Inside the church, the groom (Stuart) and his father (Sonny -- it's reversals all around) are waiting at the altar. Stuart -- wearing an earring and in possession of a very round head -- looks behind him nervously, checks his watch, and remarks on the weirdness of "so many people" missing from the wedding party. "You don't think something's gone wrong?" Sonny asks. Stuart's dad seems to just love Sarah: "Maybe it's a godsend. Gives you time to think. You don't have to go through with it, not these days. Live in sin for a bit!" But it's not about Sarah, it's about Sonny: "In ten years' time, you'll turn 'round and say, 'If only I could turn the clock back.'" Sonny looks up above the altar at the stained-glass window, and asks whether it's getting colder. It's not cold in here, you're just dying.
The angry Doctor approaches the TARDIS, as a bird cries, and we cut to Monster-Vision again looking down on him. He very deliberately takes out Rose's key (the key gets more play, have you noticed, in boy/girl episodes -- things going into people's heads, coming out of people's heads, daughters giving life to their own fathers, and always this key) and stares up, feeling something coming. A disturbance in the trees and the birds and the wind, in the information (something fictional?). He opens the TARDIS to reveal...nothing. The inside of an old-school police box nobody's seen in years. The music goes insane. The Doctor steps inside, slapping at the walls, unbelieving, and stops. "Rose!"
Pete drives Rose toward the church, Rick Astley on the radio, talking about this and that scheme he's got. "But I thought you were a proper businessman and that...?" Rose asks. Pete scoffs, and says he does "a bit of this, a bit of that." If it's him saying it, and she can see him adult to adult, that's a bit more real than just seeing his scattered hopes and solar dreams all over the apartment. "Right, so I must've heard wrong," she says. It costs her something, and she asks whether that doesn't make him kind of a Del Boy ("This time next year we'll be millionaires!"), and he shouts, "Oh, shoot me down in flames. You're not related to my wife by any chance, are you?" Rose claps her hand over her mouth, because Jackie is terrifying in all timelines simultaneously, like a Dalek. "Oh, my God....she's gonna be at the wedding." I love how consistent Rose is about her mum; it's really sweet and believable. Like in "World War Three," when she was, like, "Do not put her on the phone; just tell me if she's okay." Pete asks whether Rose knows Jackie, and Rose says, "Sort of," and he asks what Jackie's said about him. One-quarter of a hankie as Rose smiles, brilliantly: "She said she'd picked the most fantastic man in the world." Pete says it must be a different Jackie: "She'd never say that." Starting to get that impression, yeah. The radio goes nuts and starts playing a rap song, which doesn't impress Pete at all, but is much more disturbing to Rose, considering that it won't come out for at least ten years. Rose pulls out her phone to check her messages, which throws Pete off a bit. She ignores him, and out of her phone comes the first telephone call: "Watson, come here -- we need you. Watson, come here -- we need you." The message repeats as Rose gets puzzled, and her dad keeps asking what's up. Behind them, the car that once killed him rounds the corner again. The driver throws his hand over his eyes, and the whole car disappears. Loops and loops.