The Doctor takes Amy and Rory to Central Park. While the Doctor is reading Amy a novel about Melody Malone, Rory is taken by a Weeping Angel on his way back from getting coffee. In 1938 New York City, Rory meets River Song, the author of the novel. The Doctor and Amy use the novel to break their way into 1938 and find Rory, while he and River investigate the Angels' takeover of Manhattan. At the Winter Quay hotel, they find an aged Rory on his deathbed. The Angels created the hotel in order to keep their victims and maintain a constant source of potential energy. To escape his fate, Rory and Amy jump off the top of the building to their deaths, creating a paradox. Waking up in a graveyard with the TARDIS, Rory is transported by a surviving Angel. As the Doctor begs Amy to come back into the TARDIS, she bids him a tearful farewell and allows the Angel to send her back to Rory. Later, the devastated Doctor reads an afterword by Amy in the novel, telling him all is well, as well as requesting he visit young Amelia Pond as she waits for him.
INT. ??? Someone types away on an old-fashioned typewriter as a MAN speaks in film noir style with a New York accent. MAN: (V.O.) New York, the city of a million stories. Half of them are true. The other half? Just haven't happened yet. EXT. NEW YORK CITY, NIGHT We see a number of statues throughout Manhattan as thunder sounds. As the rain starts, we see a statue of a mother and child in a park across from a row of fine houses. MAN: (V.O.) Statues, the man said. Living statues that moved in the dark. INT. GRAYLE MANSION, STUDY, NIGHT GRAYLE: So, will you take the case, Mr. Garner? (throws a packet of money on the desk) GARNER: Sure. Why not? GRAYLE: Because you don't believe me. GARNER: For $25 a day, plus expenses, I'll believe any damn thing you like. GRAYLE: But you don't believe that statues can move. (chuckles) And you're right, Mr. Garner, they can't. Of course they can't. (looks out the window at the statue) When you're looking. GARNER: Goodnight, Mr. Grayle. GARNER takes the money from the desk and heads for the door, putting on his fedora as he does. He is followed out by one of GRAYLE'S men. GRAYLE looks out the window and watches GARNER as he crosses the street to his car. He closes the curtain, takes a few steps, then turns back and looks out. The woman part of the statue is missing. INT. ??? The typewriter is superimposed over EXT. NEW YORK CITY, NIGHT GARNER drives to the address GRAYLE gave him. GARNER: (V.O.) The address Grayle gave me was an apartment block near Battery Park. (gets out of the car) He said it where the statues lived. I asked him why he didn't go look himself. He didn't answer. Grayle was the scariest guy I knew. If something scared him, I kind of wanted to shake its hand. GARNER walks up to the building. A sign on its roof declares it to be Winter Quay. He pauses at the bottom of the entrance stairs and looks at a window where an old woman is sitting, looking back out. In another window, a young girl covers her face with her hands, looks out then covers her face again. To the right of the stairs is a life-size statue of an angel, its face covered with its hands. GARNER walks up the stairs and the heavy front doors open on their own. GARNER cautiously enters the building. Behind him, the angel statue has its mouth open, showing pointed teeth. INT. WINTER QUAY, FOYER, NIGHT GARNER walks forward towards the lift. GARNER: Hello? Hello?! The lift comes down on its own and the doors slide open. He enters the lift. Over his shoulder we see an angel, hands over its face. The lift rises. GARNER: What the...? INT. WINTER QUAY, 7TH FLOOR HALL, NIGHT GARNER exits the lift. The floorboards creak as he walks down the hall examining the doors and nameplates. He stops at 702 and peers at the name "S. GARNER". INT. WINTER QUAY, ROOM 702, NIGHT GARNER slowly opens the door and knocks. GARNER: Hello? Anyone home? GARNER walks down the short hallway and fingers a fedora and jacket draped on a mirror. An open, worn wallet on the side table catches his attention. He slides out a card that bears his photo and name. It's his PI license. He reaches into his coat pocket, pulls out his wallet and his license. A moan from an inner room gets his attention. GARNER: Hello. GARNER knocks on the door and pushes it open. It opens into a dimly lit bedroom where there is an old man in the bed. GARNER: Who are you?! OLD MAN: They're coming for you. They're going to send you back. GARNER: Who's coming? Back where? OLD MAN: In time. Back in time. I'm you. (reaches out a hand) I'm...you. The OLD MAN falls back against the pillow. GARNER walks out of the apartment and into the hall. He looks to the right and sees an angel. He looks to his right and sees another angel in the lift as it arrives on the floor. GARNER looks back to the first angel that is now closer. He turns to the second that is also closer. He pulls out his gun and backs out through the door to the stairs. He starts down the stairs but stops when he sees two angels, arms out, teeth bared. He runs upstairs [intercut with typewriter]. He steps out onto the roof and we hear crashing footsteps that shake the ground. He slowly turns around and looks up in awe. GARNER: You got to be kidding me. Standing taller than the building is the Statue of Liberty, teeth bared. [SCENE_BREAK] Matt Smith [SCENE_BREAK] Karen Gillan [SCENE_BREAK] Arthur Darvill "The Angels Take Manhattan" By Steven Moffat PRODUCER Marcus Wilson DIRECTOR Nick Hurran [SCENE_BREAK] EXT. NEW YORK CITY, DAY We have a montage of New York [Brooklyn Bridge, East River Ferry, busy Manhattan streets and even statues and Times Square] as we hear Sting's "Englishman in New York". The Doctor's voice takes over. DOCTOR: (V.O.) New York growled at my window, but I was ready for it. My