[Wester Drumlin]

(On a dark wet night, a woman climbs over a lovely set of wrought iron gates with a notice on them:

Danger Keep Out
Unsafe Structure
London County Council

She goes up the gravel driveway to the big house. She breaks in through a boarded up window and takes photographs of the plastic covered chandeliers resting on the floors, and other pieces of furniture. Then she notices the letter B peeking from underneath a piece of peeling wallpaper. She pulls at it to reveal the words "Beware the weeping angel". Underneath that is "Oh, and duck! Really, duck! Sally Sparrow duck, now." So she ducks just before the window behind her is broken by a thrown pot, which bounces off the wall and breaks on the floor. The light of her torch reveals a statue outside, a winged angel with its hands covering its face. She goes back to the wall and pulls off more paper to reveal -
Love from the Doctor 1969)

[Hallway]

SALLY: Kathy?

(The Doctor is on a monitor screen in a room at the far end.)

DOCTOR [on screen]: Yet. They're coming. They're coming for you, but listen, your life could depend on this. Don't blink. Don't even blink. Blink and you're dead. They are fast, faster than you can believe. Don't turn your back, don't look away, and don't blink. Good luck.

(There are lots of screens in the room with the image of the Doctor on them, and one with him and Martha.)

[Bedroom]

(The mobile phone by the bed rings.)

KATHY: Hello?

[Kitchen]

SALLY: Bit freaked. Need to talk. Making you a coffee.
KATHY [OC]: Sally Sparrow, it's one in the morning. Do you think I'm coming round at one in the morning?
SALLY: No.

[Bedroom]

SALLY [OC]: I'm in the kitchen. What's that on all those screens in your front room?
KATHY: Oh, God.

(Toilet flushes)

KATHY: Oh, God. Sally, you've met my brother Larry, haven't you?

[Kitchen]

SALLY: No.
KATHY [OC]: You're about to.

(The door opens and a man, who is naked appears.)

LARRY: Okay. Not sure, but really, really hoping. (He points down) Pants?
SALLY: No.

(Kathy closes her phone, grabs her dressing gown and runs out of the bedroom.)

KATHY [OC]: Put them on! Put them on! I hate you! What're you thinking?

(Larry drifts away.)

KATHY: Sorry. My useless brother. Sally? What's wrong? What's happened?

[Wester Drumlin]

(Sally and Kathy climb the gates in daylight.)

KATHY: Okay, let's investigate! You and me, girl investigators. Love it. Hey! Sparrow and Nightingale. That so works.
SALLY: Bit ITV.
KATHY: I know!

[Entrance hall]

KATHY: What did you come here for anyway?
SALLY: I love old things. They make me feel sad.

[Drawing room]

KATHY: What's good about sad?
SALLY: It's happy for deep people.

(She looks at the writing on the wall, then walks out into the conservatory to look at the garden.)

[Conservatory]

SALLY: The Weeping Angel.
KATHY: Wouldn't have that in my garden.
SALLY: It's moved.
KATHY: It's what?
SALLY: Since yesterday. I'm sure of it. It's closer. It's got closer to the house.

[Drawing room]

SALLY: How can my name be written here? How is that possible?

(The doorbell rings.)

KATHY: Who'd come here?

(Sally moves to answer the door)

KATHY: What are you doing? It could be a burglar.
SALLY: A burglar who rings the doorbell?
KATHY: Okay. I'll stay here in case of...
SALLY: In case of?
KATHY: Incidents?
SALLY: Okay.

[Front door]

(Sally unlocks and opens the front door)

MALCOLM: I'm looking for Sally Sparrow.
SALLY: How did you know I'd be here?
MALCOLM: I was told to bring this letter on this date at this exact time to Sally Sparrow.
SALLY: Looks old.
MALCOLM: It is old. I'm sorry, do you have anything with a photograph on it, like a driving licence?

(Kathy hears a noise and investigates.)

[Conservatory]

SALLY [OC]: How did he know I was coming here? I didn't tell anyone. How could anyone have known?
MALCOLM [OC]: It's all a bit complicated. I'm not sure I understand it myself.

