Orville_third
Banned
And the Sontaran episode was a very nice touch! I could see it being made as well!
Pop Culture: The David Burton 'Doctor Who'
- Thread starter DG Valdron
- Start date
This is a fantastic piece.I especially appreciated the excerpt about the making of the Vienna Robot, as a stage tech myself. That's the sentiment of your average community theater play put on the spot - I can't imagine what the level of sheer anxiety that a television program going through similarly dire straits would be.
Thank you very much, I appreciate the feedback. Anxiety is the word. They're literally running ahead of the tidal wave.
The BBC had decades of experience in both Radio and Television production when it commenced Doctor Who, and then accumulated decades of experience doing the show - even at their worst, they had a deep field of basic technical people.
Despite that, there were upsets. Pertwee's 'Day of the Dalek' for instance, originally didn't have any Daleks. They were shoehorned in at the last minute, something that becomes apparent when you think about the episode.
The original Daleks serial was originally scheduled for much later in the season line up, after Marco Polo. It had to be moved up when another proposed serial, Masters of Luxor, wasn't ready.
Even with the deep wells to technical talent, and the long history of experience, there was a fair bit of compromise, improvisation and just pulling things out of the butt.
Millenium Productions on the other hand has no 'corporate experience', every day, it's reinventing the wheel for itself, and its full of personalities that are quite headstrong. They say 'no battle plan survives contact with the enemy.' That works here. Pretty much nothing is going as planned.
Yes, a story delving into the background of the Sontarans is a good idea. There were plans to do such a story during Colin Baker's era - the script was used for one of Big Finish's Lost Stories, The First Sontarans.
Carole Todd's time as director reminds me a little of Juliet May's experience of directing Red Dwarf. In her case, she had done some TV directing before, but didn't have enough knowledge of SF for the job. As she said, her "knowledge of all things science-fiction took a leap from 'zero' to 'not quite enough'". Though, to be fair to her, the episodes she did direct (in season 5) did look very good.
Cheers,
Nigel.
Paul Bernard, 1992
.... As to Secret of the Sontarans, I'm still somewhat in the dark as to what their secret was. For a production which was so thoroughly orphaned, I suppose the best thing that can be said for it was that it made its air dates.
.... As to Secret of the Sontarans, I'm still somewhat in the dark as to what their secret was. For a production which was so thoroughly orphaned, I suppose the best thing that can be said for it was that it made its air dates.
SFX Reviews
Secret of the Sontarans, The New Doctor. A surprisingly charming little episode. The Doctor does Hercule Poiret, there's intrigue and skullduggery galore, and a certain sweetness at points. David Burton shows restraint, the supporting and guest cast is surprisingly effective. This set bound little production is reminiscent of the classic series, and brings new life to the old potato-heads. Too bad no one was watching.
Secret of the Sontarans, The New Doctor. A surprisingly charming little episode. The Doctor does Hercule Poiret, there's intrigue and skullduggery galore, and a certain sweetness at points. David Burton shows restraint, the supporting and guest cast is surprisingly effective. This set bound little production is reminiscent of the classic series, and brings new life to the old potato-heads. Too bad no one was watching.
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Dear Mr. Bernard,
This letter follows on our conversations on the 9th with respect to the possible commission of a second season of 'The New Doctor.' As discussed, next year's schedule is still in development. The BBC may have available slots for program series of six or thirteen episodes. With respect to 'The New Doctor' no decisions have been made. The matter is contingent upon receipt of an acceptable proposal from Millenium Productions, and satisfactory ratings and audience satisfaction reviews for the existing season. Based on the first few episodes telecast, it does seem positive.
With respect to negotiations with BBC Enterprises, we can be of no assistance, they are a separate entity. However, we have every confidence in you ability to reach a satisfactory arrangement in the near future.
In respect of our subsequent discussions on the 14th, we regret to advise you that the BBC program schedule is fixed, there will be no amendments. Our expectation is that you will have your deliverables as described in the Letter of Agreement, for the dates set out in Schedule "A" to this agreement. The position of management is that these dates will not be rescinded or amended, and alternate dates will not be offered. Fundamental to the Letter of Agreement is that all parties will abide by the terms and conditions therein.
With respect to same, we have taken the liberty of referring the matter to the BBC's legal staff. We are informed that failure to render deliverables by any due date would amount to an actionable breach of contract, the nature of which would be to void performance obligations on the balance and place the BBC in the position of seeking damages. Obviously, funds outstanding and payable would be withheld until the issues of breach and damages had been fully resolved.
I trust that this makes the BBC's position clear.
yours truly
Peter Creegan
Director of Programming
This letter follows on our conversations on the 9th with respect to the possible commission of a second season of 'The New Doctor.' As discussed, next year's schedule is still in development. The BBC may have available slots for program series of six or thirteen episodes. With respect to 'The New Doctor' no decisions have been made. The matter is contingent upon receipt of an acceptable proposal from Millenium Productions, and satisfactory ratings and audience satisfaction reviews for the existing season. Based on the first few episodes telecast, it does seem positive.
With respect to negotiations with BBC Enterprises, we can be of no assistance, they are a separate entity. However, we have every confidence in you ability to reach a satisfactory arrangement in the near future.
In respect of our subsequent discussions on the 14th, we regret to advise you that the BBC program schedule is fixed, there will be no amendments. Our expectation is that you will have your deliverables as described in the Letter of Agreement, for the dates set out in Schedule "A" to this agreement. The position of management is that these dates will not be rescinded or amended, and alternate dates will not be offered. Fundamental to the Letter of Agreement is that all parties will abide by the terms and conditions therein.
With respect to same, we have taken the liberty of referring the matter to the BBC's legal staff. We are informed that failure to render deliverables by any due date would amount to an actionable breach of contract, the nature of which would be to void performance obligations on the balance and place the BBC in the position of seeking damages. Obviously, funds outstanding and payable would be withheld until the issues of breach and damages had been fully resolved.
I trust that this makes the BBC's position clear.
yours truly
Peter Creegan
Director of Programming
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The four men sat around the table at the Hyperion restaurant. There was a wonderful view of the waterfront, but none of them were looking. There was a palpable air of doom hanging, a dark cloud hovering over them that made waiters reluctant to approach.
Paul Bernard read the letter for the third time, and then passed it to Barry Letts. Letts didn't need to read it. He had memorized it. They all had.
Paul Bernard sighed heavily and rubbed his face. The others stared fixedly at the table.
"Well..." said David Burton, finally, heavily, "well... what do we do now."
Ian Levine looked back and forth among their faces, searching for signs of hope.
Barry Letts grunted.
"Nothing," Letts said. "We've been fucked."
If anything, the bleak mood around the table worsened. Letts was well known for his mildness. His use of blunt terms, even after his now legendary meltdown, was still shocking.
"It's not so bad," David Burton said, "prospects for a second season look good. That door is open."
"We have to get to that point first," Bernard replied. "We can't make our airdates. If we don't make our airdates, then we are in breach of contract, if we are in breach of contract, they'll freeze our payables. If they freeze our payables, then we are bankrupt. End of story. Even if we somehow escape bankruptcy, then we're still screwed, the BBC's not going to give a second season to a company that it's in a major breach of contract dispute with."
"We can't make the airdates for Volcano," Letts said bleakly. "We just can't."
"What if we hired extra staff for the post-production, put in overtime, accelerated the schedule. Bumped weekends, evenings," Levine said.
Letts shook his head. "Even working round the clock, which will cost us money we don't have, we'd come up a few days short. And where would we get the moneyl anyway? We've both seen the budgets, we're swimming in red ink right now. We're deep in the hole, we're maxing out lines of credit, and that credit is secured by bridge financing, which is contingent on the BBC providing its contractual funds on time. Which they will not, if we miss an airdate, and they will not let us reschedule. If the BBC holds up its money, we're sunk."
"What about BBC Enterprises," David Burton asked. "If we can come through with a license deal with them, then that'll give us money. Or at least it will let us secure financing."
"They're dangling us on a string," Bernard said bitterly. "Won't say yes, won't say no, there's just a perpetual round of meetings over the MOU."
"So that's it," Letts said, pushing his empty wine class out to arms length on the table. "Game over. Hire yourselves lawyers, gentlemen, we may need them."
"There's no chance at all," Burton asked, "of meeting the airdates. Even if we had a week's extension?"
"A week's extension, certainly," Letts said. "I can have it ready for August 31. But they won't give it to us. If we can't make the August 24 airdate, it's over."
"So all we need is something to run on August 24?" Burton said hopefully. "What about that stuff we shot in Vienna?"
"Too short," Bernard said, "by far. And we've already run Vienna, 1913."
"Maybe do a rerun then?" Burton said. "One of our old episodes."
"Old episodes? It's all the same season. There's nothing to rerun, and our contract would preclude recycling."
"Maybe slap together a documentary? We have a lot of footage. Put up some talking heads, jazz it up."
"The BBC wouldn't swallow that for a minute."
"So, David," Barry Letts said, "unless you can produce an episode tucked away somewhere that none of us knew about, then we're done for."
"Then lets produce an episode," Burton said cockily, "why not?"
That produced a burst of humourless laughter from Letts and Bernard, Levine tittered nervously along.
"I said 'Why not?'" Burton said testily.
"David," Barry said patiently. "We can't finish the episodes we already have in production in time."
"Seriously. Something we can just throw together really quickly, one camera, no sets, no production, no edits. I'll sit in front of the Tardis and read Keats or something."
"Where are we going to get the money?" Bernard asked. "We've already scoured the back of the sofa cushions." He pantomimed turning out his pockets. "Lets see, I've got a piece of string, three bottle caps and a dead vole. Will that be enough, do you think?"
"Take it out of my wages," Burton said stonily.
Bernard peered at him. "Are you serious?"
"Wouldn't be enough," Letts said.
