"In this week's Confidential, the Doctor takes on some light-headed opponents..." "Headless Monk." "But not." "..Amy explores her maternal side..." "Can you see the resemblance?" "In this episode, Amy becomes a mum." "Kissing and crying." "I'll be back in a bit." "I think Rory unexpectedly becoming a dad will change him completely." "..And there's an end to keeping mum when a massive secret is revealed." "I'm your daughter." "Yes!" "I get to be Alex Kingston's mum." "Spoilers!" "You're not allowed to hear!" "I just couldn't quite believe it." "I just thought, "That's fantastic."" "Welcome to Confidential." "Join us behind the scenes as we finally close the door on the rumours of River Song." "In the dead of night, in a hangar near Cardiff, the Doctor has rallied an army of aliens and called on his friends to fight the mother of all battles." "It felt like..." "I think this is a boys' thing, but it felt like you had every action figure from all your favourite TV shows and from all your favourite cartoons all in one gang." "It's like a kind of dream team." "The child." "At all costs, we protect the child!" "Last time I did this I just had a wig on." "Now I've got swords as well!" "Excellent." "I was a bit nervous before but we had a stunt guy on set to help us and we were killing these monks, who were also stuntmen, so you were quite free to do what you wanted." "So the first one - bang, take her out, and then you need to clear and you need to move straight in there, yeah?" "'The first thing I do, I'd speak to the director 'and find out exactly what he wants to see, and in this case,' it's just a shot of the two of them taking out all the monks" "very quickly, very slick, so I had to choreograph it with two swords, 'which makes it a bit more complicated for Neve,' but she picked it up really well and both of them are fantastic." "And action!" "'At the moment, we're just choreographing some of the action.'" "We've got some guys jumping about and potentially some bullet hits as well, so fairly busy." "It's him!" "He's here!" "It's him!" "Weapons down!" "Sometimes, things which appear for only seconds on screen take hours to fall into place." "Three, two, one, bang." "Right." "Three, two, one." "The bang is for his cue." "That's your cue." "Right." "OK." "So stand by for rehearsal." "And...action!" "It's him, he's here!" "It's him!" "Three, two, one." "Bang!" "Bang!" "Bang!" "So when you've got your camera, we'll have another rehearsal." "It's a mind game, this, cos I'm going to hit the concrete so I've to get the trajectory - the angle of take-off just right so I don't go up like that." "I want to skim the ground if I can." "It's tricky and the costume doesn't help cos the hood comes right down so I can't see where I am!" "Time for another take, only this time, nothing to cushion the blow." "Are you all right?" "Yeah, good." "Ta." "Thank you very much." "Cheers." "'This is a big episode for us.'" "It's Steven Moffat concluding the first part of Doctor Who in 2011, and It's a huge episode." "We've got monsters, prosthetics, special effects, huge CGI..." "It's going to be a barnstorming finale to the series." "The joy of this episode is also that we're travelling in time and space a lot." "So we were in Victorian London and we're here in this Demons Run facility." "We're at Stormcage for a bit." "This is the Battle for Demons Run." "The Doctor's darkest hour." "He'll rise higher than ever before and then fall so much further." "And I can't be with him till the very end." "We're on Dorium's planet, the Maldovarium, and all of these changes are challenging because you keep moving, you keep going to different places, but then that's the nature of film-making." "This series is darker, asking bigger, more profound questions, taking the characters, Amy, Rory and the Doctor, to stranger places." "But what we're giving everyone in episode seven is a lot of fun, a lot of monsters, battles, spaceships, asteroids," "Cybermen, you know..." "All of the things that make Doctor Who great." "At the read-through, it felt exciting, that there was everything including the kitchen sink, with Judoon and River..." "Silurians." "..and Silurians." "Warriors in Victorian times." "Just looking around the table and going, "My goodness, we've got a lot of monsters."" "And that feels so right to end the season with." "Even Rory's back in action with a very familiar look." "Look, he's a Roman Centurion again, but he's got a bit of an updated look." "I reckon socks and sandals are going to catch on." "Look at that massive