Who and what are you? Silence, Doctor.
We are The Silence.
The Silence has been heard.
And it's left the Doctor Who crew fleeing...
..frozen...
..and fallen.
Confidential takes you on a journey from the States...
That one over there looks like a kind of Citadel.
..To the stars.
That's one small step for man...
As the team battle the most mind-bending monster ever imagined.
They edit themselves out of your memory as soon as you look away.
The exact second you're not looking at them, you can't remember anything. What a monster! Look at them!
I think that these are the scariest monsters ever.
Whoa. Argh!
Welcome to the desert.
The Doctor Who crew are still in Utah,
setting up to film the dramatic opening of episode two.
We've got a race through the desert,
Amy's shot, Rory's shot, River jumps off a building
and the Doctor is trapped in a cube he can't escape from.
The beginning of Episode Two, I think, is the most exciting opening
for an episode that we've had.
It just kind of bursts onto the screen.
Amy's running for her life in the desert.
We'll see if we can get the timing a little tighter.
We're setting up a shot where Karen will run down the hill towards us.
Then we have a car in hot pursuit.
We're going to shoot up against the sun.
We're in the desert and is going to feel dangerous.
# Cos I've always stayed too long
# Long enough for something to go wrong... #
First shot of the day.
I'm feeling pretty out of breath, as you can see. Yeah, it was basically just running for my life.
It's the altitude which is why I'm out of breath. So, that's why.
It's not me being unfit at all!
# I got my peeps standing with me shouting pull up your socks
# Cos we just broke the law and now we're running from cops
# I got my lip bust fighting Now there's blood on my top
# And I'm still out looking for a party, somewhere to stop
# I got my peeps them telling me They know where it's at
# So I pull out 20 notes And jump straight into a cab
# I'm on my way to where I'm going Thinking I need more Jack
# But that probably ain't The brightest idea I've ever had. #
That was such a fun scene to shoot. It was all like, "Miss Pond, Canton."
Canton. Miss Pond.
Is that a body bag? Yes, it is. It's empty. How about that?
So he's gone to the dark side but then, as it turns out, he actually hasn't.
But just dramatically I think it was really fun
'that he's bad for that scene.'
Bag her up, boys.
Mark Sheppard, who plays Canton, frequently is bad in American television programmes,
so I think it's quite good that it happens.
We found Amy Pond. She had strange markings on her arm.
Do you know what they are?
Why don't you ask her?
I was very keen on the idea of the Doctor being locked up in Area 51.
I didn't know the A51 went all the way up here. Area 51, we needed to keep
the scale of the whole piece. This is a massive episode
and so we found this massive hangar to put the Doctor in.
Area 51 was really in a large old hangar at St Athens,
the RAF station near here. And it was a wonderful place.
A big circular roof. And it was enormously long
and very empty and a lot of good, shiny concrete floor.
We just used the emptiness as a virtue
and we put the strange room that was being built in the middle.
They're putting me in a straitjacket. I've gone mental with it all.
Absolutely bonkers!
We haven't seen the Doctor with a beard for a very, very long time.
I think Tom Baker had one for an episode. An old white beard.
I just had some meatballs for lunch. And my beard was full of meatballs.
I think it's fun. It says "passage of time" and Matt looked absolutely great in a beard.
It makes me really want to play a baddy, having the beard. And being in a straitjacket. Ow!
I wouldn't guarantee you won't get it back again at some point.
With the Doctor on lockdown, Canton heads to Cardiff Bay
to corner his next catch. HE MOUTHS
It's all go, isn't it? It's all exciting here in Cardiff.
Getting ready for stunts.
# These girls fall like dominoes Dominoes
# These girls fall like dominoes Dominoes, dominoes... #
You're in a street, somewhere in downtown Cardiff.
Ultimately it's going to look like somewhere very, very different.
Episode two starts with River in some sort of strange office building
and she's being chased by the FBI.
It's over.
Rather than be arrested, she decides to jump off the building.
You're coming with us, Dr Song. There's no way out this time.
There's always a way out.
