8. Ghosts
Do you remember The Doctor? Ten-part drama starring Charlie Craggs, with Jodie Whittaker.
Cleo gets a call from her mum. After what happened to Jordan, she doesn’t want to wait around and risk losing someone else. So it’s time to go back to the Powell Estate where she grew up. Meanwhile, Abby and Osgood are watching the world get much, much quieter…
Credits:
Cleo Proctor - Charlie Craggs
Abby McPhail - Lois Chimimba
Shawna Thompson - Holly Quin-Ankrah
Madame Vastra - Doon Mackichan
Monica Proctor - Sarah Thom
Jordan Proctor - Jacob Hawley
Additional Voices - Kieran Hodgson, Siena Kelly, Karim Kronfli, Ambika Mod and Pip Gladwin.
Written by Doris V. Sutherland
Additional Writing by Juno Dawson and Ella Watts
Produced and Directed by Ella Watts
Executive Producer: James Robinson
Sound Engineer: Paul Clark
Studio Assistant: Jacob Tombling
Sound Design: David Thomas
Additional Sound Design: Arlie Adlington
Original Composition: David Devereux
Production Co-ordinators: Sarah Sharpe and Sarah Nicholls
Script Editor: Tasha Dhanraj
Recorded at Sonica Studios, Clapham.
A tv Studios Production for tv Sounds.
More episodes
Previous
Next
8. GHOSTS
Doctor Who Redacted
Episode Eight
Written by
Doris V. Sutherland
RECAP FROM LAST WEEK
Redaction effect builds. Requiem’s voice is glitchy, hard to understand.
REQUIEM
Shawna, Cleo you’re in danger. You have
to listen to me.
CLEO
Why? We don’t even know who you are.
Redacted Distortion begins.
REQUIEM
It’s coming. It’s coming for you.
It’s coming for all of us.
SHAWNA
What is?
CLEO
Are you the Doctor?
REQUIEM
The Doctor can’t help you now.
(Beat)
’m coming for you.
Redacted Distortion builds.
CLEO & SHAWNA
(Scream)
SFX: Explosion sound and the laptop clatters to the ground, hot chocolate spills, mugs break.
Intense double bass plays a series of four notes in quick succession, emulating Cleo and Shawna’s fear and confusion.
CLEO
Oh my god! What the?!
SHAWNA
What the hell was that? She’s coming
for us?
SFX: Buffering, glitching sound
RADIO PRESENTER #1
And now it’s time for Sounds of the 70s…
SFX: Buffering, glitching sound
RADIO PRESENTER #2
N’import quel problème, peu importe l’envergure, appelez juste…
SFX: Buffering, glitching sound
THE DOCTOR
(Distant)
’m looking for Cleo Proctor.
Hopeful music lightly plays, as Cleo hears the Doctor’s voice. At the same time, the intense music builds.
CLEO
Hello?
THE DOCTOR
My name is The Doctor, time is running out...
CLEO
Doctor?
THE DOCTOR
The ghosts.
(Beat)
Whatever you do, don’t touch the ghosts.
The intense music suddenly stops.
This is quickly followed by gentle music as the credits are read.
DR WHO REDACTED: EPISODE EIGHT. BY DORIS V. SUTHERLAND.
SCENE 1
INT. CLEO’S FLAT
FX: CLEO’S PHONE BLEEPS. THIS IS FOLLOWED BY DISTORTED, INCOHERENT VOICEMAIL FROM MONICA.
VOICEMAIL AUTOMATED MESSAGE
You have one new message.
MONICA
(Over telephone) You are coming (WILD DISTORTION), aren’t you? You’re not (WILD DISTORTION) all day?
SHAWNA
What the hell?
CLEO
It’s a voicemail, from my mum. Shawna,
it’s that weird sound again. This is
exactly what happened with Jordan. What
if it’s got her? What if it’s got my Mum?
SHAWNA
Alright have you tried calling her?
CLEO
Three times, no reply. I have to go back
to the Powell Estate. Right now.
Cleo getting her stuff.