toe." "Can we just have a look at how his toe hangs over the sandal." "Can I touch it?" "Eurgh." "This is different, isn't it?" "They've added a few muscles on there." "They haven't added those." "That just happened when I put it on." "No, I don't think it did." "Kazza, you cannot talk about what I'm wearing..." "I know." "It's like you're in some kind of medical dance video." "Yeah." "Look." "No one wants to see this." "Oh, God." "Arthur's just bailed!" "Now that's it." "Eagle-eyed viewers may notice the Oval Office set." "Now a birthing chamber where Amy has swapped her bump for a baby." "They're being held captive by baddies wanting to bait and bring down the Doctor." "And there's a new addition to the Doctor Who family, who already knows her lines." "BABY CRIES" "I tell you what." "What about if all you see... if Karen was holding Harrison now, then on action, went forward and then brought him back." "Oh, my God!" "Never mind arch villains, this is proper scary." "In this episode, Amy becomes a mum." "I know that we've seen her pregnant before, but that was in a dream." "Whenever you're ready, Amy." "Oh!" "THEY CHEER" "You've swallowed a planet!" "I'm pregnant." "You're huge!" "This is definitely for real and it's really interesting because I'm a bit nervous around the babies." "'we've had real babies.'" "And that's it?" "That's it." "We had two babies who were twins, Madison and Harrison." "Who've we got this time?" "Madison." "Madison!" "'I was just so scared,' because I've never actually held a baby before, a real baby." "And I'm always a little bit nervous about it, I always have been, cos I don't have any brothers and sisters." "Maybe that's got something to do with it." "Oh, my God." "Oh, my God." "He's fine." "Just pop him down, slide your hand down." "Put his head down and slide your hand out." "It's all right." "In terms of acting with babies, and filming with babies, it's quite challenging at times because they cry when they want to." "BABY CRIES" "I wish I could tell you that you'll be loved." "BABY CONTINUES TO CRY" "That you'll be safe and cared for and protected." "There was a lot of just going with that and going with whatever the baby does and hopefully that just made it more natural." "We'll see." "Always close to the action and ready to step in when an expert is needed is Danielle, the twins' real mum." "'The twins are three months old.'" "I believe they'd choose twins for filming so that if one baby, 'being so young, they become tired, restless, uncomfortable,' they can use the other baby for the next take." "So, Danielle, if you could place Harrison into..." "Put his head about there." "When Karen first held them this morning, she said it was the first time she had held a baby." "She was very, very nervous." "Probably the way I felt when I first picked them up in the hospital." "'So I showed her how the nurses showed me in the hospital, 'how to pick them up, how to cuddle them,' how to comfort them and she's taken to it really easily." "And Karen's not the only one." "OK, so, Rory." "Ready?" "I'm going to take it this way." "We're going to have a real fun time." "Hello, gorgeous." "OK." "Matt, if you go to first position please." "Standing by to shoot, guys." "Here we go." "Having a real baby there really, really helped because you look at it and you're like," ""That is an actual baby," and I've never really held babies before." "I held one about six months ago and I was rubbish with it." "I had it in my lap and it was just kind of slipping down and I was, "Right, I think you should take this away from me." So I was quite nervous..." "But they were twins, they had a spare, in case... if anything did happen, I think, if we'd have dropped one, there was another one as back-up." "That's how it works, right?" "Oh, Mummy's back." "Hi, Mummy!" "Bye." "Well done." "You're going to win an Oscar!" "242, take one." "Action." "What you are going to be, Melody, is very, very brave." "Two minutes." "Cut there." "Cut." "Making a reappearance in this episode is an iron lady with an eye for evil." "When I first was asked to do the part, it was "Eye-patch lady", which I just loved." "I thought that's even nicer." "But she's got a name, Kovarian, now, so she's actually a bona fide Doctor Who villainess, I think." "This cruel cradle snatcher is Queen Bee on Demons Run." "Her hooded henchmen and khaki-clad clerics obey her every order." "She rules her soldiers with a kind of steely sexuality." "She wants Amy Ponds' baby and I like to think of her as a woman of a certain age who