8. Ghosts

Doctor Who Redacted

Episode Eight

Written by

Doris V. Sutherland

RECAP FROM LAST WEEK

Redaction effect builds. Requiem’s voice is glitchy, hard to understand.

REQUIEM

Shawna, Cleo you’re in danger. You have

to listen to me.

CLEO

Why? We don’t even know who you are.

Redacted Distortion begins.

REQUIEM

It’s coming. It’s coming for you.

It’s coming for all of us.

SHAWNA

What is?

CLEO

Are you the Doctor?

REQUIEM

The Doctor can’t help you now.

(Beat)

I’m coming for you.

Redacted Distortion builds.

CLEO & SHAWNA

(Scream)

SFX: Explosion sound and the laptop clatters to the ground, hot chocolate spills, mugs break.

Intense double bass plays a series of four notes in quick succession, emulating Cleo and Shawna’s fear and confusion.

CLEO

Oh my god! What the?!

SHAWNA

What the hell was that? She’s coming

for us?

SFX: Buffering, glitching sound

RADIO PRESENTER #1

And now it’s time for Sounds of the 70s…

SFX: Buffering, glitching sound

RADIO PRESENTER #2

N’import quel problème, peu importe l’envergure, appelez juste…

SFX: Buffering, glitching sound

THE DOCTOR

(Distant)

I’m looking for Cleo Proctor.

Hopeful music lightly plays, as Cleo hears the Doctor’s voice. At the same time, the intense music builds.

CLEO

Hello?

THE DOCTOR

My name is The Doctor, time is running out...

CLEO

Doctor?

THE DOCTOR

The ghosts.

(Beat)

Whatever you do, don’t touch the ghosts.

The intense music suddenly stops.

This is quickly followed by gentle music as the credits are read.

DR WHO REDACTED: EPISODE EIGHT. BY DORIS V. SUTHERLAND.

SCENE 1

INT. CLEO’S FLAT

FX: CLEO’S PHONE BLEEPS. THIS IS FOLLOWED BY DISTORTED, INCOHERENT VOICEMAIL FROM MONICA.

VOICEMAIL AUTOMATED MESSAGE

You have one new message.

MONICA

(Over telephone) You are coming (WILD DISTORTION), aren’t you? You’re not (WILD DISTORTION) all day?

SHAWNA

What the hell?

CLEO

It’s a voicemail, from my mum. Shawna,

it’s that weird sound again. This is

exactly what happened with Jordan. What

if it’s got her? What if it’s got my Mum?

SHAWNA

Alright have you tried calling her?

CLEO

Three times, no reply. I have to go back

to the Powell Estate. Right now.

Cleo getting her stuff.

SHAWNA

Um, historically, surprising your Mum hasn’t gone down so well. Are you sure about this?

CLEO

(Sounding incongruously jaunty, confident)

Not one bit.

SHAWNA

You don’t have to do it alone, Cleo. I’m coming with you.

Gentle music faded into next scene:

SCENE 2

INT. TRAIN

FX: TRAIN NOISES AND CARRIAGE JOSTLING

SHAWNA

Cleo…What your Mum did – it wasn’t ok. You know that, right?

CLEO

Everyone leaves home at some point don’t they babe.

SHAWNA

There’s a difference between moving out and being disowned.

CLEO

Yeah, I had an unhappy childhood, but look around. At least half the people on this train could say the same thing.

SHAWNA

What your mum did isn’t normal. Didn’t you have any friends to tell you that?

CLEO

Shawna my friends ditched me when I came out too.

SHAWNA

Cleo, that’s--

CLEO

That’s part of growing up. People move on. Then I found you and Abby, so it all turned out OK, didn’t it?

SHAWNA

Yeah but...

CLEO

Look, my dad could’ve lived and been a deadbeat. My mum could’ve given us up. I could’ve been born in a warzone.

SHAWNA

Ok. Sorry.

CLEO

It’s fine. I’m sorry. I’m just nervous. I mean, first I lose my dad, then my brother vanishes and now this. Sometimes I feel like you’re actually cursed?

FX: CLEO’S PHONE NOTIFICATION NOISE

CLEO

Hold on, just got a voicemail.

MAN’S VOICE

(Over telephone) Hey there, remember to check the orange juice, alright?

CLEO

Okay, I have no clue who that was.

SHAWNA

Wrong number?

CLEO

I guess.

TRAIN ANNOUNCEMENT

We will shortly be arriving at Peckham Rye.

