to me, Doctor!

DOCTOR (turning around, after starting to storm off; speaking angrily to RIVER):
No!
Get your wrist out.
You get your wrist out without breaking it!

RIVER (concerned):
How?

DOCTOR (as he storms off):
I don't know, just do it, change the future!

[cut]

(Lights spills into the cellar as AMY opens the door.)

AMY:
Rory?

DOCTOR (coming up behind her):
No!
(She screams, startled, at his presence behind her.)
They're Angels.
Baby Angels.

AMY:
Did they get Rory? Where is he, did they take him?

DOCTOR (speaking quickly):
Yes, I think so, yes.

(Child-like giggling and flitting is heard. AMY and the DOCTOR back up the stairs.)



[cut]

(We see the Statue of Liberty.

We see RORY, standing below an apartment complex: Winter Quay.)



[cut]

The DOCTOR is pacing around the lower floor of the house.

AMY:
So, is this what's going to happen?
We just keep chasing him and they keep pulling him further back?

RIVER:
He isn't back in time.
(She walks in, reading from a screen.)
I'm reading a displacement, but there are no temporal markers.
He's been moved in space, not in time ... and not that far from here, by the look of it.

DOCTOR (to RIVER, looking happy):
You got out?

AMY:
So, where is he?



[cut]

(RORY walks towards the doors of the complex, which open automatically.)

DOCTOR (impatiently, to RIVER):
Come on, come on, come on, where is he?

RIVER (failing to use the subjunctive):
If it was that easy, I'd get you to do it.

DOCTOR:
How did you get your wrist out without breaking it?

RIVER:
You asked, I did. Problem?

DOCTOR (happy):
You just changed the future.

RIVER:
It's called marriage, honey. Now, hush, I'm working.

DOCTOR:
[She's] good, eh? have you noticed? Really, really good...

RIVER:
Ah, wherever it is, it's within a few blocks.
There's a car out front. Shall we steal it?

DOCTOR (jumping up):
Show me!

(On his way towards the door, he grabs RIVER'S hand to drag her with him.

RIVER cries out in pain.

He notices that her wrist is bloody and limp.)



[cut]

(RORY is standing by the lift, which reaches his floor and opens. With visible trepidation, he gets in.)



[cut]

(The DOCTOR is reading from and manipulating two devices. RIVER is sitting on the steps, sad.)

DOCTOR (to AMY):
OK, when all those numbers on both units go to zero, that's when we've got a lock, OK?
It's how we find Rory.

AMY:
Got it.

DOCTOR (to RIVER, sadly):
Why did you lie to me?

RIVER:
When one's in love with an ageless god who insists on the face of a 12-year-old, one does one's best to hide the damage.

DOCTOR (taking her wrist):
It must hurt.

RIVER:
Yes. The wrist is pretty bad too.

(The DOCTOR looks sadly at RIVER. She looks sadly away.

He places his hand on her wrist and it glows with regeneration energy.)

RIVER:
No! No! Stop that, stop that! Stop it!

DOCTOR (finished):
There [we go]. How's that?

RIVER (flexing her hand):
Well, let's see, shall we?

(RIVER slaps the DOCTOR.)

RIVER:
That was a stupid waste of regeneration energy! Nothing is gained by you being a sentimental idiot.

DOCTOR:
River!

RIVER (getting up):
Oh, you embarrass me!

DOCTOR (calling after her):
River!

AMY (taking off her glasses and walking over to the DOCTOR, who is sitting on the stairs, as RIVER unlocks the door):
Tell you what: stick to the science part.

(AMY hands him the equipment and walks after RIVER.

The DOCTOR stamps his feet.)

AMY (outside, standing behind RIVER):
Okay... why did you lie?

RIVER (facing away from AMY):
Never let him see the damage.

(AMY comes up and puts her arm around RIVER.)

RIVER (turning to face AMY):
And never, ever let him see you age.
(She shrugs her shoulders.) He doesn't like endings.

DOCTOR (inside, as the screen starts to beep and displays 'Winter Quay'):
There you are...

DOCTOR (running out the door, seen from far away):
Got it. He's at a place called Winter Quay. The car? Yes! Let's go.