This is the final bit where you actually reveal that we're on top of a skyscraper in New York.
I wanted all this blowing plastic to be billowing away,
and behind it you'll see this green screen
and we'll replace the New York skyline.
So, outside of it, you should see the Empire State Building
and the bay beyond, and it should look amazing.
You know, and all the wind feels very physical and just feels very high up.
Tea. The great things about British production is tea. Can't get tea on any sets in America.
71, take one. Action!
You were invaded a long time ago. America's occupied.
You're coming with us, Dr Song. There's no way out this time.
There's always a way out.
# These girls fall like dominoes
Dominoes, dominoes... #
Cut!
I fell on to do just some matting,
but the stunt girl actually fell off and actually
only needed to do it once because she did it perfectly, thank goodness!
This is by far the darkest Doctor Who episodes that I've done.
And possibly have seen of the series.
I love the darker episodes like Blink. It's always a chance to get into more dangerous territory.
The child...
She must be cared for. That's important.
That's what they said. That's what who said?
The main thing is making it intriguing. As long as you're interested in it
and you feel like you're in an eerie space,
but your interest is drawn into the story and you're pulled along constantly by what is happening,
what is going to happen, what's going on. As long as you keep
the interest in the story, you can get through the darkness.
Who and what are you?
Silence, Doctor.
We are The Silence.
And the darkness at the heart of the story
is provided by the spine-chilling Silence.
# In this white wave, I am sinking
# In this silence
# In this white wave
# In this silence I believe
# I have seen you in this white wave
# You are silent
# You are breathing In this white wave I am free... #
One of the challenges of this episode was introducing The Silence. People have talked about them,
We've heard their voices before in the Tardis. We know they were
at the heart of the cracks in time in the last series,
the centre of the last series.
Obviously, last series, we had quite major plot arcs.
The seeds were planted for the Silence in episode one, actually.
It's what the first monster ever says.
Silence, Doctor. Silence will fall.
Knowing Steven Moffat's writing, there's always some sort of pay-off.
I thought, "This is going to be a big one." It seemed quite prominent.
Silence? We ran from The Silence. The Silence.
I thought there was more to be mined from it. I thought it was more fun
cos I always feel it's quite good that a story should,
it's television, so it should never quite end.
You're satisfied, you find out the explosion,
what was going to be in the Pandorica - the Doctor himself - but there was still one thing for him,
still a threat out there for him.
It just pulls you into the next story.
I think they're going to be one of the scariest enemies
that Doctor Who has ever had.
They edit themselves out of your memory as soon as you look away.
The second you're not looking, you can't remember anything.
I just think the idea of ones that can erase themselves
from your memory so that as you turn to watch the television,
you can't be sure there wasn't one actually standing behind you a second ago,
I think that's special and different. I hope, I think it is.
Nice. They're amazing! They're amazing! Look at you!
Whoa! One of my favourite monsters, definitely. Isn't that fantastic?
Oh, my God. What's it like to breathe in one of these?
Rubbish. I won't keep you. Wow, they're so brilliant. Oh, man.
Great monster. What a monster. What a monster. Look at them. Whoa!
I wanted to suggest we've all got a latent memory of The Silence,
all that we have all seen them many times but we've forgotten them but they've imprinted.
So the painting The Scream is a bit like the Silent,
our notion of what aliens might look like is a bit like the Silent.
We knew that they'd have this kind of Scream look,
and that was a really hard thing
to try and translate into a physical alien.
Basically, when you're challenged like that, you just hand it over to Millennium Effects and Neil Gorton,
who came up and really fleshed out the painting into this grotesque image, and I realised that
when I saw the kind of screaming face that Neil had painted,
which was amazing and very haunting, very sort of pallid in tone.
I loved the kind of texture of the sunken eyes and this sort of hanging jaw.
I knew that they immediately looked creepy and kind of repulsive.
Any Doctor Who monster that you're putting that prosthetic on their heads effectively blinds them.
Just a fraction more there.
They're pretty helpless, really. They need two people guiding them around at any one time.