CLEO

Alright babes this is us.

SHAWNA

You ready for this, my sis-who-ain’t-cis?

CLEO

Mmm gonna put a hard no on you ever saying that again. But yeah, we’ve come this far, let’s do it.

FX: Train door beeps open then fades into traffic noise:

SCENE 3

EXT. POWELL ESTATE

FX: CLEO AND SHAWNA’S FOOTSTEPS GETTING CLOSER

SHAWNA

So this is the famous Powell Estate? Is

it classist of me to say this place feels mega dodgy?

Ominous tune starts to play, as they walk around the completely empty estate.

CLEO

No – you’re right. Something’s off.

SHAWNA

Cleo, are you ok?

CLEO

I thought I saw someone.

SHAWNA

It’s like a ghost town.

CLEO

Yeah…

SHAWNA

So, whereabouts does your mum live?

CLEO

The block on the left. That’s the one I grew up in. But I used to wish I lived in that one.

SHAWNA

Why?

CLEO

This cool trans woman lived there.

SHAWNA

Really?

CLEO

Yeah. Her name was Sally Salter. She was in a band called No Hot Ashes, so she was a bit of a local celebrity. Well, if you listened to that sort of stuff anyway.

SHAWNA

Did you know her?

CLEO

Not really. I was a little kid, not even old enough to be a teenage groupie. But I remember my classmates sniggering about how Sally Salter used to be a man.

SHAWNA

Must have been rough for you, surrounded by all that.

CLEO

No, that’s the thing. Everyone else was laughing, but I was fascinated. It was like the first time I’d heard any trans talk outside of a few gags in sitcoms. I thought maybe someday I could be like Sally. ‘Course, then my Mum found out about her.

SHAWNA

And I’m guessing she didn’t think it was cool having a musician next door?

CLEO

As far as she was concerned Sally was just the crazy boy in make-up and ladies underwear. But the way she talked about her, it was like she found her repulsive on a gut level.

SHAWNA

What happened to her in the end?

CLEO

No idea. I like to think she’s performing under a stage name somewhere, though.

SHAWNA

You never know, perhaps there’s a girl around here who’d see you as a role model.

CLEO

Yeah scary thought, I can’t imagine anyone looking at me and thinking (trails off)

FX: GHOSTLY FOOTSTEPS.

SHAWNA

What’s the matter?

CLEO

I thought I heard footsteps, this is getting weird.

SHAWNA

I’m not used to you being all paranoid like this. Is this what I normally sound like? Must be exhausting.

FX: CLEO’S PHONE NOTIFICATION NOISE

CLEO

(Nervous yelp)

Oh my god sorry.

SHAWNA

You literally just got scared by your own ringtone?

CLEO

Girl I’m on edge, OK!? Oh god, it’s my mum again! A voicemail. Hold on.

MONICA

(Over telephone)

You are coming home at some point, aren’t you? You’re not going to be staying out all day?

CLEO

That’s so weird.

SHAWNA

Thought she didn’t know you were coming?

CLEO

At least she’s alright, I guess. It’s what she always used to say to me when I was out. She’s – she’s acting as though nothing’s changed since I was a kid.

SHAWNA

Are you going to call back?

CLEO

No. I need to see her, face to face. For me.

SHAWNA

You know what, how about we grab a coffee or something?

CLEO

Alright, there used to be a sandwich bar in the estate.

SHAWNA

Great, let’s see if it’s still around.

FX: CLEO AND SHAWNA’S FOOTSTEPS FADE INTO DISTANCE

SCENE 4

INT. SANDWICH BAR

Aside from Cleo and Shawna, the building is empty: there is no background chatter.

FX: CLEO AND SHAWNA ENTER THROUGH DOOR.

SHAWNA

Weird. Nobody around.

CLEO

Yeah, this place was never known for good service. Pretty sure half the drinks in that fridge have been discontinued. Very much a “get what you pay for” deal here. Don’t worry, someone’ll be along soon.

FX: CLEO AND SHAWNA PULL UP CHAIRS AND SIT DOWN

CLEO

(Whispering)

Shawna, did you see that?

SHAWNA

What?

CLEO

Out the window, just now. Weird. Like, a person all in black.

SHAWNA

Like a Goth? Or a funeral director?

CLEO

Just, I couldn’t see a face.

SHAWNA

Didn’t notice.

CLEO

They’ve gone now.

