Doctor Who 10x1

Directed by Lennie Mayne

William Hartnell as The Doctor • Patrick Troughton as The Doctor • John Levene as Sergeant Benton • Rex Robinson as Dr. Tyler • Roy Purcell as President of the Council

England, the near future. A strange anti-matter creature arrives on Earth and attacks UNIT HQ. It seems to be specifically seeking the Doctor out - but why? With the Time Lords themselves unable to help, it seems the only person who can help the Doctor is himself - or selves...

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1. "A streak of 'space lightning' heads for Earth from a distant galaxy,

2. "bringing with it a strange new enemy for the Doctor.

3. "The Time Lords, themselves under siege, are powerless to help.

4. "But perhaps the Doctor can help himself..." (Radio Times)

5. Once upon a time, 'The Three Doctors' was entitled 'The Black Hole'.

6. The writers intended the opening shots to give the impression of the "Rover" weather balloon guard

7. from 1967's The Prisoner.

8. The script notes: "The box bears a message in English and Dutch to call Doctor Tyler, Wessex University."

9. Locations in Essex and Kent were considered, but these scenes were eventually filmed

10. on the grounds of the Rickmansworth and Uxbridge Water Company.

11. It's named after the real-life Slimbridge Wild Life Reserve in Gloucester.

12. We are now at Summerfield Bungalow, at the entrance to the reservoir at Springwell Lock.

13. This is Mrs Ollis: "The warden's wife,

14. "a pleasant tanned outdoor woman in her forties, Norfolk accent."

15. The character's scripted full name is Doctor Daunton Tyler.

16. This area was originally referred to as "the beach".

17. As scripted, Arthur Ollis waves to the driver of the approaching Land Rover.

18. "A flash of electromagnetic radiation and Arthur's image is eaten into holes like a Gruyere cheese."

19. These are swans, but the soundtrack plays the sound of crows.

20. Brief shots of a jelly-like material oozing from the joins of the box were dropped before filming.

21. As scripted, Tyler notices scorch marks from the energy blast, which have affected the sand around the box:

22. It has been fused into crystal.

23. This lakeside scene was filmed around noon on Tuesday 7 November 1972.

24. The North Harrow Waltonians Angling Association leased the lake for fishing,

25. so they agreed not to visit on that day.

26. Dropped before recording was dialogue where Jo likens the container to "an old box camera".

27. Tyler was scripted to say that he built the monitoring device by himself.

28. This was written as "Cape Canaveral", but was updated to "Cape Kennedy" before recording.

29. As written, he pulls the whole contents out onto the bench and then finds the plate he was looking for.

30. He was scripted to add: "Average density bombardment... That's your cosmic radiation,

31. "and that's - er - oh that's dust, pay no attention to that, that's dust."

32. He then blows the dust off the plate, to the Doctor and Jo's amusement.

33. This business was worked out during rehearsals.

34. Tyler was originally to have added what he thought the image reminded him of:

35. "A great shriek of pain travelling right across the galaxy"

36. One of the inspirations for this story was a press report about Black Holes in The Times on 16 July 1972.

37. See if you can find where in this story they used the following phrases from the article:

38. "A black hole is a region in space from which nothing can escape's

39. "crossed the boundary known as the absolute event horizon's

40. "Black holes can also draw outside objects into them's

41. "What happens to the matter inside a Black Hole?'s

42. "a point in space time known as singularity,

43. "where the laws of physics break down completely."

44. The prop list for the Lab set specified: 6 Lab benches, 1 computer, cold water dispenser (i.e. Sink),

45. 1 metal coat stand, 2 stools (Number 40) And a selection of set dressings, including wall charts.