There's a person dealing with the head prosthetic itself,
making it move with the brain pumps that we've got in there.
There's Make-up and Costume as well, helping them.
We've also got a choreographer in as well because we wanted the three guys to move at once,
and we had to have a scary way of moving,
a kind of sinister look so they could, just in the way
that they stood there and moved their heads very slightly,
that you'd get a sort of eerie sense of intelligence and
kind of that they'd invoke a sense of fear in the way they stood.
That is hideous!
Can you actually see anything? Look at your sinister walk!
Normally I'm taller than the monsters, but now I'm like, "Urgh!"
So they're just more intimidating and just hideous looking.
That's.. I think this is the scariest monster.
The man who played one of The Silence, was really amazing.
He's so tall, he's like 6 foot 7 or something. He was fantastic.
As soon as he got on to set, he was he was reading in the lines.
He won't actually do the voice, but he was so into it.
He was like, "OK, what do you need me to do?" And he was like, "Amelia!"
Your mind is weak. You have been here many days.
No, I can't have been. Now you will flee.
No. Get off me, get off me. No! No!
Cut.
He was just great with all the movement, cos he's a dancer anyway.
We have got to get you doing the dance, all three of you together. Hey!
Do a funky robot, go on.
They remind me of a 2009 Karen Gillan. Oh, my God!
Before she lost it all. 2009 Karen Gillan!
My head is nowhere near that bulbous.
It is quite sort of cone-y. All right, it's round, I'll give you that.
Like the moon.
Hello, hello, good morning. How are you? Good morning, Confidential.
Today we have a very busy day
because we've only got one day left on the schedule to shoot everything.
Of course, we haven't finished all the scenes that we shoot
along the way, so we've got a ton of stuff to pick up.
It's going to be a very busy day, and hopefully we'll get it all.
We're about to go onto this stage over here, doing some pick ups
for episode one and two. The set's right here.
My role as director of photography is to put the lights up on the scene.
I'm sort of in charge of the entire camera department,
so it's to do with the shots, the angles we choose,
but primarily it's about the lighting.
A tiny bit higher. Make it full spot.
I work with the director first of all.
We come together and find out what kind of shots we want to do.
Just that? And it should be a slider one, yeah?
We need to get this going up and down.
I then delegate, so I have a lighting department
and I have a camera department that I have to divide up and give jobs to.
I have a camera operator, and he works with the grip and his camera assistants.
I tell him what to do and he does it!
On the lighting side, I have a gaffer.
Behind that thing there, just give me like a beam going across.
Yeah, warehouse is first.
He has a team of sparks. They'll do the electrical work,
putting up the lights in the right places,
putting them on the stands, running the power
and making sure that's all safe and done in a good way.
In the next half hour, we are about to do this warehouse pick up.
We're doing the bit where River Song is climbing into the tunnel underground.
This is built best to match where we shot in the warehouse.
Hopefully, when you see the sequence, it's going to look like
she walks round the corner, jumps down a hole and it's part of the same sequence.
Shout if you get in trouble. Don't worry, I'm quite the screamer.
Stefan. Yes? A bit further forward?
Yes, please. Could I have another four feet, please?
So this is a scene from episode one,
where Canton is taken to the White House.
We're shooting a limousine over the streets of Washington.
Of course, it costs a lot to go to Washington
so we're just going to do it here and we're going to shake some lights about and hopefully
it looks like it's driving down a street with a car coming behind it.
Can we wrap some black down here, on the actual tube? The light looks great.
But I am seeing the...
Actually, I'm just trying stuff out. If it works, it works. If it doesn't, it doesn't.
So let's just rig it up so that it swings past the front.
We've got a few things going on here to make it look like the car is moving.
First of all, I rigged lights at the back.
That is cool.
You have a sense of there's a car following them around.
Even though this car isn't important, it gives you the effect that they're on the street.
I understand you have a problem with authority. Thank you.
It's not a compliment, son.
Then, above them, I rig the light that swings around.
Switch it on there. And now go.