SHAWNA
Um, historically, surprising your Mum hasn’t gone down so well. Are you sure about this?
CLEO
(Sounding incongruously jaunty, confident)
Not one bit.
SHAWNA
You don’t have to do it alone, Cleo. ’m coming with you.
Gentle music faded into next scene:
SCENE 2
INT. TRAIN
FX: TRAIN NOISES AND CARRIAGE JOSTLING
SHAWNA
Cleo…What your Mum did – it wasn’t ok. You know that, right?
CLEO
Everyone leaves home at some point don’t they babe.
SHAWNA
There’s a difference between moving out and being disowned.
CLEO
Yeah, I had an unhappy childhood, but look around. At least half the people on this train could say the same thing.
SHAWNA
What your mum did isn’t normal. Didn’t you have any friends to tell you that?
CLEO
Shawna my friends ditched me when I came out too.
SHAWNA
Cleo, that’s--
CLEO
That’s part of growing up. People move on. Then I found you and Abby, so it all turned out OK, didn’t it?
SHAWNA
Yeah but...
CLEO
Look, my dad could’ve lived and been a deadbeat. My mum could’ve given us up. I could’ve been born in a warzone.
SHAWNA
Ok. Sorry.
CLEO
It’s fine. ’m sorry. ’m just nervous. I mean, first I lose my dad, then my brother vanishes and now this. Sometimes I feel like you’re actually cursed?
FX: CLEO’S PHONE NOTIFICATION NOISE
CLEO
Hold on, just got a voicemail.
MAN’S VOICE
(Over telephone) Hey there, remember to check the orange juice, alright?
CLEO
Okay, I have no clue who that was.
SHAWNA
Wrong number?
CLEO
I guess.
TRAIN ANNOUNCEMENT
We will shortly be arriving at Peckham Rye.
CLEO
Alright babes this is us.
SHAWNA
You ready for this, my sis-who-ain’t-cis?
CLEO
Mmm gonna put a hard no on you ever saying that again. But yeah, we’ve come this far, let’s do it.
FX: Train door beeps open then fades into traffic noise:
SCENE 3
EXT. POWELL ESTATE
FX: CLEO AND SHAWNA’S FOOTSTEPS GETTING CLOSER
SHAWNA
So this is the famous Powell Estate? Is
it classist of me to say this place feels mega dodgy?
Ominous tune starts to play, as they walk around the completely empty estate.
䳢
No – you’re right. Something’s off.
SHAWNA
Cleo, are you ok?
CLEO
I thought I saw someone.
SHAWNA
It’s like a ghost town.
CLEO
۱…
SHAWNA
So, whereabouts does your mum live?
CLEO
The block on the left. That’s the one I grew up in. But I used to wish I lived in that one.
SHAWNA
Why?
CLEO
This cool trans woman lived there.
SHAWNA
Really?
CLEO
Yeah. Her name was Sally Salter. She was in a band called No Hot Ashes, so she was a bit of a local celebrity. Well, if you listened to that sort of stuff anyway.
SHAWNA
Did you know her?
CLEO
Not really. I was a little kid, not even old enough to be a teenage groupie. But I remember my classmates sniggering about how Sally Salter used to be a man.
SHAWNA
Must have been rough for you, surrounded by all that.
CLEO
No, that’s the thing. Everyone else was laughing, but I was fascinated. It was like the first time I’d heard any trans talk outside of a few gags in sitcoms. I thought maybe someday I could be like Sally. ‘Course, then my Mum found out about her.
SHAWNA
And ’m guessing she didn’t think it was cool having a musician next door?
CLEO
As far as she was concerned Sally was just the crazy boy in make-up and ladies underwear. But the way she talked about her, it was like she found her repulsive on a gut level.
SHAWNA
What happened to her in the end?
CLEO
No idea. I like to think she’s performing under a stage name somewhere, though.
SHAWNA
You never know, perhaps there’s a girl around here who’d see you as a role model.
