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sam_storyteller ([personal profile] sam_storyteller) wrote2005-07-18 11:05 am
Entry tags:

Carnival Show. PG-13; Torchwood.

Title: Carnival Show
Rating: PG-13ish. Scary stuff, violence, some (canon) slash.
Characters: Team; Jack/Ianto, a hint of Tosh/Owen.
Summary: Something has gone horribly wrong at the Electro Cinema. As it falls through time, the team must find a way to escape without Jack's help -- or at any rate, without their Jack's help.
Author's Notes: While I by no means disliked "From Out Of the Rain", I thought it was -- not what I wanted. Not as much as I wanted, anyway. It felt like there could have been so much more to it. I'm not in the habit of thinking this, but when I finished watching it I sat back and thought, you know, I really could write a better episode than that. So...I tried. This is a shooting-script format redux of From Out Of The Rain, and should conform to canon behaviour and characterisation for all involved. It is almost certainly not long enough, but the idea is there. It just needs a bit of padding.
Warnings: None.

As ever, you cannot blame Doctor Who for this, but you can blame [livejournal.com profile] amanuensis1, who taunted me into putting my money where my mouth is.

Originally posted 3.19.08

Also available at AO3.



OPENING MONTAGE.

(Torchwood: Outside the government, beyond the police. Good at walking dramatically in straight lines, nearly getting eaten by cannibals, opening rifts in space and time, et cetera. Otherwise, a bit crap.)

EXT - NIGHT - 1920s - TRAVELING SHOW

A clearing in a field, decorated with gaudy tents and painted signs and banners. In the background: chatter, laughter, and hurdy-gurdy music. A traveling show is in town and drawing a crowd.

A handbill flutters across the ground and comes to rest at the makeshift gateway to the traveling show. In antique lettering it advertises THE NIGHT TRAVELERS, one night only.

A BOY picks up the handbill, studies it, and then takes off running for a tent at the back of the showgrounds.

INT - DRESSING TENT

The interior of the tent is filled with circus performers preparing to go on: a strongman, a juggler, a pair of acrobats, a contortionist, a girl grooming a performing pony, etc. The BOY runs from one person to the next, spreading the word that the Night Travelers are coming.

He approaches a MAN at the far end of the tent. The MAN is seen only from the chest-down, dressed in a khaki uniform. A pistol and Indian saber are secured in his belt.

BOY
Sir?

MAN
[noncommittal]
H'm.

BOY
You said to tell you if we heard anything about the Night Travelers.

In the mirror, the MAN's lower face is reflected; strong jawline, clean-shaven cheeks. He turns sharply. The BOY holds out the handbill. The MAN takes it.

MAN
[American accent]
Good work. Run along.

The BOY runs away and the MAN looks up, directly into the mirror. We see JACK HARKNESS reflected; his hair is different, and this is obviously not the Jack Harkness of 2008. He chuckles a little, as if excited, and turns to go.

Opening Credits.

INT - NIGHT - THE HUB

All seems relatively quiet in the HUB; TOSH is working on something at her desk, OWEN is snapping his gloves off as he emerges from the medical bay, GWEN is reading a magazine, JACK is working on some piece of alien tech.

IANTO makes the rounds with a tray of coffee. OWEN, no longer able to enjoy coffee, watches a trifle forlornly as IANTO passes out the coffee to JACK and TOSH. He bends to offer GWEN a cup, and she smiles at him.

GWEN
Thanks, Ianto.
[he smiles at her]
You're looking nice today. Working our way through the colour spectrum?

IANTO looks down at his suit -- rather louder pinstripes than usual, and a deep red shirt. He senses there is something behind GWEN's remark, and looks at her patiently. She produces a fedora.

GWEN
[cheesy American gangster accent]
And is this yours, eh?

JACK and TOSH both look up; IANTO takes the hat and calmly sets it on his tray.

JACK
That's a hell of a hat, Ianto.

OWEN
God, another one falls. Next you know Tosh'll be going period-sixties.

IANTO
It's for tonight.

JACK
[a hint of a leer]
What's tonight?

IANTO
I'm going out.

GWEN raises her eyebrows at OWEN. JACK is suddenly all attention.

GWEN
Hot date?

OWEN snorts.

IANTO
You could say.

TOSH
Ianto!

IANTO
She's eighty years old --

OWEN
Oh god --

IANTO
-- and seats a hundred and twenty.
[he reaches into his pocket and pulls out a brochure]
The Electro Cinema.

GWEN pages through the brochure.

GWEN
Classic films for cinema connoisseurs, every Thursday and Saturday night.

IANTO
[continuing on his duties, picking up mugs and various bits of litter]
My dad used to take me there on Saturday mornings. They showed kids' films. I've got a mate who digs up old films now and shows them, he's just found a new one.

He seems to sense something is amiss, and turns back to them. They're all looking slightly incredulous.

OWEN
Since when are we allowed to have mates outside of Torchwood? Did I miss that memo?

IANTO
I only grew up in Cardiff. I do manage to speak to people who don't wear black, sometimes.

They take a moment. Each of them but JACK is wearing at least one article of dark to black clothing. JACK looks highly amused.

GWEN
It's against regulations.

OWEN
We'll have to sedate him for his own good.

IANTO
[ignoring them; calling back as he wanders]
The film is called The Carnival Show. It's very hard to find, he only has a copy on reel-to-reel. Supposedly, it's been known to drive people mad.

OWEN
Oh, whatever.

IANTO
Stranger things have happened.

OWEN
It's all talk put out by marketing firms to make you see their film. The fact that they're old doesn't make them any more honest.

IANTO
Black and white film has a quality about it. Makes it all a bit eerier.

OWEN
Bollocks.

IANTO is passing by OWEN, and he pauses.

IANTO
Right, then. Care to make it interesting?
[OWEN rolls his eyes]
Come along. Bet you a tenner you're scared out of your mind.

OWEN
It's taking your money.

In the background, GWEN is answering her mobile. JACK is watching OWEN and IANTO intently.

IANTO
It's your dignity.

OWEN
Right, you're on. Tosh!

TOSH
Yes?

OWEN
You're coming along as witness, so when I fall asleep halfway through this absurd exercise Ianto can't lie about it later.

GWEN
Can I come?
[holds up her phone]
Rhys just called, he's out with Dav tonight.

OWEN
Jack, going to make it a full house?

JACK sits back in his chair, shaking his head.

JACK
Conference call with China. You want money for popcorn?

GWEN
You'd need to take out a loan.

JACK
I remember when it was a nickel to go to the cinema.

