What, are you all identical twins?
Confidential does a double-take as the cast come face-to-face with themselves.
Are you two twins?
We get to kind of do all the, "Oh, my God" stuff.
But how similar does a look-alike need to be?
Of course I'm better looking but, you know, he does all right.
As the UK is gripped by the coldest winter in decades,
the country grinds to a halt.
It's so cold. I can't tell you how cold it is.
But there's still no stopping the Doctor Who crew.
I've got a sneaky one. You've got one.
You've got one and you're stealing mine, Gillan!
# I don't ever want to be here!
# Like punching in a dream
# Breathing life into the nightmare. #
I can't leave her out there.
Rory! I know you understand that. Get in here. Get in here.
And watch out, Amy. Rory has his eye on another woman.
Amy's kind of strong,
"I don't care" facade is starting to crack a little bit.
I think if Jennifer had any taste, she would fancy Rory!
Amy's a lucky girl. Yes, she is.
# Do you count the flakes when it snows?
# Can you feel the heat or only the afterglow?
# Do you count the flakes when it snows? Yeah. #
At Caerphilly Castle,
snow has fallen on the set of Doctor Who.
But despite the freezing temperatures,
the cast and crew are soldiering on.
We've been very lucky. The snow came down quite heavily on Saturday
and we managed to get the crew through the snow.
Fortunately, we've been inside for the last couple of days,
so despite the cold temperatures, we've managed to keep filming.
Today's interesting because we hadn't imagined
shooting these scenes with the castle snowbound,
but actually it looks lovely, so we're going to go with it.
Gloves, I've got a couple of heat packs on my back.
I haven't got any heat packs. I should get some.
Hand warmers in my socks. That's funny. That must be lumpy.
It's lumpy and bumpy but it's warm.
I don't have any room in my shoes. Hi, guys.
I've got sheep skin.
I've got them! Yes! You've both got them.
It's created a lack of space in my shoes...
Claustrophobic toes. I can't do that.
..And therefore my feet are colder. Really? Yes.
Oh, look at the birds.
Birds are having a nice time, you see.
They're like, "We don't care about the cold,
"we just want to fly around."
Christmas birds. Ah, pinch, punch, first of the month, no returns.
It's the 1st of December, Confidential.
No. Taking it away. No!
One of the problems we get with weather like this is the worry
that the cast might end up under the weather.
It is a gruelling schedule
and Matt, Karen and Arthur are at the brunt of it.
You've got one. You've got one and you're stealing mine, Gillan!
I've got multiple layers. Ooh.
We try and look after them but they're all young, they're all fit.
They're hopefully coping well.
What Karen does is this,
she puts it on her silly old nose, her big red conker. I know!
That's because it gets really cold and runny. Cos it's massive.
Don't take it off! Take your coats off.
Come on. This is what happens in checks, with Arthur.
Come on, Arthur. Do it. Ahhh!
It's OK, Arthur. It's OK!
Man up, old bean. OK, I'm doing it. Aah! Gloves off.
The gloves, I forgot. Come on, Karen, we're all getting cold.
'Travellers and shoppers are facing major disruption,
'with roads, rail and airports and parts of the UK severely affected by snow and ice.'
It's one of the coldest winters since records began,
and the country's pretty much at a standstill.
Across the whole of Wales, the temperature's well below freezing.
But at Caerphilly, it's business as usual.
Everybody got here through the snow.
Nobody rang up and said they couldn't make it in.
Everybody's been pushing hard to get through the day's material
because they know the show goes on the air in a few months,
so we haven't really got time to waste.
But it's been bitter and people have been suffering with the cold,
but they've just got their head down and got on with it.
We'll make sure we pass round soup and hot drinks at regular intervals.
So, who's your friend? Charlie the Badger. Hi, Charlie.
Nice to meet you.
"I think you look really weird when you fall asleep in make-up."
You weren't even there, Charlie, so don't you give me that.
I love this little of head rest.
"Get off my head, man." Oh, sorry. Woo!
"Oh, I kind of like that. That's kind of nice." Oh, yes.
"OK, I'm going to go now." Love his voice. Bye, Charlie.
"Get back to your boring conversation about yourself. See you later."
Yes, bye.
