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A beautiful summer's day in Cardiff. | 0:00:24 | 0:00:28 | |
The sun has got his hat on, the birds are singing | 0:00:28 | 0:00:31 | |
and in the middle of a meadow... there's a Mini?! | 0:00:31 | 0:00:34 | |
We're in a cornfield, trying to work out what corn is. | 0:00:36 | 0:00:40 | |
Karen said, "Is it for the cattle?" I said, "Is it for burgers?" | 0:00:40 | 0:00:45 | |
-Arthur said it's sweet corn. -It's corn. | 0:00:45 | 0:00:48 | |
No, but what does corn make? | 0:00:48 | 0:00:51 | |
What other properties does it then go on to...? | 0:00:51 | 0:00:54 | |
They can't have all that for just sweet corn. | 0:00:54 | 0:00:57 | |
All this corn, peace and tranquillity | 0:00:57 | 0:01:01 | |
is about to be disrupted - Doctor Who-stylee. | 0:01:01 | 0:01:05 | |
# It's going to get, going to get It's going to get louder | 0:01:05 | 0:01:08 | |
# We're going to get We're going to get | 0:01:08 | 0:01:10 | |
# We're going to get stronger | 0:01:10 | 0:01:12 | |
# We're going to feel going to feel, going to feel better | 0:01:12 | 0:01:15 | |
# You can't tame this energy inside. # | 0:01:15 | 0:01:19 | |
Whoo-hoo! | 0:01:19 | 0:01:20 | |
We wanted a big, exciting moment | 0:01:23 | 0:01:25 | |
when all three characters come back together | 0:01:25 | 0:01:28 | |
and I wanted to kick off the story of Mels | 0:01:28 | 0:01:30 | |
without giving away who she really is. | 0:01:30 | 0:01:33 | |
So, to make her grand entrance, Mels picks some sort of fancy car. | 0:01:33 | 0:01:38 | |
What was it again, Prince? | 0:01:38 | 0:01:41 | |
# Little red Corvette | 0:01:41 | 0:01:43 | |
# Baby, you're much too fast Yes, you are | 0:01:45 | 0:01:48 | |
# Little red Corvette. # | 0:01:48 | 0:01:51 | |
Action! | 0:01:51 | 0:01:53 | |
-You said he was funny. You never said he was hot. -Cut! | 0:02:05 | 0:02:08 | |
Me and Matt are going on a road trip. | 0:02:08 | 0:02:11 | |
-We're getting rid of Karen first. -Rehearsal, please. | 0:02:11 | 0:02:15 | |
She brings down our level of cool. | 0:02:15 | 0:02:16 | |
If I had an Aston Martin with an ejector seat, I'd eject you! | 0:02:16 | 0:02:21 | |
Right! Let's roll! A wee rehearsal, ladies and gents. | 0:02:21 | 0:02:25 | |
Yeah. | 0:02:25 | 0:02:26 | |
Here we go. And action! | 0:02:26 | 0:02:28 | |
That's me, out of time. | 0:02:29 | 0:02:30 | |
-Mels! -For God's sake! -I need to get out of here, now. | 0:02:30 | 0:02:35 | |
-Anywhere in particular? -Let's see. You've got a time machine, I've got a gun. | 0:02:35 | 0:02:40 | |
What the hell, let's kill Hitler. | 0:02:40 | 0:02:42 | |
Cut there, thank you. | 0:02:42 | 0:02:43 | |
'As luck would have it, that's exactly where they went next.' | 0:02:43 | 0:02:48 | |
With the TARDIS having made such an impression... | 0:02:55 | 0:02:57 | |
Look at this, Confidential. Hey, guys. | 0:02:57 | 0:03:00 | |
That looks great. What a set. | 0:03:00 | 0:03:02 | |
..the crew quickly find the clues to which party they've crashed. | 0:03:02 | 0:03:05 | |
We are meant to come out of the TARDIS | 0:03:07 | 0:03:09 | |
and not realise we're in Nazi Germany. | 0:03:09 | 0:03:12 | |
I don't know if you've noticed, | 0:03:12 | 0:03:14 | |
but there's big signs with swastikas. | 0:03:14 | 0:03:16 | |
Sorry, is this your office? Had a sort of collision with my vehicle, | 0:03:16 | 0:03:20 | |
faults on both sides. Let's say no more about... | 0:03:20 | 0:03:23 | |
