Fade up on a dark and stormy night. Wind is howling. Rain is lashing. Lightning flashes. We are:


A fictionalised medieval version of Broomhall: essential locations suitably back-dated. A tavern-sign creaks in the wind.

We intercut shots of part of this environment with details of the thunderous galloping of a black horse in full bridal. So a shot of the village pump then a shot of pounding hooves; a shot of rain dripping from thatch, then the snorting nostrils of a speeding mare. That sort of thing. Stormy but tranquil village intercut with ferocious apocalyptic horseriding.

And over all this we play a reworked version of "Ann's Eveready Equestrian" by Add N to (x).

The horse is being ridden by a cowled figure holding aloft a flaming torch.

Opposite the towered church of St Silas stands a late 19th century building. We don't make anything of any anachronism.

A little way from the back wall of this building, scaffolding has been erected. On it, two figures clutching lanterns. They are: MICK (Aston) and TONY (Robinson). They wear the garb of Victorian archaeologists, and are muddy and wet. Beneath MICK's tatty brown coat is a colourful stripy jumper which we get occasional windows of. MICK's lantern is on a stick. TONY carries his in his hand. They climb the scaffolding.

All this is still intercut with horse-riding.

TONY leans across to the wall and dislodges a patch of wet mud from it. Beneath the mud we see a portion of an image. MICK leans in and starts wiping away more mud. The rain helps. Gradually an image emerges: a church hall whose windows are exploding with light. TONY and MICK look at each other.

We mix from the illustration to the building itself: St Silas church hall. It makes up part of our medievalised Broomhall. The storm persists.

Into the shot comes the horse. It rears. The rider calms it. Trotting back and forward in front of the church hall.

CU of the rider. He removes his cowl. It is, of course, ALEX. He wears his mirrored sunglasses. The flame of his torch is reflected in the lenses.

ALEX looks from side to side.

In the distance, TONY and MICK come around the corner. It is a small detail and we do not focus upon it.

ALEX holds aloft his torch.

The windows of the church hall burst into a brilliant blue light. The intensity increases. The windowpanes shatter and the light streams out in clear lines from the windows.

TONY and MICK cower from the scene. Again this is not a focal detail.

ALEX pulls up his hood. The horse rears again and he rides off.


Shot from Park Hill, looking across the city towards Broomhall. The city is not built up to a modern level. The centre is modern, but the outskirts are increasingly medieval in proportion to their distance from the centre. Broomhall is a beacon of blue light, and the primary light-source in the scene, save for an obligatory moon. The moon balances Broomhall to the right of shot.

The Broomhall light suddenly flares, engulfing the entire scene. The blue-white light consumes the screen. A caption burns through.


Resurrected Easter Sunday.

White out.

FIVE DIFFERENT ENDINGS to be distributed across a range of trailer slots:


Through the white (limbo) emerges the out-of-focus form of GALENA (Lucy Porter). She has chocolate-coloured hair in a long, broad bob, and wears black-rimmed, wide and narrow glasses. She has on a moderately tight purple ribbed jumper, black jeans and black ankle-boots. Her sleeves are rolled up and she is carrying a green bottle of red wine which she occasionally sips from. Just as she comes into focus, she wobbles about as if she is recreating an earthquake effect, but the camera is stationary. A beat later the camera shakes along with her.

TV cutting-out effect. Fizz to black.


White limbo. JIM_FS (Frank Skinner) and JIM_TB (Tom Baker) enter from each side, CU.

JIM_FS wears his blue shirt. He has a blue flower behind his right ear.

JIM_TB wears a very very long scarf, mainly in earthy tones. Below this is his usual coat. Behind his left ear is a red flower. He wears a red-brown curly wig.

The two Jims stand with their backs to against each other. JIM_TB is on the right, and faces more right that JIM_FS who faces more central. But the difference is only 45 degrees or so.

Their heads turn to camera.

TV cutting-out effect. Fizz to black.


Limbo set full of smoke. JIM_DT (David Troughton) wafts his way through the smoke, spluttering. He is followed by ZOE (Leah Bracknell) and JOE (Fraser Hines).

JIM_DT  wears a big fake-fur coat and a floppy hat (all very Flannagan & Allan). ZOE has medium length black hair with a fringe and an elasticated lavender-blue headband. She wears a moddish black mini-dress and black knee-length lace-up boots. Over this she wears a black, fitted, mini-length woolen overcoat. JOE wears full Scottish garb: all ruffles and kiltiness.

JIM_DT hits an unseen wall and as he does so:

TV cutting-out effect. Fizz to black.


Dense smoke glowing a brilliant white. Out of the smoke a figure can just be seen picking himself off the floor. He approaches, dusting himself off. It is SIDDOR (Mark Curry), in gas-mask, lumberjack shirt and black overcoat. Around him is the strap of a wooden gas-mask case.

SIDDOR hobbles forwards through a ruined corridor of nasty early-'70s wallpaper.


SIDDOR stumbling along a corridor that is open to the elements, as the entire front of the Town Hall Extension has been torn away. Rubble falls.

TV cutting-out effect. Fizz to black.


Mix to


It is snowing a lot. STEW is struggling through the snow, with the Green Lane Works as a backdrop. He wears a big black overcoat and black jeans, with motorcycle boots. On his face is a pair of thin, metal-rimmed glasses, and he wears a thick grey snood up over his head. He is lightly bearded, and covered in snow. In his arms he carries three large boxes wrapped up in pages from the Guardian.

CU: STEW looks from the floor to the camera. He's about to say something to us when:

TV cutting-out effect. Fizz to black.