Original subtitles

In this episode...

- Doctor?

- ..we've got a vanishing doctor, a nuke-loving, villainous

Prime Minister, and also a little old lady who scares the hell

out of everybody she speaks to.

Welcome to Doctor Who: Unleashed.

Coming up - what does the old lady really say to make people run away?

- Mum, don't listen to her!

Mum, don't!

- Guest star Aneurin Barnard reveals the appeal of playing

a Doctor Who baddie.

- It's always more fun to play a villain.

Romeo is boring, you know? Like, he is so wet.

- And spoiler alert - we've got an Unleashed exclusive clip

of the next episode of Doctor Who.

Welcome to Cardiff...

..centre of the Whoniverse.

You're watching Doctor Who: Unleashed,

the show that gives you VIP access to all things Who.

In this episode, we'll draw back the curtain on the making

of 73 Yards - a spooky story that threatens to go nuclear.

And don't look now - there are going to be spoilers.

But first, let me twist your mind.

Today is Monday, the 5th of December, 2022, and we're here

in Wolf Studios in Cardiff

and about to film Ruby's ageing sequence when she goes from

her 20s, to her 30s, to her 40s.

But do you want to know something a bit weird?

Even though we've seen loads of Ruby in the series already,

and even though you've seen

plenty of me in the previous episodes of Unleashed...

- Hello, Unleashed.

- ..this is actually my first day on set for this series.

One of the many strange things about making a drama is that nothing

gets filmed in the right order.

So for reasons that will soon become apparent, episodes one and three

of this series aren't being filmed until March 2023,

and episode two will turn over in April.

But here and now, in December 2022, we're filming episode four.

Are you with me?

It IS Doctor Who - we're constantly travelling through time and space.

So yes, genuinely, this is my first day on set for the new series,

so lots of the crew you can see milling around behind me

might have featured on some of the earlier episodes of Unleashed,

but at this moment in time, I've not met any of them, I've not spoken

to them, and I've certainly not filmed with any of them.

And the first person I need to meet is the star of 73 Yards.

No, not the Doctor - let's be honest, he's hardly in this episode.

It's the companion Ruby Sunday, played by 18-year-old Millie Gibson,

who's also enjoying her first day on set.

Hello. Has anybody seen Millie anywhere?

Has anybody... Oh, you're there!

Sorry, I didn't see you behind the coat!

HE LAUGHS

- He's only... - I'm sorry.

- I'm in a wig! - I'm sorry. I thought you were going to be...

I knew you were doing a photoshoot. - A big transformation.

- I thought it was going to be a big... You were going to be on, like,

a big plinth or something. - I was more shocked than you.

No-one knew you were coming!

- THEY LAUGH

Hello, nice to meet you. - Pleased to meet you.

- That's not a great first impression to give, is it?

- Can I go on that side? This is my good side.

- Oh, yeah, of course. I've got a bad side this side. - Oh, well, you know...

- I'll put up with it just for you. - Beggars can't be choosers, can they?

- Well, this is mad, isn't it? - I know, it's bloody crazy, yeah!

- How are you finding it so far?

- Yeah, it's been...it's been the most incredible start to the journey.

I mean, I wouldn't think I was going to be in this get-up

for my first scene. - Yeah. Is that a wig? - That IS a wig.

- It's really good wig, isn't it? - It's a good wig, that, innit?

- I'm just trying to see where the wig starts and your hair...

- Well, you know, that secret can't be revealed.

- Yeah, it can't be revealed.

You're... This is... You look a bit older than normal here, don't you?

- Yes, so this is Ruby when she's 25. - 25? - Yes.

So yeah, we've just put the wig on and a bit of dull make-up

because she's...she's not the best in this scene.

- No, she's struggling, isn't she? - She's a bit depressed.

- Yeah. - Yeah, she is a bit depressed.

- Well, it's gonna be easy for you to go and, you know,

be depressed now in the next scene because you just had to spend

five minutes in my company. - Oh, my gosh.

- Well, it's been lovely to meet you. - Oh, so lovely to meet you.

- And good luck with all the make-up and stuff.

And next time I see you on set, I'll just be sure that I,

you know, I don't... Erm, not realise...

- "Where's Millie?" - ..not realise you're there. - "Anyone seen Millie?"

- Yeah, just the star of the TV show that I didn't recognise in the flesh.

That's great.

SHE LAUGHS

- But that's great, because... - Actually, should we scrap this?

Can we do it, should we do it again? - Yeah, should we just start again?

