Doctor Who 10x2

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

The third Doctor and Jo find themselves on an artificial world inside the black hole while the second Doctor tries to find a way to control the organism.

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1. "With his 'other self' besieged in the Tardis by the 'hunting organism'

2. "the Doctor, with Jo, passes through the Black Hole in Space,

3. "and arrives in the strange world of anti-matter."

4. Unfilmed was a scene of the Doctor and Jo tumbling through space towards the Black Hole.

5. Bringing back the two earlier Doctors to meet the latest was a story waiting to happen.

6. With Doctor Who's tenth anniversary due in 1973, this story would mark the start of celebrations.

7. Writers Bob Baker and Dave Martin were asked to draw up a storyline in February 1972.

8. where the King of the Time Lords has chosen the Doctors to take part in a test or ordeal.

9. They are fighting for control of the universe against the minions of death itself.

10. The bare bones of the story were accepted, but the death angle was rejected.

11. so all his scenes were reduced to film inserts where he could read his lines from cards.

12. "Hiccups" replaced the scripted ailment - "colic".

13. Baker and Martin next developed a story featuring a character called Ohm, who was the antithesis of the Doctor.

14. Read OHM upside down...

15. Three aspects of Ohm were to appear: One saintly, one evil and one moderate.

16. The idea was felt to be too much of an in-joke and was duly changed.

17. This was envisaged as a sand dune similar to the one at the bird sanctuary in Episode 1.

18. This was take 2. The boom was in shot on the first attempt.

19. The Brig then encountered Jon Pertwee's Doctor in 'Spearhead from Space' in 1970.

20. In those early stories he was wearing a different incarnation of his stick-on moustache.

21. Likewise stuck on is Troughton's bow tie, which is attached to his shirt by a large safety-pin.

22. This time there was no overrun at the end of the day,

23. because there was less material to record: Much was held over to the next recording block.

24. Dropped from here was the Doctor's line commenting that the Brigadier can believe whatever makes him happy.

25. The third "me" was ad-libbed during recording.

26. Animator Bob Rymer created the Black Hole image and Gell "flash".

27. The large Eidophor screen was hired at a cost of £270.

28. The set decoration in the background is made of cut-down plastic drainpipes.

29. The blue spots painted on the floor were intended to appear Tardis- like.

30. Immediately after the first episode was recorded, the Time Lord scenes for Episode 3 were completed.

31. Time Lord memos are written on round paper.

32. The text is clearly handwritten, but it is not evident if it's in English,

33. or the Greek and formulae-based script featured in The Making of Doctor Who,

34. This was the first factual book based on the series.

35. "Temporal transportation unit" was the fuller, scripted phrase.

36. Roy Purcell Had a long stage and television career.

37. The Professionals (1980), and both the old and New Avengers

38. Director Lennie Mayne cast him in Doomwatch and Brett.

39. Cut from this scene was Jo remembering how everything "fell apart" as the creature attacked them.

40. "Becoming nothing... falling... drifting. There's no time any more is there?"

41. She rues that they will be stuck wherever they are forever.

42. Watch Jo's hair: The piece of gravel stuck to it vanishes as the shot changes from close-up to wide.

43. Thirty feet of tracks were laid for the camera to move in these scenes.

44. A 12-foot camera tower was used for high shots like the one coming up.

45. This was the first scene filmed with the Gellguard costumes.

46. Notice the flat access road into the quarry.

47. The Invisible Man was written by H. G. Wells in 1897.

48. The title character, when invisible, spreads havoc by anonymously attacking his pursuers.

49. The story was rehearsed in room 402 of the BBC's Acton Rehearsal Rooms.

50. The Doctor is hunting for his recorder. But what he finds seems to be

51. his dressing room key.

52. Dropped on recording was a line from Benton: "I should lay off him for a bit, Doctor."

53. Here's a glimpse of colourful braces similar to those seen during his 1960s stories.

54. The originals had a design of small animals, among other patterns.

55. This area was described in the script as "a wide area of beach",

56. with a Salvador Dali type landscape of out-of-place objects,

57. including the overhanging garage doors from the earlier location sequence.

58. The swing doors in the Doctor's Lab were both open at the time that they were transported by the Gell.

59. So who locked them? And why?

60. This film was played in direct to videotape during the studio recording,

61. as film inserts usually were during the 1960s and 1970s.

62. Meanwhile, the time was used to set up the spark generator prop in place on the Lab set.

63. This was reworked when the Episode 1 garage sequence was revised.

64. In the rehearsal script, Jo's line was the far less specific, "Oh, just drive around".

65. The square object to the right of Bessie at the bottom of the slope was a fixture in place at the quarry.

66. The original plan was for it to be Ollis who observes the vehicle as it drives off.

67. Note that the Doctor doesn't use the handbrake, nor remove the car keys. You'll see why in Episode 4.

68. Man Friday is the native whose footprint is found in the sand

69. by the marooned title character of Daniel Defoe's 1719 novel Robinson Crusoe.