SHAWNA

I think we’ll get you a chamomile. Don’t want to add caffeine to this general vibe.

FX: CLEO’S PHONE NOTIFICATION NOISE

SHAWNA

Who is it this time?

CLEO

It’s- Oh my God, it’s Jordan.

JORDAN

(Over telephone)

Hey, how about we kick back and play some video games?

CLEO

Wait, let me call him back.

CLEO dialling Jordan’s number. It rings then goes to voicemail.

JORDAN

Hi! I don’t pick up the phone so you’re probably a spam bot. Have fun with the answer machine!

Sound of a voicemail beep.

CLEO

Jordan! How old are you, twelve? Call me back as soon as you get this. As SOON as you get this, ok?

A sudden high pitch noise followed by more ominous music.

SHAWNA

Not picking up?

CLEO

I’m going to send him a text. If this whole time he’s just been out on a bender I’m gonna kill him Shawna.

SHAWNA

You need cake. Does this place do cakes?

CLEO

It certainly doesn’t smell of cakes.

SHAWNA

Yeah, if that smell’s coming off a cake, it’s not good cake… probably still try a slice though.

CLEO

I’ll see if I can find someone.

FX: CLEO GETS OUT OF CHAIR, HER FOOTSTEPS FADE

SHAWNA

(Under breath) Not surprised there’s no customers with this stink. Ugh.

FX: WE STAY WITH CLEO AS SHE WALKS THROUGH TO THE KITCHEN. BREATHING NERVOUSLY. TENSE MUSIC.

CLEO

Oh my God.

Sound of flies buzzing around.

CLEO

Oh my god, what the hell is that?

FX: CLEO’S FOOTSTEPS AS SHE RETURNS

CLEO

(Agitated) There’s no-one out there— I don’t think anyone’s been in this place for days. Babe I looked in the kitchen and the food’s been left to rot, that’s the stink.

(BEAT)

What is it?

SHAWNA

Cleo, I just saw something out the window.

FX: CLEO’S FOOTSTEPS AS SHE WALKS UP TO SHAWNA. MUSIC BECOMES MORE INTENSE.

CLEO

What?

SHAWNA

It looked like a couple of people but – but fuzzy.

CLEO

What do you mean fuzzy?

SHAWNA

Like a photo that didn’t come out right. I could see right through them. Then they just faded away.

CLEO

(UNDERSTANDING)

Like the Requiem Group. But wait, why do you remember now? – ARGH

(Cleo stops, clutching her head)

SHAWNA

What? What is it?

CLEO

This happened before. I’m sure it happened before.

SHAWNA

Cleo! Cleo, are you ok?

FX: CLEO’S PHONE NOTIFICATION NOISE

CLEO

Hold on.

MONICA

(Over telephone)

You are coming home at some point, aren’t you? You’re not going to be staying out all day?

SHAWNA

We’ve already heard that.

CLEO

But it’s new. She sent it again. Like, just now.

FX: CLEO’S PHONE NOTIFICATION NOISE

SHAWNA

Who’s that?

STEVE

(Over telephone)

Hey there, remember to check the orange juice, alright?

SHAWNA

That’s the one you got on the train.

CLEO

I don’t – wait.

SHAWNA

What?

CLEO

I remember him, his name’s Steve. He was one of our neighbours when I lived here. He used to get a carton of orange juice with his milk, and I’d check it on the way home from school to make sure it’d been delivered.

SHAWNA

How the hell did he know you were coming back?

FX: CLEO’S PHONE NOTIFICATION NOISE

SHAWNA

Who is it this time?

GIRL

(Over telephone)

Hey there, do you know when No Hot Ashes

are playing?

CLEO

I know that girl, I went to school with

that girl.

SHAWNA

No Hot Ashes? Isn’t that-

CLEO

Yeah, Sally Salter’s old band that doesn’t exist anymore. Shawna, these messages are coming from the past.

SHAWNA

What?

CLEO

That Steve guy, the girl from school, probably Jordan and my mum too. They’re all saying things they used to say when I lived here years ago.

SHAWNA

Cleo, look!

CLEO

What?

SHAWNA

There, out the window!

CLEO

Oh my God.

SHAWNA

(Trembling and scared)

Cleo?

FX: CLEO OPENS THE DOOR. WE HEAR GHOSTLY FOOTSTEPS

CLEO

(UNDER HER BREATH, FRIGHTENED)

Ghosts

FX: CLEO GETS OUT HER PHONE AND BEEPS TO RECORD.