The freezing temperature may not have deterred the cast,
but it's proving a total nightmare for the special effects team.
Any kind of liquid, any kind of water on set is particularly very
hazardous, very dangerous - there's people working electrics and stuff.
So that has its problems, but today, it's extremely cold
and it's not really slime, it's ice today.
We've put the slime down and it's freezing.
It's just turning into ice. I'm having a bit of a battle today.
We see this rupture and start to flood round, which we've just shot.
And then the Doctor comes down and goes to the TARDIS,
and his feet start smoking, he's like, "Ooh!" Steps back...
The ice has been a bit of a pain for the director too.
On Friday night and Saturday morning
I got up, came out of my apartment to get in the car to come here,
and just went. Ankle went both ways and then I landed on it.
So, yes, I'm hobbling around on a stick. It's tricky.
The first couple of days were difficult.
I have to go down the stairs last because if I go down first,
you've got 60 people just waiting for you to hobble down the stairs.
Action.
Behold, the cockerel!
Serious, serious power issue.
The only thing keeping us warm has just turned off.
Not to sound like I'm moaning, cos I'm not. But it's really cold without it.
It's suddenly really cold. Because the heating's gone, Karen.
Are you telling Confidential? Yes, I am -
this is what they need to know!
Calm down. YOU need to calm down. We're going to fix this.
He has this habit of getting a bit a overdramatic sometimes
when the Red Rads are turned off.
WE'RE COLD! Sorry.
I'm sorry about that. I overreacted a bit. Yes? Yes.
I've got two hot-water bottles, a dressing down and a coat load of thermals.
I think we're going to be fine. Well, I'm going to be fine.
While the crew set up for the next scene,
the cast are playing hard at keeping warm.
Knock the bin over. Oh!
Agh, rubbish!
"I can't stop myself!" Agh!
"She just drives me insane."
You really need to get that thing put into something to contain it!
"I've just been doing my stuff, really.
"Bit of acting, shooting some B-ball." You need to calm down.
You like this, don't you Charlie? "I like it like that. Oh, yes."
That calms him right on down. Woo!
Whoa! No, Charlie. "OK, bye."
SHOUTING
That's just shows you, doesn't it?
The rest of the country's come to a standstill
because of the snow and ice and the cold,
but Doctor Who...prevails.
A monastery. Er, 13th century.
Oh, we've gone all medieval.
This episode of Doctor Who is set in the 22nd century,
on an island monastery.
So, where are these Dusty Springfield loving monks then? I think we're here.
A great idea on paper, but a bit of a challenge to turn
those locations from script to screen. Yes, I know.
I'm really happy with the guests we've got.
Nicky, working with Julian, the director,
and Michael, our designer, have chosen fantastic locations.
They've given the show a real scale that makes it feel like a movie sometimes.
You look at the corridors of Cardiff Castle, which just go on for miles and miles...
..and you're clearly not in a studio.
They look fabulous. They give it real depth and scale,
and that's what we're fighting for with the shows,
to make it compete with things like Harry Potter - these days
you can just flick across a channel and be on a 100 million movie.
So we've got to keep it up to that standard.
When we get the scripts, we break them down and look at the locations.
When we look at the scripts, Matthew had described his fancy monastery,
which we were praying would exist but suspected wouldn't.
A writer just imagines a monastery. And then the reality is you often
can't get everything you want from one monastery.
And the job of finding this fantasy monastery fell to the location team.
When I first read the script, "monastery above crashing sea",
I thought, how am I going to find this?
My monastery had to have a church in it. It had to have a courtyard,
it had to have turrets, a tower, a dungeon, a crypt, it had to have so much stuff.
I didn't realistically think we'd be able to find them all in one place.
Obviously it was a big challenge.
But with all of the amazing castles that we have in South Wales,
it provided us with wonderful material.
So, the team had the monumental task of piecing together
the monastery from several different locations.
This is Caerphilly Castle.
We chose this because obviously the scale of the outside
suited what we were looking for.
It offered us most of the rooms that we needed.
And also, because it has a moat around it,
we were able to put crashing sea quite easily underneath it in CGI.
I don't have a great knowledge of CGI, but I know...
(LAUGHS) it'll look amazing!
Neath Abbey is now in ruins but there's one very special room left.
