Published on August 10th, 2014 | by Philip Bates
The Day of the Doctor ReKapped! Part 1
TRANSCRIPT: INCOMING CALL FROM 07700 900 461. 23.11.2014.
MCGILLOP: But that’s not possible; I was just – -
MCGILLOP: Understood, sir… But why would I take it there?
UNIT FILE #231163; DOCUMENT A.
NO MORE – OR – GALLIFREY FALLS. ARTIST: UNKNOWN.
UNIT FILE #231163; DOCUMENT B.
LETTER FROM QEI TO THE DOCTOR.
My dearest love,
I hope the painting known as Gallifrey Falls will serve as proof that it is your Elizabeth who writes to you now.
You will recall that you pledged yourself to the safety of my kingdom. In this capacity I have appointed you as curator of the Under Gallery, where deadly danger to England is locked away. Should any disturbance occur within its walls, it is my wish that you be summoned.
God speed, gentle husband.
UNIT FILE #231163; SUB-SECTION 2-10.
INCIDENT REPORT. CONFIRMED BY HEAD OF SCIENTIFIC RESEARCH, KATE STEWART; AND UNIT PERSONNEL #799: OSGOOD.
ALL ENQUIRIES TO BE DIRECTED TO THE BLACK ARCHIVE.
A lone policeman wanders down Totter’s Lane and up past Coal Hill School, where Clara is teaching. The class is dismissed and she’s off – to meet with her Doctor.
Clara enters the TARDIS and the Doctor welcomes her back with a promise of cocktails on the moon. The TARDIS, in the middle of a field, suddenly lurches as a helicopter picks it up and carries it across London. The Doctor reaches out and grabs at the time-space ship’s telephone.
Outside the Tower of London, UNIT Scientist, Osgood races to Kate Stewart, sat eating lunch and watching some sluggish ravens of death. Osgood hands the mobile to Kate.
“Doctor, hello,” she says. “We found the TARDIS in a field. I’m having it brought in.”
The Doctor falls from the TARDIS, grabbing onto its underside, as the helicopter changes course towards Trafalgar Square. The area is shut off – blame Derren Brown – as the TARDIS is set down outside the National Gallery. “I’m acting on instructions direct from the throne,” Kate assures the Doctor, handing him a letter. “Her credentials are inside.” He goes to open it, and Kate points to the museum. “No. Inside.”
Inside the National Gallery, the Doctor, Clara, Kate, Osgood and another member of UNIT, McGillop stand in front of a painting, one which doesn’t belong in this time or space: an oil painting – in 3D.
No More, or Gallifrey Falls.
“Time Lord art; bigger on the inside,” the Doctor tries to explain. The painting details the Fall of Arcadia, Gallifrey’s second city. “He was there,” he continues. “He was the Doctor who fought in the Time War, and that was the day he did it – the day I did it. The day hekilled them all. The last day of the Time War. The war to end all wars between my people and the Daleks.”
And he remembers…
“Why have you brought us here to look at a painting?” the Doctor asks.
“The painting only serves as Elizabeth’s credentials, proof that the letter is from her,” Kate replies. “It’s not why you’re here.” Just as McGillop receives a phone call, Kate guides them through to the Under Gallery, passing by a picture of the Tenth Doctor with Queen Elizabeth I. And the Doctor remembers…
They continue, deeper into the museum. A corridor leads down into the Under Gallery, guarded by a series of covered-up statues, the floor covered in strange stone dust. He hands a sample of the dust to Osgood and asks for an analysis – in triplicate with lots of graphs and complicated sums.
Further into the Under Gallery, the Doctor finds something very, very important… “Someday,” Clara says to him, “you could just walk past a fez.”
They find themselves standing in front of more Time Lord art: landscapes in 3D. But there’s glass all over the floor. “Look at the shatter pattern, “the Doctor tells Clara.”The glass on all these paintings has been broken from the inside.” Sure enough, the pictures are all landscapes with no figures at all. There used to be. Somethings – lots of somethings – have escaped.
However, before he can investigate further, a tear in time opens up above them, a twisting mass of bright colour impossibly ripping through thin air. And the Doctor grins, throws first his fez through… and then jumps in himself!
Clara and Kate just hear disembodied voices, one of which is definitely the Doctor. The other one… somehow sounds like the Doctor too. Snippets of speech slip through:
“Regeneration. It’s a lottery.” –
“Oops, I’m wearing sandshoes!” –
And another voice: female, very proper:
“But what about the creature?”
Clara shouts after him: “Doctor? Is that you?” The Doctor calls back a confirmation. “Who are you talking to?” Clara asks.
“Myself,” comes two voices.
They’re apparently in England, 1562, and the Queen has been replaced by a shape-shifting alien (both of whom are now running around somewhere in the nearby woods). Clara wonders if he can come back through. Physical passage may not be possible in both directions, so as a test, the Doctor throws the fez. But it doesn’t come back to the Under Gallery.
