Torchwood: To the Last Man (Episode 203)

Gwen: He’s a frozen soldier from 1918.
Jack: Nobody’s perfect.

We open with Gerald and Harriet using what looks to be a Brownie camera to search for ghosts. Apparently, they’ve been seen more and more frequently at St. Teilo’s and not in the metaphoric “the shell-shocked soldiers from WWI are ghosts” sense either. Just in case none of us remember that historically important, yet eerily reminiscent of today’s events, Harriet mentions Douglas Haig’s “To the last man…” speech, thus giving us a justification for the title.

The Brownie camera indicates that there’s ghostly activity downstairs. Gerald and Harriet do not find ghosts, but echoes of the future as Tosh is pleading with a young man named Tommy, who we’ve just seen in the ward upstairs, to tell the two from 1918 what to do. He tells Gerald and Harriet to get the him that’s still in the ward.

I’m pretty sure the Doctor is somewhere getting an alert that a paradox is about to happen.

Back upstairs, Gerald and Harriet insist that the still-in-the-ward Tommy come with them. He’s reticent but they try to reassure him everything’s fine. They’re Torchwood.

Techno-title flash.

We’re back in the near future with Tosh doing some extra primping for work. She’s getting ready to Moby’s “One of These Mornings” and it’s killing me that I can’t place what movie I’ve heard it in.

She smiles just before heading out and I wonder if I have to stab a pen through my eyeball if she spends the entire episode simpering after Owen. The camera pans down on her calendar showing the date as Friday the 20th.

At the Hub, Gwen asks Jack who the boy from 1918 is. We get exposition from both Jack and Ianto that the soldier is 24 year-old (sort of as he was born in 1894) Thomas Reginald Brockless, Tommy for short. I have a far better answer.

Tommy’s been on ice for the last 90 years. Because of this, Torchwood’s got to defrost him once a year to make sure everything’s working. I always believed that once you defrosted something you had to use it, but I guess they aren’t planning on cooking him up for dinner.

They’re keeping him alive, and on ice because they’ll need him one day. Considering he has to be injected with what I’m assuming is adrenaline and then shocked twice in order to wake up, only to find it is one year later, I have to say, poor Tommy got the short end of this deal. The panic he initially goes through until he recognizes Tosh and Torchwood, confirms it.

I already felt for this man (although, not like Tosh does, apparently) but when he punched Owen after waking up, he earned my eternal love and admiration.

His first request is for a cup of tea. I wonder who everyone will turn to in expectation?

As Tommy’s having his yearly meal, Tosh’s careful primping is rewarded as he complements her dress, even though he’s confused by that whole dress over jeans style. You’re not the only one Tommy. All it’s ever said to me is that you’re too ashamed to show off your legs, which is the whole purpose of a dress, isn’t it? Although, his desire for the miniskirt fashions of 1968 to make a comeback isn’t on the top of my fashion wish list. It’s just a few levels below the return of grunge.

Tommy passes all of the tests, both physical and mental, while filling the audience in that everyone he knew in life is now gone. He also, rightfully so, complains that while it’s every year to them, for him, it’s every day he’s woken up and poked and prodded by whoever is in charge of medical that year.

In Jack’s office we learn the back-story of the time shift at St Teilo’s Hospital. 1918 and some *cough* unknown *cough* year were blending together and only Tommy can help Torchwood stop it.

The problem is that Torchwood doesn’t quite know how it happens as the orders are sealed by a temporal lock, a phrase which here means, “won’t be opened until a deus ex machina is needed.” Jack describes it as being time sealed to the frequencies at the hospital, but I think my explanation is more accurate.

Tosh and Tommy (their names sound so cute together but I’ve found a shipper name is almost impossible to invent as their so close) pop in to show off Tommy’s modern attire, before they head off for a day of film sex, drink sex and pizza sex in near future Cardiff. As the pair leave, Gwen asks if there are any more pretty boys down there in storage.

I don’t know who warns Gwen off first, me, by screaming at the screen that Tommy is Tosh’s or Jack, who makes a joke about it. I may not know who warned her first but I certainly know who had a hell of a lot more feeling behind it.

Tomsh’s (I said almost impossible) first stop is the statue of Captain Robert Scott who achieved his goal of making it to the South Pole, then died. Wow, that’s a statue full of history.

Tommy’s disappointed that Tosh hasn’t done all of the things they talked about last year such as playing the piano and learning Spanish.