70. Here's the observant Ollis better late than never.

71. This prop was later recycled to become a sonic lance in 'The Monster of Peladon' (1974).

72. Also being recorded in studio at the same time as the first two episodes of this story

73. were Softly Softly Task Force , The Television Doctor,

74. The videophone was an indicator that these UNIT stories are set in an undefined "near future",

75. where such devices would be far more commonplace than they were in 1973.

76. One early task for production assistant David Tilley was to choose the locations for filming.

77. He chose a group of locations in Hertfordshire and Buckinghamshire, having recently worked in the area

78. on the 1972 BBC children's serial, Thursday's Child.

79. The catering budget for location was set at 13p per head for tea, coffee and biscuits for tea breaks.

80. Lunch was budgeted at £1.45 per person, falling to £1.30 by the end of the week of filming.

81. It replaced the scripted sequence in which Benton is more wary of the Gell.

82. He warns it to not so much as quiver or it'll get the full power of the device.

83. This action was described as: "Monster finds paper not to taste and grumbles a bit".

84. The handset is marked from one to ten. Benton turns it to ten.

85. This was a practical spark effect, built into the machine and operated by an off-set visual effects man.

86. The rehearsal script explains that the Gell has now lost its sense of direction,

87. and is blundering about aimlessly, obliterating everything it encounters.

88. The sparking machine is removed during a recording break; the animated flash covered the edit.

89. The sweets were scripted as gobstoppers.

90. The speed of light is approximately 186,282 miles per second.

91. There was originally some dialogue leading up to this moment: Jo comments on how creepy it all seems.

92. Then they walk round a sand dune and see Tyler in front of them.

93. It is the afternoon of 7 November and the weather is brightening.

94. Dropped before filming was some ripe dialogue from Tyler:

95. "Where the Bradley Hill are we? Do you know cos I'm ruddy sure I don't. Bin rackin' me brains."

96. To save erecting the set for one scene, the studio sequence you will see next

97. was recorded from 11:30 a.m. On 11 December alongside Episode 3.

98. But they used a barely disguised 25-inch colour television.

99. Murphy Grumbar plays this Gellguard.

100. He later described the costumes as "fearful" for the actors who had to wear them!

101. You may recognise upcoming close-ups of the Gellguard "arm".

102. They were filmed at the same time as the similar shots in Episode 1.

103. The Tardis set has been partially rebuilt for this story, including new walls and scanner screen.

104. The cost of Tardis construction was estimated at £89 for 125 hours of work.

105. "Nattering" began as "maundering", then became "twittering".

106. The central console was hired from the prop constructors Magna Models at £70 per story.

107. The scene that follows was a late addition by Terrance Dicks to pad out the episode's running time.

108. In the first draft of the scene, the Pertwee Doctor, Jo, and Tyler discuss the palace's gaudy decor.

109. Then the Doctor confirms that the little man in the Tardis is one of his earlier selves.

110. He explains that the First Law of Time shouldn't allow him to meet himself, but this is an emergency.

111. In the Arabian Nights story , Aladdin's cave was full of unimaginable riches.

112. A week after this story ended, the Birmingham Post published a set of Doctor Who cartoons.

113. One showed the Doctor and Jo in a corridor such as this... which leads to Santa's Christmas grotto.

114. Ricky Newby and Cy Town are playing the two Gellguards in this scene.

115. This is a new design UNIT walkie-talkie, replacing props which had been in use since 'The Invasion' in 1968.

116. He does so, "like a mother with a mardy child".

117. Wasting time is right:

118. The rest of the scene was part of Terrance Dicks's late rewrites,

119. and the objective was to pad out the episode to its allotted 25 minutes.

120. This is another scene recorded with Episode 3.

121. "Going to stop me, are you?" Asks Tyler in the script. The Doctor replies, "If necessary, yes."

122. For a moment it looks as if they will come to blows.

123. Why all this argument?

124. Another tried and tested method of padding out time was to introduce an escape attempt,

125. in which a character goes on the loose for some time, but is then recaptured.

126. With that in mind, how do you rate Dr Tyler's chances?

127. The restricted vision made it difficult to see where he was going.

128. The Gellguard costumes came in two pieces.

129. The separate head and shoulder section fitted over the top.

130. The transported building and a magician in a glittering palace hail from The Wizard of Oz.

131. There are namechecks for other pantomime favourites, Robinson Crusoe and Aladdin,

132. and the "giant" in his castle recalls Jack and the Beanstalk.

133. And let's not forget the "heroes" of the piece: Jo Grant and seven male characters...

134. However, actor Frazer Hines was unable to appear due to his commitment to ITV soap Emmerdale Farm.

135. But then the script was revised so that Benton took the role that Jamie would have filled.

136. Another problem was the reflection of the studio on the glass of the picture tube.

137. This shot, taken by Camera 3,

138. showed the reflections of Cameras 2 and 4 on the screen.

139. The Brigadier has never seen the William Hartnell Doctor before ,

140. but in 1965 Nicholas Courtney played Bret Vyon opposite him in 'The Daleks' Master Plan'.

