Doctor Who 10x14

Directed by Paul Bernard

Roger Delgado as The Master • Vera Fusek as President of Earth • Peter Birrel as Draconian Prince • Stephen Thorne as First Ogron • Peter Birrel as Congressman Brook

The Doctor, Williams and the Draconian Prince head to the Ogrons' planet to find evidence of the Master's actions but the Master tricks Jo into leading them into a trap.

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1. "With Jo a prisoner on the Ogrons' planet, the Doctor and his friends plan rescue.

2. "They face a dangerous journey - the greatest danger of all awaits them on their arrival..."

3. This episode was first shown on 31 March, 1973 and was seen by 8.9 million people.

4. The next sequence was made in two sections and cut together in post-production.

5. Jo's reactions were recorded first - then they shot something for her to be frightened of.

6. As before, the lens was treated with Vaseline to blur the image at the edges.

7. The Drashig morphs into a Mutt, from 'The Mutants'.

8. Next up is a Sea Devil from 'The Sea Devils'.

9. The scripted sequence continues with the Sea Devil becoming an Auton,

10. the plastic creatures Jo met in her first adventure with the Doctor, 'Terror of the Autons'.

11. "I seem to have underestimated you," charms the Master in the script.

12. The non-speaking Ogrons were played by professional extras supplied by the agency Associated Plays and Players.

13. One of them, Bruce Wells, was an ex-Cyberman, from the creatures' 1966 debut serial, 'The Tenth Planet'.

14. Three of them were Ogron recidivists, having been in 'Day of the Daleks'.

15. The articulate Ogron is Stephen Thorne, who specialised in voice work.

16. Recording broke off here so that they could do the "Vaseline shots" of the monsters that frightened Jo earlier.

17. This scene was scripted to begin with a newscaster reporting the latest "Draconian" attack.

18. This has caused "spontaneous mass rallies all over Earth".

19. Paul Bernard planned to represent Brook's rally using stock footage

20. of a rock concert by the Rolling Stones in London's Hyde Park on 7 May, 1969.

21. and afterwards known to Doctor Who fans as a giant shark in the audio adventure Doctor Who and the Pescatons (1976).

22. The scripted scene continues. The President calls back the Doctor as he leaves.

23. "I hope you find your friend safe and well,"she says."She must be in a terrifying situation."

24. "She'll bear up," the Doctor replies. "Jo's a very resourceful girl."

25. "I don't think much of your cuisine," she was scripted to say.

26. Characterised in part as a "junior secret agent", Jo always carries a set of skeleton keys,

27. which you can see in her back pocket here.

28. She was scripted to use the water to soften the hard earth before she starts to dig.

29. The script calls for "a small, fast scout vessel, with insignia to denote General Williams's rank",

30. and "the brightest, most ultra-modern of the flight decks that we have seen so far".

31. In the storyline, the expedition to the planet of the Ogrons begins with a secret rendezvous in space

32. between ships from both the mutually distrustful civilisations, Earth and Andromeda.

33. The expedition struggles to survive on a hostile planet, attacked by the indigenous life-forms.

34. It becomes clear that some of the personnel are traitors working for the Master.

35. An act of sabotage by one of these agents enables the Ogrons to capture the surviving expedition members.

36. At the Master's base, they finally see for themselves the evidence proving that the attackers were Ogrons.

37. Meanwhile, the Doctor is taken before the Master - and at his side, there is a Dalek.

38. This piece of scenery was previously the hull of the Master's spaceship in Part 4.

39. It has been redressed with new insignia, of course.

40. Both sequences were shot at Ealing on the same day, 14 September, 1972.

41. Composer Dudley Simpson reasoned that these scenes needed to be heavily scored

42. because the only thing you can hear in space is the incidental music.

43. On 8 September, 1972, Simpson was commissioned to write the music for both this serial and 'The Three Doctors'.

44. He had to wait for the episodes to be recorded and edited before he could start work.

45. This sequence illustrates how his score combines synthesiser material with live musicians.

46. The oscillating, high-pitched "sting" is electronic, but the lower notes and percussion are live.

47. The two elements were recorded separately during post-production, with six sessions devoted to each type.

48. an electric piano, an electric organ, a guiro (a notched, ratchety percussion instrument) and a metallic vibraslap.