(We see the statues which sit opposite GRAYLE'S house. They notice his open door.

Inside his house, GRAYLE comes to. He notices the wind blowing papers around.

He notices first the woman, and backs away... then he notices the child.)



[cut]

(RORY exits the lift.

The same odd humming-singing which we heard when AMY was hallucinating in the Asylum of the Daleks is heard.

RORY walks down the hallway, the carpet of which is red. The lights flicker. At one end of the hallway is an angel.

As RORY reaches for a doorknob, the door opens. He steps into the room.)



[cut]

(The car screeches to a halt outside Winter Quay. AMY gets out.)

RIVER (her voice soft):
Why would they send him here?
Why not zap him back in time, like they normally do?

DOCTOR (his voice also soft):
We'll know that when we know what this place is.

AMY (noticing the large neon sign):
Winter Quay.

(AMY and the DOCTOR dash up to the door of the Quay. They enter.

[cut]

AMY, the DOCTOR and RIVER leave the lift, having reached the red-carpet floor.)

AMY:
(concerned:) Rory?

RIVER:
He's close.

AMY:
(forcefully:) Rory!

(AMY reaches the open door and enters.)

AMY:
Rory!

RORY:
Amy!

(AMY and RORY embrace. The DOCTOR and RIVER are still in the hall. The lights flicker.)

RIVER:
Doctor, look at this.
(We see a smiling ANGEL.)
Why's it smiling?

(The DOCTOR looks concerned, especially as he notices 'R. Williams' on a door.)

DOCTOR (rushing into the room):
Amy... Rory!
Get out of here! Don't look at anything, don't touch...

(AMY is already looking intently into a room, in which an old man lies on a bed.)

AMY:
Who's that?

OLD MAN (raising a hand to point to AMY):
Amy...
Amy, please...
Amy, please... please.

(AMY takes the OLD MAN'S hand.)

AMY:
Rory?

AMY (to the younger RORY):
He's you.

OLD MAN:
Amy.

(The OLD MAN stops breathing. AMY withdraws her hand.)

RORY:
[Will] someone please tell me what is going on?

DOCTOR (with a look of sadness as he grasps reality):
I'm sorry, Rory... but you just died.

(RORY brings a few fingers to his mouth in shock.

A typewriter types out 'Death and Winter Quay'.)

DOCTOR:
This place is policed by Angels.
Every time you try to escape, you get zapped back in time.

AMY:
So this place belongs to the Angels, they built it?

DOCTOR:
Displacing someone back in time creates time energy, and that is what the Angels feed on.
But normally, it's a one-off, a hit and run.
If they could keep [a]hold of their victims, feed off their time energy over and over again...
This place is a farm. A battery farm.

DOCTOR (pointing to RIVER):
How many Angels in New York?

RIVER:
It's like they've taken over every statue in the city.

DOCTOR:
[Well,] the Angels take Manhattan!
Because they can, because they've never had a food source like this one. The city that never sleeps.

(Rumbling is heard outside the building.)

RORY:
What was that?

DOCTOR:
I don't know... but I think they're coming for *you*.

RORY:
What does that mean?
What is going to happen to me?

(The DOCTOR sits and buries his head in his hands.)

RORY:
What is physically going to happen?

DOCTOR:
The Angels will come for you.
They'll zap you back in time to this very spot, 30 [or] 40 years ago.
And you will live out the rest of your life in that room, until you die in that bed.

RORY:
And will Amy be there?

DOCTOR:
No.

AMY:
How do you know?

DOCTOR:
Because he was so pleased to see you again.

RORY:
OK. Well, they haven't taken me yet. What if I just run?
What if I just get the hell out of here?
Then that (he points to the other room) never happens.

DOCTOR:
It's already happened, Rory... you've just witnessed your own future.

RIVER:
Doctor, he's right.

DOCTOR:
No, he isn't.

RIVER:
If Rory got out, it would create a paradox.

(The rumbling is heard again.)

AMY (as if annoyed at the rumbling):
What is that?

RIVER:
This is the Angels' food source. The paradox poisons the well.
It could kill them all.
[Why,] this whole place would literally un-happen.