OWEN
And the popcorn was free and --

JACK
-- tasted better, too. Point taken. Have fun, kids.

The team quickly gathers up their things, and IANTO doffs his fedora to JACK as they leave. JACK grins and goes back to what he was doing.

EXT - STREET - CARDIFF

Outside the ELECTRO as the team approach it. It is raining; IANTO is very sensibly keeping his head dry under his fedora, while the rest of the team are getting soaked. They look up at the sky and the camera follows them up; when it pans back down....

EXT - NIGHT - 1920s - TRAVELING SHOW

...it shows JACK's traveling show, the performance in full swing. It is not yet raining, there.

EXT - BACKSTAGE

Just behind the main show stage, JACK is working on his wrist-strap. He appears to be trying to track someone or something. He starts as a bolt of lightning rips the sky, distantly. His RINGMASTER passes.

RINGMASTER
All right, Tom?

JACK
[charming]
Have you ever known me to get stage fright?

EXT - BACKSTAGE - CAMERMAN POV

As JACK and the RINGMASTER talk, a young MAN WITH A MOVIE CAMERA is recording them, beaming with delight at his new toy. They can be heard, distantly:

RINGMASTER
[tilting his head at the sky]
Storm makes everyone nervous.

JACK
Think it'll be here before we finish?

RINGMASTER
Hope not.

EXT - BACKSTAGE

RINGMASTER
Check your pistol, you're on in ten.

JACK
[calling absently after him as he returns to his wrist-strap]
Thank you, ten.

There is another flash, much closer, but less like lightning; JACK looks up to see a shadowy figure standing nearby. He steps forward, investigating.

JACK
Hello?

The man starts and turns around. It is IANTO, in the clothes he was wearing at the cinema.

JACK
[grinning]
Hello.

A second flash and we return to:

INT - ELECTRO - 2008

IANTO, completely unaware that anything is wrong, is shaking water off his hat as he purchases four tickets. GWEN is browsing the informational brochures; TOSH is checking her email on a hand-held. OWEN studies a poster for THE CARNIVAL SHOW.

OWEN
Do you really think this thing's going to drive anyone mad?

IANTO
Depends on how much information you have, I suppose.

OWEN
What's that supposed to mean?

IANTO is already disappearing into the theatre. TOSH follows, and GWEN pulls OWEN along after him.

INT - THEATRE

The theatre is old, well-appointed, obviously lovingly-restored although the seats are slightly shabby. They sit on an aisle -- IANTO on the aisle, then GWEN, OWEN, and TOSH. TOSH has a box of candy and is busy opening it while GWEN reads from a rather sad photocopied brochure, obviously hand-produced.

GWEN
"The Carnival Show" is one of the earliest dramas of its period which may be said to be filmed 'on location'. It was assembled as a silent film --

OWEN
Silent film?

GWEN
-- from documentary footage taken at real carnival touring shows across the UK. It's all real! Creepy.

IANTO
It always depends on what information you have.

OWEN
[accusingly, to IANTO]
SILENT film?

TOSH
Imagine, wandering round all those old carnivals with those big clunky film cameras. It's a miracle they got anything at all.

OWEN
Yeah, they got a shit silent film out of it.

IANTO
The Cabinet of Dr. Caligari.

GWEN
What's that then?

IANTO
[clearly at least halfway to his own little world]
It was a German silent film. Nobody's ever done a horror film like it. Nobody does really scary films anymore. That one was set in a carnival too, sort of.

TOSH
Maybe this is like a UK version.

OWEN
[sullen]
Cinema killed the old touring shows, anyhow. And vaudeville. Cheaper to make, cheaper to go to, and nobody ever got sick or needed an understudy. And then telly killed the cinema, and now the internet's going to kill television.

ALL look at him.

OWEN
I have a lot of time on my hands. There are only so many quiz show reruns you can watch before something sinks in.

The lights drop. Tape-recorded music begins to play. OWEN leans back in his seat, clearly annoyed at being tricked into this.

Onscreen, the title: THE CARNIVAL SHOW. The opening credits are too blurred to be read. As scenes of a circus show (JACK's circus show) play out on the screen, we see: IANTO is already totally fascinated, TOSH is digging for a chocolate in the bottom of the box, and GWEN is trying to find somewhere to stash the brochure she has.

Music continues to play; OWEN nudges GWEN, pointing to the STRONG MAN on screen.

OWEN
Look at the state of him.

GWEN
But I just love his leotard.

IANTO shushes them. GWEN rolls her eyes.

INT - CINEMA - WIDE

Across the theatre, we see light flickering on the faces of all the audience members. One by one they seem to blank out; people stop eating popcorn, stop moving or blinking.

INT - CINEMA - FOCUS ON TEAM

GWEN and OWEN burst into laughter over something onscreen.

IANTO
Will you please be quiet.

GWEN and OWEN subside. Next to them, TOSH is already enthralled.

INT - CINEMA - WIDE

Focus on a few utterly blank, dazed looking faces in the audience. The music grows more sinister.

SPECIAL - CINEMA - SCREEN

Footage on the screen shows a girl doing trick-stunts on a circus pony, then cuts to footage of a performer in front of a banner reading THE MAN WHO CANNOT DIE. It is JACK, demonstrating how he could shoot himself with a pistol or slit his throat with the saber (not actually doing either).

INT - CINEMA - FOCUS ON TEAM

IANTO starts, as if being woken; next to him OWEN, GWEN, and TOSH are all staring mindlessly at the screen.

IANTO
Jack!

Nobody responds. IANTO shakes OWEN, then gets out of his chair.

IANTO
[whispering]
TOSH! TOSH!

TOSH shakes herself and looks up at him. He points at the screen and she gasps; JACK is very theatrically setting up a shooting match between himself, with a wooden mock-pistol, and an audience member with a real one.

TOSH
That's Jack! Owen! Gwen --

IANTO, frustrated with their lack of response, looks around.

IANTO
Tosh...

They realise: everyone is enslaved to the film.

IANTO puts his hand over OWEN's eyes. Immediately OWEN bats him away and looks up at him, annoyed.

OWEN
What the bloody hell --

He breaks off as he looks around and realises there's something wrong. TOSH is doing the same for GWEN.

TOSH
The film's doing something.

IANTO
["duh"]
Oh, d'you think?
[starting to panic slightly]
What do we do?

OWEN grabs his sleeve. IANTO looks up at the film and sees GWEN standing, talking to JACK. As they watch, disbelieving, IANTO runs into the screen and hugs GWEN in greeting.

OWEN
Oh we are turning this film off right now.