Kate heads off, instructing Clara to “keep him talking.” Meanwhile, she arranges for another UNIT Scientist, Malcolm (who looks a bit like Lee Evans), to send over incident files, codenamed Cromer.
Clara listens as the two chat to one another through the rip – “Reverse the polarity”; “It’s not working”; “We’re both reversing the polarity!” – and then, with the polarity confused, a third voice joins the fray:
“Anyone lose a fez?” –
She listens as a fair bit of arguing goes on, before further voices, those of soldiers, join in. Kate returns, and Clara tells her, “I think there’s three of them now.”
“There’s a precedent for that.”
The female voice cuts in again, and the soldiers all yell: “Long Live the Queen!” But the Queen seems to have come back from her escapade a little grumpy: “Arrest those men; take them to the Tower.” And they’re marched away by the Royal Guard.
Not to worry though. “Dear God, that man’s clever,” Kate says. “C’mon!”
“Where are we going?” asks Clara, already following Kate out of the museum.
“My office. Otherwise known as the Tower of London.”
“It’s like somebody smashed up a lot of old statues,” Osgood concludes, sifting the analysed dust through her hands. McGillop looks around at the statues around the corridor, covered up by sheets.
“Why would anyone do that anyway?” he asks. Then Osgood realises – and puffs on her inhaler. He asks if she’s okay, only to be told they need to get out of there.
“The things from the paintings: I know why they smashed the statues,” she replies.
“Because they needed somewhere to hide.”
The sheets fall from the figures around them, revealing horrific orange aliens, covered in suckers, venom sacs in their mouths oozing disgusting slime. Zygons. They attack McGillop, and copy Osgood – but luckily, she escapes.
Kate and Clara arrive at the Black Archive, a UNIT collection of dangerous artefacts with the “highest security rating on the planet – the entire staff has their memory wiped at the end of every shift. Automated memory filters in the ceiling.” What’s more, the place is “TARDIS-proofed,” so the Doctor’s ship can’t land.
Kate also gets another member of UNIT to look in the Tower of London for a string of numerals, circa 1562.
Inside the Black Archive, Kate shows Clara a vortex manipulator, portable time travel courtesy of Captain Jack Harkness – but they can’t use it without the activation code… which the Doctor has. A photo comes through of the numerals left in the Tower, just as McGillop and Osgood come in. “Why have they followed us?” Clara asks.
“Oh, they’ve probably just finished disposing of the humans,” Kate says. Her face swells and venomous slime explodes from her mouth. She’s a Zygon.
Clara grabs the vortex manipulator, types in the activation codes from the photo – and disappears into the past.
Osgood finds Kate – the real Kate – strung up in the Under Gallery. She’s still alive, but only as the Zygons need to ‘refresh the image’ for the copy. “If those creatures have access to the Black Archive,” Kate warns, “we may just have lost control of the planet.”
THE TOWER OF LONDON, 1562.
Three Doctors wait in the dungeon.
The Eleventh Doctor scratches numerals into a wall; the Tenth Doctor paces up and down, thinking of how to escape; the War Doctor watches them with interest.
And then Clara bursts in: the door wasn’t even locked. “Why wasn’t it locked?!” the Eleventh Doctor says, exasperated – and gets a reply from the Queen: “Because I was fascinated to see what you would do upon escaping.” But that’s not exactly the whole truth…
She leads them to a balcony overlooking the Zygons’ stronghold. A landscape painting also awaits, accompanied by a cube. A Zygon touches the cube, dissipates and reappears in the painting. “It’s a Stasis Cube,” explains the War Doctor. “Time Lord art – frozen instants in time.”
“The Zygons pop inside the picture, wait a few centuries until the planet is a bit more interesting, and then out they come!” the Tenth Doctor goes on.
“So the Zygons are invading the future from the past!” Clara realises.
And the Queen really is the Queen! She killed her Zygon duplicate and the actual Zygons, in a prime example of arrogance, never even considered that it weren’t their own commander who survived. “The future of my kingdom is imperilled,” she says. “Doctor, can I rely on your service?”
Of course she can! He’ll need his TARDIS. Naturally, she’ll give it him. But first, there’s a wedding to attend.
The real Kate and Osgood enter the Black Archive and inform the Zygons that there’s an emergency protocol: in case of alien incursion, a nuclear warhead will detonate in five minutes, keyed to Kate’s voice-pattern. It’ll destroy London, but it’ll stop the Zygons.
The Doctor’s voice comes through over the Space-Time Telegraph, a gift from the Time Lord to the Brigadier; a hotline straight to the TARDIS. He begs Kate not to start the countdown – but she does. Her Zygon counterpart tries to stop it, but the order is countermanded again and again. “We only have to agree to live,” the Zygon says.
“Sadly, we can only agree to die.”
Meanwhile: on Gallifrey. It’s the last day of the Time War.
And a billion, billion Daleks are attacking.