Torchwood Declassified (2006) s01e10 Episode Script
Time Flies
Out Of Time is about emotion, life, it's about displacement.
It's also about euthanasia, dare I say it? It's tragic.
It's heart-wrenching.
SWING MUSIC PLAYS Big decision we made at the start of Out Of Time, a good decision, in the end, was not to have a big monster or enemy.
At least it wasn't an alien spaceship.
Might have been easier.
The only science fiction element in this episode is the fact that these people come from the past.
Is there any way you can go steeper? I can go? Yeah.
Just as if there's a hole in the time-space continuum and you're flying into that.
I see! Russell just happened to say he wanted to see a love story, and wouldn't it be great if we started the show with an image of a plane from the 1950s flying through the clouds, and they land and Torchwood are there and they have to look after them and integrate them into modern society.
Initially, they don't think that should be a problem, but it turns out to have a devastating impact.
How did it do that? Good God! What does that mean? It's a great device - three people from the 1950s - to examine how we live now, and whether we can completely justify it or not.
Can we do it again? And action.
For instance, John, you could run a corner shop.
No.
We can fake references.
You can't take away our names, for God's sake, man.
It's all we've got left, the name above my shop.
'The character I play is called John' and he, erhe doesn't cope very well, really.
He finds it really, really difficult.
Sorry, mate, you can't smoke in here.
And the thing that Jack sees in John is hishis emptiness, his sense of loss, his sense of not belonging.
Alan, it's me - your dad! Who are you? 'Key for me is he's lived his life when he was meant to,' and he craves oblivion.
'He was always doomed, I'm afraid!' Take one.
John and I got on very well and we had a good laugh in all our scenes.
And we did on that day as well.
It's hard to believe it, I suppose.
OK, we've cut that.
Once you say "Cut!", we're back to larking around, really.
We wanted to be inside the car with the characters, rather than shooting through a windscreen or a side window, which was what a full car rig would have restricted us to.
So quite early on, we took the decision that we would have a cut-down car, which let us actually get the camera right into the faces of the people inside the car.
I think the thing to remember about Gwen and Emma, as a pair, is that Gwen is not that far off being a teenager.
We've not been specific about her age, but, um, she's got that energy and youthfulness about her, and at the same time, she's got the age and experience to sit there like a mother with her.
The Emma I know was looking forward to a pretty conventional life.
'The others had their role within society.
She didn't.
'So she is unformed.
'I think she's more excited' by this new world, although she's very shocked and traumatised by the loss of her family and the loss of everything she knows.
'She's got that youthful excitement.
' Sohow many men have you done it with? It's just such a difference between them, that just sings - putting two women from two different generations together, reversing it.
So if I meet a boy, and Mm-hm.
.
.
we get on, and he wants sex, then you think I should let him? No, that's not what I said.
'You'd expect Emma' to be very uncomfortable with it, but it's Gwen who reveals a lot, 'you know, about having partners, and it was great fun to do.
' It was a funny scene to film.
The whole point of the episode was to get scenes like that.
There's a good scene where he walks in and she catches him naked.
She's greeted by the sight of Rhys's bum.
AA-AA-AARGH! And she's horrified! But funny to do.
Bless! Poor Olivia, seeing my bum! Oh, I think he's great.
I saw him that morning, when he had to get naked, and he did look very nervous.
He might not have admitted to being nervous, but I could tell.
Better not tell her you saw my morning glory, then, eh? 'I think this is a turning point, because this is a girl in his house' and it's demonstrating how easily Gwen can lie to him.
You said you were working last night.
I was.
I'm sorry.
Sorry.
It's the first time, really, that Gwen has brought her work home, 'so Gwen's nervous.
' So let's have it.
Who exactly is Pollyanna? Oh! Is it to do with work?! She's loving this job so much - it's so extraordinary - that she doesn't mean to, but naturally she's starting to take Rhys and the relationship for granted.
I'm glad you haven't got a girlfriend.
Me too.
'Everyone's had their hearts exposed' and now it's time to get to the heart of Owen and see him falling in love and how that changes him and how it lights him up, actually.
Hello, there! 'Gorgeous sort of 1950s matinee idol figure steps out from the plane' and he's besotted.
