EXT. SPACE
As we look at Earth from above, we see the myriad of networks streaming across the planet.
MISC LOCATIONS
We see a number of people around the world on laptops and tablets signing onto Wi-Fi.
CONTINUED, INTERCUT WITH -
- CUT TO:
INT PARLOR, ??
A MAN is on camera, warning those watching his video.
MAN: Danger! This is a warning. A warning to the whole world. You're looking for Wi-Fi. And sometimes you see something... a bit like this. (holds up a sign bearing foreign symbols) Don't click it. Do. Not. Click. It.
We see people clicking on the symbols when looking for Wi-Fi.
MAN: Once you've clicked it, they're in your computer. They can see you. And if they can see you, they might choose you. And if they do... you die. Within 24 hours, you're dead.
We see some of the people who clicked on the symbols sprawled out on the ground or in their seats.
MAN: For a while. People's souls are being uploaded to the internet. Some people get stuck. Their minds, their souls, trapped in the Wi-Fi. Like echoes. Like ghosts.
Faintly, we hear overlapping voices.
VOICES: I don't know where I am! I don't know where I am! (repeated)
MAN: Sometimes you can hear their screams. On the radio. On the telly. On the net.
VOICES: I don't know where I am! I don't know where I am! (repeated)
MAN: This is real. This is not a hoax.
AMERICAN MAN: (into camera) I, I don't know where I am!
MAN: Or a joke.
JAPANESE WOMAN: (into camera) Doko?
MAN: Or a story.
MAN 2: (into camera) I don't know where I am!
MAN: This is real and I know that, because... (voice breaks) I don't know where I am. Please, if you can hear me... If you can hear me, I don't know where I am.
The camera pulls out and we see the MAN is one of hundreds as we see a wall lined with monitors, each person pleading for help, not knowing where they are.
[SCENE_BREAK]
Matt Smith
[SCENE_BREAK]
Jenna-Louise Coleman
"The Bells of Saint John" By Steven Moffat
PRODUCER Denise Paul
DIRECTOR Colm McCarthy
[SCENE_BREAK]
CUMBRIA 1207
EXT. MONASTARY, DAY
A MONK pounds on the large door of the abbey. He turns around in frustration, pushing back his cowl. He goes back to the door and pounds again. The window of a small door opens and the MONK looks in.
MONK: Wake the Abbott. The bells of Saint John are ringing!
EXT. MONASTARY, COURTYARD, DAY
The ABBOTT comes out and joins the MONK.
ABBOTT: We must go to him!
INT. MONASTARY, HALL, DAY
The ABBOTT and the MONK walk down the hall. The MONK carries a torch.
MONK: They call him the Mad Monk, don't they?
ABBOTT: They shouldn't. He's definitely not a monk.
INT. MONASTARY, CAVERNOUS ROOM, DAY
The ABBOTT and the MONK enter a room where another monk sits at a table. Behind him sits a painting on an easel.
ABBOTT: (clears throat) I'm sorry to intrude. The bells of Saint John are ringing.
The monk stands up next to the ABBOTT and removes his hood. It is the DOCTOR. He has dabs on paint on the sleeves of his habit.
DOCTOR: I'm going to need a horse!
The DOCTOR walks away to a smaller room to the back revealing the painting. It is of CLARA OSWALD dressed as he had last seen her, as a Victorian governess. Along the bottom of the painting are the words "Run you clever boy, and remember". The MONK walks closer to the painting.
MONK: (steps forward) Is that her?
ABBOTT: The woman twice dead, and her final message. He has withdrawn to this place of peace and solitude that he might divine her meaning. If he truly is mad, then this is his madness.
INT. MAITLAND HOUSE, DAY
CLARA OSWALD paces the floor as she waits on the phone for someone to pick up the other line. ANGIE is sitting at the kitchen table on her laptop.
CLARA: Angie, is the internet working? Trying to phone the helpline, they won't answer.
ANGIE: It's working for me.
CLARA: Can I use it when you're finished?
ANGIE: More than one person can use the internet at a time, Clara.
CLARA: You done your homework?
ANGIE: Shut up, you're not my mum!
CLARA: And I'm not trying to be. OK?
Mr. MAITLAND enters the kitchen patting his pockets, looking for his car keys.
MAITLAND: Right.
ARTIE holds the keys up.
MAITLAND: Yes! Angie's probably fine on her own, you could probably have the night off.
CLARA: I'm OK, I'll be upstairs trying to figure out my computer.
MAITLAND: Anyway, the adverts are in, so hopefully we'll find someone. (puts on jacket)
CLARA: I'm here as long as you need me.
MAITLAND: Good! Right, come on, Artie, time to go. (heads for the door)
CLARA takes the book ARTIE is holding. It is called "Summer Falls" and was written by Amelia Williams.
CLARA: What chapter you on?
ARTIE: Ten.
CLARA: 11's the best. You'll cry your eyes out.
MAITLAND: Artie!
ARTIE leaves.
CLARA: Oh, come on, just answer, just pick it up, pick it up, pick it up. (leaves the kitchen)
INT. MAITLAND HOUSE, STAIRS, DAY
CLARA walks up the steps to her room.
INT. MAITLAND HOUSE, CLARA'S ROOM, DAY
CLARA spins around the post in her loft room before sitting at her desk and reaching tentatively at her open netbook. She taps a few keys before moving the cursor to the Wi-Fi icon. At the top is the connection labeled "Maitland Family" and below it are the symbols.
EXT. ???
We zoom through the Wi-Fi and see a large number of connections throughout London. Some spots are red, as if infected.
EXT. WOODS, DAY
The DOCTOR dismounts from his horse and walks with the MONK as another stays with the horses. Another monk is waiting with a torch outside a stone doorway into an underground cavern.
INT. CAVE, DAY
The MONK leads the way with the torch, the DOCTOR follows. The ringing of a telephone can be heard. At the end of the tunnel is the TARDIS, its light shining like a beacon. That is the source of the ringing.
DOCTOR: (looks at MONK) That is not supposed to happen. (runs up to TARDIS and opens the panel with the phone) Hello?
CONTINUED, INTERCUT WITH -
- CUT TO:
INT. MAITLAND HOUSE, CLARA'S ROOM, DAY
CLARA: Ah, hello. I can't find the internet.
DOCTOR: I'm sorry?
CLARA: It's gone, the internet. Can't find it anywhere. Where is it?
DOCTOR: The internet?
CLARA: Yes, the internet. Why don't I have the internet?
DOCTOR: (walks away from the TARDIS) It's 1207.
CLARA: I've got half past 3:00. Am I phoning a different time zone?
DOCTOR: Yeah, you really sort of are.
CLARA: Will it show up on the bill?
DOCTOR: Oh, I dread to think. (paces the room, tangling the cord) Listen, where did you get this number?
CLARA: Woman in the shop wrote it down. It's the helpline, isn't it? She said it was the best helpline out there. In the universe, she said.
DOCTOR: What woman? Who was she?