..it. | 0:03:23 | 0:03:25 | |
Maybe we're all just a bit hazy from the smoke from the TARDIS. | 0:03:25 | 0:03:29 | |
Taking it a bit too far, Kaz. | 0:03:29 | 0:03:31 | |
I'm about to punch Hitler in the face, | 0:03:34 | 0:03:37 | |
which is not something that happens every day. | 0:03:37 | 0:03:41 | |
And action! | 0:03:41 | 0:03:43 | |
I didn't think I'd get to punch Hitler in the face when I got this job. | 0:03:58 | 0:04:02 | |
When I read it in the script, I did go, "That's probably the coolest line I've ever been given." | 0:04:02 | 0:04:07 | |
-He was going to kill me. -Shut up, Hitler! | 0:04:07 | 0:04:09 | |
126, Take 2, "A" camera. | 0:04:12 | 0:04:16 | |
I, Mels, die and regenerate into River Song, which is quite mad. | 0:04:16 | 0:04:22 | |
When I was little, I was going to marry you. | 0:04:22 | 0:04:25 | |
Good idea, let's get married. You stay alive and I'll marry you, deal? | 0:04:25 | 0:04:30 | |
-Cross your heart and hope to die? -Yes, of course. Twice. | 0:04:30 | 0:04:34 | |
She regenerates into River and we suddenly work out what's going on, | 0:04:34 | 0:04:38 | |
it's a huge revelation for us and for everyone at home. | 0:04:38 | 0:04:42 | |
-OK, explain what is happening, please. -Mels. Short for... | 0:04:42 | 0:04:47 | |
-Melody. -Yeah. I named my daughter after her. | 0:04:47 | 0:04:50 | |
You named your daughter... | 0:04:50 | 0:04:52 | |
after your daughter. | 0:04:52 | 0:04:55 | |
Mels, who has been Amy's childhood friend, | 0:04:55 | 0:04:59 | |
is in fact Melody Pond, | 0:04:59 | 0:05:01 | |
and Melody Pond, then, | 0:05:01 | 0:05:04 | |
regenerates into River Song. | 0:05:04 | 0:05:06 | |
You're Melody? | 0:05:06 | 0:05:08 | |
But if she's Melody, she's also... | 0:05:08 | 0:05:10 | |
Oh, shut up, Dad. I'm focusing on a dress size. | 0:05:10 | 0:05:13 | |
SHE SCREAMS | 0:05:13 | 0:05:17 | |
SHE GASPS | 0:05:27 | 0:05:29 | |
Right. Let's see, then. | 0:05:32 | 0:05:36 | |
0h, it's all going on down there, isn't it? | 0:05:36 | 0:05:39 | |
'She's almost like a snake who's shed a skin, or, I guess,' | 0:05:40 | 0:05:45 | |
like one of the Time Lords, | 0:05:45 | 0:05:47 | |
who sheds a skin and becomes somebody else. | 0:05:47 | 0:05:50 | |
She's suddenly learning to live in this new body, new look, | 0:05:50 | 0:05:56 | |
new personality, even. | 0:05:56 | 0:05:59 | |
Look at that! Everything changes! | 0:05:59 | 0:06:03 | |
Oh, but I love it. | 0:06:03 | 0:06:05 | |
I'm all sort of...mature. | 0:06:07 | 0:06:10 | |
It's her, all right. | 0:06:12 | 0:06:14 | |
Melody Pond. | 0:06:15 | 0:06:18 | |
The woman who kills the Doctor. | 0:06:18 | 0:06:20 | |
She's been programmed and brainwashed to be the woman who kills the Doctor. | 0:06:20 | 0:06:24 | |
So the first thing she wants to do when she sees him is kill him. | 0:06:24 | 0:06:28 | |
That's what she was brought up and reared to be. | 0:06:28 | 0:06:30 | |
I was trained and conditioned for one purpose. | 0:06:30 | 0:06:34 | |
-I was born to kill the Doctor. -Demon's Run. Remember? | 0:06:34 | 0:06:37 | |
This is what they were building. | 0:06:37 | 0:06:40 | |
My bespoke psychopath. | 0:06:40 | 0:06:42 | |
-I'm all yours, sweetie. -Only River Song gets to call me that. | 0:06:42 | 0:06:45 | |
-And who's River Song? -An old friend of mine. -Stupid name. | 0:06:45 | 0:06:48 | |
In this episode, she kisses him | 0:06:48 | 0:06:51 | |
