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'It's the series finale, and on set, | 0:00:24 | 0:00:27 | |
'the cast are getting patched up and ready for action.' | 0:00:27 | 0:00:30 | |
This is a really exciting moment, the emotional and practical climax | 0:00:33 | 0:00:37 | |
of all 13 episodes. | 0:00:37 | 0:00:38 | |
Attention, all personnel. | 0:00:40 | 0:00:41 | |
-OVER LOUDSPEAKERS -"Attention, all personnel." | 0:00:41 | 0:00:44 | |
We're in, right now, a pyramid | 0:00:44 | 0:00:48 | |
which is the result of an alliance between ancient Egypt | 0:00:48 | 0:00:51 | |
and modern America. | 0:00:51 | 0:00:52 | |
Hi, honey. I'm home. | 0:00:52 | 0:00:54 | |
And what sort of time do you call this? | 0:00:54 | 0:00:57 | |
The death of time. | 0:00:57 | 0:01:00 | |
History has collapsed. All of history is happening at once. | 0:01:00 | 0:01:03 | |
Amy and Rory are basically deciding to get married | 0:01:03 | 0:01:06 | |
in a different time zone. River's being difficult as always, | 0:01:06 | 0:01:09 | |
and Madame Kovarian's about to meet her brutal death. | 0:01:09 | 0:01:13 | |
'And all of that using just one eye.' | 0:01:13 | 0:01:17 | |
It's really disconcerting. | 0:01:17 | 0:01:20 | |
You feel slightly dizzy, actually, | 0:01:20 | 0:01:22 | |
when you're just working with that one eye. | 0:01:22 | 0:01:25 | |
It's very, very odd. | 0:01:25 | 0:01:27 | |
It's kind of weird. It weirded us all out, | 0:01:27 | 0:01:29 | |
especially when I'm trying to flirt with Alex Kingston. | 0:01:29 | 0:01:32 | |
It's easy to flirt with two eyes. | 0:01:32 | 0:01:35 | |
Matt managed to flirt perfectly well with the eye patch, | 0:01:35 | 0:01:39 | |
so that's all right. And he can carry on as long as he likes. | 0:01:39 | 0:01:44 | |
'Flirty or not, | 0:01:44 | 0:01:46 | |
'what they are is essential gear for Silent spotting.' | 0:01:46 | 0:01:50 | |
Eye-drives, very important things. Don't forget your eye-drive. | 0:01:50 | 0:01:54 | |
If you do, you'll forget a Silent, and that's not good. | 0:01:54 | 0:01:57 | |
It's no use, with a memory-proof creature, to say, "Could you fetch me a coffee?" | 0:01:57 | 0:02:01 | |
and they wander off and don't come back. | 0:02:01 | 0:02:03 | |
..former envoy of the Silence. | 0:02:03 | 0:02:05 | |
So just in order for the Silence to get some decent admin done | 0:02:05 | 0:02:10 | |
back in the office, they require eye-drives. | 0:02:10 | 0:02:13 | |
119, take one. | 0:02:13 | 0:02:15 | |
But they can be controlled and used as a weapon, | 0:02:15 | 0:02:19 | |
which none of us know. | 0:02:19 | 0:02:20 | |
And you're wearing eye-drives based on mine, I think. | 0:02:20 | 0:02:24 | |
-Whoops! -What do you mean? | 0:02:24 | 0:02:26 | |
Tell me! What? SHE SCREAMS IN AGONY | 0:02:26 | 0:02:29 | |
Cut. That was excellent. Well done. | 0:02:29 | 0:02:32 | |
And...cut. | 0:02:32 | 0:02:34 | |
So, er, how do you feel about being in an Egyptian pyramid | 0:02:35 | 0:02:40 | |
-on the set of... -It's amazing. I love the Egyptians, | 0:02:40 | 0:02:43 | |
-and I love hieroglyphics. -I love their use of sand. | 0:02:43 | 0:02:47 | |
-Yeah. OK. -I find that really cool. -And Tut and Khamun. | 0:02:47 | 0:02:51 | |
Er, yeah. And, um... You know, it's... | 0:02:51 | 0:02:53 | |
Yeah, OK. That's all we've got time for today. | 0:02:53 | 0:02:56 | |
-You are great at interviewing. -You are really good. | 0:02:56 | 0:02:59 | |
-The questions were hot. -I am impressed. | 0:02:59 | 0:03:01 | |
Emma! | 0:03:01 | 0:03:03 | |
-Hey, Emma. -Howdy. | 0:03:03 | 0:03:05 | |
How's your... This is day two on Who. | 0:03:05 | 0:03:09 | |
Day two on Who. It is! | 0:03:09 | 0:03:11 | |
-How's that going for you? -Pretty well, | 0:03:11 | 0:03:13 | |
-except I die in about two seconds. -Oh, and that's you done? | 0:03:13 | 0:03:17 | |
-That's me done. -Oh, no. -Kaput. -Oh, God. | 0:03:17 | 0:03:20 | |
-SHE SCREAMS -She's dead. | 0:03:22 | 0:03:24 | |
Cut. Good. | 0:03:24 | 0:03:26 | |
Three, two, one... | 0:03:28 | 0:03:30 | |
Argh! Argh! | 0:03:33 | 0:03:35 | |
'Pretty scary, huh? But outside in the car park, | 0:03:36 | 0:03:38 | |
'there's something even more frightening. | 0:03:38 | 0:03:41 | |
'It's Karen Gillan with a machine gun.' | 0:03:41 | 0:03:44 | |