SHAWNA

What are you doing?

CLEO

Evidence.

CLEO

(To phone) Ok, I don’t know if you’re getting this, but we are looking at a load of transparent people walking around the estate. God I knew I should have got an upgrade, this camera makes everything look yellow. Shawna what now?

SHAWNA

Stick it online?

CLEO

I’m calling the police

SHAWNA

Yeah. Good idea.

Sound of Cleo’s phone ringing.

CLEO

I’m not losing anyone else to – whatever this is.

PHONE OPERATOR

Hello, what’s your emergency?

CLEO

Yeah, hi, police? We’re at the Powell Estate in Peckham and there’s all these… (she hesitates) I think someone’s trying to kill us.

PHONE OPERATOR

Ok, just stay calm. We’re sending someone out to you now. What’s your name?

CLEO

Cleo. Cleo Proctor.

PHONE OPERATOR

Alright Cleo. My name’s Lesley. I want you to take a deep breath. Are you in immediate danger?

FX: A ghost whooshes past them.

SHAWNA

Get back!

CLEO

Sort of, yeah.

FX: Their footsteps as they move away. Creepy, high pitched music builds the tension.

PHONE OPERATOR

Is there someone with you?

CLEO

Yeah, my friend, Shawna

PHONE OPERATOR

Is it just the two of you?

CLEO

Yeah, yes, it’s just us

PHONE OPERATOR

Ok, where’s your attacker now?

CLEO

It’s – it’s not just one person, there’s loads of them.

PHONE OPERATOR

Are they armed?

CLEO

I don’t know. I don’t think so.

PHONE OPERATOR

Is there anywhere you and Shawna can hide? Any kind of door you can lock?

CLEO

Yeah – we’re in a cafe. Shawna, lock the door.

Sound of Shawna hurriedly sliding a bolt across the door.

CLEO

I don’t think it’s going to stand up to much.

PHONE OPERATOR

That’s alright, Cleo, help is on the way. I need you to give me your exact location.

CLEO

We’re, we’re in the sandwich shop on the Powell estate in Peckham.

PHONE OPERATOR

Ok, we’ve got four officers literally around the corner. You’re going to be alright, Cleo.

Ghostly noises and breathing intensifies followed by the sound of two police car sirens approaching and screeching into the estate.

SHAWNA

Cleo!

CLEO

Oh god.

SHAWNA

Get away from the window!

CLEO

I gotta see this.

Ok – there’s two squad cars out there. They’re facing off against the… ghosts.

The ghosts let out a roar. Sound of another police car – abruptly cut off as it gets REDACTED by a HOWL OF REDACTED DISTORTION

SHAWNA

What happened?

CLEO

Oh my god – Shawna that car. The driver, it just disintegrated!

POLICE OFFICERS

(DISTANT SCREAMING, which dissolves into a roar of the REDACTED sound effect)

CLEO drops her phone.

SHAWNA

Those people. They just – it was like they got ripped apart by white noise.

Electronic style beat begins as CLEO and SHAWNA try to escape.

CLEO

Ok, don’t touch the ghosts. Don’t touch the ghosts. Shawna, we’ve got to go. NOW.

Cleo grabs Shawna’s hand and picks up her phone.

PHONE OPERATOR

Cleo? Cleo, are you still there?

CLEO

Sorry Lesley, I don’t think rubber bullets are gonna help with this one babe.

FX: CLEO HANGS UP, OPENS THE DOOR AND RUNS OUT, DRAGGING SHAWNA WITH HER. THE MUSIC IMMEDIATELY BUILDS INTO A DRUM AND BASS STYLE AS THEY RUN AND CONTINUES INTO THE NEXT SCENE.

SCENE 5

EXT. POWELL ESTATE

FX: CLEO AND SHAWNA’S FOOTSTEPS AS THEY SPRINT AS FAST AS THEY CAN PURSUED BY TERRIFYING GHOSTS, THE REDACTION ROARING LIKE A HURRICANE

SHAWNA

(Running) Cleo, wait! We need to LEAVE. Where are you going?

CLEO

(Running)I NEED TO FIND MY MUM!

FX: CLEO AND SHAWNA SLAM OPEN THE DOOR TO THE BLOCK OF FLATS AND RUN INSIDE.

FX: CLEO FRANTICALLY PRESSING THE LIFT BUTTON

SHAWNA

Why are we taking the lift?!