DOCTOR (looking coldly serious):
It would be almost impossible.

RIVER:
Loving the "almost".

DOCTOR:
But to create a paradox like that takes almost unimaginable power.
What have we got? Eh? Tell me, come on, what?

(AMY walks over to stand next to RORY, taking his left hand in her right and clasping his left arm with her left hand.)

AMY (sounding, in my opinion, overdramatic):
I won't let them take him. That's what we've got.

(The DOCTOR looks out the window as the rumbling grows louder. It is the footsteps of something very large.)

RORY:
Whatever that thing is, it is getting closer.

DOCTOR:
Rory, even if you got out, you'd have to keep running for the rest of your life.
They would be chasing you for ever.

AMY (opening the door):
Well, then. Better get started.
(noticing an ANGEL on the other side of it; to RORY:) Husband — run!

(RORY clasps the DOCTOR briefly, then runs, following AMY, out the door.

The DOCTOR looks, amused, at RIVER.

Looking again, two ANGELS are outside the door.

DOCTOR:
River — I'm not sure this can work.

RIVER:
Husband — shut up!

(The lights flicker, and the ANGELS move closer, into the room, causing RIVER and the DOCTOR to step back.

The lights flicker again, and when they turn on, the ANGELS' arms are raised.

[cut] Reaching the bottom of the stairwell, AMY notices an ANGEL at the bottom.)

AMY (to RORY):
Up!

RORY:
What good's up?

AMY:
Uh... better than down!

[cut]

(The DOCTOR is pointing his screwdriver at a light, keeping it on. One angel is now on the other side of the DOCTOR, inside the room. RIVER is nearer the door, which is blocked by another ANGEL.)

DOCTOR:
We can't keep doing this.

RIVER:
Any ideas?

DOCTOR (lowering his screwdriver):
Yeah, the usual! Run!

(The two run, leaving the angels to stare at each other, something which in the past would have immobilised them.)

[cut]

(AMY and RORY dart out onto the roof.

RORY turns and sees the Statue of Liberty.

[cut]

The DOCTOR and RIVER dash out of the room and reach the staircase. The DOCTOR sees an ANGEL at the bottom of it. He pulls back into the room or hallway.)

DOCTOR (grabbing RIVER by the arm):
Uh... OK, fire escape.

RORY:
I always wanted to visit the Statue of Liberty.
I guess she got impatient.

(RORY and AMY are staring at it.

He grabs her arm, steadying her, then runs to the ledge of the building.)

AMY (still staring at the statue):
What? What is it, what?

RORY:
Just keep your eyes on that.

(RORY lets out a disappointed "oh" when he sees no fire escape.)

AMY:
Is there a way down?

RORY:
Ah... no.
But there's a way out.

(RORY starts to climb up onto the ledge.)

AMY:
What are you doing?
Rory, what are you doing?

(AMY turns. Now RORY is watching the Statue.)

AMY (concerned):
Rory...
Stop it. You'll die!

RORY:
Yeah, twice, in the same building, on the same night.
Who else could do that?

AMY:
Just come down. Please.

RORY:
This is the right thing to do. This will work.
If I die now, it's a paradox, right?
The paradox kills the Angels. Tell me I'm wrong.
Go on, please, because I am really scared.

(AMY is silent.)

RORY:
Great. The one time you can't manage it.

(RORY leans back, as if to fall, but jerks himself back into a position of balance, scared.)

RORY (as he clasps her hand, bringing it to his chest):
Amy... I am gonna need a little help here.

AMY:
Just stop it!

RORY:
Just think it through. This will work, this will kill the Angels.

AMY:
It'll kill you too.

RORY:
Will it?
River said this place would be erased from time, never exist. If this place never existed, what did I fall off?

AMY:
You think you'll come back to life?

RORY:
When don't I?
And anyway, what else is there?
Dying of old age downstairs, never seeing you again?
Amy, please, if you love me,
[then] trust me, and push.

AMY (a sad whisper, on the verge of tears):
I can't.

RORY:
You have to!

AMY (not using the subjunctive):
Could you? If it was me, could you do it?

RORY:
To save you, I could do anything.

(AMY sheds a tear.

She pulls her hand away from his chest, and climbs up onto the ledge.)