"I'll chip in," Levine spoke up. They glanced at him. "Maybe if we do something fast and cheap. We just have to fill the airtime for August 24, right? Stretch out the opening. Maybe a couple of minutes on a teaser. We could kill the time."
"Still," Letts said, "not enough. We can't even finish the current episodes on an accelerated schedule. The money's not there."
"Maybe...." Levine spoke cautiously, "maybe I could go back to the investors, see if they'll contribute. Get some of the crew to chip in."
"Careful about the unions," Bernard warned.
"I'm just saying," Levine said, glancing nervously at Barry Letts, "Paul may have the right idea. Maybe we can pull something simple together quickly."
"It's just twenty-five minutes," Burton said, "if we pad it out... twenty minutes? Eighteen?"
"Ship in the bottle episode," Levine said.
Paul Bernard leaned back in his chair. He pushed it back with his feet, balancing it on two legs for a long moment.
"We used to shoot live in the old days.... We could do it like that. Existing sets," he said finally, "and props. No builds, just what we have laying around. No locations. No guest cast. No coverage. No post-production effects. Just some long shots. Simplest possible shooting set ups. Minimal edits. Barry?"
"Practically live? Like the old days?" Barry Letts said. "Two cameras running, to make it work like it did back then. There's no time to bang a script together."
"Just say," David insisted. "could we do it?"
Letts looked frustrated. Then thoughtful. He pulled out a pen and made some notations on a table cloth. "Okay, so assume that all the above the line costs are waived. No budget for new sets or props. No guests. Two cameras, a boom man. Basic edit. Minimum sound edit. Post-production mix." Bernard leaned over, looking at his notations, pulling out his own pen, making corrections and deletions.
"Let's assume," Bernard said, "one day, principal photography. Two tops. Get it in the can really quick. As if we're shooting live." He redid several of Letts notes.
"That ... could work," Letts said slowly.
"So a half hour of running around the Tardis?" Ian Levine said. "You said existing props. That Lizard King costume, from the Monsters of Ness. We never used it. We paid for it. It's still in storage. We could use that."
"No," Letts said, making a notation, "that's an actor, featured role, guest star rate, cost too much."
"Not if he doesn't have any lines," Bernard said, "then he's a stuntman, an extra."
Letts stroked out an item, wrote a new number in. "We can do stuntmen."
"Jen and Judy," David said.
"They're under contract," Letts said, "no extra cost, really. We can bury it in the budget."
"But they're sticks," Bernard said, "I'll trust David to carry a role like this, but..."
"The monster can just chase them around," David said, for filler.
"No good," Ian said, "there's a reason we didn't use it, remember. It was the only good costume, but it could barely move around."
"Put it on a dolly or something maybe," David said, "or what about the Vormic costumes?"
"We didn't use the Vormics, remember."
"We didn't, but the props gang had a few prototypes that they were playing with. We could use those."
Letts looked up, crossed out 'one' beside 'stuntman/extra' wrote in '2?' Wrote some more numbers.
"The Vormics and Lizard King won't match," Bernard said.
"Lots of spare Vormic parts laying around," David said, "we can use them to tart it up. Maybe paint them to match."
Barry Letts put down his pen. "Now you're talking a props budget."
"No, no," David protested, "I know these guys, they're pals. They have everything lying around. They can throw them together. I'll talk to them, I can get them to throw in for some beer and pizza. I can talk them into wearing the costumes."
Letts and Bernard looked at each other. "No lines. Screen Credit as extras, not stuntmen..."
"I can sell that."
"How long to write a script?"
"I can do it," David said, he glanced at Levine, "with Ian. Eglin to polish."
"You'd have to do it within a lot of limitations," Barry said.
"We'll hammer an outline," Bernard said, "I know what the technical requirements will be. We can do an outline, I'll do preproduction, while they fill in the dialogue."
"What about a Director?"
"I'll ask Carol to come back," David said, "she liked me."
"It's going to sink us even deeper into the hole," Barry Letts said finally, "no matter what. There's no extra money to find anywhere."
"Can we take money from Volcano? If we cut it back to one episode?"
Barry Letts shook his head. Volcano was his baby. "Wouldn't work. The shoot is mostly in the can, the rest of the costs are flat. It won't cost us any more to do two, than to do one at this point. Hell, it'll cost us more, trying to recut a two part serial down to a one shot. There's no point. "
"I'll find the money," Ian promised, "I'll go back to the investors."
"You'll need a budget," Barry said, "making a note. God knows what you'll say to them."
"I'll take out a mortgage if I need to."
Paul Bernard sucked air through his teeth. He looked up and around at the others. "Barry, bottom line, could we make this work?"
Barry Letts stared thoughtfully at the scribbles.
"No," he said, "we can get it done, possibly, probably. If we can pull the money together. But we're already deep as it is." He gave a long pause. "But if we don't try, then we're sunk. So yes, let's give it a shot."
He looked around. One by one, they nodded.
David Burton called out, "Waiter? We'll have the tablecloth to go please."
Paul Bernard read the letter for the third time, and then passed it to Barry Letts. Letts didn't need to read it. He had memorized it. They all had.
Paul Bernard sighed heavily and rubbed his face. The others stared fixedly at the table.
"Well..." said David Burton, finally, heavily, "well... what do we do now."
Ian Levine looked back and forth among their faces, searching for signs of hope.
Barry Letts grunted.
"Nothing," Letts said. "We've been fucked."
If anything, the bleak mood around the table worsened. Letts was well known for his mildness. His use of blunt terms, even after his now legendary meltdown, was still shocking.
"It's not so bad," David Burton said, "prospects for a second season look good. That door is open."
"We have to get to that point first," Bernard replied. "We can't make our airdates. If we don't make our airdates, then we are in breach of contract, if we are in breach of contract, they'll freeze our payables. If they freeze our payables, then we are bankrupt. End of story. Even if we somehow escape bankruptcy, then we're still screwed, the BBC's not going to give a second season to a company that it's in a major breach of contract dispute with."
"We can't make the airdates for Volcano," Letts said bleakly. "We just can't."
"What if we hired extra staff for the post-production, put in overtime, accelerated the schedule. Bumped weekends, evenings," Levine said.
Letts shook his head. "Even working round the clock, which will cost us money we don't have, we'd come up a few days short. And where would we get the moneyl anyway? We've both seen the budgets, we're swimming in red ink right now. We're deep in the hole, we're maxing out lines of credit, and that credit is secured by bridge financing, which is contingent on the BBC providing its contractual funds on time. Which they will not, if we miss an airdate, and they will not let us reschedule. If the BBC holds up its money, we're sunk."
"What about BBC Enterprises," David Burton asked. "If we can come through with a license deal with them, then that'll give us money. Or at least it will let us secure financing."
"They're dangling us on a string," Bernard said bitterly. "Won't say yes, won't say no, there's just a perpetual round of meetings over the MOU."
"So that's it," Letts said, pushing his empty wine class out to arms length on the table. "Game over. Hire yourselves lawyers, gentlemen, we may need them."
"There's no chance at all," Burton asked, "of meeting the airdates. Even if we had a week's extension?"
"A week's extension, certainly," Letts said. "I can have it ready for August 31. But they won't give it to us. If we can't make the August 24 airdate, it's over."
"So all we need is something to run on August 24?" Burton said hopefully. "What about that stuff we shot in Vienna?"
"Too short," Bernard said, "by far. And we've already run Vienna, 1913."
"Maybe do a rerun then?" Burton said. "One of our old episodes."
"Old episodes? It's all the same season. There's nothing to rerun, and our contract would preclude recycling."
"Maybe slap together a documentary? We have a lot of footage. Put up some talking heads, jazz it up."
"The BBC wouldn't swallow that for a minute."
"So, David," Barry Letts said, "unless you can produce an episode tucked away somewhere that none of us knew about, then we're done for."
"Then lets produce an episode," Burton said cockily, "why not?"
That produced a burst of humourless laughter from Letts and Bernard, Levine tittered nervously along.
"I said 'Why not?'" Burton said testily.
"David," Barry said patiently. "We can't finish the episodes we already have in production in time."
"Seriously. Something we can just throw together really quickly, one camera, no sets, no production, no edits. I'll sit in front of the Tardis and read Keats or something."
"Where are we going to get the money?" Bernard asked. "We've already scoured the back of the sofa cushions." He pantomimed turning out his pockets. "Lets see, I've got a piece of string, three bottle caps and a dead vole. Will that be enough, do you think?"
"Take it out of my wages," Burton said stonily.
Bernard peered at him. "Are you serious?"
"Wouldn't be enough," Letts said.
"I'll chip in," Levine spoke up. They glanced at him. "Maybe if we do something fast and cheap. We just have to fill the airtime for August 24, right? Stretch out the opening. Maybe a couple of minutes on a teaser. We could kill the time."
"Still," Letts said, "not enough. We can't even finish the current episodes on an accelerated schedule. The money's not there."
"Maybe...." Levine spoke cautiously, "maybe I could go back to the investors, see if they'll contribute. Get some of the crew to chip in."
"Careful about the unions," Bernard warned.
"I'm just saying," Levine said, glancing nervously at Barry Letts, "Paul may have the right idea. Maybe we can pull something simple together quickly."
"It's just twenty-five minutes," Burton said, "if we pad it out... twenty minutes? Eighteen?"
"Ship in the bottle episode," Levine said.
Paul Bernard leaned back in his chair. He pushed it back with his feet, balancing it on two legs for a long moment.
"We used to shoot live in the old days.... We could do it like that. Existing sets," he said finally, "and props. No builds, just what we have laying around. No locations. No guest cast. No coverage. No post-production effects. Just some long shots. Simplest possible shooting set ups. Minimal edits. Barry?"
"Practically live? Like the old days?" Barry Letts said. "Two cameras running, to make it work like it did back then. There's no time to bang a script together."
"Just say," David insisted. "could we do it?"