That's supposed to be a street light moving past the car at great speed,
so that's going to swing past and switch off and switch on
so it looks like a new street light coming past all the time.
A bit of a swing at the end, but you know.
We just today came up with a good idea that we could have water
rippling along the window to give the sense of speed as you're going down the street.
To shoot this in Washington would cost a fortune, and also really hard to achieve.
It's a big, big number, and this is actually a lot cheaper and simpler to do.
Cut! Cut!
Good. Very good. It worked out better than I thought.
It looks really cool. Hopefully the audience at home will buy it
and think that we went to Washington and shot this in the streets.
You were my second choice for this, Mr Delaware. 'That's OK.'
You're my second choice for president, Mr Nixon.
You should have a look at next door. We're setting up a pick-up shot
for the little space girl.
In a minute, they're going to put a little girl in this seat over here
and they're going to size her down.
Because the spacesuit is a full man-size and the little girl wouldn't be able to walk inside.
It's supposed to be a robotic thing doing it.
So now we're getting the little girl's head
and then putting it inside.
What we need to do is match the lighting that she was having
when she was inside and what we've done
is we've got art department to build this little contraption,
which looks like the light she had on inside.
And this goes underneath her head, and she has the same kind
of space light that she had when she was in the spacesuit.
Please help me.
Help me.
Please!
We've finally come to the end of the day. It's been hectic.
We had a lot to do.
I don't think I have ever had a day like this on Doctor Who before
but we managed to finish it all so I'm really pleased
and I hope it all looks well on screen.
Back in the US of A, the Doctor Who crew are working "dam" hard
in another breathtaking location,
the Glen Canyon, to get those final American shots in the can.
Steph? When he comes back in, drift in sooner
so you're closer to him, so the move in is only just a small drift in.
I think that the scale and ambition of this series
is just huge, and to be able to go to a location
where it's all there for you and it is just massive...
Again, we just wanted images and places on that screen
that you don't normally see in Doctor Who, to actually make it feel different.
We'd always dreamed that those scenes would give
the first two episodes of the new series a new look, a new feel,
and when we first saw those sweeping, sweeping shots,
it was just really exciting, wasn't it?
Yeah. That's where you saw how that scale would make the stories feel bigger and more cinematic.
If you run up to me... You look and we'll look with him.
There's a shot where I look down
and I could see Marcus,
the producer, just going, "Oh, don't, don't."
Because I kept running up to it.
Could you get a message through to Arthur
to give me a good four-beat look ever the edge, if he doesn't mind?
And tell him not to throw himself at the wall.
It doesn't matter at this distance. I'd hate to be filming his death.
Action! Action!
You don't have use your imagination very much to act
in a situation like that.
It's all there for you. You just look over that big sweeping drop.
It was a nice way to finish our stuff that we did in America.
What are you waiting for? I'm waiting for you to run.
It'd look better if I shot you while you're running.
Then again...
looks aren't everything.
OK, cut there. That's a wrap, everybody. Well done. Well done.
That's good stuff. It's a wrap in America.
It is a wrap on Dr Who in America! Woo! Thank you.
'We're here at the Glen Canyon Dam.
'We've just shot Rory's scene where he's caught by Canton
'and, yes, it's gone really well. We've just finished doing it.
It's been the last scene of our American shoot
and this basically wraps us for our time over here,
which has been fantastic.
After wrap, the crew get the chance to review the footage
from their American adventure.
Here we go.
Look at that!
It's really awesome.
That is...
Oh, the... Oh, that is cool!
That's a trailer in itself. Yeah.
'Coming to America has definitely given us something we couldn't recreate in Cardiff.'
They're iconic locations that people will recognise from movies.
And you just look at those locations, you look at the light,
you look at the environment and you know you are in America.
And that's just fabulous to have in Doctor Who.
The few days after they were shooting things, Steven, Piers and I
were just annoying the post-production supervisor
by phoning up every ten minutes, saying,
"Are the rushes in yet? Can we watch it?" But obviously, because they were in America,
there was a delay in us getting everything,
so we were biting our nails for about two days and then when they came through, we just sat back and went,
"Hurray - this is going to be brilliant."