46. The phrase "Liberty Hall" is generally understood to mean a place where people are free to do as they wish.

47. The photo developer was a prop built by the BBC Visual Effects Workshop.

48. The rehearsal script has the rather more earthy "Ruddy 'eck!"

49. Laurie Webb posed for the photo on Monday 6 November 1972.

50. The jelly substance was scripted to seep out of the box, and Tyler to vanish with a Gruyere cheese "hole" effect.

51. The lid in this "after" shot doesn't match up with its position in the "before" shot.

52. This was scripted as "a grey gel" with a dark nucleus like an eye, the size of a grapefruit.

53. A normal Geiger counter or an adapted pocket torch were planned, rather than the sonic screwdriver.

54. This was the first appearance of a new sonic screwdriver prop.

55. It had debuted in the filming of 'Carnival of Monsters' some months previously.

56. Patricia Prior (Mrs Ollis) Was the partner of Rex Robinson (Dr Tyler).

57. They also worked together in The Troubleshooters (1969) And Warship (1973), both for director Lennie Mayne.

58. The film sequence was scripted to end with the worried Doctor telling Jo that they have to get back to the lab at once.

59. Dropped here was a brief moment where he glances into the empty sink and sees the photograph on the viewing frame.

60. Benton was scripted to enter uncalled, reporting that the Doctor has just returned to HQ.

61. This establishing shot wasn't scripted.

62. All the UNIT HQ scenes were shot at Hayling House, a YMCA hostel in Denham owned by the Ministry of Defence.

63. These scenes were filmed on Friday 10 November 1972.

64. The Gell creature is an overlaid video effect.

65. Mr Carroll, the hostel warden, was asked to ensure that the garages were empty on the day of filming.

66. This sequence was planned to take place inside an enclosed garage.

67. Once inside, the Doctor slams shut an overhead sliding door.

68. He and Jo then see Bessie disappearing through a small window.

69. The garage doors are next to vanish, along with a dustbin.

70. The tapping on the box lid shows that it is made of wood, perhaps not the best choice for space travel.

71. There's also no sign of Richard Franklin, who was to have made an appearance as UNIT Captain Mike Yates.

72. He was already booked for some stage work, and couldn't do this story.

73. The rehearsal script has a more pointed, "There isn't any Bessie any more."

74. Episodes 1 and 2 were recorded in Studio 1 at Television Centre on 27 and 28 November 1972.

75. Extensive test sessions for the CSO Gell were undertaken on 27 September and 17 October.

76. Despite this, the live video effect of the Gell caused many delays to the first episode's studio recording.

77. In the rehearsal script, the Doctor repeats Tyler's "shriek of pain" simile.

78. There were other causes of delay in studio: The last scenes of the day had not been worked through on set,

79. and the film for the animated "flash" was initially played upside down,

80. so the film had to be rewound, turned the right way up, and run again.

81. Again, this was written as a portable pocket Geiger counter, not the sonic screwdriver.

82. The studio recording ended up overrunning by 22 minutes.

83. The test sessions also attempted to show the Gell splitting into two entities (like four-foot-high frogspawn).

84. This proved unsuccessful and the sequence was dropped.

85. The scene coming up next had a speaking UNIT soldier pointing out the arrivals to Corporal Palmer.

86. The Corporal will be a rare acting performance from Denys Palmer, who usually worked as a choreographer.

87. He staged dances for The Two Ronnies (1972) and, for the Mermaid Theatre, Lock Up Your Daughters (1972).

88. His big-screen choreography ranged from The Ghost Goes Gear to The Witches (both 1966).

89. The arrivals are referred to in the scripts as Gellguards: "They are shapeless, non-human creatures."

90. They are played by shapely Ricky Newby, Murphy Grumbar, Cy Town and John Scott Martin.

91. The script called for six Gellguards, but only four costumes were constructed

92. by Allister Bowtell's freelance prop building company, which had also made monster costumes for 'The Mutants' the year before.