Letts looked frustrated. Then thoughtful. He pulled out a pen and made some notations on a table cloth. "Okay, so assume that all the above the line costs are waived. No budget for new sets or props. No guests. Two cameras, a boom man. Basic edit. Minimum sound edit. Post-production mix." Bernard leaned over, looking at his notations, pulling out his own pen, making corrections and deletions.
"Let's assume," Bernard said, "one day, principal photography. Two tops. Get it in the can really quick. As if we're shooting live." He redid several of Letts notes.
"That ... could work," Letts said slowly.
"So a half hour of running around the Tardis?" Ian Levine said. "You said existing props. That Lizard King costume, from the Monsters of Ness. We never used it. We paid for it. It's still in storage. We could use that."
"No," Letts said, making a notation, "that's an actor, featured role, guest star rate, cost too much."
"Not if he doesn't have any lines," Bernard said, "then he's a stuntman, an extra."
Letts stroked out an item, wrote a new number in. "We can do stuntmen."
"Jen and Judy," David said.
"They're under contract," Letts said, "no extra cost, really. We can bury it in the budget."
"But they're sticks," Bernard said, "I'll trust David to carry a role like this, but..."
"The monster can just chase them around," David said, for filler.
"No good," Ian said, "there's a reason we didn't use it, remember. It was the only good costume, but it could barely move around."
"Put it on a dolly or something maybe," David said, "or what about the Vormic costumes?"
"We didn't use the Vormics, remember."
"We didn't, but the props gang had a few prototypes that they were playing with. We could use those."
Letts looked up, crossed out 'one' beside 'stuntman/extra' wrote in '2?' Wrote some more numbers.
"The Vormics and Lizard King won't match," Bernard said.
"Lots of spare Vormic parts laying around," David said, "we can use them to tart it up. Maybe paint them to match."
Barry Letts put down his pen. "Now you're talking a props budget."
"No, no," David protested, "I know these guys, they're pals. They have everything lying around. They can throw them together. I'll talk to them, I can get them to throw in for some beer and pizza. I can talk them into wearing the costumes."
Letts and Bernard looked at each other. "No lines. Screen Credit as extras, not stuntmen..."
"I can sell that."
"How long to write a script?"
"I can do it," David said, he glanced at Levine, "with Ian. Eglin to polish."
"You'd have to do it within a lot of limitations," Barry said.
"We'll hammer an outline," Bernard said, "I know what the technical requirements will be. We can do an outline, I'll do preproduction, while they fill in the dialogue."
"What about a Director?"
"I'll ask Carol to come back," David said, "she liked me."
"It's going to sink us even deeper into the hole," Barry Letts said finally, "no matter what. There's no extra money to find anywhere."
"Can we take money from Volcano? If we cut it back to one episode?"
Barry Letts shook his head. Volcano was his baby. "Wouldn't work. The shoot is mostly in the can, the rest of the costs are flat. It won't cost us any more to do two, than to do one at this point. Hell, it'll cost us more, trying to recut a two part serial down to a one shot. There's no point. "
"I'll find the money," Ian promised, "I'll go back to the investors."
"You'll need a budget," Barry said, "making a note. God knows what you'll say to them."
"I'll take out a mortgage if I need to."
Paul Bernard sucked air through his teeth. He looked up and around at the others. "Barry, bottom line, could we make this work?"
Barry Letts stared thoughtfully at the scribbles.
"No," he said, "we can get it done, possibly, probably. If we can pull the money together. But we're already deep as it is." He gave a long pause. "But if we don't try, then we're sunk. So yes, let's give it a shot."
He looked around. One by one, they nodded.
David Burton called out, "Waiter? We'll have the tablecloth to go please."
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TIME PARASITE
Opening, a derelict Sontaran battlecruiser hangs in empty space.
Cut to interior of a dimly lit chamber. Hanging cables dangle from the ceiling. Black scorch marks decorate the walls. Debris is strewn around. The camera pans over to find the Tardis. The doors open, and the Doctor emerges with his companions Diamond and Heart, closing the door behind him.
Heart is frightened, there is something wrong here. Another time anomaly has drawn them. The Doctor agrees, surveying the ruins, which include the dead, dessicated bodies of several Sontarans. Only their uniforms and their domelike skulls are left. He stops to examine one, and notes that whatever happened here, happened a long time ago. There’s likely no danger. Diamond examines some of the weapons and notes that they are all drained. The Doctor says the passage of time would leach the energies off. Diamond says no, all the weapons were used in battle, their power sources were burned out, drained instantly.
The Doctor finds a communications console. Drawing on the Tardis he uses it to remotely power the ships systems, reading aloud as he works backwards from the log entries, he finds the engines were deliberately burned out, self destruct failed, ancient records of the ship under attack, the crew being wiped out. There was some sort of classified experiment, an effort at hyperdimensional probing, but the data is corrupted. He works his way back to the ship’s name, the Emploder.
Abruptly, the Doctor exhibits panic. Stricken with fear, he tells Heart and Diamond that they must leave immediately. They ask him why. He tells them that the Emploder is one of the most famous ghost ships in the Universe. The site of a hyper-dimensional incursion. Something went wrong. Something outside of time and space produced an energy surge. They opened a hole in the universe, and something came through. Something dangerous.
He leads them back to the Tardis, but the doors stand open. It’s too late. The Tardis has been breached. They enter the Tardis control room which is dimly lit, with strobing light and strewn with mechanical rubble. Heart and Diamond are carrying Sontaran rifles. The Doctor tells them that the rifles are useless. Heart tells him that they’ve managed to recharge the rifles from the Tardis power source. The Doctor warns them that it won’t do much more than attract attention, but that might be useful.
Diamond asks precisely what they are dealing with. The Doctor explains that it is a being which normally exists in higher dimensions - in a universe or reality with 20 or more dimensions, not just the paltry three that exist in ours. It can only survive by here by devouring the life essences of local dimensional beings.
It’s been trapped on the Emploder. If it can gain control of the Tardis functions, it can move its multi-dimensional axis freely throughout our universe. The state of the Tardis control room shows that it has been trying, but it has not achieved it yet. To a hyperdimensional creature, controlling a three-dimensional object, even one with the extradimensional capacities of the Tardis is equivalent to trying to program a VHS with a blindfold and boxing gloves. But it will succeed, if it has enough time.
Just then Heart screams. A towering monster has appeared on the bridge. As it looms menacingly, another monster, this one smaller and skulking shows up on the other side. Diamond is confused, the Doctor said there was only one. The Doctor explains that there is only the one creature, it exists in multi-dimensions, these things are only parts of it, extruded into three dimensional space. The Doctor quickly compares it to pressing fingers against a glass - to a two dimensional creature, the fingertips would seem like two or more separate creatures. Only by going to a third dimension could you know that the fingertips were actually part of a hand, of a single creature. As with this, if we looked into the higher dimensions we could see that these creatures are actually part of a single larger entity.
Diamond unleashes her force blasts, but there is no effect. The Doctor explains that her force cannot reach the higher dimensions. Heart asks what they want, as the monster-aspects close in. The Doctor replies, to devour them. Heart asks what they can do? The Doctor suggests running away, fleeing through the Tardis. If he can reach the auxiliary control room he may be able to expell the monster from our reality. The Heart and Diamond ask what they can do to help. The Doctor says two things: Distract it, and stay alive.
Heart, Diamond and the Doctor flee the ruined control room, the monsters lumbering in pursuit. A lot of shots of Heart and Diamond fleeing the skulking monsters. The Doctor escapes, but returns to the damaged control room. He examines the monitors, showing quick cuts of the monsters all over the Tardis corritors. A large monster advances.
The Doctor flees back into the Emploder, the monster chasing him, moving smoothly as if pushed on a dolly. The Doctor makes his way to the Transdimensional chamber, and finds a machine. He lifts it, but then the monster appears. The Doctor tells it that it will never be able to manipulate the Tardis on its own, but that if it lets him and his companions live, he can use this machine to allow it to pilot the Tardis. The dimensional translation machine is the key.
The Monster hesitates, and then it reaches out and touches the Doctor. Suddenly, they are back in the control room. Under the Monster’s gaze, the Doctor proceeds to attach the machine to the Tardis console.
Heart and Crystal cry out, cornered by two of the smaller monsters. The Doctor protests. It ignores them, as the monsters close in. The Doctor holds up the machine, telling it, it will destroy the machine and trap it here forever, if it moves. Heart and Diamond radio that the small monsters have stopped.
The Doctor tells the being that it is complete, that the Tardis will now be under its control. But he’s done something more. The hypedimensional key could also use the Tardis energies to return it to its own universe. The Doctor extends a small tool, like a television remote. He tells the creature that this device can send it home.
The Doctor offers it. The creature takes it in its claws, then drops and smashes it underfoot. The Tardis lights strobe on and off violently. The Tardis shakes. When things go back to normal, it has vanished.
The Doctor leans on the console for support. I gave it a chance, he whispers. Heart and Diamond return to the bridge, announcing that all the monsters have vanished. Monster, the Doctor corrects. There was only ever just the one. They ask what happened? The Doctor says that he destroyed it, or tricked it into destroying itself. He gave it a chance to return to its own universe, but it wanted to stay here and devour. It really was a monster, not a being.
Heart asks if the monster was responsible for the time distortion anomaly that has been affecting the Tardis. The Doctor responds no. The monster was only a symptom. The distortion is something else. Someone or something has torn a hole in reality, torn a hole in the fabric of the universe, of space-time, a hole which has been tuned to the frequency of the Tardis. All their travels have drawn them closer and closer to the hole in reality.
The Tardis begins to shake. The lights flickering on and off. The Doctor says that they’re too close to the hole. This close to the tear, the monster was the only obstruction. Now that it’s gone, they’re being drawn into the hole. They are forced to hang onto the Tardis for dear life as the camera begins to shake violently.