141. This sequence was additional material that interrupted what would have been a continuous Tardis scene.

142. Stand by for this story's obligatory "moment of charm" for Jon Pertwee.

143. Pertwee had learned some magic tricks while working the Music Halls in the 1950s.

144. On cue, he lets the pencil go and it flies out of sight up his shirt sleeve,

145. while the flowers are pulled out of his other sleeve.

146. And that's magic!

147. Maybe not. It took eight takes to record.

148. Murphy Grumbar brings up the rear, unable to see the way.

149. Filming in the late months of the year means changeable weather,

150. so the vanishing effect coming up will show how quickly daylight changes.

151. A photo saved building a model.

152. This episode was first broadcast on 6 January 1973 and was watched by 10.8 million viewers.

153. Uncredited production contributors were:

154. Dick Weller, Arthur Hill

155. Joe Starie, Bob Hignett

156. Laurie de Whalley, Don McGregor

157. Johnny Norris ct, I rather envy them.

158. - You what? - Yes.

159. I think they're having a very interesting time.

160. The time to make a getaway is now, while we're still near the entrance.

161. Once they get us down that maze of passageways, we shall never get out.

162. My dear Dr Tyler, I don't want to get out.

163. I want to meet our host.

164. I allowed myself to be brought here for that very purpose.

165. Perhaps you did, Doctor, but we didn't want to come here

166. and we don't want to stay.

167. Don't you understand? You were both brought here by accident.

168. Your only chance of getting back lies in my persuading

169. whoever brought you here to send you home.

170. I prefer to take a chance on my own.

171. How about you, Miss Grant? Are you coming with me?

172. No. No, I'll stick with the Doctor, thank you.

173. Looks like I'll have to go on my own, then.

174. - Dr Tyler, you're not going anywhere. - What?

175. I refuse to allow you to endanger all our lives.

176. No. No, I suppose you're right.

177. Tyler! Tyler, come back! Tyler!

178. Idiot. He'll jeopardise the entire operation.

179. - With his life, probably. - Yes.

180. They might not harm him. You said we were only here by mistake.

181. Yes, that's right, Jo.

182. I'm the one they're after.

183. I'm sure I can persuade our host to send you back.

184. But supposing you can't? Well, they might just get rid of us.

185. Jo, we're dealing here with a creature of great intelligence,

186. and superior intelligence and senseless cruelty just do not go together.

187. Oh, I hope you're right.

188. - Tyler! - Tyler! Come on, get up. Up, up.

189. - Are you all right? - Yes, I think so. Thanks.

190. That was a bit of a waste of time, wasn't it?

191. Here we are, Brigadier. Have a try with that.

192. It's all right, it won't bite you.

193. Corporal Palmer? Come in, Palmer.

194. Corporal Palmer here. Over.

195. Corporal Palmer, this is the Brigadier. Now, listen.

196. We're pinned down in the laboratory. What's the situation there? Over.

197. Ah, sir, we've been trying to reach you. The building is still surrounded

198. and we're just standing by for further orders. Over.

199. Now, listen, Palmer. I want every man to maintain vigilance

200. but no further offensive action, is that clear? Over.

201. - But sir, I thought... - That's an order, Palmer!

202. - Roger, sir. Wilco. - Keep in contact. Out.

203. Doc? - Hmm?

204. - Hey, Doctor, it's the old boy again. - Oh, excuse me.

205. - Made any progress? - No, none at all. And you?

206. Hardly! I'm trapped in this infernal time eddy.

207. - What about our fellow Time Lords? - Growing steadily weaker.

208. They can't seem to check their energy loss.

209. - We can't help you, I'm afraid. - Oh, yes, you could.

210. - Oh? How? - First turn off your force field.

211. - What? But... But I don't... - Off, I said.

212. - But I still don't see... - Oh, use your intelligence.

213. Who in the name of heaven was that?

214. I'm afraid you'd never believe me.

215. It still doesn't make sense, Doctor.

216. We are matter, and you say this place is antimatter.

217. That's right.

218. So, the mere fact of our being here should cause a colossal explosion.

219. Yes, but our bodies have been converted,

220. processed in some way so that we can exist here.

221. Just as that organism thing could exist in our world?

222. - Yes, exactly. - I just don't believe it.

223. This is matter. I can see it. Why, I can feel it.

224. But things aren't always as they seem, you know, Dr Tyler.

225. - Now you take this pencil, for example. - Well, it's just a pencil, isn't it?

226. Ah, but is it? Watch very, very closely.

227. Or is it a bunch of flowers?

228. That's all very well, but that's just a conjuring trick.

229. Yes, that's exactly what this place is,

230. a scientific conjuring trick of a very high order.

231. - I think the waiting is over.

232. But you're not going to turn off the force field?

233. Yes, I think so.

234. - But why? - Because he told me to,

235. and I've always had a great respect for his advice.

236. Doctor, if you switch the force field off,

237. that thing out there can get at the Tardis.

238. Precisely! Hold tight, everyone.