probably doesn't have children of her own so it's not 100% sure what Kovarian is going to do or be up to." "Please, leave her." "Leave her, please." "Leave her, please!" "Leave her, please!" "Cut it there." "That was very nice." "I think the whole idea behind the episode A Good Man Goes To War was the idea that the Doctor would go after Amy and that would be..." "It doesn't happen to him very often that someone comes at him like that, takes someone who's very special to him and threatens them and endangers them." "But what if he decided, "I've got a few favours I could call in, I've got some really hard friends."" "What would happen if somebody messed with him to the point where he decided to go and recruit some people and demonstrate the level of safety that he can guarantee his nearest and dearest?" "139." "Take one." "We've been waiting a month." "He's done nothing." "Do you really think so?" "There are people all over this galaxy that owe that man a debt." "By now, a few of them will have found a blue box waiting for them on their doorstep." "Poor devils." "When the Doctor can't sort out his troubles on his own, he calls on the heavies to help out." "A hotel bar in Cardiff stands in for Dorium's nightclub." "Who is Dorium?" "He's, I suppose, a galactic black marketeer." "I see him as Arthur Daley." "He tries to keep out of the way of trouble but he's always in trouble." "You think he's raising an army?" "You think he isn't?" "A baby has been stolen, and we believe that it's Amy's baby, so the Doctor is not too happy about that." "He needs lots of people to help him, and Dorium is one of those that he calls in a favour from." "If that man is finally making a collection of his debts, God help you." "And God help his debtors." "Dorium's isn't the only favour that's called in." "He just appeared." "What does it mean?" "It means a very old debt is to be repaid." "Captain Harcourt, I hope some day to meet you in the glory of battle when I shall crush the life from your worthless human form." "Try and get some rest." "The fact that he turns up means, "Oh, OK, my card has come up."" "No, no, no, please, not me." "You don't need me." "Why would you need me?" "I'm old." "I'm fat." "I'm blue." "This episode takes place on an asteroid called Demons Run so the Doctor Who team set up camp on a military base and transformed a vacant air hangar." "We're here in Demons Run, the base of the headless monks where the Doctor is engaged in a battle to save something very dear to him." "You'll already know that." "You've seen the episode." "Should I give it a sense of addressing them all?" "I think you should play as though it is going right back." "Going right back." "It's incredible." "It's large, it's noisy, but it makes us feel the scale." "It was always important, when we started doing this episode, that the scale was there." "Steven had written all the way through about the size of this army and the scale of the task the Doctor had to face." "What Michael and his team have managed to achieve is quite staggering." "Just a wonderful set." "We wanted to space something that would look suitably asteroid and our scale would be bigger than Star Wars." "This probably is." "We've managed to fill up a portion of it." "You've got stuff around you in a small area." "We can see the roof and see how big the building is." "Props and people help to fill up the set but the special effects team are also on hand to perform their magic." "As you can see behind me, there's lots of different elements here to make it look like a spaceship hangar." "We've got some physical effects." "We've got steam." "Digger says he wants them off the planet, then called them back for a scolding!" "It just creates that sense that the place is alive and it gives something moving in the shot." "It looks like some of the spaceships which are made out of MDF, makes them look like they're alive, and some of the engines are powering up and stuff." "Headless monk." "I'm not." "Cunning twist." "No pun intended." "Today we're filming the main revelation that the Doctor is here." "By the divine grant of the papal mainframe herself on this one and only occasion" "I can show you the truth." "We've been waiting for him while he gathers his army." "We haven't seen him." "The Doctor's arrived, he's posing as one of the monks, and the character of Colonel Manton is doing a big speech to rouse the troops." "Because these guys never can be persuaded." "They never can be afraid." "And they never, ever can be..." "Surprised?" "Hello, everyone." "Guess