- You go back there. - Yeah, OK. - I'll come over here

and we'll do it all again. - All right. - All right, see you in five.

Nah, there's no time for that.

We've got too much to get in to go back.

So we've established that Millie is flying solo

on her first gig as Ruby.

No Doctor in sight to support her.

Just straight in at the deep end.

We also know that this series is being filmed out of sequence.

So why is that? What exactly was Russell T Davies thinking?

- The whole set-up of this is partly because, erm,

Ncuti is busy filming Sex Education.

We had to start filming, so we, we kind of happily embraced

the opportunity to say, let's focus on Millie as Ruby.

And that gives you a chance to explore her character.

It gives us a chance to explore her as an actor,

and it's really rewarding. It's really paying back.

She's doing the most brilliant job.

- OK. Very clever.

Very clever.

- What is a joy watching this is seeing that Millie was part

of a huge cast of Coronation Street, hugely famous because of that.

But the culture shock, I think, for her

of like coming on to Doctor Who,

which is a huge, big, important show, and being not just

the lead actor but the lead of the whole set is a huge thing

to put on someone's shoulders when they're that young,

and she's just been absolutely magnificent.

- I've never done anything like that before.

I mean, I sort of went from doing like a bit of a cough and a spit

at the cobbles and then sort of coming on to this and it's like,

"Right, so we're starting with your own episode,"

and I'm like... "What?!"

- VICKI: - Millie is amazing.

She's our youngest cast member.

She is brand-new to this series and this world,

but yet she always gives these amazing performances, these amazing,

really heartfelt performances.

I've cried so many times watching episode four.

It's incredible.

- I just hope it's turned out well.

But, erm, yeah, I just... I'm excited to see it.

I think it's going to be funny seeing myself at 40.

- There's no other opportunity in which we'll ever see Ruby's life

pass without the Doctor, and her strength and her dedication

and the fact she never gives up.

And it shows that when the world's in danger,

actually, some people in this Doctor Who world,

these people who are companions, step forward and are

strong enough to become the people who save the world in the end.

- This episode had some complex set-ups - clifftops,

city-centre sieges, a spooky storm-wracked pub.

For the Who crew, though, the most challenging scene

was one of the shortest.

Ruby's train journey to London takes up just 20 seconds of the episode,

but it required teamwork, military precision

and a race against the clock to pull it off.

Ready? Let's go.

- So today we are going to be filming on a train that has originated

at London Paddington, and it's going to go through to Swansea.

We are here now at Newport train station

with the camera and the grips team.

We'll be getting on here, getting the kit on and then meeting

everyone else at Cardiff to then get the rest of the departments on

and start filming on the train.

It's 90 seconds to get on the train, so that's a minute and a half.

So, uh, hopefully, fingers crossed, everything goes well.

- It's going to be stressful, but I think we can do it.

Yeah, I think it's going to be a little bit stressful,

but yeah, we'll get it done.

I think if we miss it, we miss it, don't we, so...yeah.

See how it goes. Should be all right.

- So I've got camera grips here.

We're going to get on and then, erm, we'll come to you guys approximately

for about 11:40, so about 10, 11 minutes.

Yeah. Wicked.

All right, nice one, Jace. Thank you very much. Thanks. Bye.

That's the Cardiff lot, so they're just asking about, erm...

What time the train is estimated to get there,

if we're still on schedule. Which we are, so that's all good.

Yeah. - Wicked.

I reckon within 30 seconds. - Yeah. - 30 seconds.

- OK. I'll do as soon as it stops.

Oh-h-h-h!

- Let's go.

- Have a good day.

- We've got 58 seconds to go! Come on, guys, let's go!

Let's get in, let's get in!

- No, don't chuck it on, that's not...

My bag's not going on.

- We all good? - We all good? All good? Let's go.

- We did it in 30 seconds.

- 47 seconds to spare.

- 30. - 30?

We love it, we love it.

- like me, let me know

got to go.

- Next stop - Cardiff.

- So I got on at Cardiff with the extras and with Millie,

and we'd hired out two carriages, so one carriage was full of the crew

and the second carriage was obviously where we were filming.

Nice and quiet, nice and still everywhere, then,

please, for rehearsal. Thank you.

- I don't think we have that long to do this scene, so it's a good job

I don't have any lines to mess up on, but it's been really fun.

- And...action.

We had about half an hour to get these two or three shots.

As soon as the train pulled out of Cardiff station, we were

kind of rolling the camera and going for takes.

The first shot of the scene is actually this kind of push-in shot

down the corridor of the train, which then peels off

and finds Millie sat by the window.