stocking seams were straight, my lipstick was combat-ready, EXT. NEW YORK CITY, CENTRAL PARK, DAY The DOCTOR is reading a book as AMY reads a newspaper while sitting on a large rock. RORY lies on the ground, soaking up the sun. A picnic basket is on the ground beside them. AMY is wearing glasses. DOCTOR: (reading aloud) "...and I was packing cleavage that could fell an ox at 20 feet." AMY: Doctor, you're doing it again. DOCTOR: (over his shoulder) I'm reading! AMY: Out loud. Please, could you not? DOCTOR: (turns around and glares at her) There's something different about you, isn't there? RORY: What's the book? DOCTOR: "Melody Malone." She's a private detective in old-town New York. AMY: (sarcastically) She's got ice in her heart and a kiss on her lips and a vulnerable side she keeps well-hidden. DOCTOR: Oh, you've read it. AMY: No, you read it. Aloud. And then went "Yowzah." RORY: (sits up) You know, only you could fancy someone in a book. DOCTOR: I'm just reading. I just like the cover. AMY: (turns around quickly) Ooh! Can we see the cover?(leans over his shoulder) DOCTOR: No. No. I'm busy. It's your hair. (sniffs her) Is it your hair? AMY: Oh, shut up. It's the glasses. I'm wearing reading glasses now. On my nose. See? There you go. DOCTOR: I don't like them. They make your eyes look all liney. (lifts up the glasses and stares at her before looking away) No, actually. Sorry. (drops the glasses) They're fine. Carry on. RORY: O-kay. (stands) I'm going to go and get us some more coffee. Who wants more coffee? Me too! I'll go! (turns to leave) AMY: Rory. (RORY stops) Do I have noticeable lines on my eyes now? DOCTOR: Yes. RORY: No. AMY: You didn't look. RORY: (turns around) I noticed them earlier. Didn't notice them. I specifically remember not noticing them. AMY: You walk among fire pits, centurion. RORY: Do I have to come over there? (walks over to AMY) AMY: You can, if you like. RORY: Well, we have company. (squats) AMY: I'll get a babysitter. RORY and AMY kiss. DOCTOR: Oh! Do you know, it is so humiliating when you do that. (reads) RORY: Coffee? AMY: Coffee. (giggles) RORY leaves. DOCTOR: Can I have a go? (takes AMY'S glasses and puts them on) Oh! (holds the book out then brings it close) Actually, that is much better. That is exciting. AMY: Read to me. DOCTOR: I thought you didn't like my reading aloud. AMY: Shut up and read me a story. Just don't go "Yowzah!" They sit back-to-back and laugh. DOCTOR: (rips out the last page) Ah! AMY: Why did you do that? DOCTOR: Oh, I always rip out the last page of a book. Then it doesn't have to end. I hate endings. (puts the page in the basket and continues to read aloud) "As I crossed the street, I saw the thin guy, but he didn't see me." EXT. NEW YORK CITY, STREET, DAY RORY crosses the busy street as he holds three cups of coffee. DOCTOR: (V.O.) "I guess that's how it began." EXT. NEW YORK CITY, CENTRAL PARK, DAY RORY enters the park at the corner of Central Park South and Fifth Avenue, by the Plaza Hotel. He crosses through the park and arrives by the Bethesda Fountain. On the base of the fountain are cherubs. He walks past the fountain towards the underpass. There is the sound of childish giggling and scampering. RORY turns around. He doesn't see the face of one of the cherubs has its mouth open, showing its teeth. He turns back and continues through the underpass. The cupid is gone from the fountain. In the underpass, RORY hears more giggling and scampering. He turns but sees nothing. DOCTOR: (V.O.) "I followed the skinny guy for two more blocks before he turned..." On the Bow Bridge, not far from where RORY is, the DOCTOR is reading from the book as AMY plays Pooh Sticks. DOCTOR: "...and I could ask exactly what he was doing here. He looked a little scared, so I gave him my best smile and my bluest eyes." AMY: And beware of the "yowzah." Do not, at this point, yowz. The DOCTOR jumps down from the railing, intrigued by something in the book. AMY: (runs over to the DOCTOR) Doctor? What did the skinny guy say? DOCTOR: "He said, 'I just went to get coffees for the Doctor and Amy. Hello, River'." EXT. NEW YORK CITY, STREET, NIGHT RIVER is dressed as a private eye, complete with trench coat and fedora. RIVER: (lifts head) Hello, Dad. RORY: Where am I? How the hell did I get here? RIVER: I haven't the faintest idea. (a figure crosses behind RORY) But you'll probably want to put your hands up. RORY turns around and sees a man aiming a gun at him. He drops the coffee and raises his hands. Another MAN appears behind RIVER. MAN: Melody Malone? RORY: (over his shoulder) You're Melody?! A car brakes to a halt between RORY and RIVER. MAN: Get in. EXT. NEW YORK CITY, TIMES SQUARE, DAY AMY and the DOCTOR cross Broadway. AMY: What's River doing in a book? What's Rory doing in a book? DOCTOR: He went to get coffee. Pay attention. AMY: He went to get coffee and turned up in a book. How does that work? EXT. NEW YORK CITY, EAST RIVER, DAY The DOCTOR and AMY walk along the bank of the East River by the Brooklyn Bridge towards the TARDIS. DOCTOR: I don't know! We're in New York! INT. CAR, BACK SEAT, NIGHT RORY and RIVER get into the car. RORY: What is going on? INT. TARDIS The DOCTOR sets the controls. AMY: Where did you get this book? DOCTOR: It was in my jacket. AMY: How did it get there? DOCTOR: How does anything get there? I've given up asking. Date. Date. Does she mention a date? When is this happening? AMY: (flips through book) Yes, hang on. Uh -- ooh! April 3, 1938. EXT. NEW YORK CITY, STREET, NIGHT The car drives through the streets. INT. CAR, BACK SEAT, NIGHT RIVER: You didn't come here in the TARDIS, obviously. RORY: Why? RIVER: You couldn't have. INT. TARDIS AMY is reading from the book. DOCTOR: (appears over AMY'S shoulder) Couldn't have? AMY gasps. DOCTOR: What does she mean, "couldn't