Diamond asks where the hole goes. The Doctor responds that he doesn’t know, no one can know. To another universe, perhaps.
Heart asks who or what is drawing them, and to what purpose. The Doctor says that they’re going to find out. They all scream as the camera goes black.
Opening, a derelict Sontaran battlecruiser hangs in empty space.
Cut to interior of a dimly lit chamber. Hanging cables dangle from the ceiling. Black scorch marks decorate the walls. Debris is strewn around. The camera pans over to find the Tardis. The doors open, and the Doctor emerges with his companions Diamond and Heart, closing the door behind him.
Heart is frightened, there is something wrong here. Another time anomaly has drawn them. The Doctor agrees, surveying the ruins, which include the dead, dessicated bodies of several Sontarans. Only their uniforms and their domelike skulls are left. He stops to examine one, and notes that whatever happened here, happened a long time ago. There’s likely no danger. Diamond examines some of the weapons and notes that they are all drained. The Doctor says the passage of time would leach the energies off. Diamond says no, all the weapons were used in battle, their power sources were burned out, drained instantly.
The Doctor finds a communications console. Drawing on the Tardis he uses it to remotely power the ships systems, reading aloud as he works backwards from the log entries, he finds the engines were deliberately burned out, self destruct failed, ancient records of the ship under attack, the crew being wiped out. There was some sort of classified experiment, an effort at hyperdimensional probing, but the data is corrupted. He works his way back to the ship’s name, the Emploder.
Abruptly, the Doctor exhibits panic. Stricken with fear, he tells Heart and Diamond that they must leave immediately. They ask him why. He tells them that the Emploder is one of the most famous ghost ships in the Universe. The site of a hyper-dimensional incursion. Something went wrong. Something outside of time and space produced an energy surge. They opened a hole in the universe, and something came through. Something dangerous.
He leads them back to the Tardis, but the doors stand open. It’s too late. The Tardis has been breached. They enter the Tardis control room which is dimly lit, with strobing light and strewn with mechanical rubble. Heart and Diamond are carrying Sontaran rifles. The Doctor tells them that the rifles are useless. Heart tells him that they’ve managed to recharge the rifles from the Tardis power source. The Doctor warns them that it won’t do much more than attract attention, but that might be useful.
Diamond asks precisely what they are dealing with. The Doctor explains that it is a being which normally exists in higher dimensions - in a universe or reality with 20 or more dimensions, not just the paltry three that exist in ours. It can only survive by here by devouring the life essences of local dimensional beings.
It’s been trapped on the Emploder. If it can gain control of the Tardis functions, it can move its multi-dimensional axis freely throughout our universe. The state of the Tardis control room shows that it has been trying, but it has not achieved it yet. To a hyperdimensional creature, controlling a three-dimensional object, even one with the extradimensional capacities of the Tardis is equivalent to trying to program a VHS with a blindfold and boxing gloves. But it will succeed, if it has enough time.
Just then Heart screams. A towering monster has appeared on the bridge. As it looms menacingly, another monster, this one smaller and skulking shows up on the other side. Diamond is confused, the Doctor said there was only one. The Doctor explains that there is only the one creature, it exists in multi-dimensions, these things are only parts of it, extruded into three dimensional space. The Doctor quickly compares it to pressing fingers against a glass - to a two dimensional creature, the fingertips would seem like two or more separate creatures. Only by going to a third dimension could you know that the fingertips were actually part of a hand, of a single creature. As with this, if we looked into the higher dimensions we could see that these creatures are actually part of a single larger entity.
Diamond unleashes her force blasts, but there is no effect. The Doctor explains that her force cannot reach the higher dimensions. Heart asks what they want, as the monster-aspects close in. The Doctor replies, to devour them. Heart asks what they can do? The Doctor suggests running away, fleeing through the Tardis. If he can reach the auxiliary control room he may be able to expell the monster from our reality. The Heart and Diamond ask what they can do to help. The Doctor says two things: Distract it, and stay alive.
Heart, Diamond and the Doctor flee the ruined control room, the monsters lumbering in pursuit. A lot of shots of Heart and Diamond fleeing the skulking monsters. The Doctor escapes, but returns to the damaged control room. He examines the monitors, showing quick cuts of the monsters all over the Tardis corritors. A large monster advances.
The Doctor flees back into the Emploder, the monster chasing him, moving smoothly as if pushed on a dolly. The Doctor makes his way to the Transdimensional chamber, and finds a machine. He lifts it, but then the monster appears. The Doctor tells it that it will never be able to manipulate the Tardis on its own, but that if it lets him and his companions live, he can use this machine to allow it to pilot the Tardis. The dimensional translation machine is the key.
The Monster hesitates, and then it reaches out and touches the Doctor. Suddenly, they are back in the control room. Under the Monster’s gaze, the Doctor proceeds to attach the machine to the Tardis console.
Heart and Crystal cry out, cornered by two of the smaller monsters. The Doctor protests. It ignores them, as the monsters close in. The Doctor holds up the machine, telling it, it will destroy the machine and trap it here forever, if it moves. Heart and Diamond radio that the small monsters have stopped.
The Doctor tells the being that it is complete, that the Tardis will now be under its control. But he’s done something more. The hypedimensional key could also use the Tardis energies to return it to its own universe. The Doctor extends a small tool, like a television remote. He tells the creature that this device can send it home.
The Doctor offers it. The creature takes it in its claws, then drops and smashes it underfoot. The Tardis lights strobe on and off violently. The Tardis shakes. When things go back to normal, it has vanished.
The Doctor leans on the console for support. I gave it a chance, he whispers. Heart and Diamond return to the bridge, announcing that all the monsters have vanished. Monster, the Doctor corrects. There was only ever just the one. They ask what happened? The Doctor says that he destroyed it, or tricked it into destroying itself. He gave it a chance to return to its own universe, but it wanted to stay here and devour. It really was a monster, not a being.
Heart asks if the monster was responsible for the time distortion anomaly that has been affecting the Tardis. The Doctor responds no. The monster was only a symptom. The distortion is something else. Someone or something has torn a hole in reality, torn a hole in the fabric of the universe, of space-time, a hole which has been tuned to the frequency of the Tardis. All their travels have drawn them closer and closer to the hole in reality.
The Tardis begins to shake. The lights flickering on and off. The Doctor says that they’re too close to the hole. This close to the tear, the monster was the only obstruction. Now that it’s gone, they’re being drawn into the hole. They are forced to hang onto the Tardis for dear life as the camera begins to shake violently.
Diamond asks where the hole goes. The Doctor responds that he doesn’t know, no one can know. To another universe, perhaps.
Heart asks who or what is drawing them, and to what purpose. The Doctor says that they’re going to find out. They all scream as the camera goes black.
Tears in the fabric of reality . . . why am I somehow reminded of the McGann Big Finish audio dramas?
Wonderful set up for another great entry! I honestly don't know what to make of The New Doctor Who anymore. It's crap, even for shoestring-budgeted standards, but when it's got moments like these, it makes me think that lower quality might make it less expensive for a network to support in the long run. Not sure how I'd feel about a Doctor Who like this actually lasting, but either way, the story you're telling makes it one hell of a ride.
Wonderful set up for another great entry! I honestly don't know what to make of The New Doctor Who anymore. It's crap, even for shoestring-budgeted standards, but when it's got moments like these, it makes me think that lower quality might make it less expensive for a network to support in the long run. Not sure how I'd feel about a Doctor Who like this actually lasting, but either way, the story you're telling makes it one hell of a ride.
Coincidence? I've never listened to the Big Finish Audio dramas, or read any synopsis of them. I can tell you that the notion of hyper-dimensional entities showing up partially in our three dimensions isn't new to sci fi.
Thank you very much.
Thank you. The fun part of doing this is playing with the idea of a ramshackle production. As I've said, the BBC is so experienced and polished with such history that the production process is quite smooth. They've been doing it for a while. Even an outfit like Nelvana has its ducks in a row.
But with Millenium, you've got a bunch of strong personalities, all with differing visions, and varying levels of technical skill, basically figuring out how to do it as they go along. So there's all this chaos, adaptation, improvisation to play with. Sometimes you get interesting things out of chaos.
By the way, you might want to take a look at my Nelvana Doctor Who timeline. Part of what will end up as a Trilogy of distaff Doctors.
https://www.alternatehistory.com/discussion/showthread.php?t=308056
Thanks. I know I'm going light on the actual episodes. More along the lines of 'outlines' or 'synopsis' of stories, rather than the stories themselves.
So if there's a lack there, it's possibly my lack or limit of effort. If you look to the Nelvana stories, I've wandered between 1800 word synopsis, 3600 word breakdowns in a three act animated half hour structure, and one 9000 word prose short story. It's hard to pick out the best way to present, or how much work to put in. I could, for instance, reproduce an entire shooting script. Or do a narrative form novella. But how much work is worth putting into this, in terms of choices for other material.
Ultimately, I think the synopsis/outline form is relatively common and well known, and I think it gets the job done. Maybe someday I'll go back and raid these for a full length Doctor Who fanfic, or maybe an unrelated novel or novella. Meantime, it captures the idea, the flow, the plot.
I'd say that ITTL the New Doctor gets incorporated into Doctor Who canon as some-one who in-universe is trying to copy the Doctor. Something like a combination of Banto Zame and Iris Wildthyme.
Cheers,
Nigel.
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Interview - David Burton, 1996
So, now let's talk about Time Parasite?
Oh my, that one. I’d almost forgotten it. Not for want of trying, (laughs)
In what sense was it a ‘Time Parasite’? The monster, I mean.
I have no idea. Honestly, we just pulled the title out of our arse. We had to call it something, and ‘Alien’ and ‘Predator’ were both taken.
It was your only single episode story. How did that come about, precisely?
Honestly? We had a hole in our schedule. We had to make an airdate, and the scheduled episode wasn’t ready. So we just threw that together really fast.