who?" "Please, point a gun at me if it helps you relax." "That's a nice moment for me." "There's a whole crowd, we're doing replication shots of all the army, and it's a big set piece." "There's lots of shouting and jeering and the moment the Doctor's revealed is priceless." "Amelia Pond!" "Get your coat." "DIRECTOR:" "One more." "A bunch of soldiers in uniform is no match for the Doctor." "But if that army was bumped up big time, that could be a contest." "Over to you, visual effects." "Several of the shots we did were multiplication shots of the soldiers around the little podium where the monks and the Doctor were standing." "Having seen it from up there up there on the gantry, we were able to designate areas where we would put people." "In order to do that, we did a highly polished, very technical thing of drawing on the monitor with a pen." "So I saw the first block of people, drew around them, got some kind of perspectival understanding of where they were and therefore where the next group of people were, drew another block, and then third and fourth blocks." "I kind of knew where we were going to position them and when they cut together they should sandwich together to make our multiplied shots." "The Doctor will fall." "CHANTING IN UNISON" "Creating a packed asteroid in a hangar is one thing, but recreating Victorian London in the middle of Cardiff is quite another." "Work begins early in the day, and the set-dressers have their hands full to make it look spot-on." "# If I woke up in the morning" "# And the world was back to front" "# There was sunshine in the evening" "# And the moon came out for lunch. #" "We're filming Victorian London." "We have Madame Vastra, our Silurian, coming home having been out eating Jack the Ripper." "So we turned this little alleyway with the help of some dirt and smoke and some old lights and horse and carts into Victorian London." "Move your back." "And I'm about to get squashed!" "A narrow alleyway doesn't give a lot of room for manoeuvre, especially when Victorian transport is involved." "The horse and cart will come down the street, and Madame Vastra will exit the cab, but we aren't allowed to see that it's her." "It's a surprise that we reveal in the house." "It's just a shape, somebody mysterious coming through the smoke." "If we imagine you're starting from a seated position, then you get up and come out." "Then we pick her up inside the house and she reveals that she's a lizard." "Jack the Ripper has claimed his last victim." "How did you find him?" "Stringy." "But tasty all the same." "I shan't be needing dinner." "And... action." "There should be some plasma pistols somewhere." "They left everything." "Then find them, boy!" "She's definitely a girl." "Stop it." "With more creatures than you can shake a stick at answering the Doctor's call, there's also a need for a very different army - the heavy artillery of make-up and prosthetics." "# Oh, her eyes, her eyes" "# Make the stars look like they're not shining" "# Her hair, her hair" "# Falls perfectly without her trying" "# She's so beautiful" "# And I tell her every day. #" "As you can see, you need to draw in a whole load of green behind my eyes and mouth." "This is a skullcap which insulates my hair and everything from the inside of that bigger mask, which we'll see in a moment." "It's always great when it's first on, before you start getting sweaty underneath it." "Feels like a second skin, which is nice." "# When I see your face" "# There's not a thing that I would change" "# Cos you're amazing" "# Just the way you are #" "Once you've had it on for a little while and it warms up into your face." "It's quite extraordinary." "You forget you've got it on." "It seems to be easier this time, putting it all on." "It all seems to go on with a lot less fuss." "Initially, putting the mask on was very strange, because it's not your face in the mirror." "But I've slowly got used to it, which is odd." "Goes on in two pieces, the back piece that goes on." "Three, actually." "Got this neck piece to match in." "# She's so beautiful" "# And I tell her every day. #" "You can't move your eyebrows because you've got this huge brow built into the costume." "So there's a lot more gurning and stuff which one does with the mouth which communicates a lot more emotion." "I've got the latex skull cap you saw being glued on earlier and then I've got a couple inches of foam rubber on the side of that." "There are holes in the ears which go down to my actual ears." "It's weird, because I can't hear myself speak properly, so