CLARA: I dunno, the woman in the shop. So why isn't there internet? Shouldn't it just sort of... be there?
DOCTOR: Look, listen, I'm not actually... this isn't... You have clicked on the Wi-Fi button, haven't you?
CLARA: Hang on. Erm... Wi-Fi?
DOCTOR: Click on the Wi-Fi. You'll see a list of names. Is there one you recognise?
CLARA clicks on the Wi-Fi and the Maitlands' connection.
CLARA: It's asking me for a password.
ANGIE comes upstairs.
ANGIE: Is it OK if I go and see Nina? You can call her mum.
CLARA: Sure. What's the password for the internet?
ANGIE: Rycbar123. (heads back downstairs)
CLARA: (goes to top of the stairs) How am I supposed to remember that?
MONK: Is it an evil spirit?
DOCTOR: It's a woman.
The MONK crosses himself. CLARA sits back at the desk.
CLARA: Hang on. Just a mo. (types each letter as she speaks) Run. You. Clever. Boy. And. Remember. One!
The DOCTOR remembers when he had heard the phrase before.
[SCENE_BREAK]
FLASHBACK
INT. ASYLUM, CHAMBER
OSWIN: (sits in chair and tucks up legs) Run, you clever boy
[SCENE_BREAK]
INT. MAITLAND HOUSE, CLARA'S ROOM, DAY
CLARA: Two!
[SCENE_BREAK]
FLASHBACK
INT. LATIMER HOUSE, LATIMER'S STUDY, NIGHT
CLARA: and remember.
[SCENE_BREAK]
INT. MAITLAND HOUSE, CLARA'S ROOM, DAY
CLARA: Three!
CONTINUED, INTERCUT WITH -
- CUT TO:
INT. CAVE, DAY
DOCTOR: What did you say?
CLARA: Don't shout, you made me type it wrong. It's thrown me out again. What do I do, how do I get back in?
CLARA clicks on the symbols.
EXT. ???
We zoom through the Wi-Fi and see a large number of connections throughout London. Some spots are red, as if infected. A direct link is made to CLARA'S location.
INT. ???
CLARA is seen on a monitor as she continues to speak to the DOCTOR on the phone.
CLARA: It was just a thing to remember the password. Run, you clever boy and remember. Oh, hang on! (puts the phone down and walks out of view of the computer)
The camera pulls back and we see she is now a part of the wall of screens seen earlier, all the people trapped in the Wi-Fi.
INT. MAITLAND HOUSE, FRONT HALL, DAY
CLARA comes down the stairs to answer the door. Someone is knocking on the door and ringing the bell.
CLARA: Hello, yes, I hear you. Yep. Uh-huh. (opens door) Hello?
The DOCTOR is standing there, grinning, still in his monk's habit.
DOCTOR: Clara? Clara Oswald?
CLARA: Hello?
DOCTOR: Clara Oswin Oswald?
CLARA: Just Clara Oswald. What was that middle one?
DOCTOR: (excited) Do you remember me?
CLARA: No. Should I? Who are you?
DOCTOR: (takes a step inside) The Doctor. No? The Doctor? (looks at himself in wall mirror)
CLARA: Doctor who?
DOCTOR: No, just the Doctor. Actually, sorry, could you just ask me that again?
CLARA: Could I what?
DOCTOR: Could you just ask me that question again?
CLARA: Doctor who?
DOCTOR: OK, just once more.
CLARA: Doctor who?
DOCTOR: Oh, yeah. (steps back outside and does a little dance) Oh! D'you know, I never realised how much I enjoy hearing that said out loud. Thank you.
CLARA: OK. (closes door)
EXT. MAITLAND HOUSE, FRONT DOOR, DAY
The DOCTOR pounds on the door.
DOCTOR: Hey, no! Clara, please.
INT. MAITLAND HOUSE, FRONT HALL, DAY
CLARA starts up the stairs but stops as the DOCTOR calls to her.
DOCTOR: (muffled) Clara, I need to talk to you! Listen, please.
INT. OFFICE, DAY
The room is dark with a number of desks, each with someone working on a computer. One computer has a photo of CLARA as well as some information on the screen. ALEXEI is talking with his boss, MISS KIZLET.
ALEXEI: Clara Oswald. We've got a positive lock on her, but I think she's borderline. Very clever, but no computer skills.
KIZLET: Upload her anyway, splice her a computer skills package. (starts walking away)
ALEXEI: (follows) I'll activate a Spoonhead.
KIZLET: Alexei, we call them servers, not Spoonheads.
ALEXEI: Sorry, Miss Kizlet. (goes back to desk)
KIZLET climbs the short set of stairs to the upper level where MAHLER, her assistant is waiting.
KIZLET: I'm ever so fond of Alexei, but my conscience says we should probably kill him.
MAHLER: I'll inform HR.
KIZLET: Actually, he's about to go on holiday. Kill him when he gets back, let's not be unreasonable. (enters office)
INT. KIZLET'S OFFICE, DAY
KIZLET'S office has floor to ceiling windows that overlooks the City of London. It is of stark design, all black and chrome.
KIZLET: Didn't you want to speak to me? (moves behind desk)
MAHLER: We're uploading too many people, too quickly. We're going to get noticed.
KIZLET: If your conscience is bothering you, think of it like this. (sits) We're preserving living minds, in permanent form in the data cloud. It's like immortality. Only fatal.
KIZLET swipes through her tablet until she finds MAHLER and his "vitals". His Conscience level is very high.
MAHLER: My conscience is fine.
KIZLET: Good. (lowers MAHLER'S Conscience setting) Because our client has his needs.
MAHLER'S Paranoia setting rises as he turns to walk away. He stops and looks at KIZLET.
MAHLER: Did you just hack me?
KIZLET: Because you changed your mind?
MAHLER: I hope I did. (leaves)
KIZLET lowers MAHLER'S Paranoia setting briefly, before raising it again.
INT. MAITLAND HOUSE, FRONT HALL, DAY
CLARA sits halfway up the front stairs. The DOCTOR is still outside.
DOCTOR: (muffled) Please! I just need to speak to you!
CLARA stands, walks down the stairs, walks over to the intercom and switches it on. The DOCTOR'S face appears on the screen. He smiles and waves.
CLARA: Why are you still here? Why are you here at all?
DOCTOR: You phoned me. You were looking for the internet.
CLARA: That was you?
CONTINUED, INTERCUT WITH -
- CUT TO:
EXT. MAITLAND HOUSE, FRONT DOOR, DAY
DOCTOR: Course it was me.
CLARA: How did you get here so fast?
DOCTOR: I just happened to be in the neighbourhood. (moves out of the way to show the TARDIS) On my mobile phone.
CLARA: When you say "mobile phone", why do you point at that blue box?
DOCTOR: Because it's a surprisingly accurate description.
CLARA: OK, we're finished now. (switches off intercom)
DOCTOR: (muffled) Oi, no, look...
