Torchwood Declassified (2006) s01e12 Episode Script
Blast from the Past
What we find out in this episode .
.
is that Captain Jack is not Captain Jack.
This is a beautiful romance.
Second World War, the eve of a group of men going to their death.
A captain needs to explain the risks, tell his men what to expect.
It's kind of dreamy and romantic, and really sad.
What are you trying to say? This is the story of two star-crossed lovers.
Smile softly Jack! Listen Don't worry.
You're with the captain.
Every time you think you're learning something more about Captain Jack, you realise you know a bit less.
I'm lost enough here without your holding back on me! Just when you think you know his name is Captain Jack Harkness, he meets the real Captain Jack.
I'm Captain Jack Harkness, You realise that it's not his name.
We end this episode, having gone on a huge journey with this character, not even knowing his real name.
We don't know his real name.
We may never find out.
I think we learn a little bit more about his loneliness.
Is Toshiko your woman? No.
There's no-one.
The cost of being out of time, I guess.
You get a sense of his restlessness.
and his need for love.
You see a slightly passive side to him in this.
Tosh certainly finds out a lot more about Jack.
Who were you? A con man.
It really is an eye-opener for her, I think, to see Jack vulnerable, to see Jack on a very human level, on an emotional level.
There's a very dark streak in Captain Jack of Torchwood.
And he only lets you in a little bit.
Very rarely does he give away much.
I know too much.
Then Share.
You wouldn't want that.
Trust me.
He's got a nobility.
He's got more strength as the leader of Torchwood.
He's a good man.
What we're seeing is a con man who became a very good man.
The look and feel for this episode was a 1940s romantic drama.
Action.
The design team and Ashley, who directed it, and all the actors Once you've got everybody wearing those 1940s dresses and the hair, the make-up and the uniforms, Everyone who walked into that set when they were doing 1940s stuff just took a step back and a gasp.
It looks beautiful.
The dance hall looked fantastic.
I think everyone did a fantastic job.
The art department, the costume and make-up departments, lighting, everyone.
They really did bring together the glamour of that time.
In the '40s, a lot of people imagine hard hair and that sort of thing, but we wanted it much sexier, much younger looking.
It was very important that the environment was very rich, very colourful, very plush and just very romantic, with the chandeliers and the velvets and the flags, and the sense that everybody was having a good time.
From what was a rather shabby nightclub before that, they transformed it really.
It was amazing.
And action.
We should get out.
The different dynamics between the two periods.
You have 1941, which was a very glamorous era, and we try to keep the camera flowing smoothly, evoking the classic cinema of that time.
They're not ghosts.
It's a simple temporal shift.
Ha ha ha ha, and it's beautiful! In 2006, with the battling between Ianto and Owen, that was much more energetic, so we had a differnt dynamic totally and I thought that was a very interesting thing, to try and capture the real difference between the two.
Let the dancing continue! So we're gonna go walk, walk and then side.
Side, together.
Make sure you change weight.
OK.
Cos you're supposed to be able to do this really well.
Yeah.
We're trying to teach them a very simple version of foxtrot, with a few little turns and twists in it to make it interesting.
The man's hand is up here, the lady's hand is up on his shoulder a little bit, so it was quite a close, compact hold.
That's it.
Not No.
Put your feet together, Gavin.
Sorry.
That's it.
OK.
Just need to develop it a little bit now, so that we have got a very nice air force pilot who looks the part and is contending with somebody who obviously can't dance very well.
It was a bit daunting at first, when we changed it.
We put in a lot more swirly, twirly bits.
We needed it to go faster.
You needed to be thrown around a bit.
The original thing that we rehearsed on Friday, it was slow, so we come in this morning, first thing, changing it around.
It was all a rush, which was exciting, but, also, I think that helped.
It's a big moment, it's a big scene, and I think there's always Certainly with time and scheduling, it's always very nice to get them things complete.
But it was quite good fun doing it.
I'm gonna dance more now.
I might have to leave before the night is over.
Well Then make the most of now.
I was the person who said The starting point was who was the one man Captain Jack is gonna fall in love with? That's himself! It's a Captain Jack Harkness.
Which I think is a great gag.
There's something extraordinary about Captain Jack of Torchwood.
There's something other-worldly, enigmatic, mysterious.
I think the real Captain Jack is taken by this.
Captain Jack Harkness is really the hero that this Captain Jack would love to emulate himself to be.
The kiss! Oh, my God, it's so beautiful.
I cried every time I was watching it.
It's ridiculous how much I cried.
I love the fact that it's the original Jack who instigates it.
It's very brave, and it's nice to see our Jack being passive really.
It's lovely to see him, almost boyishly, being led to dance.
But then, when they dance, I have the feeling that he's nurturing and holding the other Captain Jack, so they've constantly got this shift of, not power, but looking after each other.
That was one of the most amazing and beautiful and magical scenes I have ever seen.
Choreographing the kiss, you obviously have to practise, but during rehearsals, I kept saying to Matt, "Let's not do it, let's just wait.
Let's wait.
" You want that spontaneity.
We approached it with a confidence that whatever happened would be what happened.
We didn't think about it, rehearse it, talk about it.
We didn't ask about where we were going to "Do you come in this way or come in that way?" We just thought we'd let it happen.
Matt, er, completely rose to the occasion.
and did a superb job.
It was great, because I watched him and I tried to see what things I would bring into Jack from him.
It's not just a kiss, a sexual thing.
It's so not about that.
It's about two people kind of connecting.
It's beautiful, it's heartbreaking, and it's lovely.