49. The live sessions, lasting three hours each, took place between 16 November, 1972 and 11 January, 1973.

50. Afterwards, the synths were recorded at the BBC Radiophonic Workshop between 28 November and 15 January.

51. Simpson later reworked his rising and falling electronic "space theme" as the title music for The Tomorrow People.

52. Paul Bernard felt that Simpson tended to over-saturate the action with music.

53. The total length of the incidental score for all six episodes amounts to 48 minutes and 13 seconds.

54. In the script, the Doctor admits that the repair had to be a rush-job, so it might not hold out.

55. "Now we're looking for a non-existent planet in a damaged ship," responds Williams.

56. Jo was scripted to lie flat on her back and wriggle underneath the bars.

57. Malcolm Hulke often required the female lead to escape by "posting" herself through a gap at floor level.

58. He scripted other such scenes in 'The War Games' (1969) And 'Colony in Space' (1971).

59. The script describes the wall painting as "a vast, dragon-like monster, rearing up for the kill, an Ogron in its claws".

60. The Ogron's offering to the "Ogron-eater" was scripted as a strangely-shaped alien fruit.

61. In other words: "Eat this - not me."

62. This has been your best opportunity to see what the "Ogron-eater" looks like.

63. As the episode was scripted, the creature features extensively in the later scenes,

64. but the finished costume was generally considered to be disappointing.

65. In consequence, it pops up only briefly on location, never to menace the Ogrons again.

66. As we shall see, this had a knock-on effect which brought the production close to disaster in its final stages.

67. The large white document is actually a set designer's studio floor plan.

68. Studio recording for this serial took place every two weeks between 2 October and 1 November.

69. Each two-day block was preceded by nine days of rehearsals, from 20 September to 30 October.

70. Like most actors, Jon Pertwee prepared himself for rehearsals by going to work on the script.

71. The first thing he did was to rip out all the pages without the Doctor: He didn't need to bother with them,

72. though he did sometimes express dismay if, after the gutting process, it was a "thin episode".

73. He would then mark up the script, thick or thin, by underlining his dialogue in different colours.

74. The colours were a personal code relating to the performance tone required by each line.

75. He always aimed to make the guest cast feel at home in rehearsals and used games as a bonding exercise.

76. The studio days followed a set routine: Camera rehearsals during the day, then recording in the evening.

77. Not all actors wore full costume at the camera rehearsals. Katy Manning, for example, often wore her own clothes.

78. Each pair of episodes was allocated four-and-a-half hours' recording time.

79. This line was Roger Delgado's unscripted contribution.

80. So he wrote in to TVAction, the weekly comic which ran the Doctor's adventures in print at this time.

81. This set was no longer required after this shot, so it was co-opted for use by the actors doing the Dalek voices.

82. If the planet of the Ogrons exists, you will find it in Beachfields Quarry, Redhill.

83. The quarry belonged to the chemical firm Laporte Industries.

84. Location filming took place here on 11 and 12 September 1972, a Monday and Tuesday.

85. Jon Pertwee was especially impressed by the bleak, "alien" quality of the landscape.

86. One person who had a less than perfect time was production assistant Nick John.

87. His car got pranged by one of the quarry workers and the wing had to be replaced.

88. The script calls for them to be looking at a large reptilian footprint.

89. Noise at the quarry meant that much of this dialogue had to be redubbed afterwards.

90. You can lose touch with reality when filming at an isolated location like this.

91. It happened to Jon Pertwee at the start of the shoot, before the quarry's daily racket started up.

92. While waiting for the cameras and lights to be set up, he got chatting to one of his fellow artistes, Peter Birrel.

93. Birrel was an avid space enthusiast, and the subject of their conversation was life on other worlds.

94. The actors' costume and make-up had already been done at Television Centre, before they were bussed to the location.

95. So Birrel was dressed as a Draconian,

96. Assistant floor manager John Bradburn donned a comely orange outfit for an on-camera appearance.

97. And now... cue the Ogron-eater!

98. As scripted, the next scene begins with the Master in soothing mode,

99. "Yes, I realise that there have been setbacks. But I can assure you that I have lured the Doctor to my trap.

100. "With your help, I am sure I shall have no further difficulties."

101. There's a wind machine on the right, just out of shot.

102. This episode was the subject of an analysis by the BBC's Audience Research department.

103. A panel of 170 viewers found it to be an "enjoyable piece of fantasy".

104. They commended three particular actors' Jon Pertwee, Roger Delgado, and Katy Manning.

105. On the whole, they had found 'Frontier in Space' to be rather a dull serial,

106. but it got a much-needed boost in this final episode, because of what's about to happen now.