It has a crypt that is amazing.
It has windows that we can light through.
It has pillars and it's just very beautiful.
St Donat's Castle offered us the courtyard.
We had a courtyard here, but it was lots of grass
and it looked really like a castle inside.
But St Donat's looks like a castle outside
but it actually felt more like a monastery inside. And action!
I'm sorry, Doctor. You were right.
You've lost all power to the factory.
Doctor, I abandoned my team. Then let's go and get help.
Cardiff Castle was great.
We were looking everywhere and couldn't find any corridors.
We went to look at it and there they were, big, long, hugely long corridors.
That was the last piece of our jigsaw, really.
Even though we were spread between six different sites in South Wales,
we've got to make it feel like we're in one building
and when they walk out of a room in Caerphilly
and arrive in a corridor in Chepstow, they're actually in the same building.
For want of a better word, ow.
Please! You're not in your harness.
I'm sorry, Doctor, you were right.
You've lost all power to the factory.
Doctor, I abandoned my team.
Then let's go and get help.
How long would you say we were unconscious for? Not long.
A minute? Two minutes? I'd hazard we've been out a bit longer.
Well, how long? An hour.
I've seen whole worlds turn inside out in an hour.
A lot can go wrong in an hour.
Hand in hand with the fact we're getting these fabulous locations
are the problems of filming in historic buildings.
These buildings have been here for hundreds of years before
and hopefully hundreds of years after.
The crew are respectful of the properties we're filming in,
but it does place limitations on you.
For instance, in Doctor Who, you always have special effects.
And even the smoke effects that we use, we've had to use
a special kind of smoke that's approved by the National Trust,
that doesn't leave an oil residue, because we don't want to corrode the building.
This is a scheduled monument.
we can't just go drilling into the walls and screwing into them.
So prior to them filming, we do have quite a few site meetings
and we'll have a person like the location manager here
and we will run through what they want to do,
how they intend to put the set into one of our rooms.
It's absolutely amazing what they can do without using
any screws or nails and it looks absolutely amazing.
We haven't - touch wood at the moment -
had any issues regarding any problems.
But they are really professional in the way that they go about
working on our ancient monuments. So we're happy to have them here.
It's interesting seeing the locations.
I've been thrilled by how close to what I had in my head
they've found, it's fantastic.
Filming an episode almost entirely on location means the crew
are on the road for weeks at a time,
and Doctor Who doesn't travel lightly.
There's two 45-foot costume artics,
one for the principal artists, one for any supporting artists,
a main make-up artic, and possibly a second make-up artic,
for when we've got more guest artists in.
We've a prosthetic artic, American trailers for the artists,
toilets, generators, there's an office artic...
It's like Billy Smart's circus when we're on the road,
this long convoy of vehicles.
Moving the units from A to B, from one place to another, takes time.
We pack up that night when we wrap, pack everything up,
and then the technical vehicles go back to Treforest, our base,
then the facility vehicles, costume, make-up, will go to the next base,
whether it's 10 miles away or 40 miles away, they'll go there,
they'll set up and everything will be ready for the next morning.
We're at Chepstow Castle at the moment,
and then we've got a 60 mile move or thereabouts,
with the way have to take the trucks around to St Donat's,
which is the other side of Cowbridge.
We have 10 drivers here tonight to help us with the move.
I think it's probably an hour and 15 minutes' drive for us,
then to park them up and set them up ready for tomorrow morning...
It's going to be a long night.
If we want to live, it's time to go to war.
The main monster of these episodes are the gangers,
and they're a modern take on the kind of Frankenstein idea of creating life.
'I don't think there's any getting away from the fact'
the gangers are scary.
I'm very aware that this goes out on Saturday evenings
and I'm very aware this is a family show,
but Doctor Who was always scary when I was a kid,
and this is certainly going to scare people.
I wanted it to be scary, and icky and nasty and cool to watch,
but I didn't want it to be about, "I want to take over the world
"just for the sake of it."
You can really sympathise with them.
They've got this vulnerability to them,
because you can really see their point of view, I guess,
because they're just trying to protect themselves and each other,
and, you know, they think of the humans as the enemy.
Where's the real Jennifer?
I am Jennifer Lucas.