working out what I sound like is interesting." "But I imagine that I'm talking to you with a vaguely normal volume." "I'll either SHOUT..." "or be a bit too quiet." "All a bit tricky." "Hello." "Brown toast please, bacon, fried egg, sausage and mushrooms, please." "Thank you." "I got up at four o'clock this morning, crept out of the house before the kids woke up, though they normally do when I leave, and I arrived about seven o'clock here." "All right, mate, how are you?" "I'm good, mate." "Long time no see." "How are you?" "You doing well?" "Good." "Up for a bit of cyber action?" "Can't wait." "Nice one." "Been a long time, man." "Just trying to find the trailer now where we're getting dressed." "Good start, I'm lost already." "Thank you, mate." "This is where the magic happens." "Sexy leotard." "Like a night out at a disco, really." "It's very tight." "That extra sausage at breakfast wasn't a good idea." "Just going to get the metal on now." "Ooh, nice and soft." "Legs next." "How's that feeling?" "Good." "Legs are being held in place by clips on top of the thigh." "Keeps them from riding down." "The pants are held on by willpower." "Shoes next." "This is the tricky bit." "Perfect, I'm in." "And they're comfy." "Got to be in it for 12 hours so they've got to be comfy." "Arms next, once again secured by clips discreetly hidden inside the suit." "All right?" "Lovely." "So that's me done." "Hands and heads go on on set." "Time to go on set." "We try and squeeze into the seats as best we can." "Not easy in some of this equipment." "All righty." "I've not been to this location before." "It looks very glamorous." "Nice factory." "Bit of steam coming out." "Very Dr Who." "Lots of metal, bits of pipe, sharp angles." "Lovely." "So this is the set." "I haven't seen the script so I'm only guessing - some kind of control room?" "Sometimes we get to look at the scripts, certainly for technical reasons." "If there's stairs, for example, these boots are a bit cumbersome, so it's nice to have a bit of a rehearsal going up and down steps, or if it's a bit of a small set, how much shoulder room we've got." "Especially..." "Today there's seven Cybermen so we don't want to all be bumping into each other and knocking the set over." "And left, right, one two, three, four, five, six, seven, eight, nine." "That's pretty neat." "That's nice." "The trick is to all move as one." "So marching in time, stopping in time, weapons up in time." "That's what makes it look good." "Being a baddie is always fun." "Helmet on, rehearsal, please." "Ready?" "Yes." "My turn." "OK?" "Feeling all right?" "Cool." "Action!" "One, two, three, four, five, six, seven, eight!" "Cut there." "Just organising the next set-up." "We're on our Cybership and we've been hit by something." "So we'll be doing a bit of staggering, losing our balance." "Probably get a bit of stomping done at the same time, I'd imagine." "I'm fine." "Right, I'm going in." "Bye-bye!" "Action!" "Three, two, one, and...boom!" "STEAM HISSES" "Very good, boys." "Have a break." "Let's get the helmets off, please, guys." "Well done, chaps." "Brilliant." "Well done." "Oh." "Better than working in an office any day." "Going to get a drink now." "Cheers!" "Between us we've played all the monsters - Oods, Judoons, Pig Men, Cybermen..." "Scarecrows, evil Santas, gold-headed robots..." "We've done them all." "Weevils on Torchwood, Slabs, you name it." "They're out there, aren't they?" "They're out there." "Now, a lot of people ask me, how does a Cyberman go to the toilet?" "I'm not telling!" "You're heading back to the safety of the spacecraft..." "The director is blocking out what he wants from this shot." "The main character comes into the room, and we're a little bit wary of him." "He's got something about him." "Then something's portrayed on the screen which is not there, but we've got the green screen behind, and it'll be put on there when it comes on the TV." "Doors open on the other set." "This is about the third time the helmet is going on, so...er... third time lucky!" "Would you like me to repeat the question?" "Cut!" "Go again, please." "So I've got to hand in my plastic weapon." "Nice one, buddy." "See you soon." "Take care." "Cheers, man." "So that's me finished for the day." "Back home to Bournemouth." "Every time you come here, it's like coming to a proper job, so you know everybody and you're working with the same people." "It's a really close-knit community feel, it's fun." "Everyone gets on well and everyone knows each other." "'It's a very happy working