93. Two of the costumes were fitted with bullet proofing and operational flashing gun arms.

94. All the story's extras were contracted on 26 October.

95. The six UNIT soldiers are played by Pat Gorman, Leslie Bates,

96. Terence Denville, Terry Sartain, David Billa and David Melbourne.

97. Incoming special sound man Dick Mills provided the "plop noises" and Gellguard "grumbles".

98. An armourer provided the five Sten guns, a Bazooka, and Benton's Sterling sub-machine gun.

99. Kingsbury Motors provided all the vehicles. They were Doctor Who's regular supplier at this time.

100. The close-ups of the "arm" firing were filmed at the quarry location (not otherwise seen in this episode).

101. This dialogue was amended for recording.

102. As scripted, the Brigadier adds that the soldiers are giving their lives to save the Doctor from whatever the creatures are.

103. In these shots, note the mismatch between the grassy YMCA and the sandy quarry.

104. Benton's scripted line was muted: He tells the Brigadier that they cannot hold back the creatures' advance.

105. The visual effects ignition wire for the explosion could just be glimpsed to the right of the Gellguard.

106. The Gellguards were scripted to make for the roof area, heading for the ventilation shaft.

107. Benton avoids a blast from the Gellguards on the roof and gives the order to evacuate.

108. Dropped from here was Jo wondering why the Doctor is so calm about the attack.

109. Here's why the Gell wanted to get to the roof ventilation shaft.

110. This is take 2 - the effect failed to work the first time.

111. Take a look at the police box roof. For some reason, the light hasn't been fitted.

112. The attacker about to appear is scripted as "a huge - six or seven foot - mound of Gell".

113. The effect was simple: Tinsel was wrapped around a feather boa and electronically over-exposed.

114. The bubbling effect is the tinsel catching the light as the prop moved.

115. The decision to create an electronic Gell may have been influenced by memories of an unsuccessful physical effect two years earlier:

116. A shapeless rolling blob in the 1971 story, 'The Claws of Axos'.

117. The abortive attempts to take off were not scripted.

118. Early in production, it was checked that the console already had an "emergency" button fitted.

119. As scripted, there is a very fast bleeping sound over the remainder of the scene.

120. The four Time Lord extras about to appear are: Anthony Lang, Lincoln Wright, Richard Orme and Peter Evans.

121. This is the War Room on the mysterious, unnamed planet of the Time Lords.

122. The scene was written to begin showing the wall displays, which are "rather like ocean current maps".

123. Luminous discs are placed on these maps,

124. indicating the current positions of Time Lords out on patrol.

125. Another display shows the jagged lightening streak and a formalised indicator of Earth,

126. where a disc marks the Doctor's current position.

127. The two returning Doctors were contracted on 21 September 1972.

128. Nicholas Courtney and John Levene signed up four days later, and Stephen Thorne on 2 October.

129. Most of the main guest cast were contracted on 27 October,

130. except for Laurie Webb, who joined the cast on 2 November, shortly before filming began.

131. Clyde Pollitt (the Chancellor) Had played one of the presiding Time Lords at the Doctor's trial in 1969's 'The War Games'.

132. The bearded, seated actor, Graham Leaman, had also previously appeared as a Time Lord, in 'Colony in Space' (1971).

133. He played other, less exalted characters in three 1960s Patrick Troughton stories.

134. The film sequence coming up on the screen

135. was newly filmed in the quarry location for this story, although upon which day is not known.

136. This is take 2.

137. A model shot was planned, showing a second police box merging into the current Doctor's.

138. As scripted, the recorder rolls along the floor,

139. and a new arrival - referred to as Doctor Two - appears directly behind the Doctor and Jo, at first unnoticed by them.

140. The tune appears to be a few bars of the theme to the 1967 movie Casino Royale.

141. The "don't like it" comment was an addition made during rehearsals.

142. The effect of the Doctor's appearance was achieved by pre-recording a shot of the empty control room prior to the scene.

143. This shot was used to mask the left half of the screen, and was then removed on cue: Instant Troughton!

144. Doctor Two was scripted to call him "Sergeant Benton",

145. but Benton didn't get his promotion until eighteen months after they met (in the 1968 story, 'The Invasion').