CLARA hears the sound of a door closing and looks upstairs. A floorboard creaks.
CLARA: Angie? Angie, are you upstairs? Angie, are you still here?
Another floorboard creaks. CLARA walks over to the base of the stairs and looks up as a young girl in old-fashioned clothes slowly walks down the stairs, stopping partway down.
CLARA: Hello.
GIRL: Hello.
CLARA: Are you a friend of Angie's?
GIRL: I'm a friend of Angie's.
CLARA: What where you doing upstairs?
GIRL: I was upstairs.
CLARA: I know you, don't I?
GIRL: You know me, don't you?
CLARA gasps as she now recognizes the GIRL from the cover of "Summer Falls", the book Artie was reading. CLARA backs away as the GIRL'S head slowly spins around to reveal a concave dish, the bowl of a spoon. Across the dish runs digital information. CLARA can only stare.
INT. TARDIS
The DOCTOR enters the TARDIS and strips off his habit.
DOCTOR: Right, don't be a monk. Monks are not cool! (goes to the area under the console, opens a section and starts throwing pieces of clothing over his shoulders before finding a fez and placing it on his head) Ah-ha!
The DOCTOR continues searching until he holds his old jacket in one hand and a new one in the other He drops the old jacket and changes into the new. He then takes out a small wooden box and opens it to reveal a bowtie.
EXT. MAITLAND HOUSE, FRONT DOOR, DAY
The DOCTOR exits the TARDIS rubbing his hands and hurries over to the front door.
DOCTOR: Clara? (knocks on door) Clara? (moves to intercom)
CLARA: (over intercom) Hello?
DOCTOR: See? Look, it's me! De-monked. (spins) Sensible clothes. Erm, can I come in now?
CLARA: (over intercom) I don't understand.
DOCTOR: Could you just open the door?
CLARA: (over intercom) I don't know...
DOCTOR: Of course you can!
CLARA: (over intercom) ...where I am.
The DOCTOR stares at the intercom knowing something has happened.
CLARA: (over intercom) I don't know where I am. Where am I? Please tell me, where I am! I don't know where I am.
The DOCTOR uses the sonic screwdriver on the front door and enters the house.
INT. MAITLAND HOUSE, FRONT HALL, DAY
CLARA is lying unconscious on the floor at the base of the stairs.
CLARA: (disembodied) I don't know where I am!
DOCTOR: (kneels beside CLARA) Clara! Clara?
The DOCTOR gently puts a hand under her head and uses the sonic.
CLARA: (disembodied) I don't know where I am! I don't understand. I don't know where I am! I don't know where I am!
The DOCTOR looks up and sees the Spoonhead standing on the stairs. In the dish, we see CLARA looking around, lost. He slowly stands.
CLARA: (disembodied) I don't understand! I don't know where I am! Where am I? I don't know where I am. I don't know where I am.
The DOCTOR uses the sonic on the Spoonhead and we are transported through the Wi-Fi.
INT. OFFICE, DAY
ALEXEI'S computer screen has CLARA's picture and an upload bar that is only halfway before an alarm beeps and we see "ERROR" in red appear on screen.
ALEXEI: (turns around) I've got a problem!
INT. MAITLAND HOUSE, FRONT HALL, DAY
The DOCTOR continues to use the sonic on the Spoonhead and the visage of the girl disappears to show the most basic of a humanoid shape in robotic form. The DOCTOR lowers the sonic.
DOCTOR: A walking base station. A walking Wi-Fi base station, hoovering up data. Hoovering up people! (pockets sonic)
INT. MAITLAND HOUSE, CLARA'S ROOM, DAY
The DOCTOR enters CLARA'S room, sonic out and scanning. He spins and finds the notebook. He closes it and runs with it back downstairs.
INT. MAITLAND HOUSE, FRONT HALL, DAY
The DOCTOR kneels beside CLARA, his fingers flying over the keyboard, trying to hack into the Spoonhead to free CLARA.
DOCTOR: Oh, no, you don't. Oh, no, you don't.
CONTINUED, INTERCUT WITH -
- CUT TO:
INT. OFFICE, DAY
KIZLET and MAHLER are at ALEXEI'S desk, looking over his shoulder at the screen. ALEXEI is trying to stop the hacker.
ALEXEI: It's like someone is trying to reverse an upload.
KIZLET: Is that possible?
MAHLER: If the upload isn't fully integrated yet - in theory, yes.
The DOCTOR continues to type away.
The progress bar on ALEXEI'S computer drops from the 50s to the 40s.
ALEXEI: Oh, my God. (types furiously)
The DOCTOR continues to type away.
DOCTOR: Oh, no, no, no, no, no! Not this time, Clara, I promise you.
The DOCTOR and ALEXEI continue to fight each other via their keyboards. CLARA'S upload progress continues to fall into the 20s and then 10s.
MAHLER: Can you stop this?
ALEXEI: No!
The progress bar hits zero. The area around the Maitland house is cleared of the red "virus".
INT. MAITLAND HOUSE, FRONT HALL, DAY
The DOCTOR feels for CLARA'S pulse. There is a whirring sound from the Spoonhead and a beam shoots from the dish to CLARA. She takes in a deep breath and coughs as she rolls over. The DOCTOR gently strokes her hair a lifts her head.
DOCTOR: It's OK, it's OK. You're fine, you're back. Yes, you are. (kisses her head) Yes, you are.
INT. KIZLET'S OFFICE, NIGHT
KIZLET paces in front of her windows, the London skyline lit up behind her. MAHLER enters.
KIZLET: Well?
MAHLER: Our hacker sent us a message.
MAHLER walks to KIZLET'S desk and presses a button. A message appears on the monitor in the wall. It reads: Under My Protection - The Doctor.
MAHLER: (crosses arms) I assume he's talking about the girl.
KIZLET: Get out. I have to speak to the client.
MAHLER leaves and KIZLET walks over to the monitor and touches the right-side panel.
KIZLET: Sir, the one you told me about. He's here. The Doctor is here.
INT. MAITLAND HOUSE, CLARA'S ROOM, NIGHT
CLARA is asleep in her bed. The DOCTOR takes a pitcher of water and pours a glass before setting it on the bedside table. He finds another vase and puts in some hand-picked flowers and sets that on the table. He remembers something else and returns with a package of Jammy Dodgers. He peels off the wrapper and inhales their delicious scent before placing them on a plate. He takes a bite of one, savoring the taste and puts the half-eaten cookie back on the plate. He spots a book on the shelf beside the bed, "101 Places To See". He flips through the book. At the front, in a child's handwriting, it reads "Property of Clara Oswald, Age 9". The age is crossed out as another year follows. The ages missing are 16 and 23. Opposite the page is a pressed leaf. The DOCTOR takes it out by the stem, twirls it, sniffs it and then licks it. He seems puzzled by what that tells him. He puts the leaf back in the book and the book back on the shelf. He pauses for a moment, leaning against the headboard, before leaving.