AMY:
Prove it.

RORY:
[Oh], I can't take you too.

AMY:
You said we'd come back to life.

RORY:
Money-where-your-mouth-is time.

RORY:
Amy...

AMY (interrupting him):
Shut up.

(AMY puts his hands around her.)

AMY:
Together. Or not at all.

(The DOCTOR and RIVER, having somehow escaped, climb up a fire escape, whereas RORY and AMY came out a door.)

DOCTOR:
What the hell are you doing?

AMY (still looking at RORY):
Changing the future.
It's called marriage.

DOCTOR (as she and RORY fall over the edge):
Amy!
Amy!

(AMY and RORY fall for a dramatically long time, changing poses as the camera changes angles.

White sparks begin to come from the air and from the Statue.)

RIVER:
Doctor!
(as the DOCTOR turns and takes her hand:) What's happening?

DOCTOR:
The paradox. It's working! The paradox is working!



[cut]



(We see an angel statue, in a cemetery, the same one as before. The skyline of New York is in the background.)

RORY and AMY rise up abruptly, as if woken from sleep in a bed. They are lying over graves, with tombstones like the headrests of beds.

RORY (to AMY):
Where are we?

DOCTOR (walking into the frame behind them and coming towards them, cheery):
Back where we started!
You collapsed the timeline, the paradox worked,
(he grasps first RORY'S face, then AMY'S) we all pinged back where we belong!

RORY:
What, in a graveyard?

AMY:
This happened the last time. Why always here?

DOCTOR:
Does it matter?
We could've blown New York off the planet.
I can't ever take the TARDIS back there, the timelines are too scrambled.
(relieved) Oh, I could have lost you both!

DOCTOR (hugging them, then looking alarmed:)
Don't ever do that again.

RORY:
Wh... what did we do?
We fixed it, we solved [it].

DOCTOR (kissing each of them on the head):
I was talking to myself.

(AMY and RORY smile.)

RIVER:
It could do with a repaint.

DOCTOR:
I've been busy.

RIVER:
Does the bulb on top need changing?

DOCTOR:
I just changed it.

(He changed the bulb during Pond Life, though it is unclear if this is a reference to that or not.)

RIVER (scrubbing the TARDIS):
So. Rory and Amy, then.

DOCTOR (also scrubbing):
Yes. I know, I know.

RIVER (defensively raising her arms):
I'm just saying.
They're going to get terribly bored hanging round here all day.

RORY (making his way, with AMY, back towards the TARDIS):
Doctor.

DOCTOR:
Ha!

RORY:
Next time, could we could just go to the pub?

DOCTOR:
I want go to the pub right now.
Ah, are there video games there? I love video games.

(RORY notices a tombstone.)

RIVER:
Right, family outing, then.

(As the DOCTOR and RIVER step into the TARDIS, RORY moves back to look at it.

He notices that it bears his name.)

RORY (to AMY, just as she is entering the TARDIS):
Amy! Come and see this!

AMY:
What?

RORY:
There's a gravestone here for someone with the same name as me!

AMY (laughing, perhaps nervously):
What?

(AMY looks up just in time to see a WEEPING ANGEL behind him. It zaps him back in time.)

AMY:
Doctor!

(The DOCTOR darts out of the TARDIS, followed by RIVER.)

RIVER:
Where the hell did that come from?

DOCTOR (using his sonic to scan it):
It's a survivor. Very weak, but keep your eyes on it.

AMY:
Where's Rory?

(The DOCTOR approaches it with catlike care.)

(The gravestone, which previously said 'In Loving Memory / Rory Arthur Williams' now bears another line, 'Aged 82'.)

DOCTOR (sadness and darkness is in his eyes):
I'm sorry.
Amelia...
...I'm so, so sorry.

AMY (sadness and darkness are in her eyes as well)
No. No, we can just go and get him in the TARDIS. One more paradox...

DOCTOR:
...would rip New York apart.

AMY:
No, that's not true, I don't believe you.

RIVER:
Mother, it's true.

DOCTOR (as AMY steps towards the ANGEL he has positioned himself with his own back to):
Amy, what are you doing?