I thought in an emergency you’re

supposed to take the stairs. Or is that just a

fire? Ghosts are kind of like a fire, right?

CLEO

Shawna babe I live on the tenth floor.

Unless you’re secretly Jessica

Ennis we need this.

FX: THUNDEROUS RATTLING OF THE DOORS AND REDACTED ACID HISSING AS THE GHOSTS DISSOLVE THE DOORS

SHAWNA

Cleo- they’re coming through the doors!

FX: CLEO RATTLING THE BUTTON HARDER

CLEO

Come on come on come on

FX: MASSIVE CLATTER AS THE DOORS COLLAPSE. TERRIBLE ABRASIVE HISS OF STATIC AS THE GHOSTS COME INSIDE.

FX: INCONGRUOUSLY CHEERFUL BEEP OF THE LIFT ARRIVING, DOORS OPENING

CLEO

Yes! In, now. Quick! DON’T LET THEM TOUCH YOU!

FX: VERY CLOSE, VERY LOUD STATIC HISS AS ONE OF THE GHOSTS NEARLY GETS SHAWNA. CLEO SHOVES HER BACK

CLEO (CONT’D)

SHAWNA!

FX: GHOSTS CLAWING AT THE DOOR, HISSING THROUGH THEM

CLEO (cont’d)

Ah yes! Sorry Casper. This lift’s at capacity.

FX: LIFT DOORS SWING SHUT. LIFT RISES.

INT. LIFT

FX: SHAWNA AND CLEO CATCH THEIR BREATH. LONG PAUSE AS THE LIFT RISES.

SHAWNA

Powell Estate is WAY scarier than you made it out to be!

CLEO

The ghosts are new.

SHAWNA

What the hell just happened? What were those things – what happened to those people - Oh my god, do you think Abby’s alright?

CLEO

Shawna, we can worry about Abby when we’re not running for our lives, yeah?

FX: LIFT DOORS OPEN, SHAWNA AND CLEO RUN THROUGH

INT. TOWER BLOCK CORRIDOR

FX: CLEO’S FOOTSTEPS AS SHE RUNS DOWN CORRIDOR, FOLLOWED BY SHAWNA

CLEO

(breathless from rush) This is my mum’s flat.

FX: CLEO RINGS DOORBELL

Silent beat.

SHAWNA

(also breathless) Is nobody there?

FX: CLEO BANGS ON DOOR.

Silent beat.

FX: CLEO DIALS NUMBER ON PHONE.

FX: DIALLING NOISE PLAYS IN BACKGROUND OF FOLLOWING CONVERSATION.

CLEO

Oh god. Come on, pick up.

SHAWNA

(Whisper) Cleo! I think I saw a black shape in the next hallway!

CLEO

Hold on.

FX: CLEO OPENS DOOR.

CLEO

Shawna it’s not locked.

INT. CLEO’S PARENTS FLAT

CLEO

Hello? Hello? (Beat) This is all wrong. She’d never leave without locking up. She always said you never know what could come through the door.

FX: THE LANDLINE TELEPHONE BEEPS.

CLEO

The phone, there’s a message on it.

FX: TELEPHONE BLEEPING. CLEO PRESSES PLAY.

MONICA

(Over phone) Is anyone there? Can anyone hear me? Something’s happened, I don’t know what, but I’ve been taken away, I’m trapped – trapped – somewhere, I don’t know where!

Are you there? Can you hear me cuh-cuh-Cleo? Cleo, can you hear-

FX: CLEO PICKS UP THE PHONE

CLEO

Hello? Hello, mum?

MONICA

Oh thank god, can you hear me?

CLEO

(emotional)

YES! Mum, I’m here, I can hear you. Where are you?

SHAWNA

Cleo?

CLEO

Where are you?? What happened?

VERY SPOOKY MUSIC FADES INTO THE BACKGROUND.

SHAWNA

(Warning) Cleo-

MONICA

What are you talking about? Cleo, I’m right behind you

FX: REDACTED SOUND EFFECT GETTING LOUDER.

CLEO

What? I’m at the flat. There’s no one here, the door was unlocked, there’s-

MONICA

Just turn around!

FX: REDACTED SOUND EFFECT REACHES A CRESCENDO AS CLEO TURNS AROUND

SHAWNA

Oh my god!

CLEO

(frightened)

Mum?

MONICA

(DISTORTED) I can’t believe you came

home. Give me a hug.

FX: CLEO STEPS FORWARD. SHAWNA GRABS HER

SHAWNA

Cleo, no! What are you doing?