'She's a cool girl.
She just says her mind.
'She's extremely attractive immediately, because she knows what she wants,' she doesn't talk rubbish, she's very clear, she's driven, and Owen's attracted to that at once.
I guess I'm just another pig-headed man, telling you what to do.
Well, you'd better make it up to me.
I want to learn all about this new world.
'We had lots of debates' about the fact that, umwhether he would teach her sexually, 'or if she would surprise him.
Owen thinks he has all the tricks,' but he's disarmed, really - his rule book is taken away, thrown away by this woman.
'The actress who played Diane, Lou Delamere,' was very, umattractive.
No, no, sorry! 'I'd sort of written that I wanted them to always maintain eye contact.
'I didn't want it to be I wanted them to be honest about what they were doing.
' I really felt there was an intensity, and because they were quite honest in holding the sex scene so long, you got past the point of thinking, "Oh, God, look! Sex scene!" and you thought ' "I really believe.
" ' 'I think that in this episode, we see Owen's true feelings.
'We see his, um, vulnerability, 'we see his history.
' And ultimately it's another human being talking to another human being 'with their souls absolutely bared.
' It's like when I'm not with you um I'm out of focus.
'I think that Owen' doesn't give a lot away.
He's not somebody who wears his heart on his sleeve.
And so for him to break down at all is a massive thing.
I'll come with you.
I fly solo, Owen.
And once he'd sort of lost his act, or his guile, in a way, it was what's there, and it's a frightened boy, really.
What about me? Please, please don't go.
'I'm not sure I could say, hand on heart, she did love Owen.
'I think she needed some release, 'and it was intense and it was there, 'and she had those feelings very much in the moment, 'but her heart belongs to adventure.
' What memories I'm taking with me.
'I think that he leaves' the episode a better man - 'somebody who's been wounded, and who's vulnerable, 'but is actually much more human for that.
' In every person's life there is a stage or a time that comes when you just want to go to the darkest, most dismal place.
Combat is vicious, is rough.
You've got this face-punching .
.
bloody broken-nosed .
.
broken-toothed extravaganza.
Hey! What does a man have to do to get some peace in this city?
It's also about euthanasia, dare I say it? It's tragic.
It's heart-wrenching.
SWING MUSIC PLAYS Big decision we made at the start of Out Of Time, a good decision, in the end, was not to have a big monster or enemy.
At least it wasn't an alien spaceship.
Might have been easier.
The only science fiction element in this episode is the fact that these people come from the past.
Is there any way you can go steeper? I can go? Yeah.
Just as if there's a hole in the time-space continuum and you're flying into that.
I see! Russell just happened to say he wanted to see a love story, and wouldn't it be great if we started the show with an image of a plane from the 1950s flying through the clouds, and they land and Torchwood are there and they have to look after them and integrate them into modern society.
Initially, they don't think that should be a problem, but it turns out to have a devastating impact.
How did it do that? Good God! What does that mean? It's a great device - three people from the 1950s - to examine how we live now, and whether we can completely justify it or not.
Can we do it again? And action.
For instance, John, you could run a corner shop.
No.
We can fake references.
You can't take away our names, for God's sake, man.
It's all we've got left, the name above my shop.
'The character I play is called John' and he, erhe doesn't cope very well, really.
He finds it really, really difficult.
Sorry, mate, you can't smoke in here.
And the thing that Jack sees in John is hishis emptiness, his sense of loss, his sense of not belonging.
Alan, it's me - your dad! Who are you? 'Key for me is he's lived his life when he was meant to,' and he craves oblivion.
'He was always doomed, I'm afraid!' Take one.
John and I got on very well and we had a good laugh in all our scenes.
And we did on that day as well.
It's hard to believe it, I suppose.
OK, we've cut that.
Once you say "Cut!", we're back to larking around, really.
We wanted to be inside the car with the characters, rather than shooting through a windscreen or a side window, which was what a full car rig would have restricted us to.
So quite early on, we took the decision that we would have a cut-down car, which let us actually get the camera right into the faces of the people inside the car.
I think the thing to remember about Gwen and Emma, as a pair, is that Gwen is not that far off being a teenager.