And actually, it should really have people weeping by the end.
Red Bee Media Ltd
.
is that Captain Jack is not Captain Jack.
This is a beautiful romance.
Second World War, the eve of a group of men going to their death.
A captain needs to explain the risks, tell his men what to expect.
It's kind of dreamy and romantic, and really sad.
What are you trying to say? This is the story of two star-crossed lovers.
Smile softly Jack! Listen Don't worry.
You're with the captain.
Every time you think you're learning something more about Captain Jack, you realise you know a bit less.
I'm lost enough here without your holding back on me! Just when you think you know his name is Captain Jack Harkness, he meets the real Captain Jack.
I'm Captain Jack Harkness, You realise that it's not his name.
We end this episode, having gone on a huge journey with this character, not even knowing his real name.
We don't know his real name.
We may never find out.
I think we learn a little bit more about his loneliness.
Is Toshiko your woman? No.
There's no-one.
The cost of being out of time, I guess.
You get a sense of his restlessness.
and his need for love.
You see a slightly passive side to him in this.
Tosh certainly finds out a lot more about Jack.
Who were you? A con man.
It really is an eye-opener for her, I think, to see Jack vulnerable, to see Jack on a very human level, on an emotional level.
There's a very dark streak in Captain Jack of Torchwood.
And he only lets you in a little bit.
Very rarely does he give away much.
I know too much.
Then Share.
You wouldn't want that.
Trust me.
He's got a nobility.
He's got more strength as the leader of Torchwood.
He's a good man.
What we're seeing is a con man who became a very good man.
The look and feel for this episode was a 1940s romantic drama.
Action.
The design team and Ashley, who directed it, and all the actors Once you've got everybody wearing those 1940s dresses and the hair, the make-up and the uniforms, Everyone who walked into that set when they were doing 1940s stuff just took a step back and a gasp.
It looks beautiful.
The dance hall looked fantastic.
I think everyone did a fantastic job.
The art department, the costume and make-up departments, lighting, everyone.
They really did bring together the glamour of that time.
In the '40s, a lot of people imagine hard hair and that sort of thing, but we wanted it much sexier, much younger looking.
It was very important that the environment was very rich, very colourful, very plush and just very romantic, with the chandeliers and the velvets and the flags, and the sense that everybody was having a good time.
From what was a rather shabby nightclub before that, they transformed it really.
It was amazing.
And action.
We should get out.
The different dynamics between the two periods.
You have 1941, which was a very glamorous era, and we try to keep the camera flowing smoothly, evoking the classic cinema of that time.
They're not ghosts.
It's a simple temporal shift.
Ha ha ha ha, and it's beautiful! In 2006, with the battling between Ianto and Owen, that was much more energetic, so we had a differnt dynamic totally and I thought that was a very interesting thing, to try and capture the real difference between the two.
Let the dancing continue! So we're gonna go walk, walk and then side.
Side, together.
Make sure you change weight.
OK.
Cos you're supposed to be able to do this really well.
Yeah.
We're trying to teach them a very simple version of foxtrot, with a few little turns and twists in it to make it interesting.
The man's hand is up here, the lady's hand is up on his shoulder a little bit, so it was quite a close, compact hold.
That's it.
Not No.
Put your feet together, Gavin.
Sorry.
That's it.
OK.
Just need to develop it a little bit now, so that we have got a very nice air force pilot who looks the part and is contending with somebody who obviously can't dance very well.
It was a bit daunting at first, when we changed it.
We put in a lot more swirly, twirly bits.
We needed it to go faster.
You needed to be thrown around a bit.
The original thing that we rehearsed on Friday, it was slow, so we come in this morning, first thing, changing it around.
It was all a rush, which was exciting, but, also, I think that helped.
It's a big moment, it's a big scene, and I think there's always Certainly with time and scheduling, it's always very nice to get them things complete.
But it was quite good fun doing it.
I'm gonna dance more now.
I might have to leave before the night is over.
Well Then make the most of now.
I was the person who said The starting point was who was the one man Captain Jack is gonna fall in love with? That's himself! It's a Captain Jack Harkness.
Which I think is a great gag.
There's something extraordinary about Captain Jack of Torchwood.
There's something other-worldly, enigmatic, mysterious.
I think the real Captain Jack is taken by this.
Captain Jack Harkness is really the hero that this Captain Jack would love to emulate himself to be.
The kiss! Oh, my God, it's so beautiful.
I cried every time I was watching it.
It's ridiculous how much I cried.
I love the fact that it's the original Jack who instigates it.
It's very brave, and it's nice to see our Jack being passive really.
It's lovely to see him, almost boyishly, being led to dance.
But then, when they dance, I have the feeling that he's nurturing and holding the other Captain Jack, so they've constantly got this shift of, not power, but looking after each other.
That was one of the most amazing and beautiful and magical scenes I have ever seen.
Choreographing the kiss, you obviously have to practise, but during rehearsals, I kept saying to Matt, "Let's not do it, let's just wait.
Let's wait.
" You want that spontaneity.
We approached it with a confidence that whatever happened would be what happened.
We didn't think about it, rehearse it, talk about it.
We didn't ask about where we were going to "Do you come in this way or come in that way?" We just thought we'd let it happen.
Matt, er, completely rose to the occasion.
and did a superb job.
It was great, because I watched him and I tried to see what things I would bring into Jack from him.
It's not just a kiss, a sexual thing.
It's so not about that.
It's about two people kind of connecting.
It's beautiful, it's heartbreaking, and it's lovely.
And actually, it should really have people weeping by the end.
Red Bee Media Ltd