OWEN storms up the centre aisle, followed by the others; as they pass the USHERS, standing in the back, they notice that the USHERS are entranced as well.

INT - CINEMA - LOBBY

They make it all the way to the stairwell to the projection booth before everything goes black. Not just dark; BLACK. The sound ceases, as do the flickering lights from the theatre. After a second of rustling, a little light is seen -- IANTO and GWEN both have small torches lit, and are playing them over the walls.

GWEN
Power outage?

IANTO
[as dry as possible]
Well. The film stopped.

GWEN walks back to the theatre entry, where she plays the flashlight over the audience, who are slowly getting to their feet and looking confusedly at one another.

GWEN
[stepping into PC Cooper mode]
No need to panic, ladies and gentlemen, just a bit of a power outage. If you could all step into the lobby, slowly -- anyone have a torch? Light them up, give us a bit more light, that's it...

GWEN continues herding people in the background as the others huddle around IANTO's torch.

IANTO
Must have tripped a circuit. Breaker box'll be in the basement.

OWEN has taken out his mobile, but is getting dead air. TOSH takes hers out and finds the same.

OWEN
See if I can't find a phone --

He reaches for the door, but opens it onto complete blackness. It's as if there is a solid wall of black outside the cinema, all around it, pressing in on every window. IANTO shines his flashlight onto it; the light is swallowed up in the dark.

OWEN
You and your bloody cinemas, Ianto.

IANTO
[putting his comm into his ear]
Jack? Jack?

TOSH
Telecom's down. Everything's down. It's like the satellites just...dropped out of the sky.

The audience is now crowding around the half-open door while GWEN tries to hold them back. They are beginning to freak out.

AUDENCE MEMBER 1
It's some kind of trick. Has to be.

GWEN
Listen, you can't go out there.

AUDIENCE MEMBER 2
It's just a power outage.

GWEN
And it's not safe to be wandering dark streets.

AUDIENCE MEMBER 3
Where are the stars?

They all look long and hard. No stars. No moon.

GWEN
If you'll just keep calm --

AUDIENCE MEMBER 1
Listen, I'm not going to stay in some dark, stuffy little cinema --

He pushes past GWEN, who tries to grab him, and eludes her as he walks through the door into the blackness. There is a howling scream, then utter silence.

OWEN reaches around GWEN and closes the door.

GWEN
Right, that's it. Everyone stay in the lobby. I'm PC Gwen Cooper, I'm with Torchwood special ops. This is obviously a bit...strange, but we'll sort things out. Please stay where you are...

IANTO
I'll go see if I can get the power back on. If we're even on the grid anymore. Tosh, can you get anything up and running?

TOSH
I could probably link up two comms directly. We'd be able to talk to...each other.

OWEN
What, like we're doing now?

TOSH
It's better than nothing.

She holds out her hand; IANTO and OWEN both drop their comms into her palm. She drags OWEN to one side and presses a torch into his hand, making him hold it for her while she works.

GWEN
[in the background]
Try and locate as many light switches as you can and shut them off. When the power comes back on we don't want to blow it out again straightaway, do we?

IANTO, obviously deeply uncomfortable, squares his shoulders and shines his flashlight along a long hallway. There are stairs at the far end.

INT - HALLWAY

IANTO edges his way down the hall. It is deep dark, and spooky, and his torch is not much help. Halfway down he pauses as if startled by something, then takes a deep breath, one more step --

EXT - NIGHT - 1920s - JACK'S TOURING SHOW

IANTO emerges into a dark field. He stops, shocked. From behind him, a voice.

JACK O.S.
Hello?

IANTO turns to see JACK, in his khaki uniform, pistol held loosely. IANTO gawps.

JACK
Hello.

IANTO tries to move, stumbles slightly to the side and --

INT - CINEMA HALLWAY - NIGHT

-- fetches up against the hallway wall. He leans against it for a moment, terrified. Once he's caught his breath he steps away from the wall, edges forward, and then breaks into a run.

INT - CINEMA - BASEMENT

IANTO emerges from the stairwell into the basement and is immediately startled by a cardboard stand-up monster, an ad for a previous film. He draws his gun without thinking, then laughs almost hysterically and brushes it aside. He does not re-holster his gun, however, as he inspects the basement for the circuit box.

INT - CINEMA - LOBBY

OWEN is monologuing while TOSH works on the comms.

OWEN
This is what living in Cardiff gets you. Here I am. Dead. Still wandering round. I work in a secret base with a pterodactyl, a man who can't die, another man who shagged a robot, a woman who shagged an alien -- no offence, Tosh -- and Gwen bloody Cooper, the world's original teddy bear, who wants to play bring-your-boyfriend-to-work. All I want to do is go out for a night with my friends, but do I get to? No. I get evil hypnotic cinema and power outages.

TOSH
We're your friends?

OWEN
Course you are.

TOSH
You don't act like it.

TOSH pushes something, and sparks fly out of the comm momentarily.

OWEN
I'm here, aren't I? Crouching in a dark corner holding a torch, waiting for Ianto to --

The lights come up. OWEN heaves a badly-concealed sigh of relief, which is echoed by much of the audience.

TOSH
Good old Ianto.

INT - CINEMA - BASEMENT

IANTO, his hands in the fusebox, looks around him as dim lights come up in the basement. It is filled with old movie debris. On the wall next to him is an elderly telephone, apparently for maintenance.

It rings.

IANTO picks it up, looking relieved.

IANTO
Tosh? Is that you? Where'd you find the numb --

He stops. Coming over the telephone is distorted, staticky noise.

IANTO
Tosh, you're not coming through clearly.

He listens to the static, hard, and all of a sudden the static is gone and the noise snaps into clarity: it is hurdy-gurdy music, over the sound of laughter. IANTO throws the receiver back on its hook, startled.

INT - CINEMA - LOBBY

GWEN is trying to get people grouped, when she encounters a LITTLE GIRL.

GWEN
Hallo, what's your name?

The LITTLE GIRL looks up at her, opens her mouth, and vanishes.

GWEN stares at the spot where she was, then looks up and all around. Nobody seems to have noticed. She looks back down and the LITTLE GIRL blinks back into existence. GWEN notices that she has mud and grass on her shoes.

GWEN backs away, almost running into OWEN.

OWEN
Easy. Ianto's big talk got you spooked?

GWEN
[pointing to the girl]
She disappeared.

OWEN scowls at the girl.

OWEN
She's back now.

GWEN
She just -- winked out for a moment.

OWEN pulls her back towards TOSH, who is leaning in a corner, holding up the comms.