Seriously?
Oh yes. It was practically shot live.
The notion of an extra-dimensional predator, something that you could only see pieces of, because most of it existed in extra dimensions was quite clever. Where did that from?
I think that came in at the sixth pint of lager. (laughs). Honestly, I don’t know. Maybe Eglin, maybe Ian. Somewhere. We were just scrambling like mad to put a story together. Someone tossed it out, and we all ran with it. It was just... what’s the word the star trek fans use... psychobabble?
Technobabble?
Yes! That’s it. Technobabble. It didn’t mean much more than that. The point was, we just had to fill up minutes, so anything that killed time, that was good. Words fill up time, so they wrote me a lot of words. I had a few good speeches in there, I opened the script, and there was a full page of transdimensional this, and hyperdimensional that and other reality, barely even punctuation, and I said.... how do I even take a breath while speaking all this. They said, David, you’ll figure it out. No notice at all. Get the script, go in and do it.
That must have been difficult.
Oh yes! I had cheat notes all over the place, tacked out of site to the Tardis console, or below a Sontaran computer screen. In some of the shots, you can see pretty clear I’m reading straight off from paper. I think at one point, I read a stage direction out loud. Ouch! But it was up to me. Judy and Jenny were great kids, but they weren’t up to reciting a whole speech, and no one else had any lines - the lads in the suits didn’t speak, there were no guests. So it was just me. I had to carry the episode. Tell you what - wait, you wait here for a spot, I’ll go upstairs and dig up the old script, I want to show you something. Just wait.
[PAUSE - Stop tape/start]
Here it is. This is the script we had on the morning of shooting, the full script. Look at this. See what it says here. Right at this point.
It says "David says something clever here."
Right! Right! That’s exactly what it says. I came in, read this, and it said "David says something clever here." And I knew I had to pull this, literally pull something out of thin air, right on the spot. And here, over here... (flips pages) a full page speech. That’s all me. I have to read that. And who am I acting with? A guy in a big reptile costume he can’t barely see out of and can hardly move in. It was like playing Romeo and Juliet opposite a parking meter. It was all up to me. I had to carry the whole thing.
Amazing.
You’re spot on there. (Pauses reflectively) That whole hyper-dimensional predator thing. That was a good idea. I remember when it came up. I can’t remember, but we all fastened onto it. In hindsight, maybe using a few lizard and insect costumes wasn’t the best way to show it - but we used what we had.
So you were part of the script writing?
We all were. We were just sitting around the table in a bar, hammering out the thing, while Eglin was taking notes on note cards and shuffling them around.
So you were the responsible for ‘David says something clever here’?
What? I guess. Maybe. I called it a night at 2:00 am and left them to it. I might have said, ‘put in here that I’ll say something clever, but I can’t think tonight because I’m tired and I’ve had too many.’ Something like that. But getting back to the hyper-dimensional predator thing, it’s a shame we were so rushed. I think it would have been terrific if we’d had more time. The thing is, you know, we didn’t really have time to figure out how to show it. This thing that could step pieces of itself in and out of our three dimensions because it was really fifteen dimensions. We tried to do some things, but it didn’t really work out visually. It’s a shame (chuckles) for the next few months, I’d keep getting these ideas about how to make it work. Like squeezing toothpaste out onto a toothbrush, standing in the bathroom, glancing in the mirror, and it would hit me - here’s how we could have done something. But too late (laughs), just too late.
What about influences? A lot of people say Time Parasite is very reminiscent of Ridley Scott’s Alien.
Minus the money, or the production design, or Giger’s art, or John Hurt, or chestburster or Sigourney Weaver in her underpants, sure, they’re identical. Now there’s a thought. We could have had the twins strip down to their skivvies. I’ll be honest, I think Alien was in our minds somewhere. It might have even been playing on the telly. Certainly it was massively influential for a lot of people. For us, it was just monster chasing the heroes around.
Like Scooby Doo?
Ouch! I liked it better when you were accusing us of stealing from Ridley Scott.
How did you end up in the situation? In terms of doing the episode?
It snuck up on us. Vienna, 1913, that took a lot longer, the story kept changing. Secret of the Sontarans, that was supposed to be about bugs and that got changed at the last minute. So that kept pushing things back, and all of a sudden, we weren’t going to make an airdate and we had to come up with something really quick.
(Shrugs) It just happens. It happens all the time. It’s called bottle shows, after ‘ship in the bottle.’ A production runs out of time, runs out of money, it has to economize and do something fast and simple.
Mostly, it’s clip shows, you know what I mean. Captain Whatnot, and First Officer Flatulence sit on the bridge of the Starship Goofus and they go ‘remember when you got captured’ and they cut to a clip, and they do that for the whole episode, maybe five minutes of new footage and an hour of clips. We couldn’t do that, of course. First season and all. What were we going to do for clips "I remember way back when I punched out Hitler." (Falsetto voice) "But Doctor, that was just last week!"
So we had to do the next best thing, which was use what was available and already paid for - sets, costumes, props, and then try and do a story where we could just run around with that stuff. I remember we took the Sontaran costumes and headpieces and flung them about, they were supposed to be Sontaran corpses. Flung all sorts of things about. We got a smoke generator. That wasn’t ours. Ian borrowed it from a club. We messed with the lighting, red filters, strobe lighting. Every trick we could think of to tart it up and make it look good. Or at least distract from how bad it looked (laughs).
The design crew, they really came through. They worked for free, stressing out the sets. We still had bits of Sontarran set laying about, and they just pulled that together, strung wires and cables, painted scorch marks on everything. Tarted up the costumes. They were good to us, I can’t thank them enough, even today.
Although (remembering) they got a bit too enthusiastic. We were going to do shots of landing the Tardis, shots of the console, you know, and then shots of an auxiliary bridge - basically the same console. But Bruce, I think it was Bruce, he just tore up the console right away, so we couldn’t do those, we had to work around it. It was sort of okay, Barry had done all his shooting with it for Volcano already, so he didn’t need it.
Ian, I recall, was mad about what Bruce did to the console. He really loved that prop. I think he wanted to take it home with him. Wait, did that sound perverse? I didn’t mean it that way! It was just... the best toy, it was the first big prop we commissioned, and he loved it. Anyway, I think after he paid to have it restored out of his own pocket.
If we hadn’t done something, the BBC would have been all over us, and that would have been it. Game over.
As it was (chuckles) we could have gotten away with running dead air. No one was watching by that time.
How come?
The Gulf War. It had just broken out, and when that happened, no one was watching anything else. Everyone’s ratings dropped. Ours just bottomed. We were doing okay, until the war got underway.
Carole Todd directed?
Yes. She’d just finished the Sontaran Secret. She came back to do a couple of days. Just took to it. I loved her. Carole Todd is a goddess, so profession, so brilliant. She really came through for us.
Some fans theorize that the Emploder was the real Secret of the Sontarans, that that’s what the two previous episodes were really leading to.
Emploder?
That’s the name of the spaceship its set on.
Oh right. I remember. No. We were only going to do the two Sontaran episodes. We threw the Sontarans in there because we had the costumes and some pieces of their sets laying around. It wasn’t more complicated than that. There was never any thought to making the Sontaran thing a three parter, or doing a third episode. Maybe we might have, if we had more time. It might have worked out better. But again, time was what we didn’t have. A few more days, a few more pounds, we could have done a much better episode - not had the boom mike in shots, for instance - but we didn’t have more days or pounds.
It also seemed to lead into the next serial.
Yeah. I think that was Barry. Or maybe Eglin. I mean, they were working on Volcano at the time, and they knew what they were doing with it. So I think there was some effort at deliberate continuity there. Of course, we were too rushed to do it right. Heart and Diamond’s costumes didn’t match, and Barry’s transition had a lot more effects than just shaking the camera. Again, if we’d had more time to think we could have done it right.
You seem very cynical about the episode.
I remember us being frantic and frightened, really, we needed to get something in the can or we were all stuffed. I'm always a little surprised to run across fans who liked it. I suppose it's not so bad, for what it is. You always feel, in the circumstances of something like this, that you could have done a little better with a little more time. That better episode is always just a little out of reach, it's glimmering there in the distance and you think... we could have reached that.
One thing I'll say about this is that it was one of those times we all came together. That's a thing. Particularly the troubles we had getting along on all the rest of the series. I'll tell you, we had some wars. But this one time, when we were all in it, we pulled together. I think that says something. Not sure what.
Okay, now let's go on to Volcano....
So, now let's talk about Time Parasite?
Oh my, that one. I’d almost forgotten it. Not for want of trying, (laughs)
In what sense was it a ‘Time Parasite’? The monster, I mean.
I have no idea. Honestly, we just pulled the title out of our arse. We had to call it something, and ‘Alien’ and ‘Predator’ were both taken.
It was your only single episode story. How did that come about, precisely?
Honestly? We had a hole in our schedule. We had to make an airdate, and the scheduled episode wasn’t ready. So we just threw that together really fast.
Seriously?
Oh yes. It was practically shot live.
The notion of an extra-dimensional predator, something that you could only see pieces of, because most of it existed in extra dimensions was quite clever. Where did that from?
I think that came in at the sixth pint of lager. (laughs). Honestly, I don’t know. Maybe Eglin, maybe Ian. Somewhere. We were just scrambling like mad to put a story together. Someone tossed it out, and we all ran with it. It was just... what’s the word the star trek fans use... psychobabble?
Technobabble?
Yes! That’s it. Technobabble. It didn’t mean much more than that. The point was, we just had to fill up minutes, so anything that killed time, that was good. Words fill up time, so they wrote me a lot of words. I had a few good speeches in there, I opened the script, and there was a full page of transdimensional this, and hyperdimensional that and other reality, barely even punctuation, and I said.... how do I even take a breath while speaking all this. They said, David, you’ll figure it out. No notice at all. Get the script, go in and do it.