experience.'" "Another fun day at the office!" "Bye!" "Why are they called the Headless Monks?" "They can't really be headless." "As you all know, it is a Level One heresy, punishable by death, to lower the hood of a Headless Monk." "# Off with your head" "# Dance till you're dead" "# Heads will roll" "# Heads will roll Heads will roll" "# On the floor... #" "These guys can never be persuaded." "These far-from-friendly friars have all sacrificed their heads and souls in devotion to their single-minded faith." "They never can be afraid." "# Oh" "# Dance, dance till you're dead" "# Heads will roll" "# Heads will roll" "# Heads will roll on the floor" "# Dance, dance, dance till you're dead. #" "The headless monks began as a text - it's the absolute truth - when we were shooting the Angels two-parter last year." "We were desperate to find a location for the museum where Amy and the Doctor had to be, and Piers texted me and said, "It looks very, very like a church." "You ought to put dialogue in" ""to indicate this place is meant to be a church."" "So I texted back, "The Doctor is saying," """Final resting place of the Headless Monks."" They were born." "I love museums!" "Yeah, great." "Can we go to a planet now?" "Big spaceship, Churchill's bunker, you promised me a planet!" "This isn't any old asteroid." "It's the Delirium Archive - the final resting place of the Headless Monks - the biggest museum ever." "There's obviously a running thing in the Dr Who universe at the moment - a lot of the armies in the future are actually sort of churches, are ecclesiastical, which seems odd and weird, but that's exactly what the past was like." "We're living in a slightly odd time, in a slightly odd place, that we think that churches aren't normally quite military." "So I just thought they might go back that way." "The Headless Monks are like the ultimate one - they're like the SAS - the really, really tough one." "They're so hard they don't bother with brains at all." "Creating the look of the Headless Monks had the costume department saying a few prayers." "That's better!" "Is it?" "God, yes." "How did you do that?" "I just put it round the back of your head." "It's pretty much what you'd expect a monk to look like." "You know, the basic robe with a hood." "In order for them to be headless, obviously, there's a point where we have the reveal - the hoods are pulled back and you get to see the full horror of what happens to the victims." "So Millennium have created for us a shoulder piece which will sit on actors who are shorter in height than the average actors, and on top of that sits..." "It's almost like a hat that sits on top, which is the tied-off neck piece." "Then the robes are draped around it, and hopefully, gives the impression that it's a headless body." "You're not supposed to stare at them." "If they think you're trying to see under their hoods, they'll kill you on the spot." "Spoilers!" "Not allowed to hear!" "Tension on set is mounting." "The crew are filming the key scene, which is being kept under the tightest of wraps." "It's the cliff-hanger we've been building the whole series towards, and we're trusting you guys to keep it quiet." "So please, please, don't let it get out of the building." "Thank you." "Today we're shooting the last scenes of episode seven." "It's something that, from conception, Stephen's been very keen to keep a secret." "The script we issued for the read-through and to production had a false ending and only a select few have had the real ending." "In fact, two of our crew members who are married, one has the real ending, one doesn't." "It's been kept that secret!" "My husband, as Confidential viewers probably aren't aware, my husband is the boom op on this." "He was one of the select few that were issued with this very confidential, top-secret page." "I had to hand the page to him in an envelope." "He wouldn't let me see it." "Talk about keeping the episode secret!" "We're on this military base where we all had to go through high security to get in, and there was no way that anybody was going to let that secret out." "One of the problems with trying to keep a secret on a TV programme is that you mass distribute copies of the script, hand them out to relative strangers and they leave them in cars and trains, and that's just me." "It's very difficult to keep a secret." "Then you perform them out loud in front of even more strangers." "How do you keep a secret?" "You just have to try and keep it as best you can." "Steven's a showman, he loves it." "He tells Beth