146. In the rehearsal script, the Doctor takes Jo "under his wing", and Doctor Two feels the quality of his later self's cloak.

147. He looks envious at the difference between this finery and his own tatty clothes.

148. This quotation from 'I Am the Walrus' was cleared with Apple,

149. the Beatles' own company, on 13 November, two weeks before recording.

150. The group's hippyish interest in Transcendental Meditation was shared by Patrick Troughton.

151. He was reading a book on the subject during rehearsals for this story.

152. The reference to "my own future" was an ad-libbed addition made by Troughton.

153. In a moment, we'll see another relic from Doctor Who's black-and-white days.

154. The control console had been pale green since the 1960s, because white would have flared on monochrome television.

155. This is take 2, owing to more of the problems with the visual effect that plagued the entire studio day.

156. As scripted, the Brigadier is accompanied by a handful of soldiers.

157. Denys Palmer was booked to appear in the next episode, so he filled in here, which saved hiring extras just for a single scene.

158. As scripted, it was a filing cabinet that got zapped, not a water cooler.

159. This sequence is referred to in the script as "Race cutting".

160. It was done live during recording, with the vision mixer's fingers switching rapidly between the two images.

161. The actors' noses were used as the fixed point to line up the two faces.

162. Spot the microphone shadow on Pertwee's shoulder.

163. The end of this scene was cut. The Doctor complains that he doesn't want to listen to "paratiddles on your piccolo".

164. Jo and Benton liken the situation to having two women in the same kitchen, not getting on.

165. This is take 3. The Time Lord was asked to speak louder.

166. As scripted, he refers to "the first Doctor".

167. The film insert was William Hartnell's final acting work.

168. The last scene was another one to be cut short. The Time Lord warns that the transference may be unstable.

169. "Just do the best you can," the President tells him.

170. When we come back to the Doctors, spot the stray boom shadow on the wall to the left.

171. As scripted, a "blip" appears on the screen, getting closer.

172. Inside a transparent bubble is "the unmistakable figure of Doctor Three".

173. As the bubble stops, he opens the lid of a transmitter, which looks like an old-fashioned snuffbox.

174. All Hartnell's scenes for the story were recorded in sequence

175. at Ealing Film Studios on Monday 6 November 1972, the first day of filming.

176. Unable to bend to get completely inside the perspex bubble, he played the scene perched half in and half out.

177. Nevertheless, he was delighted to be working again in his favourite role.

178. It isn't too clear, but this is a large silver coin.

179. As before, the image was scripted to break up with holes like Gruyere cheese.

180. This episode was first broadcast, on 30 December 1972 and was watched by 9.6 million viewers.

181. Uncredited production contributors were:

182. Magda Olender (Props Buyer)

183. Lennie Brown (Labs Rep)

184. Hugh Wilson (Film Operations Manager)

185. Dave Havard (Visual Effects Assistant)

186. Sybil Cave (Artists' Booker)

187. Derek Lightbody, Monty, Tom Moncrief (Technical Effects) 02,796 Nice to see you.

188. I haven't seen you since that nasty business with the Cybermen.

189. It happened all those years ago.

190. - Who is he and how did he get in here? - It's a bit difficult to explain, Jo.

191. He's not one of them, is he?

192. Well, not so much one of them as one of us.

193. - One of me, to be precise. - Oh, no, no, no, no.

194. I'm sorry, my dear, I hate to be contrary,

195. but I can see he's a little bit confused, poor old chap,

196. and I do feel you should have the correct explanation.

197. - You don't mind, do you? - Yes.

198. I didn't think you would. You see, Jo... I may call you Jo, mayn't I?

199. You see, he is one of me.

200. Oh, I see. You're both Time Lords.

201. - Well, quite. Well, not quite. - Oh.