I did not really know what it was going to be like
and I think Toby and Steph and everyone
in the American crew were great at making it happen.
Yeah, the American crew were really, really nice and very, very good.
Hi, guys.
They were really interested in the show.
They wanted to see episodes. They wanted to read the full scripts.
They really wanted to get to grips with Doctor Who.
It's been interesting because, in terms of the industry,
there are a lot of similarities, but there are certain differences,
and different phrases for the same things. It's been quite fun,
us learning about them, them learning about us.
It's worked out really well.
But before heading home, Arthur and I... Hello.
..took the opportunity to explore this amazing corner of the universe.
Yeah, having come all the way from little old Wales to Utah,
we had to take a tour around the breathtaking Monument Valley.
So, welcome to our tour. Yeah.
Jump on board.
After you. Oh, thanks. Chivalry. Well, sorry...
Hi, Darvill. Oh... Hi.
I'm really excited about this. Are you? Yeah. So am I.
Right, where's my seatbelt?
'So, with seatbelt firmly attached...' 'Stay safe, kids.'
'..we headed for the hills.'
This is really exciting.
Look at where we are.
It doesn't quite seem real. No.
This landscape - I've never seen anything like it.
It does...
I sound like I'm slightly underwhelmed by it
but actually I'm overwhelmed by the whole thing.
It's just huge. Everything is huge.
And you can see for miles.
Look at that! Ha-ha!
This place is open. We could go there.
What is it? It's a jewellery shop. Oh!
Calm down. Calm down.
Stop!
We were so excited to have episodes set in America and to actually come here and film over here.
Because they could have... Just done the green screen.
They could have mocked it up in Cardiff.
It's not quite the same, though, is it? You don't get the scale of this. Yeah.
It's just going to add that "wow" factor, I think, to the episode.
'We got our first taste of "wow" factor
'when we stopped off at a little spot
'called the Sentinel Mesa to take in the view.'
Wow.
That one over there looks like a kind of citadel or like a castle.
In fact, that's one looks like a kind of giant palace or some crazy alien fortress.
'Monument Valley is a series of amazing natural hills,
'formed over millions of years and coloured red
'by the iron oxide exposed in their weathered salt stone.'
'You're reading Wikipedia, aren't you?' 'No, Karen - I know these things.' 'Oh.'
Think about how many years it took to form these. It's like... And they're untouched.
There are these roads here, but it's completely untouched.
There is literally nothing for miles here.
'Once we were done there, we were back on the road - a really bumpy road.'
That is really deep!
Oh, my goodness. We're really close to the edge!
Oh, dear!
Don't fall out!
Get a shot of the "W" for "Who." Oh, yeah.
The "W" for "Wooo!" Yeah.
Right, I'm going to fake it.
Take it or leave it, right.
OK.
Oh, get a shot of the...
LAUGHTER
I can't!
That is Karen pretending to notice something for the first time.
That's what happens in filming, sometimes.
She noticed it a little while ago.
Yeah, and now I have to redo it and I can't.
She messed it up. OK, all right.
Oh, you should get a shot of the "W" for "Who!"
Oh, it's really natural!
OK, right. Three, two, one...
Oh, look at that! You should get a shot of the "W!" Shut up!
'As well as the fantastic stone letterings, there's a series of naturally occurring stone arches.'
'We were taken to one of the most spectacular of these, the Ear Of The Wind.'
Wow. We're at the Ear Of The Wind.
The Ear Of The Wind.
Which is unbelievable.
That is really cool.
Oh, wow.
Oh, look at that! That's amazing.
That looks really sort of mystical.
I'm going to run.
Silly.
Thank you so much for bringing us here. This is amazing.
'Standing in the shadow of this natural wonder, there was only one word that came to mind.'
Confidential!
All right, I'm going to go for it. Shout into the Ear Of The Wind.
I'm going to shout into that ear of wind. Right.
Hello, Confidential!
Wow.
'As if that wasn't enough, we were shown the Native American wall drawings which surround the ear.'