That must have been difficult.
Oh yes! I had cheat notes all over the place, tacked out of site to the Tardis console, or below a Sontaran computer screen. In some of the shots, you can see pretty clear I’m reading straight off from paper. I think at one point, I read a stage direction out loud. Ouch! But it was up to me. Judy and Jenny were great kids, but they weren’t up to reciting a whole speech, and no one else had any lines - the lads in the suits didn’t speak, there were no guests. So it was just me. I had to carry the episode. Tell you what - wait, you wait here for a spot, I’ll go upstairs and dig up the old script, I want to show you something. Just wait.
[PAUSE - Stop tape/start]
Here it is. This is the script we had on the morning of shooting, the full script. Look at this. See what it says here. Right at this point.
It says "David says something clever here."
Right! Right! That’s exactly what it says. I came in, read this, and it said "David says something clever here." And I knew I had to pull this, literally pull something out of thin air, right on the spot. And here, over here... (flips pages) a full page speech. That’s all me. I have to read that. And who am I acting with? A guy in a big reptile costume he can’t barely see out of and can hardly move in. It was like playing Romeo and Juliet opposite a parking meter. It was all up to me. I had to carry the whole thing.
Amazing.
You’re spot on there. (Pauses reflectively) That whole hyper-dimensional predator thing. That was a good idea. I remember when it came up. I can’t remember, but we all fastened onto it. In hindsight, maybe using a few lizard and insect costumes wasn’t the best way to show it - but we used what we had.
So you were part of the script writing?
We all were. We were just sitting around the table in a bar, hammering out the thing, while Eglin was taking notes on note cards and shuffling them around.
So you were the responsible for ‘David says something clever here’?
What? I guess. Maybe. I called it a night at 2:00 am and left them to it. I might have said, ‘put in here that I’ll say something clever, but I can’t think tonight because I’m tired and I’ve had too many.’ Something like that. But getting back to the hyper-dimensional predator thing, it’s a shame we were so rushed. I think it would have been terrific if we’d had more time. The thing is, you know, we didn’t really have time to figure out how to show it. This thing that could step pieces of itself in and out of our three dimensions because it was really fifteen dimensions. We tried to do some things, but it didn’t really work out visually. It’s a shame (chuckles) for the next few months, I’d keep getting these ideas about how to make it work. Like squeezing toothpaste out onto a toothbrush, standing in the bathroom, glancing in the mirror, and it would hit me - here’s how we could have done something. But too late (laughs), just too late.
What about influences? A lot of people say Time Parasite is very reminiscent of Ridley Scott’s Alien.
Minus the money, or the production design, or Giger’s art, or John Hurt, or chestburster or Sigourney Weaver in her underpants, sure, they’re identical. Now there’s a thought. We could have had the twins strip down to their skivvies. I’ll be honest, I think Alien was in our minds somewhere. It might have even been playing on the telly. Certainly it was massively influential for a lot of people. For us, it was just monster chasing the heroes around.
Like Scooby Doo?
Ouch! I liked it better when you were accusing us of stealing from Ridley Scott.
How did you end up in the situation? In terms of doing the episode?
It snuck up on us. Vienna, 1913, that took a lot longer, the story kept changing. Secret of the Sontarans, that was supposed to be about bugs and that got changed at the last minute. So that kept pushing things back, and all of a sudden, we weren’t going to make an airdate and we had to come up with something really quick.
(Shrugs) It just happens. It happens all the time. It’s called bottle shows, after ‘ship in the bottle.’ A production runs out of time, runs out of money, it has to economize and do something fast and simple.
Mostly, it’s clip shows, you know what I mean. Captain Whatnot, and First Officer Flatulence sit on the bridge of the Starship Goofus and they go ‘remember when you got captured’ and they cut to a clip, and they do that for the whole episode, maybe five minutes of new footage and an hour of clips. We couldn’t do that, of course. First season and all. What were we going to do for clips "I remember way back when I punched out Hitler." (Falsetto voice) "But Doctor, that was just last week!"
So we had to do the next best thing, which was use what was available and already paid for - sets, costumes, props, and then try and do a story where we could just run around with that stuff. I remember we took the Sontaran costumes and headpieces and flung them about, they were supposed to be Sontaran corpses. Flung all sorts of things about. We got a smoke generator. That wasn’t ours. Ian borrowed it from a club. We messed with the lighting, red filters, strobe lighting. Every trick we could think of to tart it up and make it look good. Or at least distract from how bad it looked (laughs).
The design crew, they really came through. They worked for free, stressing out the sets. We still had bits of Sontarran set laying about, and they just pulled that together, strung wires and cables, painted scorch marks on everything. Tarted up the costumes. They were good to us, I can’t thank them enough, even today.
Although (remembering) they got a bit too enthusiastic. We were going to do shots of landing the Tardis, shots of the console, you know, and then shots of an auxiliary bridge - basically the same console. But Bruce, I think it was Bruce, he just tore up the console right away, so we couldn’t do those, we had to work around it. It was sort of okay, Barry had done all his shooting with it for Volcano already, so he didn’t need it.
Ian, I recall, was mad about what Bruce did to the console. He really loved that prop. I think he wanted to take it home with him. Wait, did that sound perverse? I didn’t mean it that way! It was just... the best toy, it was the first big prop we commissioned, and he loved it. Anyway, I think after he paid to have it restored out of his own pocket.
If we hadn’t done something, the BBC would have been all over us, and that would have been it. Game over.
As it was (chuckles) we could have gotten away with running dead air. No one was watching by that time.
How come?
The Gulf War. It had just broken out, and when that happened, no one was watching anything else. Everyone’s ratings dropped. Ours just bottomed. We were doing okay, until the war got underway.
Carole Todd directed?
Yes. She’d just finished the Sontaran Secret. She came back to do a couple of days. Just took to it. I loved her. Carole Todd is a goddess, so profession, so brilliant. She really came through for us.
Some fans theorize that the Emploder was the real Secret of the Sontarans, that that’s what the two previous episodes were really leading to.
Emploder?
That’s the name of the spaceship its set on.
Oh right. I remember. No. We were only going to do the two Sontaran episodes. We threw the Sontarans in there because we had the costumes and some pieces of their sets laying around. It wasn’t more complicated than that. There was never any thought to making the Sontaran thing a three parter, or doing a third episode. Maybe we might have, if we had more time. It might have worked out better. But again, time was what we didn’t have. A few more days, a few more pounds, we could have done a much better episode - not had the boom mike in shots, for instance - but we didn’t have more days or pounds.
It also seemed to lead into the next serial.
Yeah. I think that was Barry. Or maybe Eglin. I mean, they were working on Volcano at the time, and they knew what they were doing with it. So I think there was some effort at deliberate continuity there. Of course, we were too rushed to do it right. Heart and Diamond’s costumes didn’t match, and Barry’s transition had a lot more effects than just shaking the camera. Again, if we’d had more time to think we could have done it right.
You seem very cynical about the episode.
I remember us being frantic and frightened, really, we needed to get something in the can or we were all stuffed. I'm always a little surprised to run across fans who liked it. I suppose it's not so bad, for what it is. You always feel, in the circumstances of something like this, that you could have done a little better with a little more time. That better episode is always just a little out of reach, it's glimmering there in the distance and you think... we could have reached that.
One thing I'll say about this is that it was one of those times we all came together. That's a thing. Particularly the troubles we had getting along on all the rest of the series. I'll tell you, we had some wars. But this one time, when we were all in it, we pulled together. I think that says something. Not sure what.
Okay, now let's go on to Volcano....
That's very Zen.
Or maybe meta, an actor claiming to be a fake doctor, becomes a fictional character in a story about a BBC licensed faux doctor who series, which is then incorporated into spin off doctor who non television BBC licensed media as a different kind of fake doctor, in the universe, once removed of the real doctor, who is himself a fictional character in the universe of the actor claiming to be a fake doctor.... It's like a hall of reflecting mirrors of artifice.
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VOLCANO, Parts 1 and 2
Credits
Producer
Barry Letts
Director
Barry Letts
Scriptwriter
Terrance Dicks and Evan Wales
Featuring
David Burton - The Doctor
Judy Lannister - Heart
Jennifer Lannister - Diamond
Guest Starring
Ian McKellan - Mister Vise
John Levene - Sub-Commander Benton
Richard Franklin - Political Officer
Terry Bonneville - Camfield
Heaven Leah - Victoria
Jack Kine - (Posters) The Leader
Credits
Producer
Barry Letts
Director
Barry Letts
Scriptwriter
Terrance Dicks and Evan Wales
Featuring
David Burton - The Doctor
Judy Lannister - Heart
Jennifer Lannister - Diamond
Guest Starring
Ian McKellan - Mister Vise
John Levene - Sub-Commander Benton
Richard Franklin - Political Officer
Terry Bonneville - Camfield
Heaven Leah - Victoria
Jack Kine - (Posters) The Leader
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VOLCANO - Part 1
The Tardis is drawn through a strange hole in space. The Doctor warns Heart and Diamond to brace themselves, the ship is out of control. The Tardis appears to spin down a tunnel, suddenly materializing in a field. The Doctor pokes his head out. They’re safe.
Cut to stock footage of erupting Volcano's and lava flows. The credits and titles roll out. 'Volcano'
According to the Doctor they have ended up on earth, May 9, 1970. At least that’s one good thing, he tells Heart and Diamond this is a wonderful time in Earth’s history, free love, free music, the sense of endless possibility, mankind has gone to the moon, met aliens, a time of glorious optimism, the heyday of the Beatles and the Rolling Stones.
Heart remarks that bugs and rocks don’t sound appealing at all. Diamond remarks that this place they’ve come to seems well suited for bugs and rocks.