He reminds her that even though her job is important, she wasn’t conscripted into it. He doesn’t mean that as a snark, just an observation. He would know as he was conscripted into the army and then into an ice box in Torchwood.

Back in the Hub, Ianto and Gwen look at a picture of the 1918 Jack and Gwen. She’s clearly seeing the likeness, if not in looks, then in the woman being second in command and the man having a penchant for what looks like dated clothing. (I’m sure it was fashionable in 1918, but just go with the analogy.)

Ianto’s very melancholy as he points out that 1918 Gwen died the year after the picture was taken. He implies that happened to everyone at Torchwood. I’m hoping the picture isn’t serving the same purpose as the Captain Scott statue.

Gwen decides to head off to St. Teilo’s to do some investigating on her own.

Tomsh are now having a game of pool where Tosh is winning and Tommy’s nervously asking about whether or not she’s attached. It’s so adorable that he’s such a gentleman to ask and not assuming the cut of the dress might be a clue.

As for Tommy, he did have a girlfriend in 1918 and tells us about how they split up before he went into deep-freeze. He’s so considerate that he doesn’t even mention that it wouldn’t matter now anyway. It’s not like she’s Estelle and is suddenly going to pop back into her life.

So there they are two people who are unlucky in love. Tosh wisely stays silent about the disaster that was her last relationship.

At St. Teilo’s, Gwen’s confronted by a WWI soldier with an amputated leg. It’s damn creepy the way the lights flicker on and off and it looks like he’s chasing her on his crutches. Despite the atmosphere, I couldn’t help but wonder why Gwen, who has seen Weevils, and cannibals and Spike is so frightened.

When the soldier vanishes, Gwen continues searching only to find a construction crew as the hospital is to be torn down. Working on the theory that all the trauma from WWI and the demolition is the cause for the time shift, Jack’s now arrived and Owen is monitoring the activity back at the hub. It’s an excellent opportunity for Jack to remind us he’s immortal and was actually in WWI. I would include a screen cap with a crack on it about now, but I think I used up all my permitted lack of tact with that last one. That, and Jack also mentions the battle that blinded my Goggie (Great-grandfather) so I’ll just leave it as the sad moment in the show that it is.

The decision is made to leave Tomsh alone for now, which is good as Tommy’s having his own war flashback as he gets a glimpse of the military mess that is the Middle East, on the television. He’s upset that the “war to end all wars” was a misnomer as what was 3 weeks later (to him) was WWII.

Thus comes the philosophical part of the episode as Tommy wonders if humanity is worth saving. Tosh reassures him (no one said it was a long philosophical debate) inspiring Tommy to make the most romantic gesture ever on this show. He tells Tosh that all she’d have to say is “Tommy, you’re my brave handsome hero and I need you” and he would do anything for him.

As if he’s his own time shift early warning system, Tommy suddenly gets a strange notion, which is the segue back to St. Teilo’s. Demolition is continuing which leads to more strange occurrences.

Jack and Gwen split up (not like that, but I wish!) making me wonder if either of them has ever seen a horror movie. What Jack gets isn’t quite horror movie terror, more American Idol reject singing as a WWI soldier sings about how he loves “dimples and curls.” I’m going to go out on a limb here and suggest that he’s not talking about the ladies’ faces.

The wounded soldier and the nurse pushing him around in a wheelchair don’t see Jack so the two slices of time can’t be totally meshing yet.

Gwen’s experience is much more in the vein of a horror film as she witnesses a newly conscripted soldier be told by a nurse that they’re ready to give him his physical. At first, the nurse walks away, as if not seeing Gwen, but the music and the way the nurse steps back around the corner to stare at Gwen totally make me jump.

The nurse confronts Gwen, demanding to know why the hospital can’t be left in piece. Well, I think the misnomer of “the war to end all wars” combined with all the physical and mental suffering probably have far more to do with it than Gwen Cooper, but it’s not as if the Whoniverse would offer social commentary like that, is there any chance they wouldn’t?

The nurse screams at Gwen that she shouldn’t be there, and just as Gwen tries to pacify the nurse, she disappears.

We go from something starting to rival the scariness of “Blink” to the goofiness of Tallulah and Lazlo in “Daleks in Manhattan.” Tomsh are frolicking on the boardwalk. He picks her up, twirling her around then puts her down only to plant an awkward kiss on her. Well, the guy’s been on ice for about 90 years, so he has an excuse to be awkward.