107. The camera angles were chosen to conceal the base of the Daleks.

108. That's because on location they could only move on sheets of hardboard laid down to create a flat surface.

109. The Doctor knocks the blaster out of the General's hand and walks forward to meet the Master and Daleks, "a defeated man".

110. As scripted, the Daleks intend to take the Doctor back to their home planet before exterminating him.

111. A few weeks before this episode was shown, viewers in Wales got an inkling that the Daleks might be back.

112. On 19 March, two of Skaro's finest travelled to Cardiff

113. to appear in the children's programme, Non Mewn Pum Munud.

114. No experienced Dalek operators were Inside the casings were local boys Frank Lincoln and Mici Plwm.

115. This line was slightly amended when it was decided that the Daleks' army was not based on their own planet.

116. The third Dalek operator is having trouble steering,

117. so Roger Delgado surreptitiously gives him a helping hand.

118. The BBC only had three working Dalek props at this time, though more were under construction.

119. Katy Manning had an extra day before she was due on location - sporting what she later called "a nice, warm mini-skirt".

120. She wore the same outfit for a brief renewal of her acquaintance with the Draconians the following month.

121. The series regulars were attending the opening of a BBC visual effects exhibition at the Science Museum.

122. There was a section devoted to Doctor Who, including a replica TARDIS control room and some monsters.

123. One of them was a rather green Draconian, eclectically compiled from various costume elements,

124. including the Emperor's shoulders and the Prince's mask.

125. The finale of 'Frontier' went through extensive revision and amendment, from the storylining stage onwards.

126. This dialogue is a relic of the way Malcolm Hulke first intended the story to end.

127. The Earth-Andromeda survivors escape and take the Master back to Earth as a prisoner.

128. The Doctor and Jo make this possible by creating a diversion, but they are left behind, marooned on a hostile planet.

129. Just as the situation looks hopeless, the TARDIS materialises in front of them.

130. Why? How?

131. Those are probably the very questions that Terrance Dicks asked Malcolm Hulke when they discussed the storyline.

132. The whereabouts and movements of the TARDIS are not really thought through in that first version.

133. This had been resolved by the time the scripts were written,

134. but the ending now depended heavily on an appearance by the Ogrons' god.

135. At a crucial moment, the Doctor uses the "fear box" on the Ogrons again, and this time they see the Ogron-eater.

136. When Paul Bernard saw the Ogron-eater, however, he realised there was going to be a problem.

137. To tell the story effectively, he needed an Ogrons'-eye-view shot,

138. but the orange monstrosity just wasn't a good enough costume to show off so prominently.

139. The ending was still being rewritten on 31 October, even as the actors were on the studio floor waiting to record it.

140. In the event, they ran out of time: All they had in the can were some disjointed shots of panicked Ogrons.

141. A small part of the citadel set was left standing overnight and 15 seconds of wrap-up dialogue was hastily written.

142. It was taped in the first 15 minutes of recording time on 1 November.

143. As a result, the whole session overran its scheduled 10 p.m. Finish by 23 minutes.

144. But that still didn't make an adequate conclusion, or link the serial into the Dalek adventure to follow.

145. Malcolm Hulke did not intend General Williams and his group to leave so precipitately.

146. A boom shadow plays on the Doctor's face.

147. Williams then goes after the escaping Master.

148. This is the new wrap-up scene that was recorded with Part 5.

149. Note that Jo is carrying the Master's gun.

150. Where's it gone?

151. Obviously it went missing between 1 November, 1972 and 22 January, 1973, the day this scene was recorded.

152. "What things?" asks Jo. "Aren't we going home?"

153. "I'm afraid not, Jo," replies the Doctor in the serial's closing line. "We're going after the Daleks."

154. Also seen in this episode were:

155. John Scott Martin

156. Pat Gorman

157. Maurice Bush, Maurice Purvis, Chris Stevens, Geoff Todd

158. Leslie Bates, Richard King, Steve Tierney

159. David Waterman, Geoff Witherick

160. Uncredited production contributors included:

161. Gordon Phillipson

162. George Bayton

163. Ray Angel

164. Production text commentary by Martin Wiggins !

165. - Oh, Doctor, I thought you were dead. - Help me.

166. Come on, yes. Careful.

167. - Help me into the TARDIS, Jo. - Okay.

168. - All right, Jo. - Careful.

169. The first thing we've got to do is get out of here.

170. Doctor, what are you doing?

171. Telepathic circuits, sending a message to the Time Lords.