TOSH
I've managed to get a three-way link. They're not designed to go direct.

OWEN
Sounds like some girls I know.

GWEN
Can you please be serious for a moment? That girl just disappeared!

OWEN
Yeah, and then she came back, so we have bigger worries right now!

TOSH
Gwen. Here. This one links the other two. Anything anyone says in either comm, you'll hear it, but they can only hear you. You'll have to relay. Has Ianto come back yet?

GWEN
Not yet.

OWEN
[putting in one of the comms]
Malingering.

GWEN puts the comm in her ear. OWEN touches his.

OWEN
Hear me okay?

GWEN touches hers, and after a big-eyed moment, pulls it out again.

TOSH
Feedback?

GWEN
Music.

TOSH
What?

GWEN
I heard music. Like a -- an organ, or one of those crank-boxes.

TOSH
A hurdy-gurdy.

GWEN
I think maybe --

GWEN is suddenly cut off as she seems to flicker; she reaches out to grab OWEN and steady herself, but her hand passes through him. TOSH tries to grasp her but fails, and GWEN vanishes.

Her comm, which she'd been holding in her hand, falls to the carpet.

EXT - NIGHT - 1920s - JACK'S TRAVELING SHOW - BACKSTAGE

JACK is working on his wrist-strap, muttering to himself.

JACK
Rift activity -- that can't...what?

He hears a noise and looks up; there is a shimmer in the air.

JACK
What?

GWEN materialises under his eyes, staggers forward slightly in surprise, hand still outstretched, and then looks around her.

GWEN
What...?

JACK takes a cautious step forward, apparently scanning her with his wrist-strap. GWEN peers at him.

GWEN
Jack...?

JACK freezes, stunned.

INT - CINEMA - HALLWAY

IANTO stands at the far end of the hallway, looking out towards the lobby. It is still dark, though light from the lobby spills in at the far end. He takes a deep breath, squares his shoulders, and starts to walk. It is a long trip, seemingly endless, but at the far end he begins to make out the image of people moving, and sees OWEN and TOSH with their heads together, talking urgently.

IANTO smiles, relieved, and steps forward. There is a fizzling noise, and the barest hint of hurdy-gurdy.

EXT - NIGHT - 1920s - JACK'S TOURING SHOW

Image of the MAN WITH THE MOVIE CAMERA, filming an act onstage; pull back to

EXT - BACKSTAGE

JACK and GWEN are still staring at each other.

JACK
How do you know my name?

GWEN
Where are we?

JACK steps forward.

JACK
Are you a Night Traveler?

GWEN
A what?

JACK
Do you know when you are?

GWEN
When I am?

EXT - TOURING SHOW

IANTO appears in the middle of the crowd, looking around wildly. He takes in his situation and turns, looking directly at the MAN WITH THE MOVIE CAMERA. The MAN leans back and makes a waving motion. IANTO turns to look another direction and sees GWEN. He runs.

EXT - BACKSTAGE

JACK
This is 1922. Who are you?

GWEN
But I was just...

She is obviously not handling this well. Her face hardens.

GWEN
You're not Jack.

JACK
Not at the moment. Right now I'm Tom. I think you've slipped through a rift.

GWEN
Well, that's all I bloody need.

EXT - TOURING SHOW

The man with the movie camera follows IANTO, catching a moment on film where he runs between the tents.

EXT - BACKSTAGE

IANTO
Gwen!

GWEN
[turning]
Ianto?

IANTO
Jack?

JACK
Tom, actually.

IANTO
Tom?

JACK
You must be Ianto.

EXT - TOURING SHOW - THROUGH THE CAMERA

A view through the camera lense as IANTO, rather desperate, hugs GWEN.

GWEN
He says we've traveled in time.

JACK
I need to know when you're from. Who you are. I might be able to help get you back. There are -- rifts opening --

JACK stops talking as they seem to disappear. He calls after them.

JACK
[almost desperate]
I need to know if you're the Night Travelers!

No reply; they are gone.

JACK
Dammit!

He begins working on his wrist-strap again, starting when the RINGMASTER grabs him.

RINGMASTER
Come on, Lazarus, you're next.

INT - CINEMA LOBBY

IANTO and GWEN appear again, still holding onto each other. They look up; OWEN and TOSH are staring. So are a few others.

OWEN
About bloody time. What the hell's going on?

GWEN
Owen, listen. We saw Jack. The other Jack. We went into the film.

IANTO
Or back in time?

GWEN
Yeah -- maybe. We saw Jack, but not our Jack. He was in the costume, from the film. He said there are rifts opening all over. He asked me something about the Night Travelers. Do you know what that is?

TOSH and OWEN both look blank. IANTO shakes his head.

TOSH
Rifts opening in the cinema? Little ones? Enough to pull someone through -- like before.

GWEN
But the cinema itself....it's like it's been pulled out of time.

TOSH
Wedged between times.

TOSH makes a face of complete surprise. The others focus in.

TOSH
What if somehow the film caused some kind of...feedback loop? Stranding the cinema outside of time. It's trying to crack through --

IANTO
But it's going in the wrong direction.

TOSH
Temporal confusion.

GWEN
I know how it feels.

OWEN
Then...

They all look at the entry to the theatre.

GWEN
We've got to watch the rest of the film. Play it, at least.

OWEN
And what if we wind up back then? Cinema full of people, four of us, all stranded in some carnival somewhere back in time.

IANTO
But Jack's there.

TOSH
So?

IANTO
Better stuck in the wrong time with Jack, than anywhere else without him.

GWEN
[gesturing to the audience]
What about all them?

OWEN
Good odds, we put the film back on, they'll file in like lambs.

TOSH
Yeah, to the slaughter.

OWEN
We've got to get out one way or another.

IANTO
Right. I'll see if I can get the projector going again.

TOSH
I'll come with you.
[To GWEN and OWEN]
Don't look at the screen.

GWEN and OWEN watch them go, uneasily.

INT - CINEMA - PROJECTION BOOTH

IANTO
Ever worked one of these before?

TOSH
Never met a machine I couldn't work.

IANTO
Lucky machines.

IANTO begins re-threading an off-kilter line of film.

TOSH
Did you really see Jack?

IANTO
Large as life. Well. Large as larger-than-life.

TOSH
[laughs a little]
How did he look?

IANTO
Strange. You don't think of Jack as the circus-sideshow type. He looked a bit...sort of lost, really.

TOSH
Never see Jack looking lost.

IANTO
That's what was so strange.

TOSH pulls something and there's a slight click; the film slowly begins to advance again. They both look away.