I don't think the gangers are evil, necessarily,
they're just fighting for survival,
and people do extreme things in extreme situations.
If there are villains in this story, the villains are the humans,
who have been maltreating this sort of slave class they have, albeit accidentally, created.
It feels like a very adult idea, in many ways,
even though it's an episode of Doctor Who.
If we create clones of ourselves to do the dirty work,
what happens if they've got minds of their own?
And who has the right to live if the original humans feel that
the gangers don't have souls and therefore can be destroyed at will,
but the gangers feel that they do have souls
and have exactly the same memories and feelings as their doppelgangers?
Then they're inevitably going to fight back, and that is the problem
for all of our characters in episode five - it's a fight for survival.
We have the advantage, now.
The thing I've wondered about any of these creatures
that perfectly duplicate human beings is,
don't they feel they have rights too?
Don't they take on some of the qualities of the human being they're impersonating so well?
In a lot of Doctor Whos you'd have a situation where somebody
could outguess the monster, but how do you outguess yourself?
It's one of the most challenging things you could fight with.
And what exactly is the flesh beneath these unusual Doctor Who monsters?
Basically, the flesh is manufactured organic matter
that can be programmed,
through electrical impulses, really, and the flesh takes on the shape
of the person with all their characteristics and everything.
And there you are.
Meet the government's worst-kept secret - the flesh.
It's fully programmable matter.
In fact, it's even learning to replicate itself at the cellular level.
Ah, I understand!
Doctor, are you all right?
I have no idea, no idea.
But I felt it in my mind, I reached out to it and it to me.
For this scene, we need the flesh bowl to give a bubbling effect,
so all we've done is put a bubble rig inside the bowl,
which is basically just a network of pipes, some open-ended,
some with holes in them.
We then connect that round through here to our air bottle,
and that just gives us the ability to feed air into the flesh bowl
to hopefully make it bubble.
We've got this great sequence in episode five
where we see Jennifer's ganger being created in front of us.
We see the flesh taking form and turning into Jennifer.
And action!
There's a load of great images there.
You've got the huge flesh bowl being electrified
and filling a kind of sarcophagus, and you wonder what's going to pop out of it,
whether it's going to be some man or machine.
And there's all sorts of echoes from loads of sci-fi movies
to reference to, but I think what Matthew's done in this episode is create something unique.
SHE GASPS
Well, I can see why you keep it in a church - the miracle of life. Cut.
It's just that freakiness of seeing yourself being created in front of you.
In the Doctor Who studios, there's a sense of calm before the storm.
Aaaargh!
We're going to do the scene
where the Doctor's climbing up the tower to pull apart the cables,
and there's a spark and he gets blown backwards off the tower
onto the floor and he's left unconscious.
We've already filmed, prior to this, Matt doing the fall onto the floor.
How far are we saying I've fell now?
You've fallen 30...
So, a long, long way? Yeah.
# I feel myself falling
# I'm feeling happy now... #
Now we need to recreate the actual fall with Gordon, the stunt double.
If we can make it quite a dramatic spark from there,
you can be flying out and landing around here. Go for it.
I'm going to pull that off,
then I'm going to go up the step, or I can start there. Is that better?
That's where you started the last one.
That's where I was formerly.
So, pull that off, fiddle around, maybe go into there for a bit and then go...
'The main thing is,'
at the start of the fall, whatever he does there,
I'll try and replicate exactly his reaction to the sparks going off.
Action!
I do the middle bit. Yeah. The bit in the air.
Obviously, I'm going backwards, so I can't see where I'm going,
so I have to set my mats in the right place for myself.
It's not too high so it's not too much of a concern.
A usual day's work, I guess. HE LAUGHS
We didn't want the Gangers to just suddenly decide
they wanted to be liberated.
We wanted to find a device that forced it to happen, and when we came
up with the idea of a solar tsunami, it seemed like the perfect fit,
because it's Mary Shelley, it's Frankenstein,
so it just felt like it was right for the story.
During the tsunami, the flesh creatures,
their doppelgangers, start acting independently of the humans they are based on.
That's my record. Who's playing my record?
Your Gangers, they've gone walkabout.
No, it's impossible. They're not active. Cars don't fly themselves,
Greens don't lift themselves, and Gangers don't...