(The statue is closer to the house. Kathy turns away, and the statue's hands are lowered from its eyes.)

[Front door]

MALCOLM: I'm sorry, I feel really stupid, but I was told to make absolutely sure. It's so hard to tell with these little photographs, isn't it?
SALLY: Apparently.

(The statue is inside the conservatory.)

MALCOLM: Well, here goes, I suppose. Funny feeling, after all these years.
SALLY: Who's it from?
MALCOLM: Well, that's a long story, actually.
SALLY: Give me a name.

[Drawing room]

MALCOLM [OC]: Katherine Wainwright.

(The statue is behind Kathy, reaching for her.)

MALCOLM [OC]: But she specified I should tell you that prior to marriage

[Front door]

MALCOLM: She was called Kathy Nightingale.

(Bang!)

SALLY: Kathy?
MALCOLM: Kathy, yes. Katherine Costello Nightingale.
SALLY: Is this a joke?
MALCOLM: A joke?
SALLY: Kathy, is this you? Very funny.

[Drawing room]

SALLY: Kathy?

(The statue is outside again, hands over its eyes.
Kathy gets to her feet in a field near a herd of grazing cows.)

SALLY: Kathy? Kathy!
MALCOLM: Please, you need to take this. I promised.

[Field]

(A young man in a cloth cap is sitting on a dry stone wall, eating an apple and reading a newspaper.)

KATHY: Excuse me? Where am I? I was in London. I was in the middle of London.
BEN: You're in Hull.
KATHY: No, I'm not.
BEN: This is Hull.
KATHY: No, it isn't.
BEN: You're in Hull.
KATHY: I'm not in Hull. Stop saying Hull.

[Entrance hall]

SALLY: Who are you? Why are you here?
MALCOLM: I made a promise.
SALLY: Who to?
MALCOLM: My grandmother. Katherine Costello Nightingale.

[Field]

(Ben shows Kathy the paper he is reading.)

BEN: Don't have that in London. There's no call for it. It's all Hull.

(The Hull Times, 5th December 1920.)

KATHY: 1920?

[Entrance hall]

SALLY: Your grandmother?
MALCOLM: Yes. She died twenty years ago.

(Sally opens the envelope. It contains old photographs of a woman.)

SALLY: So they're related?
MALCOLM: I'm sorry?
SALLY: My Kathy, your grandmother. They're practically identical.

[Field]

BEN: Where are you going?

(Ben follows Kathy as she runs off down the hill.)

[Entrance hall]

(Sally reads the letter with the photographs.)

KATHY [OC]: My dearest Sally Sparrow. If my grandson has done as he promises he will, then as you read these words it has been mere minutes since we last spoke. For you. For me, it has been over sixty years. The third of the photographs is of my children. The youngest is Sally. I named her after you, of course.
SALLY: This is sick. This is totally sick.

(She throws down the photographs and letter, and runs up the staircase.)

SALLY: Kathy? Kathy! Kathy?

(At the top of the stairs, on the landing, are three statues, each hiding its eyes in different ways. One is holding a Yale key on a chain. As Sally crouches to look at the statue, the one behind her reveals its eyes. Sally takes the key and turns. It hides its eyes again. Sally hears the sound of the front door closes and runs downstairs, just before the statue that had the key can touch her.)

SALLY: No, wait! Hang on!

(Malcolm is heading down the driveway. Sally picks up the photographs and letters that he has collected and put on the bottom of the banister rail, and runs outside. The statues watch her from the windows.)

[Cafe]

(Sally reads the rest of the letter.)

KATHY [OC]: I suppose, unless I live to a really exceptional old age, I will be long gone as you read this. Don't feel sorry for me. I have led a good and full life. I've loved a good man and been well loved in return. You would have liked Ben. He was the very first person I met in 1920.

[Field]

KATHY: Are you following me?
BEN: Yeah.
KATHY: Are you going to stop following me?
BEN: No, I don't think so.

[Cemetery]

(Sally visits Ben and Kathy's grave, and lays flowers.)

KATHY: To take one breath in 2007 and the next in 1920 is a strange way to start a new life, but a new life is exactly what I've always wanted.