CLEO
Yeah scary thought, I can’t imagine anyone looking at me and thinking (trails off)
FX: GHOSTLY FOOTSTEPS.
SHAWNA
What’s the matter?
CLEO
I thought I heard footsteps, this is getting weird.
ᴡ±
’m not used to you being all paranoid like this. Is this what I normally sound like? Must be exhausting.
FX: CLEO’S PHONE NOTIFICATION NOISE
CLEO
(Nervous yelp)
Oh my god sorry.
SHAWNA
You literally just got scared by your own ringtone?
CLEO
Girl ’m on edge, OK!? Oh god, it’s my mum again! A voicemail. Hold on.
MONICA
(Over telephone)
You are coming home at some point, aren’t you? You’re not going to be staying out all day?
CLEO
That’s so weird.
SHAWNA
Thought she didn’t know you were coming?
CLEO
At least she’s alright, I guess. It’s what she always used to say to me when I was out. She’s – she’s acting as though nothing’s changed since I was a kid.
SHAWNA
Are you going to call back?
CLEO
No. I need to see her, face to face. For me.
SHAWNA
You know what, how about we grab a coffee or something?
CLEO
Alright, there used to be a sandwich bar in the estate.
SHAWNA
Great, let’s see if it’s still around.
FX: CLEO AND SHAWNA’S FOOTSTEPS FADE INTO DISTANCE
SCENE 4
INT. SANDWICH BAR
Aside from Cleo and Shawna, the building is empty: there is no background chatter.
FX: CLEO AND SHAWNA ENTER THROUGH DOOR.
SHAWNA
Weird. Nobody around.
CLEO
Yeah, this place was never known for good service. Pretty sure half the drinks in that fridge have been discontinued. Very much a “get what you pay for” deal here. Don’t worry, someone’ll be along soon.
FX: CLEO AND SHAWNA PULL UP CHAIRS AND SIT DOWN
CLEO
(Whispering)
Shawna, did you see that?
SHAWNA
What?
CLEO
Out the window, just now. Weird. Like, a person all in black.
SHAWNA
Like a Goth? Or a funeral director?
CLEO
Just, I couldn’t see a face.
SHAWNA
Didn’t notice.
CLEO
They’ve gone now.
SHAWNA
I think we’ll get you a chamomile. Don’t want to add caffeine to this general vibe.
FX: CLEO’S PHONE NOTIFICATION NOISE
SHAWNA
Who is it this time?
CLEO
It’s- Oh my God, it’s Jordan.
JORDAN
(Over telephone)
Hey, how about we kick back and play some video games?
CLEO
Wait, let me call him back.
CLEO dialling Jordan’s number. It rings then goes to voicemail.
JORDAN
Hi! I don’t pick up the phone so you’re probably a spam bot. Have fun with the answer machine!
Sound of a voicemail beep.
CLEO
Jordan! How old are you, twelve? Call me back as soon as you get this. As SOON as you get this, ok?
A sudden high pitch noise followed by more ominous music.
SHAWNA
Not picking up?
CLEO
’m going to send him a text. If this whole time he’s just been out on a bender ’m gonna kill him Shawna.
SHAWNA
You need cake. Does this place do cakes?
CLEO
It certainly doesn’t smell of cakes.
SHAWNA
Yeah, if that smell’s coming off a cake, it’s not good cake… probably still try a slice though.
CLEO
I’ll see if I can find someone.
FX: CLEO GETS OUT OF CHAIR, HER FOOTSTEPS FADE
SHAWNA
(Under breath) Not surprised there’s no customers with this stink. Ugh.
FX: WE STAY WITH CLEO AS SHE WALKS THROUGH TO THE KITCHEN. BREATHING NERVOUSLY. TENSE MUSIC.
CLEO
Oh my God.
Sound of flies buzzing around.
CLEO
Oh my god, what the hell is that?
FX: CLEO’S FOOTSTEPS AS SHE RETURNS
CLEO
(Agitated) There’s no-one out there— I don’t think anyone’s been in this place for days. Babe I looked in the kitchen and the food’s been left to rot, that’s the stink.