HIGH-PITCHED WHINE
And Gangers on the loose spells double-trouble.
Action.
MUSIC: "Bad Body Double" by Imogen Heap
This is...
You're telling me.
'When I first read the script, they sent me episode five,'
and you start off thinking, "This is kind of interesting,"
because you've got a few guest characters,
the Doctor, Amy and Rory, then just five or six people,
and you go, "This is nice. This is almost like a play."
Then you turn the page and realise every single one of them
has suddenly just been doubled.
This is just like the Isle of Sheppey.
It seems the storm has animated your Gangers.
And so, even the simplest dialogue scene now has actor A talking to another version of actor A.
I can make it home for Adam's birthday.
What about me? He's my son, too.
So, the scenes where normally you'd just put the camera down and shoot a dialogue scene,
suddenly it's a day's work because everything is a split screen or motion control
or some kind of clever head replacement or something, to get round it,
to create an illusion that sends you back
to the idea that this all happens in a small space, among a small group of people and was all terribly easy.
# It's not me now, it's my bad body double
# I've got a bad body double... #
What I'm suggesting is that we just do this, go round,
catch the line, bless you, over, and then come back,
and go back round again and round again, and every now and again
we will catch, throughout the scene, we will catch lines that we can use.
We're using a motion control system today,
which means the same cameras, but they go on a different rig.
This is apparently the first block of Doctor Who
since the relaunch with Christopher Eccleston that it's been used.
The essence of motion control is that it can replicate camera moves perfectly.
What it basically does is, we can do a camera move ourselves, a normal camera move,
and then a computer records every single aspect of that move
and can replicate it over and over again,
which means that if the camera move is identical,
I can just put one person here, move the camera across them,
then move them to the next position,
do the same camera move on them and they all stitch together at any point I want them to
because the move will be completely invisible.
This afternoon, the main reason I've got it in is for a shot that I hope you are going to see
in the finished version, which is kind of Doctor's POV
on all the real people lined up with their doubles.
We're not talking about an accident that needs to be mopped up here.
We are talking about sacred life. Cool. That's that.
Swapsies! Gangers in.
Guys, are you on your right marks?
Yeah. Leon, are you...?
I need absolutely everyone dead on their exact marks.
It allows me to do one smooth move that will start on one person's face,
so it'll go round the real people
and then seamlessly move onto their doubles and come round like that,
so it'll feel as if we've got several copies of the real actor in the room.
These are not copies.
The storm has hard-wired them - they are becoming people.
With souls? Rubbish.
HE SNEEZES Bless you.
THE DOCTOR: We were all jelly once - little jelly eggs sitting in goop.
Yeah, thanks, too much information.
We are not talking about an accident that needs to be mopped up.
We are talking about sacred life.
On previous takes, when you both looked at him when he said "bless you",
it worked a lot better because it carried the camera across
and suggested that he was there before you even saw him.
It's a desperately difficult thing to plot out
because you're constantly trying to remember which actor's where
and who that double's meant to be and that kind of thing.
That was much closer to good than we've been so far.
'It's a massive technical headache but it's like a maths problem.'
You just have to break it down and work it out
and hope you don't trip yourself up further down the line,
which I think we almost certainly will do in about two hours' time. The circus has gone on long enough!
ELECTRONIC CRACKLING
Oh, great(!) You see, that is just so typically me.
Doctor, tell it to shut up. And cut.
'It's one of those stories'
that watching it filming, it's very confusing to watch.
It's amazing that Julian, the director, has got it all in his head
because he's constantly working with split screens
because he's doubling up. Half the cast have to be doubled up in post.
I'm thrilled. I'll be so excited to see how it all comes out.
It's going to be a bun-fight of multiple Raquel Cassidys,
Marshall Lancasters and Matt Smiths running around. It'll be great.
It's not about showing off, it's about telling a story
and making the effects and the equipment we use invisible.
Which is where you guys completely bust us!
The doubles that we used for the actors, you don't need them to look the same.
They're going to be completely replaced.
There's two real essentials - they have to be the same height,
because if you're looking at your double
and I'm shooting you from over here, I need your eyeline
to be exactly where it will be when you're looking back at yourself.