202. Not... Not just Time Lords. We're the same Time Lord.

203. Now, please, you're only confusing my assistant. Jo, it's all quite simple.

204. I am he and he is me.

205. "And we are all together, goo goo g'joob?"

206. - What? - It's a song by the Beatles.

207. - Oh, how does it go? - Oh, please be quiet.

208. - Look, is he really you? - Yes, yes, I'm afraid so.

209. I think he is, Miss Grant.

210. You see, when the Brig and I first met the Doctor, he looked like him.

211. - How? - Yeah, that's what I'd like to know.

212. You've got no right to be here.

213. Perhaps... - What about the First Law of Time?

214. - Perhaps I could explain. - Perhaps you could.

215. Well, our fellow Time Lords out there are just as much under siege as we are.

216. What?

217. And they couldn't send anyone to help you.

218. But they did summon up enough temporal energy

219. to lift me out of my bit of our time stream and pop me down here,

220. - into my own future, so to speak. - Why?

221. My dear fellow, you are being a bit dim, aren't you?

222. - Your effectiveness is now doubled! - Halved, more like.

223. Now, now. There's no need to be ungracious.

224. Suppose we have a look at our problem, shall we?

225. Uh, you don't mind, do you?

226. - Oh, be my guest. - (CHUCKLING) Oh, thank you.

227. Good grief, sir. What's that?

228. Don't just stand there, man. Open fire!

229. - Sir! - Fall back!

230. Dear old Lethbridge-Stewart. Still blazing away as usual.

231. Can't we do something to help them, Doctor?

232. They'll be all right as long as they keep out of its way.

233. Right, now you can see our problem, can't you?

234. Yes. Most unpleasant.

235. - They are very worried, you know. - Yes, and so am I.

236. I think perhaps I ought to put you in the picture.

237. Right.

238. - Contact. - Contact.

239. I see.

240. - So it's after you. Or should I say us? - That's right.

241. And as they can't help us, we'll just have to help ourselves.

242. Twinkle, Twinkle Little Star.

243. Now, what was all that about?

244. A sort of telepathic conference, I think.

245. Must you?

246. Are we going to take this attitude to my music all the time?

247. - Yes, I'm rather think we are. - JO: Oh, dear.

248. We've achieved the transference, sir.

249. - Splendid. - But I don't think it's going to work.

250. - Why, what's wrong? - They refuse to cooperate.

251. - I see. - (DOCTORS INAUDIBLE)

252. Well, we'll soon settle that. Show me the earliest Doctor.

253. - Him, too, sir? But surely... - Show me.

254. He'll keep them in order.

255. You've been fiddling with it, haven't you?

256. It was perfectly all right until you touched it.

257. Now if only you'd leave things to me.

258. If we were to leave things to you, my dear fellow,

259. - we'd be in a fine pickle, wouldn't we? - There they go again.

260. - You lost the image, not me. - I did not lose the image!

261. Doctor, look. Both of you!

262. What? JO: Look.

263. Ah, there you are. I seem to be stuck up here.

264. Hmm? Hmm?

265. Oh, so you're my replacements. A dandy and a clown.

266. Have you done anything?

267. Well, we've, uh, assessed the situation...

268. Just as I thought. (CHUCKLES) Nothing.

269. Well, it's not easy, you know.

270. It's not as if we knew what that stuff is.

271. - No. - Then I'll tell you.

272. It's a time bridge.

273. - It's a what? - I see.

274. Now, what's a bridge for, eh?

275. - Well... - Crossing?

276. Right. So stop dilly-dallying and cross it!

277. No! No, wait!

278. - You faded him again. - I did not fade him. You saw him.

279. - Yes, you certainly did. - He faded himself!

280. I hate to ask, but who was that?

281. Me!

282. Me!

283. - Call, will you? - Heads.

284. Hard luck.

285. All right. Stand by to disconnect the force field.

286. - What are you going to do? - Now!

287. Doctor, no!

288. Jo, get back!