LATER
CLARA wakes slowly and sees the cookies on her table. She sits up in bed puzzled as to how she got there.
EXT. MAITLAND HOUSE, NIGHT
The DOCTOR is sitting in a folding chair outside the TARDIS in the MAITLANDS' driveway. He has CLARA'S notebook and is working on the Spoonhead. CLARA opens her window, leans out and sees him.
CLARA: Hello?
DOCTOR: (looks up and stands) Hello. Are you all right?
CLARA: I'm in bed.
DOCTOR: Yes.
CLARA: Don't remember going.
DOCTOR: No.
CLARA: What did I miss?
DOCTOR: Oh, quite a lot, actually. (reaches into inner jacket pocket and pulls out a small notebook) Angie called, she's going to stay over at Nina's. Apparently that's all completely fine and you shouldn't worry like you always do, for God's sake, get off her back. (flips a page) Also, your dad phoned. Mainly about the government. He seems very cross with them, I've got several pages on that. (turns pages) I said I'd look into it. I fixed that rattling noise in the washing machine, indexed the kitchen cupboards, optimised the photosynthesis in the main flowerbed and assembled the quadrocycle.
CLARA: Assembled the what?
DOCTOR: I found a disassembled quadrocycle in the garage.
CLARA: I don't think you did.
DOCTOR: (awed whisper) I invented the quadrocycle!
CLARA: What happened to me?
DOCTOR: (walks forward) Don't you remember?
CLARA: I was scared. Really scared. I didn't know where I was.
DOCTOR: Do you know now?
CLARA: Yes.
DOCTOR: Well, then, you should go to sleep, because you're safe now, I promise. Goodnight, Clara.
The DOCTOR turns on his heels and heads back to the chair by the TARDIS. CLARA closes her window. Moments later, she opens it again and sticks her head out.
CLARA: Are you guarding me?
DOCTOR: Well, yes. Yes, I am.
CLARA: (smiles) Are you seriously going to sit down there all night?
DOCTOR: Yes. I promise. I won't budge from this spot. (sits back and crosses his legs)
CLARA: Well, then. I'll have to come to you. (closes window)
DOCTOR: (stands) Eh?
INT. OFFICE, DAY
ALEXEI, KIZLET and MAHLER are watching a live feed from across the street from the MAITLANDS'.
KIZLET: I take it the girl's inside. And alive?
MAHLER: Yes.
KIZLET: Alexei, I need you to do something creative about that. (uses tablet to raise ALEXEI'S IQ)
ALEXEI starts typing.
EXT. MAITLAND HOUSE, NIGHT
CLARA exits the house having changed her clothes. She has a chair hooked over her right arm and two cups of tea in her left.
DOCTOR: I like your house.
CLARA: It isn't mine, I'm a friend of the family. (sets chair down across from the DOCTOR'S)
DOCTOR: Do you look after the kids? Oh yes, you're a governess, aren't you, (taps his forehead with a wrench) just like...
CLARA: (hands the DOCTOR a cup of tea) Just like what? (sits backwards on chair)
DOCTOR: Just like... (sips tea) I thought you probably would be.
CLARA: Are you going to explain what happened to me?
DOCTOR: (picks up notebook and sits) There's something in the Wi-Fi. OK. This whole world is swimming in Wi-Fi. We're living in a Wi-Fi soup! Suppose something got inside it. Suppose there was something living in the Wi-Fi, harvesting human minds, extracting them. Imagine that. Human souls trapped like flies in the World Wide Web, stuck for ever, crying out for help.
CLARA: Isn't that basically Twitter?
The DOCTOR starts typing on the notebook but looks up at CLARA'S comment.
CLARA: What's that face for?
DOCTOR: A computer can hack another computer. A living, sentient computer... Maybe that could that hack people. Edit them. Rewrite them.
CLARA: Why would you say that?
DOCTOR: Because a few hours ago you knew nothing about the internet. (points at her) And you just made a joke about Twitter.
CLARA: Oh. Oh. That's weird. I know all about computers now in my head. Where did that come from?
DOCTOR: You were uploaded for a while. Wherever you were, you brought something extra back. Which I very much doubt you're going to be allowed to keep.
The DOCTOR slowly turns his head and sees a figure standing across the street under a lamp. He gets up and stands beside the TARDIS, still staring at the figure, a Spoonhead.
DOCTOR: You and me, inside that box, now.
CLARA: I'm sorry?
DOCTOR: Just get inside.
The DOCTOR hurries over to her and she stands to get out of his way as he moves the chair. He hurries to the TARDIS door.
CLARA: Both of us?
DOCTOR: Trust me, you'll understand once we're in there.
CLARA: I bet I will!
DOCTOR: Clara, please!
CLARA: What is that box, anyway? Why do you have a box?
DOCTOR: Clara!
CLARA: Is it like a snogging booth?
DOCTOR: A what?!
CLARA: Is that what you do, you bring a booth? There's such a thing as too keen. (sips tea)
The lights in different rooms in different houses come on. Too many to be coincidence.
DOCTOR: Clara, look around you!
CLARA looks around the street and sees for herself.
CLARA: What's going on? Is the Wi-Fi switching on the lights?
DOCTOR: No. The people are switching on the lights. The Wi-Fi is switching on the people.
The Spoonhead turns around.
CLARA: What is that thing?
DOCTOR: A walking base station, you saw one earlier.
CLARA: I saw a little girl.
DOCTOR: Must have taken an image from your subconscious, thrown it back at you. Active camouflage (smacks forehead) They could be everywhere!
They both look around, worried. CLARA spots something going on behind the house.
CLARA: Doctor! Doctor!
CLARA pulls the DOCTOR over and in the distance see the lights of LONDON going off.
CLARA: What's going on?
[SCENE_BREAK]
INT. OFFICE, DAY
KIZLET and MAHLER are still with ALEXEI.
MAHLER: Do we need another London-wide activation? We can't always pass it off as a riot.
EXT. MAITLAND HOUSE, NIGHT
The DOCTOR and CLARA are now looking at a dark London.
CLARA: All our lights on, everyone else's off. Why?
DOCTOR: Some planes have Wi-Fi.
CLARA: I'm sorry?
DOCTOR: We must be one hell of a target right now.
They hear the roaring of engines and look up to the sky where they see a plane heading straight for them.
DOCTOR: (grabs CLARA'S hand) You, me, box, now! (pulls her into the TARDIS)
INT. TARDIS
The DOCTOR hurries towards the console and CLARA is pulled along in his wake. She holds onto the rail with one hand to steady herself. The teacup remains in the other.
DOCTOR: Yes, it's a spaceship. Yes, it's bigger on the inside. No, I don't have time to talk about it.
CLARA: But... but... but... it's... (moves around in shock at her surroundings)
DOCTOR: (uses controls on a side panel) Shut up, please, short hops are difficult. (back to console)
CLARA: Bigger. On the inside. Actually bigger.
The DOCTOR throws a lever and the TARDIS sparks a little. The DOCTOR jumps back a bit. He hurries for the door.