So the height's incredibly important.
Also, to get around having to do a lot of special effects,
the back of the head becomes quite important, the hair,
because I can put a camera over someone's shoulder, looking at another person,
and as long as the back of the double's head looks fine,
you've got a clean shot and you don't have to worry about it.
From the back, you're not really sure who it is
and they'll turn around and have a completely different face.
So, it's really funny, actually, to see who they choose to cast as people's doubles.
I had a double once, for something else,
and she just looked nothing like me.
I mean, I am ghostly white, but this girl was really tanned.
They just put a ginger wig on her.
Are you two twins?
Well, I think we're pretty good doubles.
I think we look pretty similar. We do. We've got similar features.
A similar nose.
Yeah. Quite similar accents as well.
Crinkles around the eyes.
Of course, I'm the better-looking, but he does all right.
I think he's slightly more handsome.
Slightly more grey. Result!
And he's got a slightly better physique.
I think there are some similarities.
My hair's now a lot longer than what the wig is.
But it's really good to have them there.
Not just for eyelines and stuff,
but they actually give a lot as well to a scene, so it's great.
Hi, I'm Marshall Lancaster and I'm playing Buzzer - Buzzer One and Buzzer Two.
We're doing a scene around a flesh bowl. Lots of moving flesh.
We're around Neath Abbey today, which is really, really beautiful - a beautiful setting.
But very, very cold. So, I'm going to need to wrap up. We've got double coats.
I've got my acid suit on.
The "Feel The Burn" T-shirt and we're ready to go.
I've run out. We've got a bit of time, here we go. Let's work the magic.
It's going to be a long day. We're going to be here
till probably about 7 o'clock tonight.
So we've got a long day, but luckily I'm with a good group of actors
and we all have a good laugh and a good time, so I'm looking forward to it.
I know about my hat.
We're doing a scene about introducing the Doctor to the flesh -
the first time that he sees it. He has a touch of it and recognises
that it's a living matter and that it's more dangerous
than we've figured.
OK, lights, please. Bitter, bitter cold in there.
I think the temperature's minus two at the minute,
so a lot of the concentration is on not shaking and freezing on the spot.
And cut.
There's a lot of downtime on any film set, really.
Scenes can take a long time to film and so when you're not involved,
you have a lot of waiting around and sitting about.
You can wait around all day
to maybe film two, three minutes of screen time.
So it's the side that people don't really see or don't really
know about when they're watching an hour on television or whatever.
The crew have been lovely and yeah, we're well-looked-after,
as you are always on any sort of TV show. You're well-fed.
It's dinner-time. One of my favourite times of the day.
I'm just going to fill up. Had a bit of a snooze.
We've had a bit of downtime, so make the most of it. Have you been...?
I had a bit of shut-eye, yeah. It was good. We've been up too early, you know.
It's criminal, isn't it, darlings?
A lovely lamb dinner. That'll set us up for the afternoon.
Shame you don't get smell-o-vision. Living the dream.
That's what that's called.
Shocking.
HE SCREAMS
We're practising our screams - our tormented screams.
THEY SCREAM
I can't do it. HE COUGHS
HE GROANS
That handily doubles as his poo-face!
Make-up artists keep coming in and touching you up,
making sure spots on your neck and things like that aren't seen,
making sure you look the same in each shot
so if they cut back to you and you've been
brushing your hair in a different way or rolling around on the ground,
they make sure you still look the same for each individual shot. And action.
SHE GASPS
Well, I can see why you keep it in a church. The miracle of life.
No need to get poncy. It's just gunge. Guys, we need to get to work.
OK, everybody, let's crack on, eh?
You need to get out of here.
We've just finished that scene there.
As you can see, it's taken most of the day to film.
It takes a long time to get through it.
You have to be ready to concentrate when the camera turns round to you
and act as if it's the first time you're hearing everything. It was OK.
And you're pretending that you're in some other body, looking at yourself,
and that sort of thing. It's good. That's the end of our day on Doctor Who.
We'll be back tomorrow for more Ganger action. Whoo!
Goodbye to Dr Who Confidential. Goodbye.
Action. Jennifer? Jennifer.
They hurt...so much. Hey, it's OK, it's over now.