(Sally looks at the grave, which shows her born in 1902 and died in 1987)

SALLY: 1902? You told him you were eighteen? You lying cow.
KATHY: My mum and dad are gone by your time, so really there's only Lawrence to tell. He works at the DVD store on Queen Street. I don't know what you're going to say to him, but I know you'll think of something. Just tell him I love him.

(A statue watches Sally leave.)

[DVD Store]

(Banto's DVD Store - new, second hand and rare. A bearded man at the counter is watching a shoot out on a film on the television fastened to the wall.)

SALLY: Excuse me, I'm looking for Lawrence Nightingale.
BANTO: Through the back.

[Back room]

SALLY: Hello?
DOCTOR [on screen]: Martha.
MARTHA [on screen]: Sorry.

(Martha leaves the picture.)

DOCTOR: Quite possibly. (pause) Afraid so.

(Larry enters from even further back in the premises.)

LARRY: Oh. Hello. Can I help you?
SALLY: Hi.
DOCTOR [on screen]: Thirty eight.
LARRY: Er, just a mo.

(He pauses the playback.)

LARRY: Hang on. We've met, haven't we.
SALLY: It'll come to you.
LARRY: Oh, my God.

(He crosses his hands in front of his groin.)

SALLY: There it is.
LARRY: Sorry. Sorry again about the whole
SALLY: Message from your sister.
LARRY: Oh! Okay. What? What is it? What's the message?
SALLY: She's had to go away for a bit.
LARRY: Where?
SALLY: Just a work thing. Nothing to worry about.
LARRY: Okay.
SALLY: And
LARRY: And what?
SALLY: She loves you.
LARRY: She what?
SALLY: She said to say. She just sort of mentioned it. She loves you. There, that's nice, isn't it?
LARRY: Is she ill?
SALLY: No! No.
LARRY: Am I ill?
SALLY: No!
LARRY: Is this a trick?
SALLY: No. She loves you.
DOCTOR [on screen]: Yeah. Yeah, people don't understand time. It's not what you think it is.

(Larry pauses it again.)

SALLY: Who is this guy?
LARRY: Sorry, the pause thing keeps slipping. Stupid thing.
SALLY: Last night at Kathy's, you had him on all those screens. That same guy. Talking about, I don't know, blinking or something.
LARRY: Yeah, the bit about the blinking's great. I was just checking to see if they were all the same.
SALLY: What were the same? What is this? Who is he?
LARRY: An Easter egg.
SALLY: Excuse me?
LARRY: Like a DVD extra, yeah? You know how on DVDs they put extras on, documentaries and stuff? Well, sometimes they put on hidden ones, and they call them Easter eggs. You have to go looking for them. Follow a bunch of clues on the menu screen.
DOCTOR [on screen]: Complicated.
LARRY: Sorry. It's interesting, actually. He is on seventeen different DVDs. There are seventeen totally unrelated DVDs, all with him on. Always hidden away, always a secret. Not even the publishers know how he got there. I've talked to the manufacturers, right? They don't even know. He's like he's a ghost DVD extra. Just shows up where he's not supposed to be. But only on those. Those seventeen.
SALLY: Well, what does he do?
LARRY: Just sits there, making random remarks. It's like we're hearing half a conversation. Me and the guys are always trying to work out the other half.
SALLY: When you say you and the guys, you mean the internet, don't you?
LARRY: How'd you know?
SALLY: Spooky, isn't it?
DOCTOR: Very complicated.
BANTO [OC]: Laurence? Need you.
LARRY: Excuse me a sec.

(Larry goes forward to the shop.)

DOCTOR [on screen]: People assume that time is a strict progression of cause to effect, but actually from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly-wobbly, timey-wimey stuff.
SALLY: Started well, that sentence.
DOCTOR: It got away from me, yeah.
SALLY: Okay, that was weird. Like you can hear me.
DOCTOR: Well, I can hear you.

(She pauses the screen and Larry comes back in.)