(BEAT)
What is it?
SHAWNA
Cleo, I just saw something out the window.
FX: CLEO’S FOOTSTEPS AS SHE WALKS UP TO SHAWNA. MUSIC BECOMES MORE INTENSE.
CLEO
What?
SHAWNA
It looked like a couple of people but – but fuzzy.
CLEO
What do you mean fuzzy?
SHAWNA
Like a photo that didn’t come out right. I could see right through them. Then they just faded away.
CLEO
(UNDERSTANDING)
Like the Requiem Group. But wait, why do you remember now? – ARGH
(Cleo stops, clutching her head)
SHAWNA
What? What is it?
CLEO
This happened before. ’m sure it happened before.
SHAWNA
Cleo! Cleo, are you ok?
FX: CLEO’S PHONE NOTIFICATION NOISE
CLEO
Hold on.
MONICA
(Over telephone)
You are coming home at some point, aren’t you? You’re not going to be staying out all day?
SHAWNA
We’ve already heard that.
CLEO
But it’s new. She sent it again. Like, just now.
FX: CLEO’S PHONE NOTIFICATION NOISE
SHAWNA
Who’s that?
STEVE
(Over telephone)
Hey there, remember to check the orange juice, alright?
SHAWNA
That’s the one you got on the train.
CLEO
I don’t – wait.
SHAWNA
What?
CLEO
I remember him, his name’s Steve. He was one of our neighbours when I lived here. He used to get a carton of orange juice with his milk, and I’d check it on the way home from school to make sure it’d been delivered.
SHAWNA
How the hell did he know you were coming back?
FX: CLEO’S PHONE NOTIFICATION NOISE
SHAWNA
Who is it this time?
GIRL
(Over telephone)
Hey there, do you know when No Hot Ashes
are playing?
CLEO
I know that girl, I went to school with
that girl.
SHAWNA
No Hot Ashes? Isn’t that-
CLEO
Yeah, Sally Salter’s old band that doesn’t exist anymore. Shawna, these messages are coming from the past.
SHAWNA
What?
CLEO
That Steve guy, the girl from school, probably Jordan and my mum too. They’re all saying things they used to say when I lived here years ago.
SHAWNA
Cleo, look!
CLEO
What?
SHAWNA
There, out the window!
CLEO
Oh my God.
SHAWNA
(Trembling and scared)
Cleo?
FX: CLEO OPENS THE DOOR. WE HEAR GHOSTLY FOOTSTEPS
CLEO
(UNDER HER BREATH, FRIGHTENED)
Ghosts
FX: CLEO GETS OUT HER PHONE AND BEEPS TO RECORD.
SHAWNA
What are you doing?
CLEO
Evidence.
CLEO
(To phone) Ok, I don’t know if you’re getting this, but we are looking at a load of transparent people walking around the estate. God I knew I should have got an upgrade, this camera makes everything look yellow. Shawna what now?
SHAWNA
Stick it online?
CLEO
’m calling the police
SHAWNA
Yeah. Good idea.
Sound of Cleo’s phone ringing.
CLEO
’m not losing anyone else to – whatever this is.
PHONE OPERATOR
Hello, what’s your emergency?
CLEO
Yeah, hi, police? We’re at the Powell Estate in Peckham and there’s all these… (she hesitates) I think someone’s trying to kill us.
PHONE OPERATOR
Ok, just stay calm. We’re sending someone out to you now. What’s your name?
CLEO
Cleo. Cleo Proctor.
PHONE OPERATOR
Alright Cleo. My name’s Lesley. I want you to take a deep breath. Are you in immediate danger?
FX: A ghost whooshes past them.
SHAWNA
Get back!
CLEO
Sort of, yeah.
FX: Their footsteps as they move away. Creepy, high pitched music builds the tension.
PHONE OPERATOR
Is there someone with you?
CLEO
Yeah, my friend, Shawna
PHONE OPERATOR
Is it just the two of you?