Despite an episode of freezing temperatures
and icy conditions, things are definitely hotting up on set.
It's a really interesting twist in this episode,
for the relationship between Rory and Amy. Yeah.
You take a wee shine to Jennifer.
Rory? Listen. No, you listen.
Nobody touches her.
Rory does fancy her a little bit. I think he does.
He's noticed that she's an attractive girl, as men do.
We can tell the truth now Karen's not around.
We have a weird and wonderful relationship.
There's nothing dodgy going on. No, nothing dodgy at all.
# You make me feel like I'm the only girl in the world
# Like I'm the only one that you'll ever love... #
It's the white stuff, isn't it?
It's the fact that you're made of toothpaste. It's because I'm unique.
Yes, I've never seen anyone like you. Like a big eyeball before.
I think if Jennifer had any taste she would fancy Rory.
He's a really sweet and lovely guy.
I think Amy does have reason to be jealous, you know.
But I think Rory can't help but help a damsel in distress, too, and that's his soft side.
Amy's a lucky girl.
Yeah, she is.
He's messing with a dangerous woman, really.
He's fallen in love with a monster. But we've all done that, haven't we?
I've got to look at it from Amy's point of view
and you have taken a bit of a shine to this girl in particular.
Yeah, I'm definitely protective over her.
Yeah. Is it because she makes you feel like a man?
Yeah, in a way, in a sense.
Amy doesn't make you feel like much of a man. No.
Where's the real Jennifer?
The REAL?
I am Jenifer Lucas.
I remember everything that happened in her entire life -
every birthday, every childhood illness.
I feel everything she has ever felt and more.
I'm not a monster. I'm me!
There's talk of a love triangle going on,
but for Rory, it's more of a triangle of trouble.
I think she really likes Rory and he's a really sweet and nice person
and he really takes her under his wing
when he sees her at her most vulnerable.
Help me, Rory. Help me.
She's in genuine trouble and clearly likes him.
And yeah, there are moments when you think it would be nice
if Amy could ever own up to the fact that she depends on me a bit.
So he's absolutely ripe to be exploited by someone who says,
"Oh, you're so great. You're a real comfort to me."
Because he's never heard those words.
He hasn't heard those words, ever. He's known Amy since he was a child, so he's just used to scorn.
I really like this in the story. I'm glad that it's taken this turn.
It's given me, as an actress playing Amy, something new to play,
because she's always had Rory in the palm of her hand,
so to have this happen just opens up loads of new avenues.
It's really weird for Amy as well
because she's obviously had a roaming eye in the past herself.
Are you not going to turn your back? Nope.
So, yeah, she's obviously not too possessive like that
because she wouldn't expect Rory to be that possessive over her.
So, it's an interesting one to get.
I think Rory has to try not to be possessive.
I think he really has to keep it back.
He actually just wants to be going, "Hey!" all the time.
But he has to play it cool. Amy doesn't dig that.
Yeah. Rory just wants to be cool.
Action. What about the flares?
Rory? Jen's out there.
She's out there and she's on her own.
If she's got any sense, she's hiding. Rory...!
I can't leave her out there. Rory!
I think that he wants to go out on a mission and prove himself, almost.
If he does that, he can prove himself as a man to Amy
and the Doctor, I guess.
Come on, get in here, get in here!
Close the doors. Rory?
I think, just naturally, as the man in the relationship,
he wants to assert himself a bit more.
He's got to man-up and finally he's doing that, which is good.
As Rory and Jennifer get closer, it seems to pull Rory
away from Amy, physically and emotionally.
Hopefully, that sets us up nicely for the big wallop at the end.
At the end of episode five, we've got everybody -
Gangers and humans alike -
on the brink of war. Jennifer!
We've got Rory on the run looking for Jennifer.
He's out and about and Jennifer's out and about.
They could be in trouble.
We've got the rest barricaded behind a door as the Gangers try and get in.
They're not after him, they're after us. CLATTERING
Why? Why?!
Show yourself. Show yourself!
The game-changer for this story is, what if the Doctor is duplicated?
What on earth happens then?
The most powerful player in the whole story,
what if there's two of him?
What will he be like?
Trust me.
I'm the Doctor.
Subtitles by Red Bee Media Ltd
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