DOCTOR: Right, come on!
CLARA: Are we going back out there?
DOCTOR: We've moved. It's a spaceship, we flew away.
CLARA: Away from the plane?
DOCTOR: Not exactly! (opens door)
INT. PLANE, NIGHT
The DOCTOR practically tumbles from the TARDIS into the body of the plane. CLARA follows, leaning against the galley wall.
CLARA: How did we get here?
DOCTOR: (heads for the cockpit battling turbulence) It's a ship, I told you, it's all very science-y!
CLARA: Is this the plane, the actual plane? (sees the passengers in their seats) Are they all dead?
DOCTOR: Asleep, switched off by the Wi-Fi, never mind them!
The DOCTOR uses the sonic on the cockpit door. A bout of turbulence causes the DOCTOR to tumble and nearly fall on an unconscious female flight attendant seated by the exit. He stands and tumbles into the cockpit followed by CLARA.
INT. PLANE, COCKPIT, NIGHT
The DOCTOR finds himself between the unconscious pilot and co-pilot. CLARA stands behind him in the cramped area.
EXT. PLANE, NIGHT
The plane continues its trajectory towards the MAITLANDS' street.
INT. PLANE, COCKPIT, NIGHT
The DOCTOR uses the sonic on the various panels.
CLARA: What is going on? Is this real? Please tell me what is happening!
DOCTOR: I'm the Doctor. I'm an alien from outer space. I'm 1,000 years old. I've got two hearts. And I can't fly a plane, can you?
CLARA: No!
DOCTOR: Oooh! Fine, let's do it together.
The DOCTOR pulls back on the throttle and CLARA holds onto him as if to help him. They both scream as they plane gets closer to the houses.
EXT. PLANE, NIGHT
The plane skims over the house, barely clearing them.
INT. PLANE, COCKPIT, NIGHT
The DOCTOR laughs in relief and excitement. CLARA still clings to him. She still holds the teacup in one hand.
DOCTOR: Do you think a victory roll would be too show-off-y?
The PILOT starts to come around.
PILOT: What the hell's going on?
DOCTOR: Well, I'm blocking your Wi-Fi, so you're waking up for a start. Tell you what, (pats pilot on the arm) do you want to drive? (stands and leaves)
Shocked, CLARA just stands there as the Co-Pilot also wakes up and the two men discuss getting back on course. The DOCTOR reaches in and grabs her collar, pulling her from the cockpit.
INT. OFFICE, DAY
KIZLET, MAHLER and ALEXEI are still watching the feed from the MAITLAND house.
KIZLET: I don't understand what's happened. That box, where's it gone? (yells to other workers) Find that box!
INT. TARDIS
The DOCTOR works the controls. CLARA finishes her tea and sets the cup down purposefully on the top of the console.
CLARA: OK. When are you going to explain what the hell is going on?
DOCTOR: Breakfast.
The DOCTOR throws a switch and the TARDIS lurches a bit. The DOCTOR heads for the door and CLARA runs around the other side to confront him.
CLARA: What? I ain't waiting till breakfast.
DOCTOR: It's a time machine. You never have to wait for breakfast.
The DOCTOR opens the door and sunlight streams through as he steps out.
DOCTOR: (from outside) Thank you.
After a pause, CLARA follows.
EXT. LONDON, SOUTH BANK, DAY
The DOCTOR steps out of the TARDIS where there is a group of people applauding his "performance". CLARA steps out behind him.
DOCTOR: Thank you. Yes, magic blue box. (pulls out fez from under his jacket) All donations gratefully accepted. (passes it around to collect) Roll up, roll up, give us your dosh. Pennies, pounds, anything you've got. (gives fez to CLARA) Keep collecting, we need enough for breakfast. Just popping back to the garage. (goes into the TARDIS)
CLARA: (turns around) Garage?
INT. TARDIS
The DOCTOR picks up the notebook from the console before hurrying to the entry for deeper into the TARDIS. He goes to the left before coming back to go right.
DOCTOR: This way.
EXT. LONDON, SOUTH BANK, DAY
CLARA shakes the fez as more people drop coins into it.
CLARA: So, this is tomorrow, then? Tomorrow's come early.
The DOCTOR comes out of the TARDIS on a motorcycle wearing a helmet.
DOCTOR: No, it came at the usual time. We just took a short cut.
People applaud and take photos.
DOCTOR: Thank you, thank you. Tomorrow, a camel!
CLARA climbs on behind the DOCTOR.
DOCTOR: (gives her a helmet) Clara!
The DOCTOR empties the money from the fez before placing the hat on the head of a young boy standing by the motorcycle. A girl poses for a photo with the TARDIS in the background.
INT. OFFICE, DAY
The photo of the girl shows up during ALEXEI'S search. MAHLER comes over.
MAHLER: What's happening?
ALEXEI: Blue box. South Bank! Definitely wasn't there five minutes ago. (continues typing)
KIZLET walks over.
MAHLER: Are we sure this time? Earl's Court was an embarrassment.
EXT. LONDON, SOUTH BANK, STREETS, DAY
The DOCTOR drives the motorcycle towards Westminster Bridge. CLARA has her arms wrapped around his waist.
EXT. LONDON, WESTMINSTER BRIDGE, DAY
The DOCTOR drives the motorcycle over the bridge.
CLARA: If you've got a flying time machine, why are we on a motorbike?
DOCTOR: I don't take the TARDIS into battle.
CLARA: Because it's made of wood?
DOCTOR: Because it's the most powerful ship in the universe and I don't want it falling into the wrong hands. (holds up hands before realizing he needs them both on the controls) OK?
EXT. LONDON, DAY
They drive by Horse Guards Parade and are captured in another tourist photo.
INT. OFFICE, DAY
The Horse Guards photo appears on ALEXEI'S search.
KIZLET: I do love London. So many cameras.
EXT. LONDON, DAY
They drive under Admiralty Arch.
EXT. CAFE, DAY
The DOCTOR and CLARA sit at a table at a rooftop café overlooking St Paul's Cathedral. The DOCTOR has the notebook open.
CLARA: So if we can travel anywhere in time and space, why did we travel to the morning? What's the point in that?
DOCTOR: Whoever's after us spent the whole night looking for us. Are you tired?
CLARA: Yes.
DOCTOR: Then imagine how they feel. They came the long way round. (types) They've got to be close, definitely London, going by the signal distribution. I can hack the lowest level of their operating system, but I can't establish a physical location, the security's too good.
CLARA: Are you an alien?
DOCTOR: (leans back) I am, yes. OK with that?
CLARA: Fine, yeah. I think I'm fine.
DOCTOR: Oh, good.
CLARA: So what happens if you do find them? What then?
DOCTOR: I don't know. I can't tell the future, I just work there.
CLARA: You don't have a plan?
DOCTOR: You know what I always say about plans?
CLARA: What?
DOCTOR: I don't have one.