'There were aliens, a bicycle, a monkey.
'Actually, I'd better let our Navajo guide explain.'
This could be a figure of a man. Yeah.
Represent...clans. Yeah.
Member different clans.
Just here could be one of the important person.
This one? Like a shaman. Oh, right.
This one here? Yes.
See, I was looking at it as if that was the head and it was upside down.
No, that's the head, right here. Yeah.
See the hands coming down, and the feet.
And the line that connects this. Yeah, what do the lines mean? To the zigzag line.
These people, they were very ingenious people. Yeah.
'We also had the chance to see how the Navajo used to live
'and explore their traditional homes, called a hogan.'
When you first enter a home,
a greeting, you say, "Ya'at'eeh."
Ya'at'eeh? Ya'at'eeh. Ya'at'eeh.
'In the hogan, we met Susie, who keeps the Navajo traditions alive.'
This lady here, her name is Susie. She's cleaning up the sheep wool.
Everything that she does is done manually.
There's no machinery.
Shearing, carding, spending.
Here's a sample right here.
So this is the finished thing. Yes.
'Our tour of the valley was coming to an end
'so leaving enough time for us to scare the locals...'
HELP!
SOUND ECHOES
Really freaky.
I'd never want to hear that if I was just strolling around.
SORRY!
'We stopped off to reflect on our time in Monument Valley.'
We're at the end of our day.
It's been a really strange day but amazing.
Yeah, it's just so incredible.
And meeting the people, it's a completely different pace of life.
A completely amazing way of life that we can get this snapshot of.
That's been really cool.
Back on home soil.
The children's orphanage is about to petrify the Pond.
# Words like violence
# Break the silence
# Can't you understand Oh, my little girl?
# All I ever wanted
# All I ever needed
# Is here in my arms
# Words are very
# Unnecessary
# They can only do harm. #
See the craziness in those eyes?
My office is this way.
Today we are filming a scene with Dr Renfrew, me and Canton.
Basically we are discovering this old orphanage
and there's writing all over the walls
and it's horrible cos it looks like blood.
It's the kids, yeah? They do that?
Yes, the children. It must be.
Yes.
We're discovering this is the place we've been looking for. And it's all very creepy.
The effects on this are really good.
We've got a massive rain machine outside to make it look like a storm's going on.
And loads of flashes for lightning and it really adds to the atmosphere.
This place is an old, disused children's home and apparently a nun died here.
Honestly!
We nearly didn't come to this place.
I understood Gray's Park Hall was closed in '67.
The children's home that's meant to be an orphanage in Florida
and um, we did find a gaunt big place and I'd seen in books pictures
of a place called Troy House and so it was rather perfect.
In style it was not inappropriate. It could have been some strange mansion in Florida,
with a few palm trees outside it was very good.
And a lovely pair of gates, which we then put a metal top to saying, "Orphanage".
The inside was very desolate with a most wonderful staircase
which is both elegant and rather gaunt.
It's 1969. No, '67. We closed in 67.
The atmosphere in that place added something to the scene, definitely.
Um, but I guess that always happens.
You read it on paper and practice your lines and you get there
and start to feel it.
With that place, you really did feel something creepy and odd.
I just pulled the haunted house lever.
I loved that sequence, one of the scariest we've done.
It is haunted house. And you weren't expecting that.
You've had a big desert, Area 51, now a haunted house.
It's 1969 now... No.
This house actually feels haunted.
So occasionally when you see real bats flying around it's really batty
and you walk around and the place feels deeply weird.
I won't tell you more about the bats. So, back to the bats.
First of all, when I first came in, I was like,
"Oh, no, there's not going to be real bats in here."
And then the lighting guys made a fake bat out of two black gloves
and invisible string and started flying it around and it was above my head.
It was one of the scariest things. So, a funny little anecdote for you. Bye!
Now, for eagle-eyed viewers, a familiar-looking spaceship
makes a reappearance.
This is the first time we come back onto the Silence base ship
which people should recognise from the episode called The Lodger.
What?!
What?