have"? INT. CAR, BACK SEAT, NIGHT The car passes Grand Central Station. RIVER: This city's full of time distortions. Be impossible to land the TARDIS here. Like trying to land a plane in a blizzard. Even I couldn't do it. INT. TARDIS DOCTOR: Even who couldn't do it?! AMY: Don't you two fall out. She's only in a book. DOCTOR: Ha ha. 1938. Easy one. The DOCTOR flips the control to set the TARDIS in motion but it sparks and rocks, throwing AMY and the DOCTOR to the rails. EXT. NEW YORK CITY, DAY The TARDIS tries to materialize in the air near the Brooklyn Bridge but is forced back. INT. TARDIS Inside the TARDIS, an alarm sounds and a warning appears on the monitor before it comes to a stop. AMY: What was that? DOCTOR: 1938. We just bounced off it. INT. CAR, BACK SEAT, NIGHT RORY: Well, how did you get here? RIVER: Vortex Manipulator. (shows her wrist) Less bulky than a TARDIS. A motorbike through traffic. You? RORY: I'm... not sure. EXT. GRAYLE MANSION, NIGHT The car pulls into a gated courtyard. Lined along the roof are angels. EXT. NEW YORK CITY, CEMETARY, DAY The TARDIS has materialized in the middle of a cemetery with the Empire State Building in the distance. AMY: The Weeping Angels. DOCTOR: It makes sense. AMY: It makes what? DOCTOR: That's what happened to Rory. That's what the Angels do. It's their preferred form of attack. They zap you back in time, let you live to death. The DOCTOR uses a fire extinguisher on the TARDIS as AMY looks through the novel. AMY: Well, we've got a time machine. We can just go and get him. DOCTOR: Well, tried that, if you've noticed, and we are back where we started, in 2012! AMY: We didn't start in a graveyard. What are we doing here? DOCTOR: Don't know. Probably causally linked, somehow. Doesn't matter. (yells into the TARDIS) Extractor fans on! AMY: Well, we're going to get there, somehow. We're in the rest of the book. DOCTOR: In what? AMY: Page 43. You're going to break something. DOCTOR: I'm what? AMY: (reading aloud) "'Why do you have to break mine?' I asked the Doctor. He frowned and said, 'Because Amy read it in a book and, now, I have no choice.'" DOCTOR: (runs over) Stop! No! No! Stop! (takes the book) You can't read ahead. You mustn't and -- and you can't do that. AMY: But we've already been reading it. DOCTOR: Just the stuff that's happening now, in parallel with us. That's as far as we go. AMY: It could help us find Rory. DOCTOR: And if you read ahead and find that Rory dies? This isn't any old future, Amy, it's ours. Once we know what's coming, it's fixed. I'm going to break something because you told me that I'm going to do it. No choice now. AMY: Time can be rewritten. DOCTOR: Not once you've read it. (takes AMY'S hand and runs for the TARDIS) Once we know it's coming, it's written in stone. In the foreground, one of the gravestones reads "In Loving Memory Rory Arthur Williams". INT. GRAYLE MANSION, FRONT HALL, NIGHT RORY and RIVER are "escorted" into the house by the two men. They stop at the foot of the stairs. RIVER sees a large Chinese vase on a stand bearing writing. RIVER: Ah, early Qin Dynasty, I'd say. GRAYLE: Correct. RIVER and RORY look up to see GRAYLE standing on the first floor landing. GRAYLE: Are you an archaeologist as well as a detective? INT. TARDIS The DOCTOR is standing on the console turning a wheel attached to the column with his hand. DOCTOR: Okay, landing a plane in a timey wimey blizzard. I could push through, but, if I'm out by a nanosecond, the engines will phase and I'll shatter the planet. (looks down at AMY) I need landing lights. AMY: Landing lights? DOCTOR: Yes, I need a signal to lock on to. What did she say, early what dynasty? INT. GRAYLE MANSION, FRONT HALL, NIGHT GRAYLE walks down the stairs. GRAYLE: Early Qin, just as you say. You're very well-informed. RIVER: And you're very afraid. That's an awful lot of locks for one door. There are at least four locks on the front door. RORY is looking at all the Chinese porcelain, shocked when he can read the characters. RORY: River, I'm translating. RIVER: It's a gift of the TARDIS. It hangs around. GRAYLE: (to one of his men) This one. Put him somewhere uncomfortable. RORY shrugs in an "of course" motion. MAN: With the babies, sir? GRAYLE: Yes. Why not? Give him to the babies. The MAN grabs RORY by the arm and pulls him from the room. INT. GRAYLE MANSION, CELLAR, NIGHT The door opens and in the light we see an ornate chandelier hanging from the ceiling. Plaster is peeling from the walls showing brick underneath. The MAN throws RORY down the stairs. MAN: The lights are out. You'll last longer with these. (throws RORY a box of matches) RORY: What do you care? MAN: (scoffs) It's funnier. The MAN leaves and shuts the door behind him, leaving RORY in the dark. Soon after the door locks, there is a childish giggling and scraping sound. RORY: Hello? INT. PORCELAIN STUDIO, CHINA 221 BC, DAY The TARDIS materializes in the midst of a busy studio where an older Chinese man directs his apprentices. DOCTOR: Ah, hello. Yes. AMY steps out and the Chinese man looks at her and speaks in Chinese. DOCTOR: (holds up psychic paper) Special permission from the emperor. INT. GRAYLE MANSION, STUDY, NIGHT RIVER removes her trench coat to reveal a slinky black dress. She sees "Yowzah" on the Chinese vase in front of her. RIVER: Hello, sweetie. (turns around to face GRAYLE) Let's see -- crime boss with a collecting fetish. (walks over to window) Whatever you don't want anyone else to see has got to be your favorite. Or, possibly, your girlfriend. RIVER opens the curtain to reveal an Angel, poised to attack. However, it is chained and manacled. Its face is deformed, as if attacked. RIVER: So, girlfriend, then. (opens vortex manipulator and starts typing) GRAYLE: What are you doing? RIVER: Oh, you know, texting a boy. INT. TARDIS "Yowzah: Signal Located" appears on the monitor. The DOCTOR runs over to the monitor at the sound of the alarm beeping. DOCTOR: Landing lights. We have a signal. Locking on. The DOCTOR sets the TARDIS to track RIVER. INT. GRAYLE MANSION, STUDY, NIGHT RIVER and GRAYLE stare at the Angel. GRAYLE: These things are all over, but people don't seem to notice. It never moves while you're looking. RIVER: Oh, I know how they work. GRAYLE: So I understand. Melody Malone, the detective who investigates Angels. RIVER: (takes a few steps towards the Angel) Badly damaged. GRAYLE: I wanted to know if it could feel pain. RIVER: You realize it's screaming? The others can hear. (turns to face GRAYLE) Is that why you need all the locks? GRAYLE switches off the lights then turns it on again. The Angel is gripping RIVER'S right wrist. GRAYLE: You're going to tell me all about these creatures. And you're going to do it quickly. (turns off the lights) INT. GRAYLE MANSION, CELLAR, NIGHT RORY lights a match and shudders as he stands. He looks around nervously as he hears more giggling and scampering. RORY: Hello, is someone there? RORY walks forward and sees 3 cherub statues lying on the floor. The match goes out and in the dark, there is more scampering. RORY lights another match and now there are 4 cherub statues poised to attack. RORY backs away and drops the match. RORY lights another and the cherubs have now moved towards him in an attempt to block him from the stairs. RORY keeps his back against the wall at the base of the stairs as his match goes out. RORY: Come on! Come on! The match lights and RORY slowly turns his head to the left. There is a cupid there, its mouth puckered. It blows out the match. INT. GRAYLE MANSION, STUDY, NIGHT GRAYLE turns the light back on. The Angel is still gripping RIVER'S wrist. RIVER: The Angels are predators. They're deadly. What do you want with them? GRAYLE: I'm a collector. What collector could resist these? I'm only human. RIVER: That's exactly what they're thinking. At that moment the lights begin to flicker and the house starts to shake right before we hear the TARDIS engines. GRAYLE: What's that? What's happening? Is it an earthquake? RIVER smiles. INT. TARDIS The TARDIS engines stall and it rocks. The DOCTOR grabs AMY to keep her upright. INT. GRAYLE MANSION, STUDY, NIGHT GRAYLE looks around for the source of what's happening. GRAYLE: What is it?! INT. GRAYLE MANSION, FRONT HALL, NIGHT The TARDIS struggles to materialize. INT. GRAYLE MANSION, STUDY, NIGHT RIVER: Oh, you bad boy. You could burn New York. GRAYLE: What does that mean?! RIVER: It means, Mr. Grayle, just you wait 'til my husband gets home. INT. GRAYLE MANSION, FRONT HALL, NIGHT The TARDIS finally materializes. The extra energy sends GRAYLE flying into another room. INT. TARDIS AMY runs for the door, stopping to look back at the DOCTOR. AMY: Come on. DOCTOR: (peers around the column) Just a moment. Final checks. AMY: Since when? Out of sight from AMY, the DOCTOR licks his hand and uses it to put his hair in place. He then checks his breath and straightens his tie. INT. GRAYLE MANSION, FRONT HALL, NIGHT AMY runs out of the TARDIS and up the stairs. AMY: Rory? Rory! Rory?! DOCTOR: (sees RIVER in the study) Sorry I'm late, honey. Traffic was hell. (kneels to check on GRAYLE) Shock. (stands) He'll be fine. INT. GRAYLE MANSION, STUDY, NIGHT RIVER: Not if I can get loose. The DOCTOR uses a hand to push his hair back into place as he walks into the study. He stands behind her. DOCTOR: So where are we now, Dr. Song? How's prison? RIVER: Oh, I was pardoned ages ago. And it's "Professor" Song, to you. DOCTOR: Pardoned? RIVER: Mmm! Turns out the person I killed never existed, in the first place. Apparently, there's no record of him. It's almost as if someone's gone around, deleting himself from every database in the universe. DOCTOR: (taps RIVER'S nose with his finger) Mmm, you said I'd got too big. RIVER: And, now, no one's ever heard of you. Didn't you used to be somebody? DOCTOR: Weren't you the woman who killed the Doctor? (scans the Angel with the sonic) RIVER: Doctor who? DOCTOR: Ha. (checks readings) She's holding you very tight. RIVER: At least she didn't send me back in time. DOCTOR: I doubt she's strong enough. RIVER: Well, I need a hand back. So which is it going to be, are you going to break my wrist or hers? (the DOCTOR looks at her - AMY stands in the doorway) Oh, no. Really? Why do you have to break mine? DOCTOR: Because Amy read it in a book and, now, I have no choice. (turns to AMY) You see? RIVER: Well, what book? DOCTOR: (reaches into jacket pocket and pulls out book) Your book. (crossly) Which you haven't written yet, so we can't read! (sits) RIVER: I see. I don't like the cover much. AMY: But if River's going to write that book, she'd make it useful, yeah? RIVER: Well, I'll certainly try. But we can't read ahead. It's too dangerous. AMY: I know, but there must be something we can look at. DOCTOR: What, a page of handy hints, previews, spoiler-free? AMY: Chapter titles. The DOCTOR snaps his fingers and points before looking at the chapter page. DOCTOR: He's in the cellar. AMY: (reaches hand out) Gimme. The DOCTOR reaches into his inside jacket pocket and tosses the sonic screwdriver to AMY. She catches it and runs out. The DOCTOR gets up, runs over to RIVER and kisses her on the cheek before heading after AMY. He stops at the door. RIVER: Doctor? Doctor, what is it? What's wrong? Tell me. The DOCTOR grips the back of a chair as he still reads the chapter page. RIVER: Doctor. Doctor, what is it? Tell me. The last chapter is titled "Amelia's Last Farewell". The DOCTOR grips the book as if he wants to throw it. RIVER: Okay, I know that face. Calm down! Calm down! DOCTOR: (throws the book on the chair) No! (storms for the door) RIVER: Talk to