Tosh is equally as awkward, at first hiding behind the fact she’s much older than him. “So I’m old enough to die for my country but I’m too young to give you a kiss? You daft lass, what goes on in that head of yours?” Tommy may not be smooth with the kissing, but he’s certainly good with the lines. Want proof of his success? She kisses him, just as awkwardly as he kissed her. It may be awkward, but there’s only one way to describe this couple.

Eventually the decision is made to head back to Tosh’s and I’m all “Finally! Squee!” Then the bloody phone rings. WTF?! Tosh finally gets a wonderful, sweet person who is truly interested in her, and not her prat of a coworker or a psycho alien and she has to be interrupted by the damn phone? The universe must have it in for this woman’s love life.

Back at the Hub, team Torchwood and Tommy (which sounds like the name of an alternative college rock band) are concerned about time being all jumbled up. Jack uses the analogy of a crumpled paper ball to show time being messed up. Apparently somebody doesn’t but the “big ball of wibbly-wobbly timey-wimey stuff” philosophy.

Thus the team is put into action and Tomsh is put on hold.

At St. Teilo’s Owen has the unmitigated gall to actually warn Tosh off Tommy. What? Are you jealous that you’re no longer the centre of the attention? Shut up Owen! It’s not like she’s going to know someone for a week and then go all emo eventually getting into a cage with Janet the Weevil, now is she? You know why? Tosh has more sense than you so shove it!

Thank heavens Gwen interrupts via the Bluetooth, sending Owen down to the old radiology. Good, perhaps we can be sure there’ll never be little Owens.

What he finds is the “future heroine of the Empire” a phrase which here means an advert for insurance featuring a female superhero. This confirms that the time shift will not far in the future but by the end of this episode.

The time alarms Tosh set in the old ward go off and back at the Hub it’s time for the deus ex machina of the episode as the sealed box unlocks.

I try and read the letter Jack holds, but all I can make out is Tommy’s full name and a few random words.

To be honest, I don’t try that hard as I get distracted when my fictional Welsh boyfriend arrives. Besides, Jack tells us that the letter has instructions for Tomsh so that’s good enough for me.

Tommy has to go back to 1918, repairing the rift with a rift manipulator. I’m heartbroken for Tomsh, but probably not as heartbroken as the pair themselves.

Jack takes Tosh aside for a private discussion, which reveals Tommy’s fate. Three weeks after he gets back to 1918, he’ll be shot for cowardice, because he’s suffering from shell-shock. Besides the appalling conditions of 1918 psychological treatment, Tosh can’t send the man she’s rapidly falling for back to be killed. Trying to make her see the light, Jack insists that Tosh has to convince him to go back, to save the future. The instructions from Torchwood insist it has to be Tosh but that Tommy’s not to know what happens to him.

Ianto’s brought Tommy the attire he was wearing when he left the hospital in 1918. “So I’ll be saving the world in some pajamas, how daft is that?” Tommy asks. Don’t knock it Tommy, you’re in good company as the Doctor once saved the Earth in his pajamas using a satsuma.

Tommy’s found some amusement as the team doesn’t know what to do with him until he’s needed the following morning. Considering what he’s being asked to do, he’s rather a good sport about it. Lost about what to do with himself, it’s Tosh who makes the decision. He’s going home with her. There’s only one thing to say here.

Accepting what needs to be done, Tosh decides to celebrate life instead. It’s a notion that would’ve been appreciated in 1918. Thus the pair head to Tosh’s and in a very sweet scene, which is tactfully cut off, we all get the idea what’s about to happen as the clock ominously continues to move forward.

Back at the Hub I get a scene which essentially turned me into a big pile of fangirly goo. Considering the recent discussion about people returning to their own time, Ianto’s concerned that Jack might go back, and even goes so far as to admit that he would miss him.

Jack’s certain he won’t but he’s not too sure where he really belongs but he wouldn’t change anything about what he’s done so far. Thus Ianto feels he has to convince Jack that he’s in the right place.

Then I become almost incoherent.

It seems so much longer than 7 seconds but I guess that just means they’re doing it right.

We flip back to Tosh’s flat, where Tomsh is lounging in bed, after what I hope Jack and Ianto are doing right now. Unlike Jack and Ianto, the ever ticking clock is symbolizing their brief time together.

Tommy asks about what happens to him. I’m sure Tosh is going to tell him everything but in a moment of sympathetic equivocation, she just assures him that even though he’s sent back to France, his body is found. Yeah, well, I guess it wouldn’t be hard to find the corpse of the person just executed for having a mental breakdown. Yes I’m bitter.