Sorry if I'm talking really loudly. I've got earplugs in. | 0:03:49 | 0:03:52 | |
I came in this morning thinking I'd be doing small, fake guns. | 0:03:53 | 0:03:58 | |
They were, like, "No, you're going to learn how to fire a full-on machine gun." | 0:03:59 | 0:04:03 | |
I was, like, "Oh, my God!" | 0:04:03 | 0:04:04 | |
They're real guns, converted to fire blank for film and TV. | 0:04:04 | 0:04:09 | |
Right. Are you watching? | 0:04:09 | 0:04:12 | |
-I see. -All right? | 0:04:17 | 0:04:19 | |
-So firm grip on there, OK? -OK. | 0:04:19 | 0:04:22 | |
You're going to be spraying these guys, so it's like a... | 0:04:22 | 0:04:25 | |
dagga-dagga-dagga. And fire! | 0:04:25 | 0:04:27 | |
SHE SCREAMS All right. That's it. | 0:04:31 | 0:04:34 | |
SHE LAUGHS | 0:04:34 | 0:04:36 | |
SHE WHISPERS | 0:04:36 | 0:04:38 | |
-It's, like... -SHE GROWLS | 0:04:38 | 0:04:40 | |
That's it. You're going really aggressive. | 0:04:40 | 0:04:42 | |
SHE ROARS | 0:04:42 | 0:04:43 | |
-OK. You're fine. -Yay! | 0:04:48 | 0:04:50 | |
Whoo! That felt cool! | 0:04:50 | 0:04:53 | |
Really cool! | 0:04:53 | 0:04:55 | |
132, take 1, A marker. | 0:04:58 | 0:05:00 | |
Amy finally remembers to come back for the love of her life, | 0:05:00 | 0:05:04 | |
and says she loves him the only way Amy could - with a machine gun. | 0:05:04 | 0:05:08 | |
You know, nothing says "I love you" more than a machine gun. | 0:05:08 | 0:05:11 | |
SWELLING ROMANTIC STRING MUSIC | 0:05:11 | 0:05:14 | |
-Wah! -SHE LAUGHS | 0:05:23 | 0:05:25 | |
How was that, Karen? How does that feel? | 0:05:25 | 0:05:27 | |
Yeah. I'm a bit shaky, but, um... | 0:05:27 | 0:05:30 | |
Cos I'm firing at people. Do you know what I mean? | 0:05:30 | 0:05:33 | |
-That would freak me out. -I just don't want the guilt! | 0:05:33 | 0:05:36 | |
Ear pieces out. No firing on this. | 0:05:36 | 0:05:38 | |
The Doctor's getting married, would you believe? | 0:05:40 | 0:05:43 | |
SONG: "I Do, I Do, I Do" by ABBA | 0:05:43 | 0:05:47 | |
-Then, you may kiss the bride. -I'll make it a good one. | 0:05:47 | 0:05:51 | |
You better. | 0:05:51 | 0:05:52 | |
# Love me or leave me | 0:05:54 | 0:05:57 | |
# Make your choice, but believe me | 0:05:57 | 0:06:02 | |
# I love you | 0:06:02 | 0:06:04 | |
# I do, I do, I do, I do, I do # | 0:06:04 | 0:06:08 | |
-Cut. -THEY LAUGH | 0:06:08 | 0:06:10 | |
Ooh, I could just kiss you all night! | 0:06:10 | 0:06:13 | |
And I you, Miss Kingston. | 0:06:13 | 0:06:16 | |
Oh, the wedding and the kiss! | 0:06:19 | 0:06:21 | |
Well, I wouldn't say it was necessarily much of a wedding. | 0:06:21 | 0:06:25 | |
I think, um, when it comes to getting married, | 0:06:25 | 0:06:29 | |
River may have preferred something a little more splendid | 0:06:29 | 0:06:33 | |
then just standing on top of a pyramid. | 0:06:33 | 0:06:35 | |
'It was a pretty good kiss, though.' | 0:06:39 | 0:06:41 | |
I mean, if that's how robots kiss, that's how Teselectas kiss, | 0:06:41 | 0:06:45 | |
-I'm all for it. -SHE LAUGHS | 0:06:45 | 0:06:47 | |
-Cut. -THEY LAUGH | 0:06:47 | 0:06:49 | |
Was it even really a wedding and was it even really a marriage? | 0:06:51 | 0:06:55 | |
Um, that's the big question. | 0:06:55 | 0:06:57 | |
River, I'm about to whisper something in your ear, | 0:06:58 | 0:07:01 | |
and you have to remember it very, very well. | 0:07:01 | 0:07:03 | |
What the Doctor whispers in my ear at that moment | 0:07:03 | 0:07:05 | |
is the fact that I should look into his eyes very deeply, | 0:07:05 | 0:07:09 | |
and of course, when I do, I see the teeny, teeny, tiny real Doctor. | 0:07:09 | 0:07:15 | |
Because actually he's a Teselecta. He's not the Doctor at all. | 0:07:18 | 0:07:22 | |
-Ssh! -He's actually a robot at the time, | 0:07:22 | 0:07:26 | |
albeit one operated by a version of himself. | 0:07:26 | 0:07:28 | |
and he doesn't give his name, so does that count? | 0:07:28 | 0:07:31 | |
And yet clearly River, at that stage in her life, does know his name, | 0:07:31 | 0:07:36 | |
so who knows? | 0:07:36 | 0:07:38 | |
So...yes. Is there more to come? | 0:07:38 | 0:07:41 | |
Subtitles by Red Bee Media Ltd | 0:07:52 | 0:07:55 | |
E-mail [email protected] | 0:07:55 | 0:07:58 | |
. | 0:39:43 | 0:39:43 |