INT - CINEMA - LOBBY

GWEN and OWEN are leaning in the doors, looking away from the film; a blurry vision of it is projected in the mirrored front doors of the cinema. They watch, occasionally looking at each other; after a moment their faces go slack and blank. In the reflection, IANTO comes into the central line of sight, looks directly at the camera, and then runs off.

INT - CINEMA - PROJECTION BOOTH

TOSH is still fiddling with the tape-speed mechanism.

TOSH
Right -- got it! These are wonderful really, all gears and...

She trails off, realising she is alone. IANTO has disappeared again.

EXT - NIGHT - 1920s - JACK'S TRAVELING SHOW

JACK, what looks like blood spattered on his uniform but looking no worse for wear, is coming offstage to thunderous applause. He immediately strips off the uniform-shirt and an undershirt and pulls off a fake blood-pack; he shrugs into a clean shirt and ducks behind the dressing tent, working again on his wrist-strap.

We see displays and readouts projecting from the device; a miniature image of the camp, with small crackles of light here and there. He watches as one of the crackles enlarges and flashes outward; he turns and sees IANTO standing nearby.

JACK
We must stop meeting like this.

IANTO
[resigned]
I can only hope.

JACK
That's not very nice. Stick around this time.

JACK glances down at his strap and his eyes widen.

JACK
Take two steps to your left.

IANTO obediently steps.

JACK
Nice to see a man who can take orders.

Behind them, the sounds of the touring show are slowly muting; neither of them seem to notice.

JACK
I'm looking for the Night Travelers. All I want to do is talk.

IANTO
What are the Night Travelers?

JACK
You aren't one?

IANTO
No. I've slipped through -- like you said.

A flare of light illuminates JACK's face; he glances down.

JACK
Come towards me slowly.

IANTO moves forward. JACK takes his arm and pulls him sharply; behind them a single leaflet falls to the ground. They both look at it suspiciously. It is for the ELECTRO, from 2008.

JACK
Let's get out of here.

IANTO
[as he follows JACK away from the tent]
He never changes.

EXT - NIGHT - FIELD

JACK, apparently feeling they're safely away, drops down into the grass. IANTO joines him warily. JACK takes out a pack of cigarettes and lights one. IANTO stares at him.

JACK
Want one?

IANTO
No. Thanks.

JACK flicks the lighter shut and shoves it in a pocket.

JACK
How much can you tell me without messing up the time stream?

IANTO
I'm not sure. What's the year?

JACK
1922. We're in Great Britain -- Cardiff, specifically. Outside of it, actually.

He narrows his eyes at IANTO.

JACK
[guessing IANTO's date of origin]
1950.

IANTO
Cold.

JACK
Can't win them all. 2240.

IANTO
Colder.

JACK
I notice you haven't asked me how I'm taking all this so calmly.

IANTO
No, I haven't.

JACK
How much do you know about me?

IANTO looks at him. He might be smiling a little. JACK raises his eyebrows.

IANTO
I know you can't die.

JACK
Tom Lazarus, The Man Who Cannot Die.

IANTO
You can't die, though. Ever.

JACK sobers.

IANTO
[changing the subject]
I'm coming from Cardiff too. We're stuck. The building we're in slipped somehow. Right out of time. We think --

JACK
You and the brunette. She's cute, by the way.

IANTO
[sharply]
She's taken.

JACK
[managing to put every possible filthy meaning into 'taken']
And you? Are you taken?

IANTO
Yes.

JACK
[disappointed]
Girlfriend back home?

IANTO
Boyfriend, actually.

JACK looks interested. IANTO realises he may have spoken out of turn, and tries to cover it.

IANTO
The point is, we think the film caused it somehow. It seems to --

JACK
-- hypnotise people.

IANTO
How did you...?

JACK
Ianto. Nice name. How'd you like to hear a story?

He leans back, settling in.

JACK
The Night Travelers come in the dark. They never stay anywhere long. They leave devastation where they go -- insanity, death...I'm trying to find them. To stop them. It shouldn't be this hard. Where they go, people seem to just gravitate to them.

EXT - TOURING SHOW

The performers onstage are giving a show, but the audience is no longer engaged; they are staring, listless, only a few even moving anymore.

JACK V.O.
They draw in a crowd, and they leave bodies behind. The ones that survive never recover. They're just shells.

EXT - FIELD

JACK
I only want to stop them.

IANTO
How?

JACK
If I knew, I wouldn't be looking. And it's happening -- where you are, too.

IANTO
My friends are there. I have to go back --

JACK
Wait.
[He studies his strap.]
I think we should go back. Hold onto my arm. If I move, you move.

IANTO
But I have to --

JACK
Do as I say.

IANTO stares at him. JACK stares back. IANTO takes his arm and follows close. JACK has a slightly smug grin on his face.

EXT - TRAVELING SHOW

JACK and IANTO peer around the curtain. JACK watches the audience.

JACK
But this is my show. We're not...

He pauses. Realisation sets in.

IANTO
The Night Travelers are every show, aren't they.

JACK
They take whatever's passing along. There's got to be something driving it. Record them on film...

JACK points to the man with the movie camera. The man's face is slack, but the camera is still recording.

IANTO
And they possess the film, too.

JACK
That's what kicked you out of time.
[to himself]
What's causing it?
[to IANTO]
You do have to go back. If you destroy the film and I destroy them here, it should push you back into your time. Whenever that is.

He turns; IANTO is very close, and the two of them look at each other for a long moment.

JACK
You know me, don't you.

IANTO
In a different time. Maybe a better time.

JACK
Better?

IANTO
For you. There aren't quite so many shadows in your eyes.

They hold a look. JACK's strap flares.

JACK
Go. Ten feet, straight ahead. Go destroy the film and --

He breaks off as IANTO kisses him; grips the back of his head, while IANTO's hands slide down to his waist. There is an ulterior motive here; as they kiss, IANTO slips his hand into JACK's pocket and nips out his lighter. JACK does not appear to notice.

IANTO
[into the kiss]
Remember me.

He turns and runs, straight ahead, and disappears.

INT - CINEMA

IANTO emerges, running, into the audience; he stops and immediately closes his eyes to avoid seeing the image on the screen. The music is playing, however, and he sways a little. Underneath it, we can hear voices. IANTO turns, looking away from the screen, and opens his eyes.

INT - CINEMA - LONG SHOT

The audience is visible, and no longer entranced; some are gibbering, some chanting, some rocking back and forth or clawing at their face. IANTO is horrified; he can't turn anywhere without seeing madness. He bolts up the aisle.