me! Doctor! DOCTOR: (stops) No! (walks back to RIVER) You get your wrist out. You get your wrist out without breaking it. (walks to door) RIVER: How? DOCTOR: (doesn't stop) I don't know. Just do it! Change the future! RIVER looks at her wrist. INT. GRAYLE MANSION, CELLAR, NIGHT The door opens and AMY comes down the stairs with the sonic screwdriver. AMY: Rory? At the base of the stairs, the beam from the screwdriver reveals the cherubs. The DOCTOR comes down the stairs behind her. DOCTOR: No! AMY: Aah! DOCTOR: They're Angels! Baby Angels. In front of the cherubs on the floor are the burned-out matches and empty box. AMY: Did they get Rory? Where is he? Did they take him? DOCTOR: Yes, I think so, yes. They hear giggling and scampering so back up the stairs and out the door. [SCENE_BREAK] EXT. NEW YORK CITY, STREET, NIGHT RORY finds himself on a street. He looks around, puts his hands in his pockets and heads for the nearest building: Winter Quay. INT. GRAYLE MANSION, FRONT HALL, NIGHT AMY sits on the bottom steps as the DOCTOR paces. AMY: So is this what's going to happen? We just keep chasing him back in time and they keep pulling him further back. RIVER comes out of the study with her trench coat back on. She reads from her handheld tablet. She keeps her right arm hanging at her side. RIVER: He isn't back in time. I'm reading a displacement, but there are no temporal markers. He's been moved in space, not in time, and it's not that far from here, by the look of it. (looks at the DOCTOR) DOCTOR: (relieved) You got out. AMY: So where is he? EXT. WINTER QUAY, NIGHT RORY slowly climbs the front steps. The doors open with a creak. RORY looks around at the street before entering the building. The angel on the pedestal has its arms out to attack. INT. GRAYLE MANSION, FRONT HALL, NIGHT The DOCTOR continues to pace, this time excitedly. DOCTOR: (to RIVER) Well, come on, come on, come on, where is he?! RIVER: If it was that easy, I'd get you to do it. DOCTOR: How did you get your wrist out without breaking it? RIVER: You asked. I did. Problem? DOCTOR: (laughs) You just changed the future! RIVER: It's called "marriage," honey. Now, hush. I'm working. DOCTOR: (sits beside AMY) She's good, huh? Oh! Have you noticed? Really, really good. RIVER: Ah, wherever it is, it's within a few blocks. There's a car out front. Shall we steal it? DOCTOR: Show me! The DOCTOR gets up in a rush and grabs RIVER'S right hand on the way out the door. She gasps in pain. The DOCTOR stops and looks at RIVER'S bruised and swollen hand. INT. WINTER QUAY, FOYER, NIGHT RORY looks around. He turns to face the lift as it comes down and the gates open themselves. RORY walks towards the lift. INT. GRAYLE MANSION, FRONT HALL, NIGHT RIVER is sitting on the steps. AMY is standing by the wall, The DOCTOR hands her RIVER'S vortex manipulator and her handheld. DOCTOR: Okay, when all those numbers on both units go to zero, that's when we've got a lock, okay? That's how we find Rory. AMY: Got it. The DOCTOR goes to sit next to RIVER. DOCTOR: Why did you lie to me? RIVER: When one's in love with an ageless God who insists on the face of a 12-year-old, one does one's best to hide the damage. DOCTOR: It must hurt. Come here. (takes RIVER'S hand) RIVER: Yes. The wrist is pretty bad, too. The DOCTOR looks at RIVER but she keeps staring straight ahead. He places his other hand above hers and she gasps. Her hand begins to glow yellow with energy. RIVER: No. No. No, stop that. Stop that! Stop it! The DOCTOR removes his hand and RIVER'S wrist is healed. DOCTOR: There you are. (lifts her hand and kisses it) How's that? RIVER: (flexes her hand) Well, let's see, shall we? (slaps his face) DOCTOR: Ah! RIVER: That was a stupid waste of regeneration energy. Nothing is gained by you being a sentimental idiot! DOCTOR: River! RIVER: No! (stands) You embarrass me! (walks out) DOCTOR: (holds out his arms) River! AMY watches RIVER leave then looks back at the DOCTOR, now sprawled on the steps. AMY: (takes off glasses and walks over to the DOCTOR) Tell you what (leans over) -- stick to the science part. AMY gives the DOCTOR both devices and follows RIVER outside. Alone, the DOCTOR stamps his feet in frustration. EXT. GRAYLE MANSION, NIGHT RIVER is standing by the car. AMY walks over to her. AMY: Okay, why did you lie? RIVER: Never let him see the damage. AMY: (goes over to RIVER and puts an arm around her shoulder) Hey. Hey. RIVER: (turns to AMY) And never, ever, let him see you age. He doesn't like endings. INT. GRAYLE MANSION, FRONT HALL, NIGHT The tracker beeps and the read-out shows Winter Quay. DOCTOR: There you are. EXT. GRAYLE MANSION, NIGHT The DOCTOR runs down the stairs to AMY and RIVER. DOCTOR: Got it! He's in a place called Winter Quay. The car, yes? Let's go. They run to the car and get in. The statue of the mother and son watches as the car drives away. INT. GRAYLE MANSION, FRONT HALL, NIGHT GRAYLE wakes up and sees the mess. GRAYLE: Ah. GRAYLE walks to the front door. Standing in front of it inside is the mother from the statue. He looks excited at the prospect. GRAYLE: Oh. He backs away around the corner. He turns around to find the boy statue blocking the way to the study. His eyes widen in fear. INT. WINTER QUAY, 3RD FLOOR HALL, NIGHT RORY exits the lift. Electricity crackles as he slowly walks down the hall. He peers at one of the nameplates and reaches for the door. It opens for him. As he turns to walk in, he doesn't notice the Angel at the end of the hall. INT. WINTER QUAY, APARTMENT, NIGHT RORY enters the apartment. EXT. NEW YORK CITY, STREET, NIGHT The car turns around the corner and brakes to a halt. AMY climbs out from behind the wheel. The DOCTOR and RIVER are in the back seat. RIVER has her handheld. RIVER: Why would they send him here? Why not zap him back in time, like