SALLY: Okay, that's enough. I've had enough now. I've had a long day and I've had bloody enough! Sorry. Bad day.
LARRY: Got you the list.
SALLY: What?
LARRY: The seventeen DVDs. I thought you might be interested.
SALLY: Yeah, great. Thanks.

[DVD store]

(Banto is talking to the film.)

BANTO: Go to the police, you stupid woman. Why does nobody ever just go to the police?

[Police station]

(It's raining heavily)

SALLY: Look, I know how mad I'm sounding.
DESK SERGEANT: Shall we try it from the beginning this time?
SALLY: Okay. There's this house. A big old house, been empty for years, falling apart. Wester Drumlins, out by the estate. You've probably seen it.
DESK SERGEANT: Wester Drumlin?
SALLY: Yes.
DESK SERGEANT: Could you just wait here for a minute?

(The desk sergeant leaves her. Sally turns around to see two statues on the church opposite. She blinks, and they have disappeared.)

SALLY: Okay, cracking up now.

(They are either side of the window she is looking out of.)

BILLY: Hi. DI Billy Shipton. Wester Drumlins, that's mine. Can't talk to you now, got a thing I can't be late for, so if you could just... (He looks at her) Hello.
SALLY: Hello.
BILLY: Eh, Marcie, can you tell them I'm going to be late for that thing?

[Underground car park]

SALLY: All of them?
BILLY: Over the last two years, yeah. They all still have personal items in them and a couple still had the motor running.
SALLY: So over the last two years, the owners of all of these vehicles have driven up to Wester Drumlins House, parked outside and just disappeared.

(There is a 1960's style police box in the corner - The TARDIS.)

SALLY: What's that?
BILLY: Ah! The pride of the Wester Drumlins collection. We found that there, too. Somebody's idea of a joke, I suppose.
SALLY: But what is it? What's a police box?
BILLY: Well, it's a special kind of phone box for policemen. They used to have them all over. But this isn't a real one. The phone's just a dummy, and the windows are the wrong size. We can't even get in it. Ordinary Yale lock, but nothing fits. But that's not the big question. See, you're missing the big question.
SALLY: Okay, what's the big question?
BILLY: Will you have a drink with me?
SALLY: I'm sorry?
BILLY: Drink? You? Me? Now?
SALLY: Aren't you on duty, Detective Inspector Shipton?
BILLY: Nope. Knocked off before I left. Told them I had a family crisis.
SALLY: Why?
BILLY: Because life is short and you are hot. Drink?
SALLY: No.
BILLY: Ever?
SALLY: Maybe.
BILLY: Phone number?
SALLY: Moving kind of fast, DI Shipton.
BILLY: Billy. I'm off duty.
SALLY: Aren't you just.

(She writes in a notebook.)

BILLY: Is that your phone number?
SALLY: Just my phone number. Not a promise. Not a guarantee. Not an IOU. Just a phone number.
BILLY: And that's Sally?
SALLY: Sally Shipton. Sparrow! Sally Sparrow. Ok, going now. Don't look at me.
BILLY: I'll phone you.
SALLY: Don't look at me.
BILLY: Phone you tomorrow.
SALLY: Don't look at me.
BILLY: Might even phone you tonight.
SALLY: Don't look at me!
BILLY: Definitely going to phone you, gorgeous girl!
SALLY: You definitely better!

(Sally leaves. There are four angel statues around the TARDIS. One has its hand up to the lock. He walks around, looking at them, then blinks.)

[Street]

(Sally crosses the street from the police station, then stops and takes the Yale key from her coat pocket.)

BILLY [OC]: Ordinary Yale lock, but nothing fits.

(She runs back to the car park, but the TARDIS, Billy and the statues are gone.)

[Alleyway]

(Billy slides down a wall.)