IANTO
GWEN! OWEN! TOSH! Oh my god --

INT - CINEMA - LOBBY

IANTO stumbles out of the theatre and catches onto GWEN, but she shrugs him off. She is stiff and tears are running down her face. IANTO stares at her, then at OWEN; OWEN is muttering, his head twitching. IANTO bolts for the stairs but OWEN seems to come alive, his eyes flaring red, and he gives chase.

INT - CINEMA - STAIRS

IANTO and OWEN struggle together all the way up the stairs, IANTO barely making it inside and slamming the door. Rhythmic thumping is heard on the other side. TOSH looks up at him and IANTO sighs, relieved.

TOSH
Welcome home.

IANTO looks at her. She seems crazed; too-peaceful, but with wild eyes.

IANTO
Tosh?

TOSH
Hm?

IANTO
It's the...

TOSH
...I know. It's --

IANTO
We have to...

He sways unsteadily. He is clearly slipping away.

TOSH
I'm trying, Ianto, but I don't...what was I...?

IANTO hears screaming. It is obviously in his own head. Screaming, and then fire. He staggers forward, almost accidentally popping the reel canister open. When he falls to his knees he looks up to find that he is no longer in the cinema -- now he is in Torchwood London, a hell in his own mind. Crashing, fire, and shouting everywhere. He closes his eyes and clenches his fists.

Blood rolls out from his clenched fingers and he opens his hand, staring down at the metal lighter. The hinge has cut his hand. Torchwood London seems to pull in on itself, as the projection booth snaps back into focus. He looks up; TOSH has disappeared. Her face appears briefly on the film, in the background, and then she reappears.

The door bursts inward and OWEN staggers in.

IANTO
Tosh, keep him back!

TOSH tries to shove OWEN away, and they struggle. IANTO flicks the lighter open and holds the lit flame under the reel; the film begins to bubble and tear, disappearing from the screen. The fire in his head returns and IANTO begins to laugh hysterically as he disappears.

EXT - NIGHT - 1920s - TRAVELING SHOW

JACK is moving through the crowd, shaking people, trying to wake them up with zero luck. He spots IANTO, kneeling on the ground, and helps him to his feet.

JACK
Did you do it?

IANTO looks stunned, but he manages to shake it off.

IANTO
It's done.
[gasping for air]
You?

JACK
You wouldn't be here. I don't know where it's coming from. I don't know how they're doing it.

IANTO, staring over his shoulder, spots something hovering behind the RINGMASTER onstage.

IANTO
Do you see that?

JACK turns. There is a creature perched on the RINGMASTER's back, claws holding him in a leering grin.

JACK
That's not good.

IANTO
Think bullets would stop it?

JACK
If I had any.

IANTO
If you had -- you're the Man Who Can't Die! You were shooting yourself in the chest!

JACK
All fakery. They're blanks. If anyone actually saw me die -- it's not pleasant.

IANTO
[slightly crazed]
I have to do everything myself.

IANTO reaches behind his hip and pulls out a gun; he sights, hesitates, and then fires twice. JACK watches, clearly somewhat impressed. The thing screams; they both stare at it in horror, and then there is a bright, very bright flash of light.

JACK
Oh shi -- you have to go. NOW! GO!

He shoves IANTO forward, right into a huge gash of light that appears from nowhere. Screams from the crowd as IANTO stumbles into it and it blinds everyone; then it's gone, and there is silence. Everyone is staring at JACK.

JACK
[to the crowd; making the best of a bad situation]
Pretty impressive, isn't it?

Applause.

INT - CINEMA - LOBBY

IANTO emerges from the hallway to find OWEN sitting on the stairs, head between his knees, trying to recover. GWEN is shakily directing people towards the door, which has opened onto the quiet Cardiff night.

GWEN
Sorry about that. No, temporary -- it's a carbon monoxide leak. Yes, we'll make sure you're all refunded. Make sure you go home and drink plenty of water. You'll feel better soon.

TOSH
[running down the stairs]
IANTO!

IANTO catches her as she trips, hugs her, and lets her go. He bends to grasp OWEN by the arm. OWEN groans.

OWEN
Ianto, mate, I think I owe you ten quid.

IANTO
Told you. Come on.

OWEN
Where?

IANTO
[quite firmly]
I need a drink.

INT - PUB - NIGHT

Team is sitting around a table, looking tired but triumphant. In the background, music; Video Killed The Radio Star.

OWEN
Seriously. Never again.

GWEN
Well. Not old films anyway.

OWEN
No more cinema. That's why video piracy was invented.

TOSH
To keep us from slipping through time and space and going mad?

OWEN
Yes.
[to IANTO]
I blame you.

GWEN
To Ianto's terrible taste in films.

OWEN
Ianto's absolute crap taste in films.

TOSH
Hear hear.

They toast and finish their drinks, preparing to leave.

GWEN
You reckon Jack will remember?

IANTO
Dunno. Done now, anyway. We killed it. Whatever was...back then. It's gone.

TOSH
Is it?

They all pause.

TOSH
I mean...you said it's rare. But it wasn't the only copy. There's bound to be a few more floating around out there. Whatever it is might be dead, but it's still...in the film. Isn't it.

Uncomfortable looks all round.

OWEN
I'm going to go home. And try not to think about that.

GWEN
Yep, me too. Ianto? Tosh?

TOSH
Sorry. Yeah, I'll share a cab?

IANTO
I...have an errand to run. I'll see you tomorrow.

INT - HUB - JACK'S OFFICE

JACK, apparently oblivious to all that has gone on that night, is bent over his desk, working. Sound of the roll door sliding away, the door cage opening.

JACK
[without looking up]
Ianto?

INT - HUB

IANTO
[hanging up his fedora]
Just me.

INT - JACK'S OFFICE

JACK
How was the film?

IANTO approaches.

IANTO
Educational.

JACK
Boring?

IANTO
No. I wouldn't say that.

JACK cuts his eyes to the side; IANTO's shoes have mud on them. He is about to look up when the lighter from before is gently placed on the desk, in his line of sight.

IANTO
Think that belongs to you.

JACK touches it, picks it up, studies it with puzzlement and surprise. He looks up sharply. IANTO is waiting, not moving.

JACK
Thought I'd lost this.

IANTO
Had to borrow it.

JACK
Stopped smoking.

IANTO
Nasty habit.

JACK
Everything sorted out?

IANTO nods. JACK stands and circles the desk until they are facing each other.

IANTO
Did you --

JACK
I remembered.

IANTO
And you waited. All those years.