they normally do? DOCTOR: We'll know that when we know what this place is. (gets out of the car) AMY is looking at the building. AMY: Winter Quay. The three of them run towards the building. EXT. WINTER QUAY, NIGHT The DOCTOR and AMY run up the stairs. The doors open on their own with a creak. INT. WINTER QUAY, 3RD FLOOR HALL, NIGHT The lift opens and AMY is the first out. AMY: Rory. RIVER: He's close. AMY: (strides down hall) Rory! (peers inside open door and sees him) Rory! (runs into apartment) INT. WINTER QUAY, APARTMENT, NIGHT AMY enters the apartment. RORY: Amy. They hug. INT. WINTER QUAY, 3RD FLOOR HALL, NIGHT RIVER is still using the tracker but stops short outside the apartment. RIVER: Doctor. Look at this. There is an Angel in the hall. It's smiling. RIVER: Why is it smiling? The DOCTOR sees the nameplate by the apartment door. It reads "R. Williams". DOCTOR: Amy. Rory! (runs for apartment) INT. WINTER QUAY, APARTMENT, NIGHT The DOCTOR rushes into the apartment where AMY and RORY are hugging. DOCTOR: Get out of here. Don't look at anything. Don't touch anything. Behind them, RIVER locks the apartment door. They look into the bedroom. AMY: Who's that? An OLD MAN is lying on the bed and reaches out with a gasp when he sees them. OLD MAN: (hoarsely) Amy! Amy, please. The DOCTOR looks away as AMY slowly walks to the OLD MAN. OLD MAN: Amy. (AMY takes his hand) Please. Please. (AMY kneels) The OLD MAN wheezes and pants as AMY looks at him. AMY: Rory. (looks at RORY) He's you. RORY turns away. The OLD MAN gasps and rests back against the pillows. OLD MAN: Amy. (dies) AMY lets go of his hand. RORY: Someone, please, tell me what is going on. DOCTOR: (slowly turns) I'm sorry, Rory, but you just died. RORY gulps before turning around to watch AMY with the older, dead him. INT. ??? The typewriter is superimposed over the exterior of Winter Quay as it types "Chapter 11: Death at Winter Quay". INT. WINTER QUAY, APARTMENT, NIGHT DOCTOR: This place is policed by Angels. Every time you try to escape, you get zapped back in time. AMY: So this place belongs to the Angels? They built it? DOCTOR: Displacing someone back in time creates time energy and that is what the Angels feed on. But, normally, it's a one-off, a hit-and-run. If they could keep hold of their victims, feed off their time energy over and over again... This place is a farm, a battery farm. How many Angels in New York? RIVER: It's like they've taken over every statue in the city. DOCTOR: Yeah, the Angels take Manhattan because they can. Because they've never had a food source like this one, the city that never sleeps. They hear crashing footsteps outside. RORY: What was that? DOCTOR: I don't know, but I think they're coming for you. RORY: What does that mean? What is going to happen to me? What is physically going to happen? DOCTOR: (sits and rubs his face with his hands) The Angels will come for you. They'll zap you back in time, to this very spot, 30 40 years ago, and you will live out the rest of your life in that room, until you die in that bed. The crashing continues outside. RORY: And will Amy be there? DOCTOR: No. AMY: How do you know? DOCTOR: Because he was so pleased to see you again. RORY: Okay. Well, they haven't taken me yet. (chuckles) What if I just run? What if I just get the hell out of here? Then that never happens. DOCTOR: It's already happened, Rory. You've just witnessed your own future. RIVER: Doctor, he's right. DOCTOR: No, he isn't. RIVER: If Rory got out, it would create a paradox. The crashing outside gets louder. AMY: What is that? RIVER: This is the Angels' food source. The paradox poisons the well. It could kill them all. This whole place would literally unhappen. DOCTOR: It would be almost impossible. RIVER: Loving the "almost". DOCTOR: (stands) But to create a paradox like that takes almost unimaginable power. What have we got? Eh? Tell me. Come on, what? AMY goes to stand by RORY and takes his hand in hers. AMY: I won't let them take him. That's what we got. The crashing becomes even louder. RORY joins the DOCTOR by the window. RORY: Whatever that thing is, it's getting closer. DOCTOR: Rory, even if you got out, you'd have to keep running for the rest of your life. They would be chasing you forever. AMY: Well, then, better get started. (opens the door to reveal an Angel) Husband, run! RORY rubs the DOCTOR'S arm in farewell before joining AMY at the door and making a run for it. The DOCTOR takes out his sonic and heads to the door himself. There are now two Angels. DOCTOR: River, I'm not sure this can work. RIVER: Husband, shut up. They run out of the apartment. INT. WINTER QUAY, 3RD FLOOR HALL, NIGHT The DOCTOR and RIVER nearly run into two Angels blocking the hall. The lights go out again and the Angels are even closer. INT. WINTER QUAY, STAIRCASE, NIGHT RORY and AMY run down the stairs and stop when an Angel blocks the way. AMY: Up! RORY: What good's up? AMY: Better than down. They turn around and run upstairs. INT. WINTER QUAY, 3RD FLOOR HALL, NIGHT The DOCTOR is using the sonic screwdriver to keep the light on as they are surrounded by Angels. DOCTOR: I can't keep doing this. RIVER: Any ideas? DOCTOR: Yeah, the usual. Run. They run. EXT. WINTER QUAY, ROOF, NIGHT RORY bursts through the door and onto the roof. He looks around for a way down. AMY follows and closes the door behind her. INT. WINTER QUAY, 3RD FLOOR HALL, NIGHT The DOCTOR and RIVER run down the hall towards the door at the end. The DOCTOR opens it onto the staircase. He looks down and sees Angels blocking the way. He runs back into the hallway. DOCTOR: Uh, okay, fire escape. The DOCTOR takes RIVER'S hand and pulls her away. EXT. WINTER QUAY, ROOF, NIGHT The Statue of Liberty is standing next to the building, looming over the roof. Its mouth is open. RORY: I always wanted to