DOCTOR: Welcome.
BILLY: Where am I?
DOCTOR: 1969. Not bad, as it goes. You've got the moon landing to look forward to.
MARTHA: Oh, the moon landing's brilliant. We went four times, back when we had transport.
DOCTOR: Working on it.
BILLY: How did I get here?
DOCTOR: The same way we did. The touch of an angel. Same one, probably, since you ended up in the same year. No, no. No, no, no, don't get up. Time travel without a capsule. Nasty. Catch your breath. Don't go swimming for half an hour.
BILLY: I don't. I can't.
DOCTOR: Fascinating race, the Weeping Angels. The only psychopaths in the universe to kill you nicely. No mess, no fuss, they just zap you into the past and let you live to death. The rest of your life used up and blown away in the blink of an eye. You die in the past, and in the present they consume the energy of all the days you might have had. All your stolen moments. They're creatures of the abstract. They live off potential energy.
BILLY: What in God's name are you talking about?
MARTHA: Trust me. Just nod when he stops for breath.
DOCTOR: Tracked you down with this. This is my timey-wimey detector. It goes ding when there's stuff. Also, it can boil an egg at thirty paces, whether you want it to or not, actually, so I've learned to stay away from hens. It's not pretty when they blow.
BILLY: I don't understand. Where am I?
MARTHA: 1969, like he says.
DOCTOR: Normally, I'd offer you a lift home, but somebody nicked my motor. So I need you to take a message to Sally Sparrow. And I'm sorry, Billy. I am very, very sorry. It's going to take you a while.

[Underground car park]

(Sally's mobile rings.)

SALLY: Hello? Billy, where are you? Where?

[Geriatric ward]

(Just one bed is occupied, by the window.)

SALLY: Billy?

(The old man in the bed wakes up.)

BILLY: It was raining when we met.
SALLY: It's the same rain.

(A little later, Sally looks at Billy's wedding photograph.)

SALLY: She looks nice.
BILLY: Her name was Sally, too.
SALLY: Sally Shipton.
BILLY: Sally Shipton. I often thought about looking for you before tonight, but apparently it would've torn a hole in the fabric of space and time, and destroyed two thirds of the universe. Also, I'd lost my hair.
SALLY: Two thirds of the universe. Where'd you get that from?
BILLY: There's a man in 1969. He sent me with a message for you.
SALLY: What man?
BILLY: The Doctor.
SALLY: And what was the message?
BILLY: Just this. Look at the list.
SALLY: What does that mean? Is that it? Look at the list?
BILLY: He said you'd have it by now. A list of seventeen DVDs. I didn't stay a policeman back then. Got into publishing. Then video publishing. Then DVDs, of course.
SALLY: You put the Easter Egg on.
BILLY: Have you noticed what all seventeen DVDs have in common yet? I suppose it's hard for you, in a way.
SALLY: How could the Doctor have even known I had a list? I only just got this.
BILLY: I asked him how, but he said he couldn't tell me. He said you'd understand it one day, but that I never would.
SALLY: Soon as I understand it, I'll come and tell you.
BILLY: No, gorgeous girl, you can't. There's only tonight. He told me all those years ago that we'll only meet again this one time. On the night I die.
SALLY: Oh, Billy.
BILLY: It's kept me going. I'm an old, sick man. But I've had something to look forward to. Ah, life is long, and you are hot. Oh, look at my hands. They're old man's hands. How did that happen?
SALLY: I'll stay. I'm going to stay with you, okay?
BILLY: Thank you, Sally Sparrow. I have till the rain stops.

(Later, the rain has stopped and the bed is empty. Sally leaves the hospital.)

[Back room]

(Larry answers the phone.)

LARRY: Banto's.
SALLY [OC]: They're mine.
LARRY: What?

[Street]

SALLY: The DVDs on the list. The seventeen DVDs. What they've got in common is me. They're all the DVDs I own. The Easter Egg was intended for me.

[Back room]

LARRY: You've only got seventeen DVDs?

[Street]

SALLY: Do you have a portable DVD player?
LARRY [OC]: Of course. Why?
SALLY: I want you to meet me.

[Back room]

LARRY: Where?
SALLY [OC]: Wester Drumlins.

[Entrance hall]

(Sally lets Larry into the house.)

LARRY: You live in Scooby Doo's house.
SALLY: For God's sake, I don't live here.

[Drawing room]

(Larry puts a DVD into his portable player.)