CLEO

Didn’t you hear her? That’s my Mum! (voice breaking) I haven’t hugged her in five years.

SHAWNA

Cleo, whatever that is, it’s not your Mum any more

MONICA

Come on Cleo. Hasn’t it been long enough?

CLEO

You’ve never called me Cleo before.

SHAWNA

Cleo you can’t touch her! You saw what happened back there!

CLEO

She needs me!

SHAWNA

(getting emotional)

I need you! So does Abby. So does Jordan. We all need you Cleo. You’re our family, you know. Please don’t do this. Please.

CLEO

Oh Shawna -

FX: DOOR SLAMS OPEN AS REQUIEM APPEARS.

REQUIEM

BACK! YOU FOUL BEASTS OF DEATH!

FX: REQUIEM HURLS AN EMP GRENADE AT THE GHOSTS WHICH EXPLODES WITH A STATIC WHIRR AND A LOUD ZAP. SOUND CUTS INTO ONE LONG HIGH PITCHED DRONE, THEN SILENCE.

BEAT.

FX: SOUND RETURNS, MUFFLED AND WATERLOGGED, SLOWLY SHARPENING TO CLARITY AS CLEO REGAINS CONSCIOUSNESS.

SHAWNA

Cleo? Are you ok? Are you awake?

CLEO

(Waking) Was that a grenade?!

REQUIEM

Have the two of you quite finished making fools of yourselves?

CLEO

Who’s she?

REQUIEM

Did you take me for one of those spectres?

CLEO

It’s you! You’re Requiem!

REQUIEM

You should thank the stars you attended my meeting because it meant I could locate you. Are you companions of - him?

SHAWNA

Companions of who?

REQUIEM

I shall take that as a negative answer.

CLEO

What the hell did you do to my mum?!

REQUIEM

Nothing that has not already been done.

SHAWNA

Sorry, WHAT is going on?

REQUIEM

There is no time for explanations. They are here.

FX: GHOSTLY ROAR OF SOUND, APPROACHING HURRICANE OF DISSOLVING STATIC. CONCRETE CRUMBLING AND CRASHING TO THE GROUND LIKE THUNDER.

SHAWNA

Oh no, oh God...

FX: REQUIEM SLAMS THE DOOR SHUT

CLEO

Will the door hold them?

REQUIEM

For a short time, but I have no doubt they’ll find a way around every law of reality that confronts them.

SHAWNA

So we’re trapped until they get in?

REQUIEM

No. Hand me that chair.

CLEO

Is now really the best time for a sit down?

REQUIEM

Do you want to escape?

FX: CLEO PICKS UP CHAIR: WOOD SCRAPING ON FLOOR, CLEO STRAINING.

CLEO

Oh god. Here.

REQUIEM

Allow me. (Yells as she throws chair)

FX: CHAIR SMASHING WINDOW

CLEO

My mum is going to kill you.

REQUIEM

I’ll admit that the drop is severe, but if you want to escape then you’re going to have to trust me with your lives.

SHAWNA

Trust you? We still can’t even see your face!

REQUIEM

I have my reasons for this veil. Your kind tend to recoil from my visage.

CLEO

Who the hell are you?

REQUIEM WHIPS OFF THE VEIL. SHAWNA AND CLEO GASP

VASTRA

My name is Madame Vastra

CLEO

That is a green face!

VASTRA

Astutely observed. The world is much bigger than your tiny mammalian brain has ever imagined. Now JUMP!

END OF EPISODE.

The low bassy surge of the Redacted Main Theme comes in, with its distinctive siren-like synths, rushing into a sudden glitch that dips into a slow, soft piano tune.

CREDITS

Doctor Who Redacted: Episode Eight,

by Doris V. Sutherland.

The piano tune keeps going for a moment before picking up the pass with a big beat of drums, strings and synths that turns into the Main Theme tune, a symphony of synths and strings revelling in alien weirdness.

CREDITS

Starring: Charlie Craggs, Lois Chimimba, Holly Quin-Ankrah, Sarah Thom and Doon Mackichan.

Directed and produced by Ella Watts.

Sound design by David Thomas and Arlie Adlington. Original composition by David Devereux.

A BBC Studios production.

With a rush like the TARDIS, the main theme music gets even bigger and louder, turning into a big, bright, fast paced melody that plays to the end of the episode, when it stops abruptly with a sharp glitch which ends with a beep.