And it’s true. This is a dour, gray England, of people dressed in the rags and uniform overalls. Everyone walks with their head down, there’s a furtive quality to everything. The shop windows are empty, or full of strange signs. Everywhere there are posters of the leader, some ragged and fading, others fresh. The effect is of a nation under the most crushing form of tyeanny.
The Doctor says that there’s something wrong. This isn’t the England he knows. The streets should be crowded with flower children and hippies, toffs and mods and gentlemen, there should be posters and flyers for rock concerts. The Doctor tries to talk to some people, but they shy away. He looks at the posters of the Leader. This is definitely not the Earth he knows, he tells them. The vortex must have drawn them into a parallel universe...
Suddenly, a military squad, led by Squad Commander Benton, and accompanied by a Political Officer, comes along and accosts the Doctor and his companions, demanding to see their papers. The Doctor claims to have mislaid them, being a travelling dignitary. For a moment, charm and guile seem to be working on the Squad-Commander, but then some of the men get rough with Heart and Diamond. Diamond uses her powers to defend them, and the situation escalates. The Political Officer places a gun against Heart’s temple and forces them to surrender.
Just then, a powerful earthquake strikes. A pair of shaggy monsters seem to appear out of nowhere. While the soldiers are distracted, the Doctor throws over the Political Officer, and he and Heart and Diamond flee in different directions.
The Doctor makes his way back to the Tardis, but finds that there are guards posted. He is spotted and has to flee. Just as he is about to be captured, he’s rescued at the last minute, vanishing behind a door.
Meanwhile, Heart and Diamond are run down by the Squad-Commander’s men. They are taken to the armory and interrogated by a Political Officer. It is soon apparent that there’s real animosity between the Squad-Commander and the Political Officer. The Political Officer threatens the Squad-Commander’s son. Benton says that his son is untouchable as part of the security for the borehole project, the Political Officer says that will make it even easier. At the project, even the whiff of suspicion is like a death sentence. Benton is forced to back down. The Political Officer pronounces them spies, attempting to sabotage the borehole project.
Just as Heart and Diamond are about to be executed by firing squad, a tall, silver haired man, wearing severe black suit, white ruffles and a cape, intervenes. The soldiers are all utterly terrified of the Dracula-like figure, Citizen Vise. He is to be notified of all matters relating to the borehole. His manner with Heart and Diamond, however, is very genial, he takes them away for questioning in his limousine. Diamond is taken with him, and begins to fall under his spell. Heart is clearly more suspicious, but plays along.
The Doctor discovers that his rescuer is a disgraced scientist named Camfield now in hiding. He explains that Britain has been under martial law for decades, ever since the revolution. He was once a member of the party, but he crossed Citizen Vise. A trivial matter really, he challenged the bore hole project. Not even really a challenge, actually, just a question, that was all. Hardly even that, just an inquiry as to a trivial calculation. The Doctor asks about the borehole project. The Doctor explains that it’s a deep well project, to locate and extract a volatile gas, a Stahlman gas, beneath the crust. Stahlman’s a crank, the scientist says, but he has supporters. The scientist becomes suspicious of the Doctor’s motives and refuses to say more.
He asks if the Doctor has seen the monsters? There are more and more of them. The Doctor suggests that there is a connection, but the scientist cannot see how. Possibly the regime is breeding them, or they are side effects of another project? He is curious as to who the Doctor is and where he comes from. When the Doctor’s back is turned, the scientist picks up the phone and makes a call. Several minutes later, when soldiers break down the door, the Doctor is already gone.
Meanwhile, as darkness falls, Citizen Vise leads Heart and Diamond through a cemetery. Heart complains, asking where they are going. A monster appears, Vise stares it down until it flees. Diamond asks what the monsters are. Symptoms, they are mutating to survive. Why, asks Diamond. The world is dying and the life force of the planet is struggling to create new forms of life to survive. It is a futile struggle, death always wins in the end.
He leads them into a Mausoleum.... And they find themselves inside an opulent and expansive chamber, at the center of which is a shimmering machine of wires and blinking lights. A strikingly attractive woman, Victoria, wearing a leather catsuit greets them and is introduced as Vise’s assistant. Diamond gasps that this is a time and space machine, much like their own. Like theirs, Vise agrees, except that there is one difference - his is trapped, and he needs their help to escape this dying world.
The Doctor, meanwhile, appears in Benton’s office. Benton pulls a gun and tells him that he’s under arrest. The Doctor says that he doesn’t think so. Benton’s not a Political Officer, he’s a soldier. Benton replies that a soldier does his duty. A soldier has honour, the Doctor says. The Doctor asks about the monsters, what are they, where are they coming from. There are more and more of them, and just like there are more and more earthquakes. Benton demands that the Doctor reveal what he knows. The Doctor says he does nothing at gunpoint. After a moment, Benton holsters his gun and pours two brandies.
Inside his Mausoleum, Vise explains that a madman named Stahlman is drilling an immense well through the Earth’s crust. He is trying to reach a fluid layer between the crust and the mantle, which he believes will be an energy source of near infinite power. He’s right, it will produce near infinite power, but it will also destroy the world. The seepage from the well is producing the monsters, humans and animals mutating towards primordial savagery. Eventually, the world will be overrun by monsters before it is destroyed. Diamond asks if anything can be done.
Vise explains that he’s been trying to stop Stahlman, but the man is too powerful. He says he has been siphoning power from the borehole project to send a rescue signal, a beacon to draw passing craft. Heart says that this must be what drew their Tardis. Vise confesses that it was him, he says he needs them, to help save the world. Diamond says that she will help. She will do whatever Vise asks. Vise peers deeply into Diamond’s eyes, asking for her help, telling her that she can save the world. As he speaks, Diamond seems to fall into a trance. Heart tries to intervene, but Victoria, politely ushers her into another room.
The Doctor and Benton are proceeding through the streets. Guards stop them, Benton waves them aside. One of the guards complains to Benton that he is not feeling well. There are patches of scales on his face. Benton orders the man to hold his position, to be a soldier. They run through deserted streets.
The Doctor tells him that the effect is spreading, but it’s not too late. The Earth shakes, they hold onto a light standard until it passes. Benton tells the Doctor that he had better be telling the truth or he will shoot him himself.
They reach the Tardis. The squadron of guards surrounding it are all rolling or crawling on the ground, in the process of mutating. The Doctor is concerned, it should not be happening this fast. They make their way into the Tardis, Benton kicking aside mutated guards. Inside, Benton is awestruck. The Doctor is checking his instruments. It’s very bad. Something is accelerating the process, a critical distortion in spacetime. The Doctor narrows it down.
Meanwhile, in Vise’s offices, Heart excuses herself, even while Diamond is telling Vise all about the Doctor and his machine. She enters a darkened room. The phone rings. It’s a someone named Stahlman. He calls her Victoria, and begs to speak to Vise, he needs instructions, things are going wrong. She slams the phone down. Victoria enters. Heart flees in terror, exiting Vise’s mausoleum.
Heart flees through the graveyard, shadowy monstrous shapes stalking her. She races to the field where the Tardis is located. But just as she reaches it, it vanishes, leaving her surrounded by Monsters. With a cry of despair, she flees once again, the monsters pursuing her across the moors.
The Tardis materializes inside Citizen Vise’s mausoleum. The Doctor and Benton step out. Vise calls the Doctor by name and bids him welcome. The Doctor calls out to Diamond, but she does not respond, she stands with Victoria at Vise’s side, wearing an identical leather catsuit. Vise tells them he will call her Vengeance from now on. Diamond, entranced, tells the Doctor that they will save the world.
The Doctor tells Benton that this place is the source of the time and space distortion which is accelerating the draw of energy from Stahlman’s bore. Vise says it is a regrettable necessity. Sacrifices must be made.
Victoria steps forward. Benton is astonished. She asks Benton if he recognizes her. He does, she is the Queen, but it’s impossible, the entire royal family was executed. Victoria says that Vise had a use for her, so he saved her. She advances, Benton points his gun at her.
The Doctor glances at Vise’s machine. It’s a time and space device, much like his own. Vise congratulates him. But, the Doctor realizes, it’s locked. It cannot move through time or space, it has been locked in place. That explains the strange readings - it is an immoveable object, and Vise is pouring irresistable force through it.
Vise agrees that the Doctor is correct. But it’s madness, the Doctor says. But it won’t work, he won’t be able to break his time machine free of the lock. He’ll simply destroy the world, but he won’t move an inch. His machine will simply sit amongst the rubble that used to be Earth. He has to stop. There is no escape.
Vise tells the Doctor he isn’t quite correct. Rather, there is a way to end his exile. He cannot move through time or space in this universe, but if he can break through to another Universe.... he will be free.
The Doctor responds that he could not do that on his own, he would need time and space machine from the other universe.... His voice trails off. Vise begins to laugh.
Benton orders Vise to turn off the machine and stop this foolishness. They ignore him. The Doctor moves but is immediately pinned to the wall by Diamond’s force field. Victoria reaches for Benton, but he shoots her. Her face falls away, revealing that she is a robot. Benton fires more shots disabling it, and then starts firing on the machine. Suddenly, Vise is grappling with him and throws him to the floor.
Vise sarcastically thanks the Doctor for giving him the means to destroy his prison, to someday take revenge on those who called him a monster and sentenced him to this pathetic little world. He begins to laugh.
Outside, Heart flees through the deserted streets of the town, pursued by monsters. She is trapped in a blind alley. The earth begins to shake again. As the monsters gather, she screams...
The Tardis is drawn through a strange hole in space. The Doctor warns Heart and Diamond to brace themselves, the ship is out of control. The Tardis appears to spin down a tunnel, suddenly materializing in a field. The Doctor pokes his head out. They’re safe.