And to execute that, we use a Ronin, which is kind of a gimbal device,

a bit like a Steadicam, but smaller,

which allowed us to get this kind of smooth shot.

But it was really tricky for the brilliant camera operator,

James, because he had to literally battle against the kind of natural

rocking motion of a train and still keep himself steady,

and try and get a really smooth push-in shot on Millie,

which he absolutely executed.

Cut there. That's pretty good.

End board, end board. - End board.

- Well done, Mils.

- So the current stakes is,

we have not just one department. We have two separate departments

to get off this train in 90 seconds.

Can it be done?

Who knows? We'll find out.

- Are you done? - Thank you.

- Right, guys. 90 seconds.

We're moving out.

We just arrived at Cardiff Central Station.

This has been a successful day on the train.

We've just come back from Swansea. Millie's here.

Erm... And we've alighted at Cardiff Central.

We're going to go into the BBC now, erm,

and spend the rest of the day in there.

So, yeah. Wicked. Thank you.

- Still to come on Doctor Who: Unleashed...

- It is just bonkers.

- ..we meet a family daft enough to let Doctor Who film in their home...

- Total chaos. It is chaos.

- ..I come face to face with the 73 Yards woman...

Bless you.

- Thank you so much... - Thank you so much.

- ..with a shrug. - With a shrug.

..and spoiler alert - we've got a world-exclusive peek

at the next episode of Doctor Who.

But first...

For Millie, there's only one thing more scary than being the star

of the show - the woman who stands 73 yards away throughout the episode.

- What unnerves you most about the woman that is 73 yards away

is that you can never see her face.

Even when Ruby takes a picture of her and tries to zoom in

and looks at her and it's all blurry and distorted, you're like,

"Wh-what? Why?" And it is really creepy.

Like, imagine that following you around all the time.

I always try to wrap my head around that. It's horrible.

- The concept of 73 Yards is a really interesting one.

So obviously in this episode, Millie's character Ruby discovers

this old woman 73 yards away from her,

who she can never get any closer to.

So no matter how quickly she walks towards her,

the woman always maintains a 73-yard distance.

- It's 73 yards simply because when I was writing this, I had no idea

about distance, so I... To get the distance,

I went out to Swansea Pier and on Swansea Pier,

the railings are 3.5 feet long, so I could measure.

So I literally stood on Swansea Pier

until I could stare just at people passing by.

And so a woman eventually was about 73 yards away and I thought,

"That's the right distance. She's a blur, but she's not a blur.

"I can just about see her."

And I handed the script in saying, "That's not exactly

"a very scientific method. I think that's right.

"It might be 90, it might be 60."

Turns out I was right.

My scientific methods using railings on Swansea Pier

were exactly right, and we stuck with 73 yards.

- For the crew, that didn't just mean plonking the woman 73 yards

from the camera and shooting.

They also required some science.

- We did loads of tests. Sam, our DP, and Dylan, our director,

they went out and they measured what 73 yards was.

And then we messed around with lenses to see whether we could

trick ourselves into thinking it was closer or further away.

We had to stand at 73 yards away to make sure we could see

the woman, and she was mysterious enough, so we had to make sure

that even if we put a particular lens on it,

we still couldn't see who she was.

- Even on the shoot, there was still calculating to do.

- And...action.

- So I've been watching, and obviously

it's a logistical challenge, isn't it? - Yeah.

- And a maths one to make sure that she's the same distance away

all the time. - Yeah, totally.

So every time we see the old woman, we only see her from this very

particular perspective, which makes you kind of squint and you never

are able to really see her face in any great detail.

And that was really Russell's idea that was, I think,

pretty much written into the script.

And when I first saw it, I sort of thought, "That's not going to work."

And I said to Russell, "We've got to get closer.

"We've got to get some close shots." And he was like, "No, no, no,

"trust me, it will work." I'm like, "OK."

We tested it and it worked really well, I think.

And what it means is you never really get in there

and you're always squinting.

And there's something kind of scary about that, really.

Cut, reset, please. Cut to reset.

But every time we do a shot like that, we have to pull up our kind of

favourite original take that we first did and match every other shot

so that the woman is exactly the same size in the shot.

So yes, it is a bit of a logistical challenge. - And a headache, isn't it?

- Yeah, definitely.

- So that's how the 73-Yard Woman was filmed, though of course,

what the whole world actually wants to know is what on earth she says.

Russell?

- You will never know.

I'm never going to tell you what she says.