CLARA: People always have plans. (slurps the remains of her drink through a straw)
DOCTOR: Yes. Yes, I suppose they do. (closes notebook) So tell me, how long have you been looking after those kids?
CLARA: About a year, since their mum died.
DOCTOR: OK. But why you? Family friend, I get that, but there must have been others. Why did it have to be you? I mean, you don't you don't really seem like a nanny.
CLARA pushes aside her empty glass and reaches for her notebook.
CLARA: Gimme!
DOCTOR: (puts his hand on the computer and pulls it back) Sorry, what?
CLARA: (leans forward) You need to know where they physically are. Their exact location.
DOCTOR: Yes.
CLARA: I can do it. (grabs notebook and holds it out of his reach)
DOCTOR: Oi! I need that!
CLARA: You've hacked the lower operating system. I'll have their physical location in under five minutes. Go and get a coffee.
DOCTOR: (grabs the notebook as she looks inside the café) If I can't find them, you can't.
CLARA: (pulls notebook towards her) They uploaded me, remember. I've got computing stuff in my head.
DOCTOR: (pulls notebook towards him) So do I.
The DOCTOR and CLARA play tug-of-war with the notebook as they argue.
CLARA: I have insane hacking skills.
DOCTOR: I'm from space, and the future, with two hearts and...27 brains.
CLARA: And I can find them in under five minutes, plus photographs. 27?
DOCTOR: OK, slight exaggeration.
CLARA: Coffee - go get. Five minutes, I promise. (grabs notebook from loose hands)
DOCTOR: (leans back and checks watch) The security is absolute.
CLARA: It's never about the security, it's about the people. (starts typing fast)
The DOCTOR sits there for a moment, legs crossed, before reluctantly getting up and heading inside. He stops by the door and looks back at CLARA.
CLARA: (looks up) Why do you keep looking at me like that?
DOCTOR: Sorry, no, it's nothing. It's just... you're a nanny. Isn't that a bit... Victorian?
CLARA: Victorian?
DOCTOR: You're young, shouldn't you be doing, you know, young things? (attempts the Twist and a John Travolta impression) With-with-with... young people?
CLARA: What, like you, for instance? Down, boy!
DOCTOR: (walks towards CLARA, hand out placating) No, no, I didn't... (lowers hand) Shut up!
The DOCTOR heads back inside, stops halfway with an affronted gasp before continuing on. CLARA smiles and keeps typing.
INT. CAFE, DAY
The DOCTOR walks up to the coffee bar that is loaded with pastries. He picks up a plate holding a chocolate cake and inhales the scent. He sets it down on the counter.
DOCTOR: Ooh! Two more cappuccinos over there, please.
BARISTA: One moment, sir.
The BARISTA, an older man, walks over to the machine to start the process. The DOCTOR, intent on the pastries, misses the electricity crackle and lights flicker.
BARISTA: You realise you haven't the slightest chance of saving your little friend?
DOCTOR: (pauses, a scone at his mouth) Sorry, what?
There is a flash of blue around the BARISTA as he continues.
BARISTA: I said one moment, sir. (stops and stares ahead, towel over his arm) I said, there is not the slightest chance you can save your little friend. And don't annoy the old man, he isn't, in fact, speaking. (resumes work)
The DOCTOR leans forward as the BARISTA speaks, studying him. A WAITRESS comes up behind the DOCTOR, holding a tray against her body. The DOCTOR turns to her as she starts to speak.
WAITRESS: I'm speaking. Just using whatever's to hand.
CONTINUED, INTERCUT WITH -
- CUT TO:
INT. KIZLET'S OFFICE, DAY
KIZLET walks in front of the window of her office, speaking through her tablet.
KIZLET: Oh, she's rather pretty, isn't she? Do you like her?
WAITRESS: I can make her like you too, if you want.
The electricity crackles and the WAITRESS leans away from the DOCTOR who is practically in her face.
WAITRESS: You all right, sir?
DOCTOR: Um, yes. Yes, fine. (hands the scone to the WAITRESS before running outside)
EXT. CAFE, DAY
The DOCTOR comes rushing out of the café and skids to a stop seeing CLARA typing away.
DOCTOR: You OK?
CLARA: Sure, setting up stuff, need a user name.
DOCTOR: Learning fast.
CLARA: Clara Oswald for the win! Oswin!
The Doctor remembers when he first heard the name.
[SCENE_BREAK]
FLASHBACK
INT. LIVING QUARTERS
OSWIN is sitting in her chair, keyboard on her lap. She watches the DOCTOR through the periscope.
OSWIN: Could always call me Oswin, seeing as that's my name.
[SCENE_BREAK]
EXT. CAFE, DAY
After a moment of hesitation, the DOCTOR goes back inside.
INT. CAFE, DAY
The WAITRESS comes up to the DOCTOR as soon as he enters. KIZLET speaks through her again. The WAITRESS walks around the DOCTOR.
WAITRESS: Now I want you to take a look around. Go on.
CONTINUED, INTERCUT WITH -
- CUT TO:
INT. KIZLET'S OFFICE, DAY
KIZLET: Have a little stroll. And see how impossible your situation is.
WAITRESS: Go on. Take a look, I do love showing off.
Electricity crackles and the WAITRESS continues working. The DOCTOR looks around, suspicious of everyone. The electricity crackles again and a young GIRL stands up from the table she shared with her family.
GIRL: Just let me show you what control of the Wi-Fi can do for one.
KIZLET: Stop!
GIRL: Stop!
Everyone in the café stops in their tracks. You can see blue digital "energy" passing over them.
DOCTOR: I saw what you can do last night.
GIRL: And clear!
The energy dissipates and everyone leaves the room. The DOCTOR shrugs. Energy crackles again and the NEWSREADER on TV speaks as KIZLET.
NEWSREADER: We can hack anyone in the Wi-Fi, once they've been exposed long enough.
DOCTOR: So there's one of your walking base stations somewhere close.
NEWSREADER: There's always...
KIZLET: ...someone close. We've released thousands into the world.
NEWSREADER: They home in on the Wi-Fi like rats sniffing cheese.
INT. OFFICE, DAY
While the workers are at their computers, the webcams flash individually. MAHLER is walking the floor, checking on everyone's progress. ALEXEI is the first to notice something wrong.
ALEXEI: There's something up with the webcams.
MAHLER walks over to ALEXEI'S station.
EXT. CAFE, DAY
The photos of the workers appear on CLARA'S screen and she laughs and keeps working.
INT. CAFE, DAY
The DOCTOR strides towards the TV.
DOCTOR: I don't know who you are or why you're doing this but the people of this world will not be harmed, they will not be controlled, they will not be...
NEWSREADER: The people of this world are in no...
CONTINUED, INTERCUT WITH -
- CUT TO:
INT. KIZLET'S OFFICE, DAY
KIZLET: ...danger whatsoever. My client requires a steady diet of living human minds. Healthy, free range human minds. He loves and cares for humanity. In fact, he can't get enough of it.