Steven wanted to suggest that spaceship in that episode
was also one of The Silence as well to tie up a loose end.
It's nice to see bits of plot click together
so you see an abandoned spaceship and you'll probably,
if you're a viewer, thinking, "What about that spaceship?"
"They forgot to tell us more about it." There it is. We haven't forgotten.
So we bought the set back but I wanted to adapt it,
make it feel more evil and the bad guy base.
It's alien and feels serious and scary in some way.
We'll strap Amy into this chair here
and have a bright light coming down and that's where The Silence have been keeping her.
Stop, get off me! No!
My throne, it's great. There are some lights underneath and a hole in it
so it feels like an elaborate toilet.
And to break The Silence, the Doctor uses one of the most incredible moments in human history.
Now then, a bit of history for you. Aren't you proud? Because you helped!
Do you know how many people are watching right now, live on the telly? Half a billion.
Every single one of them at some point in their lives will look back
at this man taking that very first step
and they will never, ever forget it.
But how, exactly, did mankind make this giant leap to the moon?
The Apollo space programme was the pinnacle of human endeavour.
Started in response to the Soviet Sputnik satellite programme
then kicked on by Kennedy.
We choose to go to the moon in this decade and do the other things,
not because they're easy, but because they're hard.
The space race dominated the imagination of people
around the world and still fascinates us today.
NASA's attempt to put man on the moon
was the culmination of years of scientific endeavour and triumph.
And, as the years rolled on,
and the test flights roared across the skies, NASA got closer
and closer to their goal until, in 1968, they launched Apollo 8.
The successful moon orbit
and subsequent test flights of the lunar landing module meant, on 16th July 1969,
an estimated 1 million people gathered at Cape Canaveral in Florida
to watch Neil Armstrong, Buzz Aldrin and Michael Collins
board the flight that would write their names in the stars.
A worldwide audience of half a billion of followed the rocket take off on a mission
that would change mankind forever.
# Round, round, get around I get around... #
Supported by the staff at mission control,
the moon lander called the Eagle separated from the command module
and descended towards the surface of the moon.
For one moment the world stood still.
If anything went wrong,
these American heroes would be helplessly stranded.
Eventually, with the ground millimetres away, Neil Armstrong wrestled
with the landing controls to glide the Eagle safely to the surface.
The Eagle has landed. We copy you on the ground.
We've got a bunch of guys about to turn blue.
We're breathing again. Thanks a lot.
The moon landing had been achieved.
The highest television audience ever recorded sat in rapture.
As they waited for humanity to take its first steps onto a heavenly body.
At 4am GMT, Neil Armstrong descended the ladder
and said the words that would become immortal.
It's one small step for man...
One giant leap for mankind.
He had done it. They had done it. Man was walking on the moon.
And as the world was watching, a new chapter of human history
was relayed to the waiting masses on television...
..With the help of a post-hypnotic suggestion.
What do you mean, you don't remember it?
The moon landing is such a famous piece of footage
and to say that was the way the Doctor chased The Silence from Earth.
If you're going to send a subliminal message in one piece of footage
you would put it in the middle of that clip.
'One giant leap for mankind...'
And one whacking great kick up the backside for The Silence!
You just raised an army against yourself.
Everybody has seen that footage. Everyone alive.
Very few things you can say that of.
So, The Silence has been silenced.
But there are still a few things to clear up.
At the end of episode two, we are left with a few questions.
Such as what is going on with Amy? Is she pregnant, is she not?
What is going to happen to the Doctor?
Because we've seen him die. Who's killed him?
There's a huge question at the end of episode two,
which is going to play on everyone's minds for the whole of the first run
which is who the little girl in the spacesuit is.
Why is she regenerating?
And why there's a photo of Amy in her bedroom.
How can that be me?
Who is River Song and what part does she play in the Doctor's future?
Will we get to the heart of that relationship?
You're going to learn some very critical information about River.
You know what they say. There's a first time for everything.
And a last time.
Subtitles by Red Bee Media Ltd
E-mail subtitling@bbc.co.uk