because she's poisoning him. | 0:06:51 | 0:06:53 | |
I'm all yours, sweetie. | 0:06:53 | 0:06:55 | |
Kiss kiss. | 0:06:56 | 0:06:59 | |
'This is the start of her story.' | 0:06:59 | 0:07:01 | |
Where she gets the blue book from, we realise it's the Doctor. | 0:07:01 | 0:07:05 | |
Why she becomes an archaeologist, | 0:07:05 | 0:07:07 | |
cos it's the only decent way she can think of to find the Doctor. | 0:07:07 | 0:07:10 | |
So it's the beginning, the start, it's the beginning of the River. | 0:07:10 | 0:07:14 | |
We've got a lot to do this afternoon. | 0:07:42 | 0:07:43 | |
We've got to get it finished because they need this location, | 0:07:43 | 0:07:47 | |
and if we don't, we're in trouble because we can't come back here. | 0:07:47 | 0:07:50 | |
It will cost lots of money. So wish us luck, Confidential. | 0:07:50 | 0:07:53 | |
Marker. | 0:07:53 | 0:07:55 | |
We're nearing the end of the sequence at the Temple of Peace. | 0:07:55 | 0:07:58 | |
It's looking great. We got some really good stuff. | 0:07:58 | 0:08:00 | |
We're just gearing up to shoot the sequence | 0:08:00 | 0:08:03 | |
where River gives her regeneration energy | 0:08:03 | 0:08:05 | |
to the Doctor to save his life. | 0:08:05 | 0:08:06 | |
It's quite an emotional sequence, | 0:08:06 | 0:08:08 | |
so the cast are getting really stuck into it. We had a great rehearsal. | 0:08:08 | 0:08:11 | |
I need to talk to your daughter. | 0:08:11 | 0:08:14 | |
'What she's giving up are all her future regenerations. | 0:08:17 | 0:08:20 | |
'Because she knows, in the end,' | 0:08:20 | 0:08:23 | |
if you are told that yourself, | 0:08:23 | 0:08:27 | |
"That man you just killed will become the love of your life," | 0:08:27 | 0:08:30 | |
you think, "Can I spend the rest of my life knowing this man, | 0:08:30 | 0:08:33 | |
"who I'll fall in love every time I see him, is the man I have killed?" | 0:08:33 | 0:08:37 | |
Find River Song... | 0:08:37 | 0:08:40 | |
and tell her something from me. | 0:08:40 | 0:08:43 | |
Tell her what? | 0:08:43 | 0:08:45 | |
This man is dying in front of her and she knows somehow | 0:08:48 | 0:08:54 | |
that he is more important to her than she really understands. | 0:08:54 | 0:08:58 | |
She then is shown a Teselecta of herself. | 0:09:04 | 0:09:10 | |
Show me River Song. | 0:09:10 | 0:09:13 | |
And she realises, from seeing this image of herself, | 0:09:17 | 0:09:23 | |
who she really is and what the Doctor really means to her. | 0:09:23 | 0:09:28 | |
River takes matters into her own hands and says, "I'll bring him back." | 0:09:37 | 0:09:40 | |
It is predestined. | 0:09:40 | 0:09:42 | |
She thinks, "That's my man and I believe it. | 0:09:42 | 0:09:44 | |
"I believe it's true." | 0:09:44 | 0:09:45 | |
What are you doing? | 0:09:45 | 0:09:47 | |
Just tell me. The Doctor, | 0:09:49 | 0:09:53 | |
is he worth it? | 0:09:53 | 0:09:55 | |
Yes. Yes. | 0:09:56 | 0:09:59 | |
He is. | 0:09:59 | 0:10:02 | |
And she then makes somewhat of a sacrifice | 0:10:02 | 0:10:06 | |
in order to keep him alive. | 0:10:06 | 0:10:08 | |
MUSIC: "End Credits" by Chase & Status | 0:10:09 | 0:10:13 | |
For a moment, the Doctor is there with a lady Time Lord who loves him. | 0:10:34 | 0:10:39 | |
For a brief moment, then it all goes wrong, but that's relationships for you. | 0:10:39 | 0:10:43 | |
Subtitles by Red Bee Media Ltd | 0:11:03 | 0:11:06 | |
E-mail [email protected] | 0:11:06 | 0:11:09 |