JACK
Well. A good lighter is hard to find.
[beat]
Boyfriend, huh?

IANTO
If you --

JACK puts a finger on his lips. Smiles. Touches the same finger to his own.

IANTO
[still visibly unsettled]
When we met --

JACK
I didn't hire you because I remembered you.

IANTO
You didn't remember me.

JACK
Eighty years is a long time. Faces blur a little after a while.

IANTO
Yes.

JACK
[smiles, a break in the tension]
I remembered the suit, though. You do look good in a suit.

IANTO smiles too, and JACK kisses him. They back up against the desk, JACK pressed against it, facing a CCTV camera.

Pull back to see TOSH's workstation, the screen flicking through CCTV images. It lands on JACK and IANTO kissing; it lingers, and distant hurdy-gurdy music plays.

We see, through the screen, JACK raise his hand and tap something lightly on his wrist-strap. The screen goes dark. Snap to black.

Credits.

[identity profile] xbeax.livejournal.com 2008-03-20 02:25 am (UTC)(link)
:3

Much better than the episode...

I love you. I will count this one as the episode hehehe...

*especially the kiss at the end...but everything was sooo good!! :D*

[identity profile] melayneseahawk.livejournal.com 2008-03-20 02:40 am (UTC)(link)
JACK
[charming]


Does he come any other way?

(Oi, the puns!)

*goes back to reading*

[identity profile] melayneseahawk.livejournal.com 2008-03-20 02:57 am (UTC)(link)
Yus, much better than the episode. And I think it would be longer, filmed, than it is on the page, since Ianto's hell can be a longer bit. Plus, writing in commercial breaks, and you'd definitely have 45 minutes.

[identity profile] musicianatheart.livejournal.com 2008-03-20 02:49 am (UTC)(link)
waaaay better than the real one. ♥

[identity profile] laurab1.livejournal.com 2008-03-20 03:10 am (UTC)(link)
Not read this yet, just wanted to note that unlike US TV, BBC television is not written as "acts" - there are no commercial breaks.
Edited 2008-03-20 03:11 (UTC)

[identity profile] sam-storyteller.livejournal.com 2008-03-20 04:12 am (UTC)(link)
I thought that Torchwood did? *hmmms* Ah well. Even better!

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[identity profile] eofs.livejournal.com - 2008-03-20 04:26 (UTC) - Expand

[personal profile] starkdependant 2008-03-20 03:12 am (UTC)(link)
Brilliant, much better.

[identity profile] technosage.livejournal.com 2008-03-20 03:14 am (UTC)(link)
If you weren't a nice person, I'd have to hate you for being so brilliant. ;)

This is fantastic, and I love the boyfriend line, because really, it's about damned time. Lovely work, really. Far better than the reality.

[identity profile] sam-storyteller.livejournal.com 2008-03-20 04:11 am (UTC)(link)
*bows*

I haven't forgotten about that Jack-Ianto POV thing. This is what was ripping up my brain all day.

I'm very proud of the boyfriend line :D

(no subject)

[identity profile] technosage.livejournal.com - 2008-03-20 04:18 (UTC) - Expand

[identity profile] riva-today.livejournal.com 2008-03-20 03:25 am (UTC)(link)
If only the BBC took unsolicited scripts, you'd be filthy rich.

[identity profile] bluejeans07.livejournal.com 2008-03-20 03:25 am (UTC)(link)
THAT WAS ACTUALLY SCARY! O_O

Hey, you know what you've got? A SPEC SCRIPT! :D

[identity profile] sam-storyteller.livejournal.com 2008-03-20 04:10 am (UTC)(link)
LOL, a spec script I blatantly ripped off the show...

(no subject)

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[identity profile] goddessleila.livejournal.com 2008-03-20 03:39 am (UTC)(link)
Waaaaay better than the episode. The declassified said that they were trying to do something beyond supernatural, beyond science, like, um, ep five of the first season? The one with the fairies that seemed to exist outside of time and space? That. Except this ep... didn't go anywhere near as smoothly. The Evil Twins didn't really get to me all that much, all the dead people were just *pointless* and didn't make the survival of that one little boy any more meaningful, and they just sort of threw Jack's involvement with the travelling shows in there because they seem to feel that if it's referencing something in the past, of *course* Jack had to have been involved with it somehow, but they didn't bother to actually flesh out his involvement at all. Sloppy.

I can see the places where it could use a little fleshing out if it were to be an actual episode script- the bit where they encountered the actual alien, for one, and it'd be nice to see a little bit more of what the others were up to when Ianto and Gwen weren't wandering in time. I can actually see the echoes of your usual style of POV- that is to say, a limited number of narrators, and letting the audience fill in the blanks for other POV. However, the joy of this particular format is that while some episodes certainly focus on one character and what they see and/or know, there are other episodes that can better see the overall scope of what's going on, because the audience sees it from several different points of view. I tend to think that this is especially important in episodes that bridge more than one time period, because the audience needs a sense of balance between both worlds for the suspense to really build.

However, like you said, it's all just padding. The story is solid, and absolutely superior to the episode we were actually given. I enjoyed the hell out of this.

(Er, I hope you don't mind concrit. I really did love this, I just.. noticed a couple things? Hope I didn't offend.)

[identity profile] sam-storyteller.livejournal.com 2008-03-20 04:10 am (UTC)(link)
Yeah, the monster at the end was random, needs more of that. And the POV thing was something I was thinking of anyway, putting in more Team, but I justified it to myself because the original episode was the Jack And Ianto Show.

So yeah -- concrit most welcome :) And glad you enjoyed it too!
ext_49427: (Doctor Who - Hee)

[identity profile] jade--dragon.livejournal.com 2008-03-20 03:54 am (UTC)(link)
Wondrous, much better than the actual episode.

The only bit that threw me was when Jack introduced himself to Ianto and Gwen as Tom, because prior to that the Ringmaster had called him Jack. So then the Ringmaster knows about him...?

[identity profile] sam-storyteller.livejournal.com 2008-03-20 04:09 am (UTC)(link)
Uh. Oops.

*fixes hastily*

Well caught. Nkyou.

[identity profile] mlab555.livejournal.com 2008-03-20 04:08 am (UTC)(link)
I vote BBC does a reshoot and buys your script. :)
lannamichaels: Astronaut Dale Gardner holds up For Sale sign after EVA. (Default)

[personal profile] lannamichaels 2008-03-20 04:14 am (UTC)(link)
Very cool.

[identity profile] keestone.livejournal.com 2008-03-20 04:29 am (UTC)(link)
Yay! So much better. So much love!