Cut to stock footage of erupting Volcano's and lava flows. The credits and titles roll out. 'Volcano'
According to the Doctor they have ended up on earth, May 9, 1970. At least that’s one good thing, he tells Heart and Diamond this is a wonderful time in Earth’s history, free love, free music, the sense of endless possibility, mankind has gone to the moon, met aliens, a time of glorious optimism, the heyday of the Beatles and the Rolling Stones.
Heart remarks that bugs and rocks don’t sound appealing at all. Diamond remarks that this place they’ve come to seems well suited for bugs and rocks.
And it’s true. This is a dour, gray England, of people dressed in the rags and uniform overalls. Everyone walks with their head down, there’s a furtive quality to everything. The shop windows are empty, or full of strange signs. Everywhere there are posters of the leader, some ragged and fading, others fresh. The effect is of a nation under the most crushing form of tyeanny.
The Doctor says that there’s something wrong. This isn’t the England he knows. The streets should be crowded with flower children and hippies, toffs and mods and gentlemen, there should be posters and flyers for rock concerts. The Doctor tries to talk to some people, but they shy away. He looks at the posters of the Leader. This is definitely not the Earth he knows, he tells them. The vortex must have drawn them into a parallel universe...
Suddenly, a military squad, led by Squad Commander Benton, and accompanied by a Political Officer, comes along and accosts the Doctor and his companions, demanding to see their papers. The Doctor claims to have mislaid them, being a travelling dignitary. For a moment, charm and guile seem to be working on the Squad-Commander, but then some of the men get rough with Heart and Diamond. Diamond uses her powers to defend them, and the situation escalates. The Political Officer places a gun against Heart’s temple and forces them to surrender.
Just then, a powerful earthquake strikes. A pair of shaggy monsters seem to appear out of nowhere. While the soldiers are distracted, the Doctor throws over the Political Officer, and he and Heart and Diamond flee in different directions.
The Doctor makes his way back to the Tardis, but finds that there are guards posted. He is spotted and has to flee. Just as he is about to be captured, he’s rescued at the last minute, vanishing behind a door.
Meanwhile, Heart and Diamond are run down by the Squad-Commander’s men. They are taken to the armory and interrogated by a Political Officer. It is soon apparent that there’s real animosity between the Squad-Commander and the Political Officer. The Political Officer threatens the Squad-Commander’s son. Benton says that his son is untouchable as part of the security for the borehole project, the Political Officer says that will make it even easier. At the project, even the whiff of suspicion is like a death sentence. Benton is forced to back down. The Political Officer pronounces them spies, attempting to sabotage the borehole project.
Just as Heart and Diamond are about to be executed by firing squad, a tall, silver haired man, wearing severe black suit, white ruffles and a cape, intervenes. The soldiers are all utterly terrified of the Dracula-like figure, Citizen Vise. He is to be notified of all matters relating to the borehole. His manner with Heart and Diamond, however, is very genial, he takes them away for questioning in his limousine. Diamond is taken with him, and begins to fall under his spell. Heart is clearly more suspicious, but plays along.
The Doctor discovers that his rescuer is a disgraced scientist named Camfield now in hiding. He explains that Britain has been under martial law for decades, ever since the revolution. He was once a member of the party, but he crossed Citizen Vise. A trivial matter really, he challenged the bore hole project. Not even really a challenge, actually, just a question, that was all. Hardly even that, just an inquiry as to a trivial calculation. The Doctor asks about the borehole project. The Doctor explains that it’s a deep well project, to locate and extract a volatile gas, a Stahlman gas, beneath the crust. Stahlman’s a crank, the scientist says, but he has supporters. The scientist becomes suspicious of the Doctor’s motives and refuses to say more.
He asks if the Doctor has seen the monsters? There are more and more of them. The Doctor suggests that there is a connection, but the scientist cannot see how. Possibly the regime is breeding them, or they are side effects of another project? He is curious as to who the Doctor is and where he comes from. When the Doctor’s back is turned, the scientist picks up the phone and makes a call. Several minutes later, when soldiers break down the door, the Doctor is already gone.
Meanwhile, as darkness falls, Citizen Vise leads Heart and Diamond through a cemetery. Heart complains, asking where they are going. A monster appears, Vise stares it down until it flees. Diamond asks what the monsters are. Symptoms, they are mutating to survive. Why, asks Diamond. The world is dying and the life force of the planet is struggling to create new forms of life to survive. It is a futile struggle, death always wins in the end.
He leads them into a Mausoleum.... And they find themselves inside an opulent and expansive chamber, at the center of which is a shimmering machine of wires and blinking lights. A strikingly attractive woman, Victoria, wearing a leather catsuit greets them and is introduced as Vise’s assistant. Diamond gasps that this is a time and space machine, much like their own. Like theirs, Vise agrees, except that there is one difference - his is trapped, and he needs their help to escape this dying world.
The Doctor, meanwhile, appears in Benton’s office. Benton pulls a gun and tells him that he’s under arrest. The Doctor says that he doesn’t think so. Benton’s not a Political Officer, he’s a soldier. Benton replies that a soldier does his duty. A soldier has honour, the Doctor says. The Doctor asks about the monsters, what are they, where are they coming from. There are more and more of them, and just like there are more and more earthquakes. Benton demands that the Doctor reveal what he knows. The Doctor says he does nothing at gunpoint. After a moment, Benton holsters his gun and pours two brandies.
Inside his Mausoleum, Vise explains that a madman named Stahlman is drilling an immense well through the Earth’s crust. He is trying to reach a fluid layer between the crust and the mantle, which he believes will be an energy source of near infinite power. He’s right, it will produce near infinite power, but it will also destroy the world. The seepage from the well is producing the monsters, humans and animals mutating towards primordial savagery. Eventually, the world will be overrun by monsters before it is destroyed. Diamond asks if anything can be done.
Vise explains that he’s been trying to stop Stahlman, but the man is too powerful. He says he has been siphoning power from the borehole project to send a rescue signal, a beacon to draw passing craft. Heart says that this must be what drew their Tardis. Vise confesses that it was him, he says he needs them, to help save the world. Diamond says that she will help. She will do whatever Vise asks. Vise peers deeply into Diamond’s eyes, asking for her help, telling her that she can save the world. As he speaks, Diamond seems to fall into a trance. Heart tries to intervene, but Victoria, politely ushers her into another room.
The Doctor and Benton are proceeding through the streets. Guards stop them, Benton waves them aside. One of the guards complains to Benton that he is not feeling well. There are patches of scales on his face. Benton orders the man to hold his position, to be a soldier. They run through deserted streets.
The Doctor tells him that the effect is spreading, but it’s not too late. The Earth shakes, they hold onto a light standard until it passes. Benton tells the Doctor that he had better be telling the truth or he will shoot him himself.
They reach the Tardis. The squadron of guards surrounding it are all rolling or crawling on the ground, in the process of mutating. The Doctor is concerned, it should not be happening this fast. They make their way into the Tardis, Benton kicking aside mutated guards. Inside, Benton is awestruck. The Doctor is checking his instruments. It’s very bad. Something is accelerating the process, a critical distortion in spacetime. The Doctor narrows it down.
Meanwhile, in Vise’s offices, Heart excuses herself, even while Diamond is telling Vise all about the Doctor and his machine. She enters a darkened room. The phone rings. It’s a someone named Stahlman. He calls her Victoria, and begs to speak to Vise, he needs instructions, things are going wrong. She slams the phone down. Victoria enters. Heart flees in terror, exiting Vise’s mausoleum.
Heart flees through the graveyard, shadowy monstrous shapes stalking her. She races to the field where the Tardis is located. But just as she reaches it, it vanishes, leaving her surrounded by Monsters. With a cry of despair, she flees once again, the monsters pursuing her across the moors.
The Tardis materializes inside Citizen Vise’s mausoleum. The Doctor and Benton step out. Vise calls the Doctor by name and bids him welcome. The Doctor calls out to Diamond, but she does not respond, she stands with Victoria at Vise’s side, wearing an identical leather catsuit. Vise tells them he will call her Vengeance from now on. Diamond, entranced, tells the Doctor that they will save the world.
The Doctor tells Benton that this place is the source of the time and space distortion which is accelerating the draw of energy from Stahlman’s bore. Vise says it is a regrettable necessity. Sacrifices must be made.
Victoria steps forward. Benton is astonished. She asks Benton if he recognizes her. He does, she is the Queen, but it’s impossible, the entire royal family was executed. Victoria says that Vise had a use for her, so he saved her. She advances, Benton points his gun at her.
The Doctor glances at Vise’s machine. It’s a time and space device, much like his own. Vise congratulates him. But, the Doctor realizes, it’s locked. It cannot move through time or space, it has been locked in place. That explains the strange readings - it is an immoveable object, and Vise is pouring irresistable force through it.
Vise agrees that the Doctor is correct. But it’s madness, the Doctor says. But it won’t work, he won’t be able to break his time machine free of the lock. He’ll simply destroy the world, but he won’t move an inch. His machine will simply sit amongst the rubble that used to be Earth. He has to stop. There is no escape.
Vise tells the Doctor he isn’t quite correct. Rather, there is a way to end his exile. He cannot move through time or space in this universe, but if he can break through to another Universe.... he will be free.
The Doctor responds that he could not do that on his own, he would need time and space machine from the other universe.... His voice trails off. Vise begins to laugh.
Benton orders Vise to turn off the machine and stop this foolishness. They ignore him. The Doctor moves but is immediately pinned to the wall by Diamond’s force field. Victoria reaches for Benton, but he shoots her. Her face falls away, revealing that she is a robot. Benton fires more shots disabling it, and then starts firing on the machine. Suddenly, Vise is grappling with him and throws him to the floor.
Vise sarcastically thanks the Doctor for giving him the means to destroy his prison, to someday take revenge on those who called him a monster and sentenced him to this pathetic little world. He begins to laugh.
Outside, Heart flees through the deserted streets of the town, pursued by monsters. She is trapped in a blind alley. The earth begins to shake again. As the monsters gather, she screams...