DOCTOR: It's obscene. It's murder.
NEWSREADER: It's life.
KIZLET: The farmer tends his flock like a loving parent.
NEWSREADER: The abattoir is not a contradiction.
KIZLET: No-one loves cattle more than Burger King.
EXT. CAFE, DAY
CLARA claps her hands, snaps her fingers and gets back to work sorting through the photos.
INT. OFFICE, DAY
ALEXEI shares his worry with MAHLER.
ALEXEI: I'm sure of it, someone's hacking the webcams. All of them.
MAHLER: Everybody check your webcams!
ALEXEI: But what would be the point, taking mug-shots of us lot?
EXT. CAFE, DAY
CLARA finds a face recognition site and uploads all the photos she took.
INT. OFFICE, DAY
MAHLER realizes what's happening.
MAHLER: Who's on Facebook?
Different workers raise their hands.
EXT. CAFE, DAY
CLARA'S search takes her to a number of different social networking sites to find the workers' names.
INT. OFFICE, DAY
MAHLER: Bebo? Myspace?
EXT. CAFE, DAY
CLARA'S search is complete.
INT. OFFICE, DAY
MAHLER: Habbo? Put your hands down if you didn't mention where you work.
All hands remain raised.
EXT. CAFE, DAY
All the sites tell CLARA that the people all work at the Shard. CLARA looks over her shoulder and there's the building in question.
INT. CAFE, DAY
The DOCTOR strides towards the TV.
DOCTOR: This ends. I am going to the end this today!
NEWSREADER: How? You don't even know...
CONTINUED, INTERCUT WITH -
- CUT TO:
INT. KIZLET'S OFFICE, DAY
KIZLET: ...where we are.
DOCTOR: Who's doing this? Who is your client? Hmm? Answer me!
MAHLER knocks on KIZLET'S door before sticking his head in.
MAHLER: Miss Kizlet, we have a problem!
EXT. CAFE, DAY
The DOCTOR comes out and walks towards CLARA.
CLARA: (sits back) I did it. I really did, I did it. I found them.
DOCTOR: (monotone) You found them.
CLARA: The Shard. They're in the Shard. Floor 65.
DOCTOR: (monotone) Floor 65.
CLARA: Are you listening to me, Doctor? I found them!
DOCTOR: (monotone) I am listening to you. You found them.
CLARA realizes this isn't the DOCTOR, remembering how the GIRL in the house repeated what she said. The DOCTOR'S head spins, revealing him to be a Spoonhead. A beam shoots out from the dish.
INT. OFFICE, DAY
On ALEXEI'S screen, CLARA'S upload completes. KIZLET looks over ALEXEI'S shoulder.
ALEXEI: We've got her! This time, we've really got her!
KIZLET straightens up with a self-satisfied smile and walks away.
EXT. CAFE, DAY
The DOCTOR hurries out to the patio.
DOCTOR: Clara! Clara!
The DOCTOR stops when he sees his own face staring at him and CLARA slumped unconscious on the table. The head turns around and the DOCTOR can see CLARA in the dish.
CLARA: Doctor? Doctor, help me. I don't know where I am. I don't understand. I don't know where I am! Please help me. I don't know where I am! I don't know where I am. Doctor, please, please, help me. I don't know where I am.
The DOCTOR steps forward, looks at CLARA at the table and then whips out his sonic screwdriver, using it on the Spoonhead.
INT. OFFICE, DAY
CLARA is on one of the monitors on the wall.
CLARA: Doctor, help me. Help! Help! Please!
KIZLET and MAHLER are standing in front of the monitor.
MAHLER: Should we pulp her? Or keep her as a hostage?
KIZLET: There's no point, she's fully integrated now, she can't be downloaded again. I'm sure he knows that. (walks away from the bank of monitors)
ALEXEI: I'm not sure he does. He's coming.
KIZLET and MAHLER look at ALEXEI'S screen.
EXT. LONDON, WATERLOO BRIDGE, DAY
The DOCTOR rides across the bridge on the motorcycle, a determined look on his face. He looks at the Shard before speeding towards his destination.
INT. OFFICE, DAY
They watch the DOCTOR'S progress as it is captured by the many cameras along his route.
MAHLER: We could stop him, I suppose.
KIZLET: Why bother? It might be quite funny.
EXT. LONDON, STREET, DAY
The DOCTOR pulls to a stop across the street from the Shard. A MAN standing there with fish and chips (?) comes to attention as KIZLET speaks through him.
MAN: Really, Doctor, a motorbike? It hardly seems like you.
DOCTOR: I rode this in the Anti-Grav Olympics, 2074. I came last.
MAN: The building is in lock-down. I'm afraid you're not coming in.
DOCTOR: Did you even hear the word anti-grav?
The DOCTOR slams a red button on the control panel, twists the throttle, and drives towards the Shard. The MAN watches and his head rises as he looks upwards.
INT. OFFICE, DAY
ALEXEI watches, stunned.
ALEXEI: Seriously? He can do that? He can really, actually do that?
EXT. LONDON, STREET, DAY
MAN: Oh...
INT. OFFICE, DAY
KIZLET: ...dear...
EXT. LONDON, STREET, DAY
MAN: ...Lord.
EXT. SHARD, DAY
The DOCTOR rides the motorcycle up the side of the building. As he gets close to the 65th floor, he takes out the sonic and uses it.
INT. OFFICE, DAY
KIZLET, MAHLER and ALEXEI look towards KIZLET'S office as they hear glass shatter.
MAHLER: I think that was your office.
KIZLET: Excuse me, (buttons and straightens her jacket) I believe it's someone to see me. (heads for her office)
INT. KIZLET'S OFFICE, DAY
KIZLET opens the door to the office to see the DOCTOR'S motorcycle lying on its side on the floor amongst shattered glass. The DOCTOR is sitting at her desk, legs crossed and feet resting on its surface. He is still wearing the helmet.
KIZLET: Do come in.
DOCTOR: Download her.
KIZLET: Sorry about the draft. (motions to smashed window)
DOCTOR: Download her back into her body, right now.
KIZLET: I can't.
DOCTOR: Yes, you can.
KIZLET: She's a fully integrated part of the data cloud now. She can't be separated.
DOCTOR: Then download the entire cloud. Everyone you've trapped in there.
KIZLET: You realise what would happen?
DOCTOR: Yes, those still with bodies to go home to would be free. (stands up with arms out wide)
KIZLET: A tiny number. Most would simply die.
The DOCTOR and KIZLET come face-to-face in front of the window.
DOCTOR: They'd be released from a living hell. (checks watch) It's the best you can do for them, (taps KIZLET'S nose) so give the order.
KIZLET: And why would I do that?
DOCTOR: Because I'm going to motivate you. Any second now.
KIZLET: You ridiculous man! Why did you even come here? Whatever for?
DOCTOR: I didn't.
KIZLET: What?
DOCTOR: I'm still in the cafe.