We've not been specific about her age, but, um, she's got that energy and youthfulness about her, and at the same time, she's got the age and experience to sit there like a mother with her.
The Emma I know was looking forward to a pretty conventional life.
'The others had their role within society.
She didn't.
'So she is unformed.
'I think she's more excited' by this new world, although she's very shocked and traumatised by the loss of her family and the loss of everything she knows.
'She's got that youthful excitement.
' Sohow many men have you done it with? It's just such a difference between them, that just sings - putting two women from two different generations together, reversing it.
So if I meet a boy, and Mm-hm.
.
.
we get on, and he wants sex, then you think I should let him? No, that's not what I said.
'You'd expect Emma' to be very uncomfortable with it, but it's Gwen who reveals a lot, 'you know, about having partners, and it was great fun to do.
' It was a funny scene to film.
The whole point of the episode was to get scenes like that.
There's a good scene where he walks in and she catches him naked.
She's greeted by the sight of Rhys's bum.
AA-AA-AARGH! And she's horrified! But funny to do.
Bless! Poor Olivia, seeing my bum! Oh, I think he's great.
I saw him that morning, when he had to get naked, and he did look very nervous.
He might not have admitted to being nervous, but I could tell.
Better not tell her you saw my morning glory, then, eh? 'I think this is a turning point, because this is a girl in his house' and it's demonstrating how easily Gwen can lie to him.
You said you were working last night.
I was.
I'm sorry.
Sorry.
It's the first time, really, that Gwen has brought her work home, 'so Gwen's nervous.
' So let's have it.
Who exactly is Pollyanna? Oh! Is it to do with work?! She's loving this job so much - it's so extraordinary - that she doesn't mean to, but naturally she's starting to take Rhys and the relationship for granted.
I'm glad you haven't got a girlfriend.
Me too.
'Everyone's had their hearts exposed' and now it's time to get to the heart of Owen and see him falling in love and how that changes him and how it lights him up, actually.
Hello, there! 'Gorgeous sort of 1950s matinee idol figure steps out from the plane' and he's besotted.
'She's a cool girl.
She just says her mind.
'She's extremely attractive immediately, because she knows what she wants,' she doesn't talk rubbish, she's very clear, she's driven, and Owen's attracted to that at once.
I guess I'm just another pig-headed man, telling you what to do.
Well, you'd better make it up to me.
I want to learn all about this new world.
'We had lots of debates' about the fact that, umwhether he would teach her sexually, 'or if she would surprise him.
Owen thinks he has all the tricks,' but he's disarmed, really - his rule book is taken away, thrown away by this woman.
'The actress who played Diane, Lou Delamere,' was very, umattractive.
No, no, sorry! 'I'd sort of written that I wanted them to always maintain eye contact.
'I didn't want it to be I wanted them to be honest about what they were doing.
' I really felt there was an intensity, and because they were quite honest in holding the sex scene so long, you got past the point of thinking, "Oh, God, look! Sex scene!" and you thought ' "I really believe.
" ' 'I think that in this episode, we see Owen's true feelings.
'We see his, um, vulnerability, 'we see his history.
' And ultimately it's another human being talking to another human being 'with their souls absolutely bared.
' It's like when I'm not with you um I'm out of focus.
'I think that Owen' doesn't give a lot away.
He's not somebody who wears his heart on his sleeve.
And so for him to break down at all is a massive thing.
I'll come with you.
I fly solo, Owen.
And once he'd sort of lost his act, or his guile, in a way, it was what's there, and it's a frightened boy, really.
What about me? Please, please don't go.
'I'm not sure I could say, hand on heart, she did love Owen.
'I think she needed some release, 'and it was intense and it was there, 'and she had those feelings very much in the moment, 'but her heart belongs to adventure.
' What memories I'm taking with me.
'I think that he leaves' the episode a better man - 'somebody who's been wounded, and who's vulnerable, 'but is actually much more human for that.
' In every person's life there is a stage or a time that comes when you just want to go to the darkest, most dismal place.
Combat is vicious, is rough.
You've got this face-punching .
.
bloody broken-nosed .
.
broken-toothed extravaganza.
Hey! What does a man have to do to get some peace in this city?