Post-They Keep Killing Suzie. With thanks to Amy and delgaserasca.
DARKNESS.
He won't hurt us; we'll keep on going, you and me.
We'll keep going, you say, (but you know she's dying, dying, almost dead); he won't hurt us. He won't hurt you, of course he won't: you're Suzie Costello, his Suzie - she's Gwen, and you can tell from the way he looks at her that there's more to the pair than a working relationship. But that's the way it was with the two of you, too; it was never just a working relationship: it was pizza and wine, it was conversation, it was bad jokes and sex (one time, you forgot to disable the cameras and you had to rush to erase any and all footage before Toshiko discovered what you'd been doing).
You practically drag her as the sound of the car engine roars closer, closer; it's so familiar, so sweet; it's so intrusive at the same time. Why won't it just turn around and leave? You know this is it when you hear the car doors open (you don't hear them slam shut; anyone could steal the car, you laugh to yourself). You lay Gwen on the wooden deck and run. Owen stops, Jack follows you – your captain, your Jack. He insists he'll kill you but you're convinced he won't. Gwen's dead now, you're all that's left of her: her life, her energy, in your body – she's you now, you're her.
But he does as he says, and he shoots you once; you fall, he shoots again – and again, again, four, five, six times, and you don't die, you won't die – you can't die. You're like him now, like your Jack, immortal. He would rather you die than suffer immortality and he shoots again. (It's the glove, the glove is holding you alive and Gwen dead and—) Toshiko destroys it.
You're darkness again, Suzie Costello. You're dead, darkness, nothing.
(Captain, my captain, you want to know a secret? There's something moving in the dark; it's moving, Jack Harkness, it's coming for you.)