LARRY: Okay, this is the one with the clearest sound. Slightly better picture quality on this one, but I don't know
SALLY: It doesn't matter.
LARRY: Okay. There he is.
SALLY: The Doctor.
LARRY: Who's the Doctor?
SALLY: He's the Doctor.
DOCTOR [on screen]: Yup. That's me.
SALLY: Okay, that was scary.
LARRY: No, it sounds like he's replying, but he always says that.
DOCTOR [on screen]: Yes, I do.
LARRY: And that.
DOCTOR [on screen]: Yup. And this.
SALLY: He can hear us. Oh, my God, you can really hear us?
LARRY: Of course he can't hear us. Look, I've got a transcript. See? Everything he says. Yup, that's me. Yes, I do. Yup, and this. Next it's
LARRY AND DOCTOR [on screen]: Are you going to read out the whole thing?
LARRY: Sorry.
SALLY: Who are you?
DOCTOR: I'm a time traveller. Or I was. I'm stuck in 1969.
MARTHA [on screen]: We're stuck. All of space and time, he promised me. Now I've got a job in a shop. I've got to support him!
DOCTOR [on screen]: Martha.
MARTHA [on screen]: Sorry.
SALLY: I've seen this bit before.
DOCTOR [on screen]: Quite possibly.
SALLY: 1969, that's where you're talking from?
DOCTOR [on screen]: Afraid so.
SALLY: But you're replying to me. You can't know exactly what I'm going to say, forty years before I say it.
DOCTOR [on screen]: Thirty eight.
LARRY: I'm getting this down. I'm writing in your bits.
SALLY: How? How is this possible? Tell me.
LARRY: Not so fast.
DOCTOR [on screen]: People don't understand time. It's not what you think it is.
SALLY: Then what is it?
DOCTOR [on screen]: Complicated.
SALLY: Tell me.
DOCTOR [on screen]: Very complicated.
SALLY: I'm clever and I'm listening. And don't patronise me because people have died, and I'm not happy. Tell me.
DOCTOR [on screen]: People assume that time is a strict progression of cause to effect, but actually from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly wobbly, timey-wimey stuff.
SALLY: Yeah, I've seen this bit before. You said that sentence got away from you.
DOCTOR [on screen]: It got away from me, yeah.
SALLY: Next thing you're going to say is, well I can hear you.
DOCTOR [on screen]: Well, I can hear you.
SALLY: This isn't possible.
LARRY: No. It's brilliant!
DOCTOR [on screen]: Well, not hear you, exactly, but I know everything you're going to say.
LARRY: Always gives me the shivers, that bit.
SALLY: How can you know what I'm going to say?
DOCTOR [on screen]: Look to your left.

(Where Larry is sitting on the floor, writing.)

LARRY: What does he mean by look to your left? I've written tons about that on the forums. I think it's a political statement.
SALLY: He means you. What are you doing?
LARRY: I'm writing in your bits. That way I've got a complete transcript of the whole conversation. Wait until this hits the net. This will explode the egg forums.
DOCTOR [on screen]: I've got a copy of the finished transcript. It's on my autocue.
SALLY: How can you have a copy of the finished transcript? It's still being written.
DOCTOR [on screen]: I told you. I'm a time traveller. I got it in the future.
SALLY: Okay, let me get my head round this. You're reading aloud from a transcript of a conversation you're still having.
DOCTOR [on screen]: Yeah. Wibbly wobbly, timey-wimey.
SALLY: Ah, actually, never mind that. You can do shorthand?
LARRY: So?
DOCTOR [on screen]: What matters is, we can communicate. We have got big problems now. They have taken the blue box, haven't they? The angels have the phone box.
LARRY: "The angels have the phone box". That's my favourite, I've got it on a t-shirt.
SALLY: What do you mean, angels? You mean those statue things?
DOCTOR [on screen]: Creatures from another world.
SALLY: But they're just statues.
DOCTOR [on screen]: Only when you see them.
SALLY: What does that mean?
DOCTOR [on screen]: The lonely assassins, they used to be called. No one quite knows where they came from, but they're as old as the universe, or very nearly, and they have survived this long because they have the most perfect defence system ever evolved. They are quantum-locked. They don't exist when they're being observed. The moment they are seen by any other living creature, they freeze into rock. No choice. It's a fact of their biology. In the sight of any living thing, they literally turn to stone. And you can't kill a stone. Of course, a stone can't kill you either. But then you turn your head away, then you blink, and oh yes it can.
SALLY: Don't take your eyes off that.