CLEO
Yeah, yes, it’s just us
PHONE OPERATOR
Ok, where’s your attacker now?
CLEO
It’s – it’s not just one person, there’s loads of them.
PHONE OPERATOR
Are they armed?
CLEO
I don’t know. I don’t think so.
PHONE OPERATOR
Is there anywhere you and Shawna can hide? Any kind of door you can lock?
CLEO
Yeah – we’re in a cafe. Shawna, lock the door.
Sound of Shawna hurriedly sliding a bolt across the door.
CLEO
I don’t think it’s going to stand up to much.
PHONE OPERATOR
That’s alright, Cleo, help is on the way. I need you to give me your exact location.
CLEO
We’re, we’re in the sandwich shop on the Powell estate in Peckham.
PHONE OPERATOR
Ok, we’ve got four officers literally around the corner. You’re going to be alright, Cleo.
Ghostly noises and breathing intensifies followed by the sound of two police car sirens approaching and screeching into the estate.
SHAWNA
Cleo!
CLEO
Oh god.
SHAWNA
Get away from the window!
CLEO
I gotta see this.
Ok – there’s two squad cars out there. They’re facing off against the… ghosts.
The ghosts let out a roar. Sound of another police car – abruptly cut off as it gets REDACTED by a HOWL OF REDACTED DISTORTION
SHAWNA
What happened?
CLEO
Oh my god – Shawna that car. The driver, it just disintegrated!
POLICE OFFICERS
(DISTANT SCREAMING, which dissolves into a roar of the REDACTED sound effect)
CLEO drops her phone.
SHAWNA
Those people. They just – it was like they got ripped apart by white noise.
Electronic style beat begins as CLEO and SHAWNA try to escape.
CLEO
Ok, don’t touch the ghosts. Don’t touch the ghosts. Shawna, we’ve got to go. NOW.
Cleo grabs Shawna’s hand and picks up her phone.
PHONE OPERATOR
Cleo? Cleo, are you still there?
CLEO
Sorry Lesley, I don’t think rubber bullets are gonna help with this one babe.
FX: CLEO HANGS UP, OPENS THE DOOR AND RUNS OUT, DRAGGING SHAWNA WITH HER. THE MUSIC IMMEDIATELY BUILDS INTO A DRUM AND BASS STYLE AS THEY RUN AND CONTINUES INTO THE NEXT SCENE.
SCENE 5
EXT. POWELL ESTATE
FX: CLEO AND SHAWNA’S FOOTSTEPS AS THEY SPRINT AS FAST AS THEY CAN PURSUED BY TERRIFYING GHOSTS, THE REDACTION ROARING LIKE A HURRICANE
SHAWNA
(Running) Cleo, wait! We need to LEAVE. Where are you going?
CLEO
(Running)I NEED TO FIND MY MUM!
FX: CLEO AND SHAWNA SLAM OPEN THE DOOR TO THE BLOCK OF FLATS AND RUN INSIDE.
FX: CLEO FRANTICALLY PRESSING THE LIFT BUTTON
SHAWNA
Why are we taking the lift?!
I thought in an emergency you’re
supposed to take the stairs. Or is that just a
fire? Ghosts are kind of like a fire, right?
CLEO
Shawna babe I live on the tenth floor.
Unless you’re secretly Jessica
Ennis we need this.
FX: THUNDEROUS RATTLING OF THE DOORS AND REDACTED ACID HISSING AS THE GHOSTS DISSOLVE THE DOORS
SHAWNA
Cleo- they’re coming through the doors!
FX: CLEO RATTLING THE BUTTON HARDER
CLEO
Come on come on come on
FX: MASSIVE CLATTER AS THE DOORS COLLAPSE. TERRIBLE ABRASIVE HISS OF STATIC AS THE GHOSTS COME INSIDE.
FX: INCONGRUOUSLY CHEERFUL BEEP OF THE LIFT ARRIVING, DOORS OPENING
CLEO
Yes! In, now. Quick! DON’T LET THEM TOUCH YOU!