It's kind of up to you to sit there and think, well, what could someone

say that would make a mother run away from her daughter forever?

You could look at yourself, think, what would make me do that?

And once you start to do that, you enter the real horror story.

The dreadful things that are being said there. Terrible things.

- We're filming the scene where Ruby's mum runs away after speaking

to the woman at the end of the street. - Mm.

- What do you think she says to her?

- I think she asks her why she's stalking her daughter

and nobody knows. Does the woman speak, even?

- Yeah. - Does she hear or is she just... Who is she? - Who is she?

- Is she a manifestation of our subconscious?

We don't know.

In this show, anything could happen.

- You're the director.

What do you think she's saying to people to make them peg it?

- That's a tough question.

I-I don't know, I seriously don't know.

I thought long and hard, I can't come up with a good answer. - Yeah.

- It's whatever the worst thing is in the world that

that person could possibly hear. That's all I tell the actors. - Yeah.

- Maybe I do know and I just don't want to tell you.

- Yeah, maybe. That's probably what it is.

What do you think the woman says?

- "I'm sorry."

- Oh, that's quite deep. - I'll leave you with that.

- Maybe she's saying that she's her from the future.

Who knows? I don't know.

- Well, it's a time-travelling show.

- Exactly, so there's... Anything's possible.

She could be like, "I'm from the future and I'm your daughter."

- Some people have just gone with, she's offered them loads of cash.

- Cash? She wouldn't run away from that amount of cash.

Would you? I mean, maybe.

- Run to it! - Run to the cash.

She's got to run to the cash.

- I think she's talking about

how much she loves pineapple on pizza.

And I think that's really scaring people off.

- You know, I'm not going to lie to you, Devante.

I was not expecting that.

To be fair, if someone said that to me, I'd run away as well.

- Yeah. - Yeah. It's got no place on a pizza.

- No, no, unfortunately not. I can't agree with it. Can't agree with it.

- At one point I thought she was saying,

"Don't listen to this girl. Don't talk to her.

"Everything will change, your life will change in the future."

- Yeah. - And that's what made them run away. - Right.

- So that's what I think she's saying. - Yeah.

Well, we never find out. - But we never find out.

- Or will we? - We're never going to know.

- SHE HUMS "THE TWILIGHT ZONE" INTRO

So, the mystery remains unsolved,

but never fear - I have one more trick up my sleeve

before the end of this episode.

From Cardiff to Bristol to the West Wales coast,

12 different locations have been used

in the making of this episode.

That's lots of councils, landowners and homeowners

who have allowed the team onto their properties.

And if you've ever wondered what it's like

to have the Doctor Who crew descend on you,

here's a bit of an insight.

This is the White Cross Inn,

set in the hills above Caerphilly

in the rural village of Groeswen.

The 18th-century pub is doubling

as Y Pren Marw, The Dead Wood -

the spooky hostelry with the strange locals

that Ruby Sunday stumbles into.

But in real life, it's the business and home of landlady Mair.

So, Mair,

how did this happen, then? How are we outside your pub

and there's all the camera crew and all these actors here

and all this fuss?

- Total chaos. It is chaos.

- HE LAUGHS

- Alex rung me one day and said...

..please could he come and have a look at the pub?

He needed a pub close to Cardiff that had stones and beams.

- Yeah. - And he came up

and he seen it and in a couple of days he said,

"Yeah, we'll go with it."

- So have you had to close down for four days, then?

- Yeah, we shut from Monday till Friday afternoon.

- That's a big thing to do, innit, to close any business

for that long a time? - It is. But...

..it is also really exciting to have this happen in the village.

It's good for the village.

I'm sure eventually there'll be people looking out -

"Where was that place that they filmed that?

"Let's go and have a look."

So it'll be good for the village as well as for the pub

in the future. - Yeah.

Now, Rich, as well as working in the pub,

you're a bit of a Whovian.

- Yeah, I like Doctor Who, yeah. Love a bit of Doctor Who.

So it's really exciting for me to, you know,

have a childhood dream come true and see how it all works.

It's a new era as well.

You know, this is being filmed now in 2022,

but it won't be aired until 2024,

so we'll have to keep shtoom for quite a while.

- Yeah, you have to keep a secret for ages.

- Yeah.

- So what... Practically, what does it mean, then, for you, Mair?

So obviously you've had to tell the locals, "Listen,

"sorry, team. See you in a week."

- "See you in a week. Sorry, boys."

We are shutting, you know, through the week.

There are things - we have a quiz on a Tuesday.