(There is an Angel close by.)

DOCTOR [on screen]: That's why they cover their eyes. They're not weeping. They can't risk looking at each other. Their greatest asset is their greatest curse. They can never be seen. The loneliest creatures in the universe. And I'm sorry. I am very, very sorry. It's up to you now.
SALLY: What am I supposed to do?
DOCTOR [on screen]: The blue box, it's my time machine. There is a world of time energy in there they could feast on forever, but the damage they could do could switch off the sun. You have got to send it back to me.
SALLY: How? How?
DOCTOR [on screen]: And that's it, I'm afraid. There's no more from you on the transcript, that's the last I've got. I don't know what stopped you talking, but I can guess. They're coming. The angels are coming for you. But listen, your life could depend on this. Don't blink. Don't even blink. Blink and you're dead. They are fast. Faster than you can believe. Don't turn your back, don't look away, and don't blink. Good luck.

(The picture freezes.)

SALLY: No! Don't! You can't!
LARRY: I'll rewind him.
SALLY: What good would that do? You're not looking at the statue.
LARRY: Neither are you.

(The Angel is towering over them, reaching out, mouth wide open. They back away.)

SALLY: Keep looking at it. Keep looking at it.
LARRY: There's just one, right, there's just this one. We're okay if we just keep staring at this one statue. Everything's going to be fine.
SALLY: There's three more.
LARRY: Three?
SALLY: They were upstairs before, but I think I heard them moving.
LARRY: Moving where? Three of them? Moving where?
SALLY: I'm going to look around. I'm going to check. You keep looking at this one. Don't blink. Remember what he said. Don't even blink.
LARRY: Who blinks? I'm too scared to blink.
SALLY: Okay, we're going to the door. The front door.

(Sally guides Larry backwards to the doorway.)

Okay. We can't both get to the front door without taking our eyes off that thing, so you stay here.
LARRY: What?
SALLY: I'll be just round the corner. You stay here. They've locked it. They've locked us in!
LARRY: Why?
SALLY [OC]: I've got something they want.
LARRY: What?
SALLY: The key. I took it last time I was here. They followed me to get it back. I led them to the blue box. Now they've got that.
LARRY: Well, give them the key.
SALLY: I'm going to check the back door. You wait here.
LARRY: Give them the key! Give them what they want! Sally, no. What if they come behind me?
SALLY [OC]: Hang on!
LARRY: Oh, God. Oh, God.
SALLY [OC]: It's locked!

(Larry looks behind him briefly to check where the doorway is, and when he turns back the Angel is inches from his face.)

LARRY: Sally! Sally!
SALLY [OC]: It won't open!
LARRY: Sally, please, I can't do this! Sally, hurry up! Where are you?

(He backs away through the doorway.)

SALLY: Larry? They've blocked off the back door, but there's a cellar. There might be a way out. A delivery hatch or something.
LARRY: Coming! I can't stay here.

(Larry backs away round the corner.)

[Cellar]

(The TARDIS is here, with its three guardian Angels.)

SALLY: Okay, boys, I know how this works. You can't move so long as I can see you. Whole world in the box, the Doctor says. Hope he's not lying, because I don't see how else we're getting out.

(Larry runs past her. The Angel from upstairs is now behind them.)

SALLY: Oh, and there's your one.
LARRY: Why's it pointing at the light?

(The light bulb flickers as they go to the TARDIS, back to back.)

SALLY: Oh, my God, it's turning out the lights.
LARRY: Quickly!
SALLY: I can't find the lock!
LARRY: Sally, hurry up! Get it open! They're getting closer. Sally, come on!

(In the flickering light, the snarling Angels are getting nearer.)

SALLY: It won't turn!
LARRY: Sally!

[TARDIS]

(An image appears on an upper catwalk.)