The next morning, Tommy’s last day in the future, and with all his mental faculties intact, is beautiful. At least fate is kind enough to give him that. Tosh is already awake and worrying. She tells Tommy that it’s time.

Team Torchwood and Tommy wander around St. Teilo’s getting audio and visual glimpses of 1918. Reverting back to his 1918 self, Tommy remembers being taken by Torchwood and runs from the empty ward of the present with Tosh in close pursuit.

Down in radiology, Tommy refuses to go back as he’s afraid of being returned to the trenches. He pleads with Tosh for help, but she realizes he’s got to be sacrificed to the greater good. It’s a strangely religious motif in this very atheistic show.

Tommy has his moment of doubt, comparing Jack to the generals who order the soldiers over the top but never put themselves in harm’s way.

In the end, he expresses his true fear, that all the time he’s had with Torchwood, his entire life, means nothing. He sinks to the floor, where we already know he’ll be found shortly by 1918 Torchwood.

Tosh, who has stood mostly silent during Tommy’s moment of doubt, asks to be left alone with him. Inadvertently, she’s giving us the scene from the beginning as Jack leaves.

Tosh reassures the frightened soldier that he’s wrong. He’s a hero because he saves everyone.

I’m thinking we’re going to get the “Handsome hero” speech now, but we don’t. Instead, we get Tommy’s pleading to stay with Tosh and I honestly don’t believe it’s a request made out of fear. Just then, the time shift happens and we get Tomsh’s point of view from the scene from the introduction. Now that we know the full circumstances behind it, it’s even more heroic than we were originally led to believe.

As Gerald and Harriet head off to get the 1918 Tommy, Tosh reminds out Tommy that he has to use the Rift key he’s been trying to get rid of this whole time, to stitch time back together. She kisses him good-bye. Tosh is crying, and I’m crying and I’m annoyed too, as it’s a little early in this series for Torchwood to make me cry.

Fortunately, I get provided with a distraction as I’m noticing the Rift key thingamabob (technical term) looks strangely like the engravings on the Doctor’s pocket watch. Now that’s something I’d like explored a little bit more in-depth please.

With one final, pitiful glance at Tosh, Tommy heads into the past. He’s no longer the happy-go-lucky Tommy we saw on his day out, but the shell-shocked ghost we met at the start. It’s only with the help of a nurse, does he find his way back upstairs and into bed, just seconds after Torchwood takes him. He even sees himself being escorted out.

Although he’s still holding on to the Rift key thingamabob for dear life, he’s clearly too panicked to remember what to do.

Back at the Hub, the near future Team Torchwood is confused as the time shift hasn’t stopped. In fact, it’s spreading. The only way to ensure Tommy uses the key is to use the second deus ex machina in this episode, somehow, using Tommy’s blood and some other technical stuff, all of which is completely unexplained to any degree of satisfaction, Jack figures he can go into Tommy’s mind and make him use the key.

Tosh stops him. He’s already had his deus ex machina and now it’s her turn. She’ll be the projection in Tommy’s mind. Of course, she’s knows exactly what to say to him.

As panic ensues in 1918, Tosh appears in front of Tommy. I can’t help but thinking that giving the poor man what he’ll think is a hallucination is not the best idea for his fragile psyche.

Sadly, the shell-shocked Tommy no longer remembers Tosh which saddens me deeply. He piteously holds out the Rift key thingamabob, asking if it’s hers.

She assures him that he’s not a coward and that he’s fighting for the future, as well as for her. As time runs out for Tosh’s time invading Tommy’s brain, she finally says what we’ve been waiting for, “Because you’re my brave handsome hero. Tommy, use the key.” She’s not wrong. Because he’s so scared and because he’s so emotionally scarred, the fact he does it, is a true act of bravery.

Later, Tosh gently packs up all of Tommy’s things. It’s a sweet moment and luckily it isn’t ruined by Owen. Ironically, losing someone to another time and place is a concept he understands. It’s nice that Owen does not intrude on her grief.

Even Jack lets her be, by simply saying thank you and letting her leave.

Of course, I spoke too soon as there’s Owen but he doesn’t say something asshole-ish, or insensitive, which is a serious character development from last season. He credits her with saving everything. She gives the credit to Tommy. I think they’re both right.

As Tosh walks away, the Moby song replays and the lyrics nicely sum up the brevity of Tomsh.