This Wednesday would have been Knit and Natter

where the girls come and have a chat and that.

Yeah. Monday would have been darts.

So, while there is movement every night in the pub,

something is going on, they all understood, you know,

it was something we couldn't really turn down.

- Yeah.

- But never in a million years did I realise

that it was going to be... Not so much disruptive,

cos you've given the pub over to them,

but there's so much going on!

It is just bonkers how many people are here.

- So are you trying to avoid spoilers

so you get to watch it for real when it goes out on the show?

- I have been having a sneaky look on the monitors,

but you can't hear what they're saying on the monitors.

- Yeah.

- And I can't lip-read very well either, so...

You know, it's just... It's just nice to sort of know

that at some point in 2024,

I'll see the White Cross pretending to be

whichever pub it is.

- Yeah, Pren Marw, Dead Wood.

- I love Pren Marw. I said, "Keep the sign up.

"There's plenty of dead wood up here.

"We should just keep that!"

- And on that note,

Mair, thank you very much for chatting to us.

The villagers are going to see that now -

they're not going to be happy with you, are they?

- Exterminate!

- Traditionally, Doctor Who foes tend to be otherworldly.

But in this episode,

the monster is 100% human.

REPORTERS CLAMOUR

- Roger!

- Roger ap Gwilliam, a nuke-loving fictional

future prime minister, is brought to life

with sinister relish by Aneurin Barnard.

But how hard is it to play the bad man?

- It's always more fun to play a villain.

Romeo is boring, you know. Like, he is so wet.

Do you know what I mean? It's not really that attractive.

I mean, most people are attracted to the bad guy anyway,

or the bad girl. You know, it's what we love.

I will go to His Majesty

and prepare for government.

- RUSSELL: - Aneurin Bernard is prime casting for Roger

cos I wanted someone young.

It'd be very easy to have cast a man

in their 50s and 60s as a prime minister figure.

But actually, we're in the future.

You kind of look at the way things are going,

you look at the power of young men online,

terrible young men online we're not even going to name,

who gather worship around them.

Not that Roger's that, exactly.

He is a politician, but he's social-media savvy.

He's the future of politics, I think. He's a grafter.

He's clever, but he's a user as well.

He's using all this stuff for his own aims

and is secretly quite insane.

- Roger's a bit of a complicated one, really.

You know, he's gunning for

extreme power on the world stage.

He wants to be the centre of attention.

One thing with Roger is there is no empathy whatsoever.

There's a huge charisma, there's a huge charm,

but it's just a tool. It's just there to manipulate others

so he can get what he wants.

Even though he says what he's trying to do

is unite the United Kingdom

to be the greatest nation in the world,

he doesn't really care about that.

He cares about how powerful he is.

- AMOL RAJAN: - Excuse me. I'm sorry.

Are you saying that you actually want to fire

a nuclear missile?

- We'll cut that bit out, right?

I'm quite fascinated with people who

are quite powerful and dangerous and, you know,

have really lost their way.

For me, selfishly, as an actor, they're way more engaging.

You know, "Come and play someone

"who doesn't care about anyone else but themselves,"

is quite a lot of fun, really.

- 73 Yards sees the return

of the Unified Intelligence Taskforce,

aka UNIT.

Created in the Whoniverse by the United Nations,

UNIT is a military organisation

who the Doctor helps defend Earth

from extraterrestrial and paranormal threats.

Since the 60th-anniversary specials,

UNIT has been housed

in a swanky new tower block in central London,

a major step up from its first appearance

way back in 1968,

when The Web Of Fear saw the newly formed elite band

being pursued through disused Tube tunnels

by killer Yetis.

- Get back!

- Into the 1970s, UNIT was led

by Brigadier Sir Alistair Gordon Lethbridge-Stewart,

who helped the Doctor overcome

everything from Daleks in Day Of The Daleks

to murderous maggots in The Green Death.

Jumping forward to 2012,

Kate Lethbridge-Stewart, daughter of

Brigadier General Sir Alistair,

played by Jemma Redgrave,

was appointed UNIT's Chief Scientific Officer,

a role she holds to this day.

In Newport city centre, the Doctor Who crew gather

to shoot a mini action sequence

where Kate and UNIT attempt to come to the rescue

of Ruby Sunday.

- I'm Kate Lethbridge-Stewart, and I think I can help.

- Any time we shoot on a high street,

it's quite a big deal for us.

We have a lot of fans show up, which is really lovely,

but at the same time we become responsible

for their safety as well.

Road closures.