DOCTOR [hologram]: This is security protocol seven one two. This time capsule has detected the presence of an authorised control disc, valid one journey.

(Larry takes out the DVD case he put in his pocket and opens it. The DVD glows.)

DOCTOR [hologram]: Please insert the disc and prepare for departure.
SALLY: Looks like a DVD player. There's a slot.

(The Angels attack the TARDIS.)

LARRY: They're trying to get in!
SALLY: Well, hurry up then!

(As the TARDIS rocks to and fro, Larry gets the DVD into the slot. The time rotor starts up.)

LARRY: What's happening?

(Just the TARDIS itself dematerialises.)

SALLY: Oh, my God, it's leaving us behind. Doctor, no! You can't!

(They can see the Angels that are around the TARDIS, arms and mouths wide and not covering their eyes.)

SALLY: Doctor!

(The TARDIS is gone.)

SALLY: Look at them! Quick, look at them!
LARRY: I don't think we need to. He tricked them, The Doctor tricked them. They're looking at each other. They're never gonna move again.

[DVD store]

(One year later.)

LARRY: Can you mind the shop? I'm just nipping next door for some milk.
SALLY: Yeah. No worries.
LARRY: What's this?
SALLY: Nothing.

(She has a folder containing the conversation transcript, Kathy's photographs and letter, and also a picture of an Angel covering its eyes.)

LARRY: Oh, Sally, can't you let it go?
SALLY: Of course I can't let it go.
LARRY: This is over.
SALLY: How did the Doctor know where to write those words on the wall? How could he get a copy of the transcript? Where did he get all that information from?
LARRY: Look, some things you never find out. And that's okay.
SALLY: No, it isn't.
LARRY: Ever think this might be getting in the way of other things?
SALLY: We just run a shop together. That's all it is, just a shop.
LARRY: Anyway, milk. Back in a mo.

(Larry leaves. A taxi pulls up outside. Martha and the Doctor get out and start to go down the street. Sally runs outside.)

[Outside the DVD store]

SALLY: Doctor! Doctor! Doctor!
DOCTOR: Hello. Sorry, bit of a rush. There's a sort of thing happening. Fairly important that we stop it.
SALLY: My God, it's you. It really is you. Oh, you don't remember me, do you?

(Martha is carrying a quiver of arrows, and the Doctor has a long bow.)

MARTHA: Doctor, we haven't have time for this. The migration's started.
DOCTOR: Look, sorry, I've got a bit of a complex life. Things don't always happen to me in quite the right order. Gets a bit confusing at times, especially at weddings. I'm rubbish at weddings, especially my own.
SALLY: Oh, my God, of course. You're a time traveller. It hasn't happened to you yet. None of it. It's still in your future.
DOCTOR: What hasn't happened?
MARTHA: Doctor, please. Twenty minutes to red hatching.
SALLY: It was me. Oh, for God's sake, it was me all along. You got it all from me.
DOCTOR: Got what?
SALLY: Okay, listen. One day you're going to get stuck in 1969. Make sure you've got this with you. You're gonna need it.

(Sally hands her file of documents to the Doctor.)

MARTHA: Doctor!
DOCTOR: Yeah, listen, listen, got to dash. Things happening. Well, four things. Well, four things and a lizard.
SALLY: Okay. No worries. On you go. See you around some day.
DOCTOR: What was your name?
SALLY: Sally Sparrow.
DOCTOR: Good to meet you, Sally Sparrow.

(Larry returns with the milk. Sally takes his hand.)

SALLY: Goodbye, Doctor.

(Sally and Larry go back into the DVD store, now retitled Sparrow and Nightingale, Antiquarian Books and Rare DVDs. The camera pans up to the next building where a grotesque is sitting on the roof.)

DOCTOR [on screen]: Don't blink.

(Montage of public statuary.)

DOCTOR [on screen]: Blink and you're dead. Don't turn your back. Don't look away. And don't blink. Good luck.

Transcript originally provided by Chrissie. Adapted by TARDIS.guide. The transcripts are for educational and entertainment purposes only. All other copyrights property of their respective holders.