and I, you know, very little compared to most writers." "He claims it's part of his process, and if he tells us then it will fade in his imagination somehow, but it's actually because he's a big tease." "It feels like our job to try and protect it." "You know, it is about the element of surprise..." "Hi." "Who's he?" "!" "Oddly enough, it is more than fun, keeping secrets from the people you work with and the actors who play them, and your co-executives and Piers and Beth." "It's more serious than that." "I could just tell them everything in advance, but then they'll pick up a script and they won't know if they like it." "If they know everything, it'll seem predictable." "I won't be able to assess whether it's clear enough, or if the secrets are kept well enough, because they're already too in the know." "Steven had written a separate little scene, which was the real scene, but in the script that the crew and everybody had been given there still wasn't the reveal." "It was..." "The information that I gave, so to speak, was false." "It's a more fun show if you watch it not knowing what's coming." "With most of the cast and crew being kept in the dark, there's lots of speculation about what the secret might be." "We've had so much speculation here that I'm not really sure what we all think any more." "We've thought of every possible eventuality." "I'd like it to be that River Song is the Doctor reincarnated." "The Doctor and River somehow, Amy and the Doctor..." "That's what I've got fingers crossed for." "Or his mother." "Yes." "I think River Song is the Doctor's past love." "I think they're the same person." "But that's my opinion." "It's only a guess." "River Song is the Doctor's mother-in-law." "River Song is Amy's mum." "Same hair colour." "I don't know, it could be wrong." "We'll wait and see!" "Actually, because we were filming in this enormous hangar and there was a kind of generator noise over the top, a lot of them couldn't even hear when I actually was saying who I was." "They still couldn't hear what was going on!" "Carry on!" "Till the next time!" "Amy and Rory, I know where to find your daughter, and on my life she will be safe." "River, get them all home, will you?" " Doctor..." "Where are you going?" "No!" "Where did he go?" "what did you tell him?" "Amy, you have to stay calm." "Tell me what you told the Doctor!" "Amy, no, stop it!" "It's OK, Rory, she's fine." "She's good." "It's the TARDIS translation matrix." "It takes a while to kick in with the written word." "You have to concentrate." "I still can't read it." "That because it's Gallifreyan." "It doesn't translate." "But this will." "It's your daughter's name in the language of the forest." "I know my daughter's name!" "Except they don't have a word for "pond", because the only water in the forest is the river." "'There's a piece of cloth inside the cot,' and that says my name, but on the actual cot, I think it's his name." "It's the Doctor's cot, but is it only the Doctor's cot?" "Um..." "Yes, that's all I can say." "How many babies have been in that cot, basically?" "The Doctor will find your daughter, and he will care for her, whatever it takes." "And I know that." "It's me." "I'm Melody." "I'm your daughter." "So River Song is Amy's daughter!" "I couldn't believe that when I read that in the script," "I really couldn't." "I mean, it's the best, yes!" "I get to be Alex Kingston's mum." "When Steven Moffat first told me the truth about River Song," "I just thought, "You clever so-and-so." ""You are..." "You're amazing."" "One of the dangers of a reveal, one of the dangers of whipping the cover off a secret is that you've just got an answer." "You say, "Well, that's what it is."" ""Is it door one, two or three?" Well, it's door two." "You have to have a reveal, you have to have an answer that is as complicated as the question." "You have to actually say, "Oh, now that that's the case," ""we're in even more trouble."" "So the answer is as good as the question, and it's as troubling as the question, and is not final." "I don't actually want to end the story, that would be bad." "It was a relief also knowing that finally I wouldn't have to hold on to that secret any more, 'and that the others wouldn't have to try and bribe me any more either.'" "Now it's finally revealed, and she's Amy's daughter," "Amy and Rory's little girl." "So that is just the best." "I don't think they'd dared believe that the reality would be that I was their daughter." "But I am." "Subtitles by Red Bee Media Ltd" "E-mail subtitling@bbc.co.uk"