visit the Statue of Liberty. I guess she got impatient. RORY stands next to AMY, panting, before tugging on her arm and running over to the edge. AMY: What? What is it? What? RORY: Just keep your eyes on that! (leans over the side) AMY: Is there a way down? RORY can see the traffic passing down below. RORY: Uh...no. But there's a way out. Over AMY'S shoulder we see RORY climb onto the ledge. AMY: What are you doing? RORY: Oh. (tries to gain his balance) AMY: Rory, what are you doing? (turns) Rory. (walks over to RORY) Stop it! (tearful) You'll die. RORY: Yeah, twice. In the same building on the same night. Who else could do that? AMY: Just come down, please. RORY: This is the right thing to do. This will work. If I die now, it's a paradox, right? The paradox will kill the Angels. Tell me I'm wrong. Go on, please, because I am really scared. (AMY says nothing) Great. The one time you can't manage it. AMY only cries. RORY losses his balance and nearly falls off the ledge. AMY reaches for him but he regains himself. AMY: Oh, God. RORY: (reaches out for AMY and takes her hand) Amy. I'm going to need a little help here. (places her hand on his chest before throwing his arms out to his sides) AMY: (grabs his shirt in her fist) Just stop it! RORY: No, just think it through. This will work. This will kill the Angels. AMY: It will kill you, too. RORY: Will it?! River said that this place would be erased from time, never exist. If this place never existed, what did I fall off? AMY: You think you'll just come back to life? RORY: When don't I? AMY: Rory! RORY: And, anyway, what else is there? Dying of old age downstairs, never seeing you again. Amy, please. If you love me, then trust me and push. AMY: I can't. RORY: You have to! AMY: Could you? If it was me, could you do it? RORY: To save you, (looks at AMY) I could do anything. AMY lets go of RORY'S shirt and climbs up to stand beside him on the ledge. AMY: Prove it. RORY: No, I can't take you, too. AMY: You said we'd come back to life. "Money where your mouth is" time. RORY: Amy! AMY: Shut. Up. (puts his hands on her waist) Together. Or not at all. The DOCTOR and RIVER climb onto the roof via the fire escape. DOCTOR: What the hell are you doing?! AMY: Changing the future. (runs her hand along RORY'S face) It's called "marriage." AMY and RORY fall over the side, their eyes on each other. DOCTOR: Amy! (runs over) Amy! (looks over the side) Amy! AMY and RORY fall, their arms wrapped around each other. On the roof, the DOCTOR watches his friends as they fall to their deaths. It is RIVER who notices the changes start. RIVER: Doctor! (the air begins to fluctuate and the DOCTOR takes her hand) What's happening?! DOCTOR: The paradox, it's working. The paradox is working! The light gets brighter and there is an explosion. EXT. NEW YORK CITY, CEMETARY, DAY We pan the same cemetery as before. Suddenly, RORY and AMY sit up. RORY: Whoa! AMY: Whoa. RORY: Where are we? DOCTOR: (arrives behind them) Back where we started! You collapsed the timeline. The paradox worked. We all pinged back where we belong. RORY: What, in a graveyard? AMY: This happened last time. Why always here? DOCTOR: Does it matter? We got lucky! We could've blown New York off the planet. I can't ever take the TARDIS back there. The timelines are too scrambled. (sighs) Oh, I could've lost you both. (hugs them both) Oh. Don't ever do that again. RORY: What did we do? We fixed it. We solved the problem. DOCTOR: I was talking to myself. (kisses them both on the head and walks away) AMY and RORY laugh. RIVER and the DOCTOR are at the TARDIS. The DOCTOR wipes it down as RIVER holds a bucket. RIVER: It could do with a repaint. DOCTOR: I've been busy. RIVER: Does the bulb on top need changing? DOCTOR: Just changed it. RIVER: (begins to clean TARDIS) So, Rory and Amy, then. DOCTOR: Yes, I know. I know. RIVER: I'm just saying, they're going to get terribly bored, hanging round here all day. AMY and RORY walk over. AMY: Doctor. DOCTOR: Ha! RORY: Next time, can we just go to the pub? DOCTOR: I want to go to the pub right now. Are there videogames there? I love videogames. As they walk up, RORY glances off to the side and sees something that intrigues him. RIVER: Right, family outing, then. RIVER and the DOCTOR enter the TARDIS and AMY follows. RORY walks back and finds the gravestone bearing his name. RORY: Amy! Come see this. AMY: What? (steps out of the TARDIS) RORY: There's a gravestone here for someone with the same name as me. AMY: What? The Angel standing behind RORY touches him and he disappears. AMY: Doctor! The DOCTOR and RIVER come rushing out of the TARDIS. DOCTOR: Ah! RIVER: Where the hell did that come from? DOCTOR: (scans with sonic) It's a survivor. Very weak, but keep your eyes on it. AMY: Where's Rory? The DOCTOR walks slowly forward and notices the Angel is pointing. He looks at the gravestone and sees RORY'S name as well as "Aged 82". DOCTOR: I'm sorry, Amelia. I'm so, so sorry. AMY: No. No, we can just go and get him in the TARDIS. One more paradox. DOCTOR: Would rip New York apart and I -- AMY: No, that's not true. I don't believe you. RIVER: (tearful) Mother, it's true. With shuddering breaths, AMY walks towards the Angel. DOCTOR: Amy? What are you doing? AMY: That gravestone, Rory's, there's room for one more name, isn't there? DOCTOR: What are you talking about? (heads for the TARDIS and reaches for AMY'S hand as he passes) Back away from the Angel. Come back to the TARDIS! We'll figure something out! AMY: The Angel, would it send me back to the same time, to him? DOCTOR: I don't know. Nobody knows. AMY: (takes a step closer) But it's my best shot, yeah? DOCTOR: (raises his hands in a vain attempt to stop her) No! RIVER: Doctor, shut up! Yes, yes, it is! DOCTOR: Amy -- AMY: Well, then, I just have to blink, right? DOCTOR: No! AMY: It'll be fine. I know it will. I'll -- I'll be with him, like I should be. Me and Rory, together. Melody. (holds her hand out behind her) DOCTOR: (turns toward RIVER) Stop it! Just -- just stop it! RIVER takes AMY'S hand. AMY: (crying) You look after him. And you be a good girl and you look after him. RIVER kisses AMY'S palm. DOCTOR: You are creating a fixed time. I will never be able to see you again. AMY: I'll be fine. I'll be with him. DOCTOR: (crying) Amy, please. Just -- Come back into the TARDIS. Come on, Pond, please. AMY: (sobs) Raggedy man, (turns to the DOCTOR) goodbye. (disappears) The DOCTOR breaks down and cries. The gravestone now has new writing on it. "And his Loving Wife Amelia Williams, Aged 87". DOCTOR: No! The DOCTOR bends over in anguish before standing, sobbing, looking at the place where AMY last stood. RIVER goes to him and puts a comforting arm around him. INT. TARDIS RIVER is at the controls as the DOCTOR sits on ascending stairs, grieving. DOCTOR: River. They were your parents. Sorry. I didn't even think. RIVER: (matter-of-factly) It doesn't matter. DOCTOR: Of course it matters. RIVER: What matters is this: Doctor, don't travel alone. DOCTOR: Travel with me, then. RIVER: Whenever and wherever you want, but not all the time. One pyschopath per TARDIS, don't you think? (sets the TARDIS in motion then faces the DOCTOR) Okay, this book I've got to write, Melody Malone. I presume I send it to Amy to get it published? DOCTOR: Yes. Yes. RIVER: (sighs and walks past him) I'll tell her to write an afterword. For you. Maybe you'll listen to her. RIVER leaves the control room and the DOCTOR is left alone with his grief. Until he remembers... DOCTOR: The last page. EXT. NEW YORK CITY, CENTRAL PARK, DAY The DOCTOR runs across Bow Bridge to the area where they had picnicked earlier. He grabs the last page out of the basket and reads it. AMY: (V.O.) Afterword, by Amelia Williams. Hello, old friend. The DOCTOR sits on one of the park benches lining The Mall. AMY: (V.O.) And here we are, you and me, on the last page. By the time you read these words, Rory and I will be long gone. So know that we lived well and were very happy. (puts on AMY'S glasses) And, above all else, know that we will love you always. Sometimes I do worry about you, though. I think, once we're gone, you won't be coming back here for a while and you might be alone, which you should never be. Don't be alone, Doctor. And do one more thing for me. There's a little girl waiting in a garden. (gives a small smile) She's going to wait a long while, so she's going to need a lot of hope. EXT. AMELIA'S HOUSE, BACK GARDEN, NIGHT Wearing a warm coat and hat, AMELIA runs to where the TARDIS disappeared, puts her suitcase on the ground, sits on it and waits. AMY: (V.O.) Go to her. Tell her a story. Tell her that, if she's patient, the days are coming that she'll never forget. Tell her she'll go to sea and fight pirates. She'll fall in love with a man who'll wait 2,000 years to keep her safe. INT. TARDIS The DOCTOR runs around the console to work the controls. AMY: (V.O.) Tell her she'll give hope to the greatest painter who ever lived and save a whale in outer space. EXT. AMELIA'S HOUSE, BACK GARDEN, DAY AMELIA is still sitting on her suitcase, resting her head on her hand. AMY: (V.O.) Tell her this is the story of Amelia Pond -- and this is how it ends. AMELIA looks up into the air when she hears the TARDIS engines. [b] P.S.[/b] [SCENE_BREAK] INT. POND-WILLIAMS HOUSE, FRONT HALL, SUNSET BRIAN is watering the plants. He stops and looks around, taking the emptiness of the house, the absence of AMY and RORY. The doorbell rings. BRIAN opens the door. A man in his mid-60s - ANTHONY - is standing on the doorstep. He is wearing an old-fashioned suit. ANTHONY: (New York accent) Mr. Brian Williams? BRIAN: Yes. How did you know I was here? This isn't my house. ANTHONY: (holds out a letter) This is for you. BRIAN: I don't understand. The envelope says "Dad". ANTHONY: You should read it. I'll wait. (walks in past a bemused BRIAN) INT. POND-WILLIAMS HOUSE, LOUNGE, SUNSET BRIAN sits on the sofa and reads the letter. RORY: (V.O.) Dear Dad. This is the difficult bit. If I've got this right, you're reading this letter a week after we left in the TARDIS. The thing is, we're not coming back. We're alive and well and stuck in New York 50 years before I was born. We can't come home again. I won't ever see you again and it breaks my heart. I'm so sorry, Dad. I thought about this for years, and I realized there was one thing I could do: I could write to you. Tell you everything about how we lived, how, despite it all, we were happy. But before I do, I need you to know, you are the best dad any son could have had, and for all the times I drove you mad and you drove me mad, and all the times I snapped at you, I'm sorry. I miss everything about you, especially our awkward hugs. I bought a trowel. We have a small yard. I garden. But one more important bit of business: the man who delivered the letter, Anthony, be nice to him 'cause he's your grandson. INT. POND-WILLIAMS HOUSE, FRONT HALL, SUNSET BRIAN walks out into the hall and approaches ANTHONY. RORY: (V.O.) We finally adopted in 1946. Anthony Brian Williams. He can tell you everything. He'll have the family albums and I realize having a grandson who is older than you is way beyond weird, but I'm sorry. I love you, Dad. I miss you. BRIAN stands in front of ANTHONY who holds out his hand. ANTHONY: How d'you do, sir? BRIAN, stunned, hugs him. MELODY MALONE [SCENE_BREAK] The Dying Detective The Angels Take Manhattan Missing in New York Taking the Case Night in the Statue Park The Gargoyle The Skinny Guy Julius Grayle Calling the Doctor The Roman in the Cellar Death at Winter Quay Amelia's Last Farewell
The Angels Take Manhatten