"I only grew up in Cardiff. I do manage to speak to people who don't wear black, sometimes."
*snerk* I love your Ianto.

What's interesting is, your reworked script plays on totally different fears . . . the idea of cinema's mesmeric power, dependence on technology, but not the carnival itself. "The Night Travelers are every show, aren't they." That's Theatre as a ritual experience. And it getting transferred and made more powerful by film? Sinister.

And, it's got an alien monster and rift activity that actually connects with the plot. It makes so much more sense; it's definitely my canon now.

[identity profile] sam-storyteller.livejournal.com 2008-03-20 12:09 pm (UTC)(link)
Yeah, I wanted to move away from the circus-clown fear thing, because it's been done a lot and I'm not really interested in playing with it after studying it in grad school. I wanted to make other things frightening -- the idea of the darkness, of the fact that you can shout all you want at a film but nothing onscreen will change, and of being trapped. Dark cinemas are actually quite terrifying places.

I'd like actually to connect the Alien Monster a bit more -- we need to know why it does what it does, for a start -- but as a first draft it wasn't too bad.

[identity profile] dramaturgca.livejournal.com 2008-03-20 04:41 am (UTC)(link)
WHY DON'T YOU JUST WRITE FOR THE DAMN SHOW?!?!?!

[identity profile] sam-storyteller.livejournal.com 2008-03-20 04:54 am (UTC)(link)
I WOULD IF THEY WOULD GIVE ME A BLOODY JOB. :D

(no subject)

[identity profile] dramaturgca.livejournal.com - 2008-03-20 04:55 (UTC) - Expand

[identity profile] kit-maxel.livejournal.com 2008-03-20 04:52 am (UTC)(link)
Jeez, yes, that was soooo much better than the actual ep. Much creepier.

[identity profile] thaddeusfavour.livejournal.com 2008-03-20 04:58 am (UTC)(link)
Absolutely fantastic. Wonderful. Eerie, scary, interesting. I loved it. Once again I say your writing is one hundred percent spot on. Your characterizations are perfect, as always.

I'm going to be horribly disappointed by the actual Torchwood show, aren't I? ::sigh::

[identity profile] tinyjo.livejournal.com 2008-03-20 10:26 am (UTC)(link)
Well, maybe, maybe not. For me, reading Sam's fic makes the show better. It's like this is canon and the show is fic written by writers who're not quite as good but you can see the basics of the characters that Sam gives you properly.

(no subject)

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[identity profile] wellowned.livejournal.com 2008-03-20 05:42 am (UTC)(link)
oo. nice. now i dunno if i really wanna watch the real thing.

[identity profile] flakygoddess.livejournal.com 2008-03-20 05:56 am (UTC)(link)
Unlike the ep, this was actually kinda scary. Well done, as always!

And "Video Killed the Radio Star" was just the perfect touch, as I'd had it in my head since Owen's speech!

[identity profile] sam-storyteller.livejournal.com 2008-03-20 11:49 am (UTC)(link)
Jack actually references it in the real episode -- he says something like "So if Cinema killed the Traveling Show" in the same rhythm as "Video killed the Radio Star".

Which was, hilariously, the first music video ever played on MTV...

(no subject)

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[identity profile] gracie-musica.livejournal.com 2008-03-20 07:08 am (UTC)(link)
Oh God, why did I read that before it's time for me to turn in for bed?!

SAM'S SCRIPT FTW. That was wonderful and shippy and this little fangirl's dream.

[identity profile] sanura.livejournal.com 2008-03-20 07:16 am (UTC)(link)
"Lens" has no e on the end, but bigod Torchwood should hire you, because I was scared of the chasy evil possessed Owen and that's hard to do in print rather than on film.

Whoa. And the Ianto-centrism was not gratuitous in the least. And their relationship was so much more real! No greenhouse sex, but damn.

It does seem like they should start having accidental time travel more often. It tells you things about Jack without having to invent a weird and implausibly tragic backstory through flashbacks with unrecognizable Young Jack like they did for the memory-eating monster episode. Exposition dump, much? This story is much more watchable.

[identity profile] sam-storyteller.livejournal.com 2008-03-20 11:48 am (UTC)(link)
I'm not sure I'm a fan of continuing random time travel, necessarily, but it IS a good way to get Jackstory (HA see what I did there) without having him always have to tell it.

(no subject)

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[identity profile] uninvitedcat.livejournal.com 2008-03-20 09:14 am (UTC)(link)
Nice re-write; I'd like to see that actually made. And in the UK we don't have Torchwood broadcast with adverts, so not knowing where to put the breaks isn't a problem!

[identity profile] sam-storyteller.livejournal.com 2008-03-20 11:45 am (UTC)(link)
I swore I was talking to someone who said there were, but I think they must have been watching BBC America. I don't get them with adverts either, as I download BBC versions, so it's just as well I didn't put any in. :D

[identity profile] pixienamedkatie.livejournal.com 2008-03-20 10:35 am (UTC)(link)
Well, I think I'd like the canon a lot more if things like this actually were canon. I also found that episode to be a bit...bland. So this fic can be canon for me too. :)

[identity profile] keeperofdestiny.livejournal.com 2008-03-20 11:42 am (UTC)(link)
Im seconding the vote that BBC should scrap the episode and film this instead.

I take it you havent seen Adrift then? Its very strange to think of Torchwood with breaks inbetween, it would ruin my entire enjoyment of it.

Incase you didnt know, bbc.co.uk/iplayer has Adrift up. Im usually one week ahead of the bbc2 showing because of it, and bbc3, so when I went to your post I expected something about it instead of the canival one.

This version is a helluva lot better than the official one, but we miss Ianto's fun run!!! Aha. I had to rewind and watch him run again after the episode. (Weirdo=me) ^-^

[identity profile] sam-storyteller.livejournal.com 2008-03-20 11:47 am (UTC)(link)
I wrote this just prior to Adrift -- which I've seen now, but I don't think it josses anything, does it?

The Beeb website, alas, doesn't work for us poor Statesiders. And my Three Things post is about Adrift....

(Anonymous) 2008-03-20 12:00 pm (UTC)(link)
I enjoy it when your friends provoke you into writing Torchwood fic. :) This was perfect and I wish they would write the real show your way. Much better than their way, which is sort of sloppy with characterization, and better than my way because it has plotandnotjustporn. >_> I wouldn't be able to resist.

[identity profile] shewalksonroses.livejournal.com 2008-03-20 12:21 pm (UTC)(link)
Fabbity-fab-faboo! >:D

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