Most fun in the location department's life.

And then when you add stunts, when you add people with guns

and you add fast-moving cars,

that, again, ensuring everyone's safety, making sure

everyone is happy, everyone knows what they're doing.

And it was raining, which was really fun.

- Rain, rainy stunts,

even more rain.

Water off a duck's back. So what was the one thing

that threatened to sink the whole sequence?

Two fellas in a shop window.

- We were filming the final shot of the day.

We were losing light. We had no time.

It was incredibly stressful.

We had to get this wide shot of the cafe

where they were seated. And suddenly I look up

and I see these, like, two guys standing

in the shop across the road.

And I think, "That's really bizarre."

Like, they're so massively in the shot.

So kind of naively, I just headed over there

to talk to these two men. I didn't know who they were,

and I just said, you know,

"Guys, like, you're right in the back of our shot.

"Would you mind please moving?"

And they were like, "No."

And I was like, "OK, cool. Thanks."

- Turns out they were press photographers

hoping to get some shots of Millie and Jemma.

Bit of a standoff ensued, but who would snap first?

The snappers or the crew?

- I thought, "You know what?

"I might as well try one more time." We had about

five minutes left at this point, and they were literally

ruining the kind of very important shot.

So I was like, "OK, I'm going to try again." And I went back

and this time... I can't even remember what I said.

I was, you know, in that state, which directors are often in,

of just being so intensely stressed.

I think I just sort of begged and almost got down on my knees

and said, "Please," kind of, you know, humiliating myself,

but said, you know, "We're really at our wits' end here.

"We've got one more shot to get. We've got five minutes of light.

"Would you please, please, please mind moving out of the shot,"

which for some reason they did. So it was great.

I kind of couldn't believe it, but they eventually agreed to move.

In the end, we did manage to just about get the shot,

so there was a happy ending.

- CHEERING AND APPLAUSE

One of the fantastic things about Doctor Who: Unleashed

is the fact that we get to places that other shows

could only dream of. So right now, we've got an exclusive

that even the main show couldn't get their hands on.

Take that, Russell.

Here's our interview with the 73 Yards woman.

I suppose the first thing is to say,

what was it like when you found out

that you were going to be playing this character

and you started finding out more about her?

What was that like? - I don't know

anything about her. They haven't told me anything.

I don't know who she is,

I don't know what she's there for

and I don't really know what she's saying.

I have a little script sort of to follow,

but the words I'm saying are pretty meaningless, really.

But Paul, the movement coach,

gave me a little sort of scenario and script,

and so I've stuck to that and it seems to be working fine.

- I've been watching you for a while now, doing the scene.

- Right. - You've got a very specific set of movements, haven't you?

- Right. - What are you up to?

- Hold my hot-water bottle and I will demonstrate. - This wasn't an excuse

just so I could hold your hot-water bottle, Hilary, I promise!

- What I'm doing is I'm saying, "Bless you.

"Thank you so much. That's so kind of you.

"When you gave me that little thing, it was just so precious.

"How am I ever going to repay you?

"But we'll think of something."

And back to the beginning. "Bless you." That's it.

- Wow. Cos without being able to hear it, it looks

really sinister. But when you say those nice words...

- There's nothing scary about what I'm actually...

And I'm just sort of mouthing the words anyway.

I'm not actually saying them. - Do you mind trying to teach me?

- Bless you. - Yeah. Bless you.

- Thank you so much. And then you shrug your shoulders...

- Shrug, OK.

- And then you say, "When you gave me that little thing..."

- Yeah... - "..it was so precious.

"But how am I ever going to thank you?"

Big shrug. - Yeah.

- And, "But we'll think of something."

- And you're nodding and you're sort of bobbing your head.

- Then you start at the beginning again. - So it's...

BOTH: - Bless you.

"Thank you so much," with a shrug.

- Hold your hand out, the little spinny thing with the hands,

in we come. - "It's so kind of you.

"But how am I ever going to thank you? - Big shrug.

- "But we'll think of something."

- Yeah.

I don't do it as well as you, but that's very good.

- I've done it hundreds of times.

- Are you doing it in your sleep now, Hilary, as well? - Yeah.

- With Hilary right in front of me,

it's time to play my trump card.

Surely if anyone knows what the 73-yard woman says,

it'll be her.

In the next episode of Doctor Who...

WEATHERMAN: - And the weather report says

it's another glorious day in Finetime!

In theory.

Not going to lie, we've got a little bit of trouble

with the weather satellites.

We'll get that fixed as soon as we can.