AMY:
That gravestone, Rory's, there's room for one more name, isn't there?

DOCTOR:
What are you talking about?
Back away from the Angel,
come back to the TARDIS,
we'll figure something out!

(The DOCTOR grabs her arm as he walks towards the TARDIS, trying to pull her with him. She isn't moved.)

AMY:
The Angel, would it send me back to the same time, to him?

DOCTOR (alarmed):
I don't know. Nobody knows.

AMY:
But it's my best shot, yeah?

DOCTOR (with the same alarm one would expect of any friend trying to dissuade another friend from such a suicidal move):
No!

RIVER:
Doctor, shut up!
(to AMY, trying to steady her to make a scary but necessary move:) Yes! Yes, it is!

DOCTOR:
Amy...!

AMY:
Well, then.
I just have to blink, right?

DOCTOR (screaming):
No!

AMY:
It'll be fine. I know it will.
I'll, I'll, I'll be with him,
like I should be.
Me and Rory, together.

Melody?

DOCTOR (turning to look to RIVER):
Stop it, just, just stop it!

(RIVER moves forward to take AMY'S hand for a moment.)

AMY (to RIVER, about the DOCTOR):
You look after him
and you be a good girl,
and you look after him.

(RIVER rises from kissing AMY'S hand.)

DOCTOR:
You are creating fixed time.
I will never be able to see you again.

AMY (a smile flashing across her face for an instant as she thinks of it, in the middle of crying):
I'll be fine. I'll be with him.

DOCTOR:
Amy, please, just come back into the TARDIS.
Come along, Pond, please.

AMY:
Raggedy man, goodbye!

(She turns, putting her back to the ANGEL, and although the DOCTOR seems to be looking at it, it zaps her.)

DOCTOR:
No!

(He buries his head in his hands, apparently trusting RIVER to watch the ANGEL so it doesn't zap him.

He screams.

The tombstone reads:
'in loving memory
Rory Arthur Williams
aged 82

and his loving wife
Amelia Williams
aged 87')



[cut]

(Inside the TARDIS, a gear on the console spins.

RIVER is flying it, the DOCTOR is sulking.)

DOCTOR (his face seeming angry, then softening):
River, they were your parents.
Sorry. I didn't even think.

RIVER:
It doesn't matter.

DOCTOR:
Course it matters.

DOCTOR:
What matters is this: Doctor, don't travel alone.

DOCTOR:
Travel with me, then.

RIVER (smiling):
Whenever and wherever you want...
(He smiles, too.)
...but not all the time.
One psychopath per TARDIS, don't you think?

RIVER:
OK. This book I've got to write, Melody Malone...
I presume I send it to Amy to get it published?

DOCTOR (uninterested in this detail):
Yes. Yes.

RIVER:
I'll tell her to write an afterword.
For you.
(RIVER walks off as the TARDIS lands.)
Maybe you'll listen to her.

DOCTOR (realising):
The last page!



[cut]

(The DOCTOR is running over the bridge in the park.

He reaches the picnic basket and snatches up the last page.)

AMY'S voice is heard, narrating the afterword:
Afterword, by Amelia Williams.

Hello, old friend.
And here we are, you and me, on the last page.

By the time you read these words, Rory and I will be long gone.

So know that we lived well, and were very happy.

And above all else, know that we will love you always.

Sometimes I do worry about you, though.

I think once we're gone, you won't be coming back here for a while,
and you might be alone,
which you should never be.

Don't be alone, Doctor.

And do one more thing for me.

There's a little girl waiting in a garden.

She's going to wait a long while,
so she's going to need a lot of hope. (The DOCTOR begins to smile as he reads.)

(We see Amelia in her coat with her suitcase, running into her garden that night so many years ago.)

Go to her. Tell her a story.

Tell her that if she's patient,

the days are coming
that she'll never forget.

Tell her she'll go to sea
and fight pirates.

She'll fall in love with a man
who'll wait 2000 years to keep her safe.

Tell her she'll give hope to the greatest painter who ever lived

and save a whale in outer space.

Tell her,
this is the story of Amelia Pond.

(In the garden, Amelia smiles as she hears the TARDIS sound.)

And this how it ends.




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