FX: VERY CLOSE, VERY LOUD STATIC HISS AS ONE OF THE GHOSTS NEARLY GETS SHAWNA. CLEO SHOVES HER BACK
CLEO (CONT’D)
SHAWNA!
FX: GHOSTS CLAWING AT THE DOOR, HISSING THROUGH THEM
CLEO (cont’d)
Ah yes! Sorry Casper. This lift’s at capacity.
FX: LIFT DOORS SWING SHUT. LIFT RISES.
INT. LIFT
FX: SHAWNA AND CLEO CATCH THEIR BREATH. LONG PAUSE AS THE LIFT RISES.
SHAWNA
Powell Estate is WAY scarier than you made it out to be!
䳢
The ghosts are new.
SHAWNA
What the hell just happened? What were those things – what happened to those people - Oh my god, do you think Abby’s alright?
CLEO
Shawna, we can worry about Abby when we’re not running for our lives, yeah?
FX: LIFT DOORS OPEN, SHAWNA AND CLEO RUN THROUGH
INT. TOWER BLOCK CORRIDOR
FX: CLEO’S FOOTSTEPS AS SHE RUNS DOWN CORRIDOR, FOLLOWED BY SHAWNA
CLEO
(breathless from rush) This is my mum’s flat.
FX: CLEO RINGS DOORBELL
Silent beat.
SHAWNA
(also breathless) Is nobody there?
FX: CLEO BANGS ON DOOR.
Silent beat.
FX: CLEO DIALS NUMBER ON PHONE.
FX: DIALLING NOISE PLAYS IN BACKGROUND OF FOLLOWING CONVERSATION.
CLEO
Oh god. Come on, pick up.
SHAWNA
(Whisper) Cleo! I think I saw a black shape in the next hallway!
CLEO
Hold on.
FX: CLEO OPENS DOOR.
CLEO
Shawna it’s not locked.
INT. CLEO’S PARENTS FLAT
CLEO
Hello? Hello? (Beat) This is all wrong. She’d never leave without locking up. She always said you never know what could come through the door.
FX: THE LANDLINE TELEPHONE BEEPS.
CLEO
The phone, there’s a message on it.
FX: TELEPHONE BLEEPING. CLEO PRESSES PLAY.
MONICA
(Over phone) Is anyone there? Can anyone hear me? Something’s happened, I don’t know what, but I’ve been taken away, ’m trapped – trapped – somewhere, I don’t know where!
Are you there? Can you hear me cuh-cuh-Cleo? Cleo, can you hear-
FX: CLEO PICKS UP THE PHONE
CLEO
Hello? Hello, mum?
MONICA
Oh thank god, can you hear me?
CLEO
(emotional)
YES! Mum, ’m here, I can hear you. Where are you?
SHAWNA
Cleo?
CLEO
Where are you?? What happened?
VERY SPOOKY MUSIC FADES INTO THE BACKGROUND.
SHAWNA
(Warning) Cleo-
MONICA
What are you talking about? Cleo, ’m right behind you
FX: REDACTED SOUND EFFECT GETTING LOUDER.
CLEO
What? ’m at the flat. There’s no one here, the door was unlocked, there’s-
MONICA
Just turn around!
FX: REDACTED SOUND EFFECT REACHES A CRESCENDO AS CLEO TURNS AROUND
SHAWNA
Oh my god!
CLEO
(frightened)
Mum?
MONICA
(DISTORTED) I can’t believe you came
home. Give me a hug.
FX: CLEO STEPS FORWARD. SHAWNA GRABS HER
SHAWNA
Cleo, no! What are you doing?
CLEO
Didn’t you hear her? That’s my Mum! (voice breaking) I haven’t hugged her in five years.
SHAWNA
Cleo, whatever that is, it’s not your Mum any more
MONICA
Come on Cleo. Hasn’t it been long enough?
CLEO
You’ve never called me Cleo before.
SHAWNA
Cleo you can’t touch her! You saw what happened back there!
CLEO
She needs me!