CONTINUED, INTERCUT WITH -
- CUT TO:
EXT. CAFE, DAY
The DOCTOR is sitting at the same table sipping a cup of coffee. He has the notebook open. CLARA is unconscious across from him.
DOCTOR: I'm finishing my coffee. Lovely spot.
KIZLET: What are you talking about?
DOCTOR: You hack people. Me? (unclips helmet)
DOCTOR: I'm old-fashioned.
DOCTOR: (removes helmet) I hack technology.
DOCTOR: Here's your motivation! (presses button on the notebook)
The head of the DOCTOR on KIZLET'S office spins around, revealing it to be a Spoonhead. KIZLET backs away towards her desk.
KIZLET: No. No. No! Not me! Not me!
A beam shoots out from the dish.
INT. OFFICE, DAY
KIZLET now appears on one of the monitors in the wall. ALEXEI and MAHLER are watching.
KIZLET: Put me back! Put me back! Download me at once! That is an order! That is an order!
ALEXEI: But she's fully integrated now. We'd have to download the entire cloud. We can't do that.
MAHLER: No. We can't.
KIZLET: Download me!
INT. KIZLET'S OFFICE, DAY
The DOCTOR Spoonhead picks up KIZLET'S tablet and uses it to increase MAHLER'S obedience.
INT. OFFICE, DAY
KIZLET: Download me!
MAHLER: Do what she says!
ALEXEI walks over to his computer and types in a command. The monitors on the wall go blank as the people are downloaded back into their bodies.
EXT. CAFE, DAY
The DOCTOR closes the notebook as CLARA takes a deep breath but doesn't wake. Standing, the DOCTOR gently lays a hand on her head, stroking her hair, before leaving.
CLARA: (wakes) Doctor? (stands and looks around) Doctor! Doctor!
INT. OFFICE, DAY
MAHLER is yelling at a group of armed soldiers.
MAHLER: You have no right to be in this office, and I am demanding that you leave at once!
SOLDIER: This building is under UNIT's control.
KIZLET watches from her office, the door opened just wide enough for her to see.
MAHLER: What is UNIT? I've never heard of you!
SOLDIER: I suggest you calm down, sir.
INT. KIZLET'S OFFICE, DAY
KIZLET turns on the monitor in the wall and we see a FACE appear on the screen amongst what looks to be digital connections. The face looks like SIMEON from the last time the DOCTOR met CLARA.
KIZLET: UNIT are here, friends of the Doctor, I presume.
FACE: Oh, old friends, very old friends.
KIZLET: Then I appear to have failed you, Great Intelligence.
INTELLIGENCE: I have feasted on many minds, I have grown. But now, it is time for you to reduce.
KIZLET: You've been whispering in my ear so long, I'm not sure I remember what I was before.
INTELLIGENCE: Goodbye, Miss Kizlet.
KIZLET backs away from the wall, looks at her tablet and swipes to the next screen. She presses "RETURN Factory Settings".
INT. OFFICE, DAY
A high-pitched whine is heard and all the workers grip their heads in agony and bend over in pain. Some even fall to their knees. ALEXEI straightens up.
ALEXEI: Sorry, where am I? What am I doing here? Are you soldiers? What's happening? How did I get here?
MAHLER: (accent a bit more working class) Excuse me, where are the toilets?
ALEXEI: The toilets?
MAHLER: I'm here to fix the toilets, the gents. (looks at himself) How long have I been here?
INT. KIZLET'S OFFICE, DAY
The soldiers enter the office.
SOLDIER: Stay where you are! Ma'am, identify yourself!
KIZLET is sitting cross-legged on the floor and turns around to face the soldiers.
KIZLET: (childlike voice) Where are my mummy and daddy? They said they wouldn't be long. Are they coming back?
INT. MAITLAND HOUSE, DAY
As the family goes about their day, CLARA takes a book off the kitchen table and as she passes a window, she sees the TARDIS outside.
INT. TARDIS
The DOCTOR is sitting on a set of stairs as there is a knock on the door.
DOCTOR: Come in.
CLARA: (enters) So. He comes back, does he?
The DOCTOR is reading a book. He has on the glasses that used to belong to AMY.
DOCTOR: You didn't answer my question.
CLARA: What question?
DOCTOR: You don't seem like a nanny.
CLARA: I was going to travel. I came to stay for a week before I left and during that week...
DOCTOR: (closes book) She died, so you're returning the favour. You've got 101 places to see, and you haven't been to any of them, have you? That's why you keep the book.
CLARA: I keep the book cos I'm still going. (skips over to the console)
DOCTOR: But you don't run out on the people you care about. (takes off glasses) Wish I was more like that. (puts glasses into inner jacket pocket) You know, the thing about a time machine, (swings down to the floor using the railings) you can run away all you like and still be home in time for tea, (slides over to console) so what do you say? Anywhere. All of time and space, right outside those doors.
CLARA: (laughs) Does this work? Eh? Is this actually what you do? Do you just crook your finger and people just jump in your snog box and fly away? (walks around the DOCTOR)
DOCTOR: It is not a snog box!
CLARA: I'll be the judge of that! (crosses arms)
DOCTOR: Starting when? (tries to act casual and leans against the console)
CLARA: Come back tomorrow, ask me again.
DOCTOR: Why?
CLARA: Cos tomorrow, I might say yes. Some time after 7.00 OK for you? (heads for the door)
DOCTOR: It's a time machine, any time's OK.
CLARA: See you then.
DOCTOR: Clara?
CLARA: (stops at door) Uh-huh?
DOCTOR: In your book there was a leaf, why?
CLARA: That wasn't a leaf, that was page one. (leaves)
DOCTOR: (turns and heads back up the stairs, stopping partway) Right then, Clara Oswald. Time to find out who you are. (runs back to the console and sets the TARDIS in motion)
Plan: A: The Doctor; Q: Who saves Clara from the Great Intelligence? A: Clara; Q: Who does the Doctor invite to be his companion? A: the present day; Q: Where does the Doctor find another version of Clara? A: Miss Kizlet; Q: Who is the person who uses Spoonheads to upload people's souls to a datacloud? A: "Spoonheads; Q: What are the walking Wi-Fi base stations called? A: The Shard; Q: Where does Miss Kizlet work? A: all the souls; Q: What does The Doctor trick Miss Kizlet and her employees into returning back to their bodies? A: The Great Intelligence; Q: Who erases all memory of working for him from the employees' minds? Summary: The Doctor manages to find another version of Clara in the present day, where Miss Kizlet uses walking Wi-Fi base stations nicknamed "Spoonheads" upload people's souls to a datacloud, allowing her client the Great Intelligence to grow stronger. The Doctor saves Clara from this fate by tricking Miss Kizlet and her employees at The Shard into returning all the souls back to their bodies. The Great Intelligence erases all memory of working for him from the employees' minds, effectively making them innocent of any wrongdoing. The Doctor invites Clara to be his companion, but she requests that he come back the next day; she wants time to think about it.