SHAWNA
(getting emotional)
I need you! So does Abby. So does Jordan. We all need you Cleo. You’re our family, you know. Please don’t do this. Please.
CLEO
Oh Shawna -
FX: DOOR SLAMS OPEN AS REQUIEM APPEARS.
REQUIEM
BACK! YOU FOUL BEASTS OF DEATH!
FX: REQUIEM HURLS AN EMP GRENADE AT THE GHOSTS WHICH EXPLODES WITH A STATIC WHIRR AND A LOUD ZAP. SOUND CUTS INTO ONE LONG HIGH PITCHED DRONE, THEN SILENCE.
BEAT.
FX: SOUND RETURNS, MUFFLED AND WATERLOGGED, SLOWLY SHARPENING TO CLARITY AS CLEO REGAINS CONSCIOUSNESS.
SHAWNA
Cleo? Are you ok? Are you awake?
CLEO
(Waking) Was that a grenade?!
REQUIEM
Have the two of you quite finished making fools of yourselves?
CLEO
Who’s she?
REQUIEM
Did you take me for one of those spectres?
CLEO
It’s you! You’re Requiem!
REQUIEM
You should thank the stars you attended my meeting because it meant I could locate you. Are you companions of - him?
SHAWNA
Companions of who?
REQUIEM
I shall take that as a negative answer.
CLEO
What the hell did you do to my mum?!
REQUIEM
Nothing that has not already been done.
SHAWNA
Sorry, WHAT is going on?
REQUIEM
There is no time for explanations. They are here.
FX: GHOSTLY ROAR OF SOUND, APPROACHING HURRICANE OF DISSOLVING STATIC. CONCRETE CRUMBLING AND CRASHING TO THE GROUND LIKE THUNDER.
SHAWNA
Oh no, oh God...
FX: REQUIEM SLAMS THE DOOR SHUT
CLEO
Will the door hold them?
REQUIEM
For a short time, but I have no doubt they’ll find a way around every law of reality that confronts them.
SHAWNA
So we’re trapped until they get in?
REQUIEM
No. Hand me that chair.
CLEO
Is now really the best time for a sit down?
REQUIEM
Do you want to escape?
FX: CLEO PICKS UP CHAIR: WOOD SCRAPING ON FLOOR, CLEO STRAINING.
CLEO
Oh god. Here.
REQUIEM
Allow me. (Yells as she throws chair)
FX: CHAIR SMASHING WINDOW
CLEO
My mum is going to kill you.
REQUIEM
I’ll admit that the drop is severe, but if you want to escape then you’re going to have to trust me with your lives.
SHAWNA
Trust you? We still can’t even see your face!
REQUIEM
I have my reasons for this veil. Your kind tend to recoil from my visage.
CLEO
Who the hell are you?
REQUIEM WHIPS OFF THE VEIL. SHAWNA AND CLEO GASP
VASTRA
My name is Madame Vastra
CLEO
That is a green face!
VASTRA
Astutely observed. The world is much bigger than your tiny mammalian brain has ever imagined. Now JUMP!
END OF EPISODE.
The low bassy surge of the Redacted Main Theme comes in, with its distinctive siren-like synths, rushing into a sudden glitch that dips into a slow, soft piano tune. CREDITS Doctor Who Redacted: Episode Eight, by Doris V. Sutherland.The piano tune keeps going for a moment before picking up the pass with a big beat of drums, strings and synths that turns into the Main Theme tune, a symphony of synths and strings revelling in alien weirdness. CREDITS Starring: Charlie Craggs, Lois Chimimba, Holly Quin-Ankrah, Sarah Thom and Doon Mackichan. Directed and produced by Ella Watts.Sound design by David Thomas and Arlie Adlington. Original composition by David Devereux.A tv Studios production.With a rush like the TARDIS, the main theme music gets even bigger and louder, turning into a big, bright, fast paced melody that plays to the end of the episode, when it stops abruptly with a sharp glitch which ends with a beep.
Podcast
-
Doctor Who: Redacted
The return of the audio drama series, set in the worlds of Doctor Who.