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(TOM BAKER enters the Museum Of The Moving Image and looks about him. He is in the Doctor Who section of the Museum which is filled with monsters and bits of all first seven Doctors era.)

TOM: Hello? Hello?

(He turns from the EXIT door he is entering the room and spots a dragon.)

Hello? Anybody there?

(He moves fully into the Museum and spots the exhibits.)

Wey! It's a museum! I've always felt at home in museums!

(He moves forwards and notices one exhibit in particular - The Giant Robot from his own first story "Robot" in 1974.)

Giant Robot! Beat you, cock!

(He starts to walk down past the exhibits. Next up is the Cybermen - from "Moonbase" to "Silver Nemesis" Cybermen in one form or other.)

Cybermen! Beat you!

(Next is a Dalek which is facing a mirror which gives visitors the ability to enter and pretend to be a Dalek.)

Daleks!

(TOM blows into it.)

Beat you!

(Next comes Davros - the 1980s version.)

Davros!

(TOM sighs)

I beat him as well.

(He turns and starts to walk back sighing to himself.)

I was irresistible in those days, irresistible.

(He reaches another set of monsters. The first up is the Yeti from Patrick's "The Abominable Snowmen" - 1967.)

Yeti.

(The next one is Gunden Robot with an axe from Tom's "Warrior's Gate" - 1980)

Gunden Robot.

(This model has a stand with some information and with a button. TOM presses the button twice as it doesn't work the first time, and makes the Gunden Robot moves with the axe.)

No, no, no.

(He moves on down the line looking at each of the monsters. The next one is the Vervoids - Colin's "Terror Of The Vervoids - Trial Of A Time Lord III" - 1986)

Vervoid.

(Sea Devil - Peter's "Warriors Of The Deep" - 1984)

Sea Devil.

(Ice Warrior - Probably by the look - Jon's "Curse Of Peladon" - 1972)

Krarg.

(He passes the monster which stands in it's spot (and looks like it was made from coal ) just saying "Krarg" and then totally stops when he realises what he had just saw.)

Krarg?

(He remembered the story the Krargs appeared in. Slightly shouting.)

SHADA!

(He shushes himself.)

The untransmitted story. Why wasn't it transmitted? Of course, we didn't finish it. Starring Denis Carey and Christopher Neame. Written by Douglas Adams. I thought it was a very good script and there was an invisible space-ship. Douglas said that anybody can design a visible space-ship but to design an invisible space-ship that need imagination. Did he say that or did he say, I think he said genius? Yes, he said genius. Poor old Douglas. I wonder what became of him.

(The word "became" triggers off more memories.)

That's right. Cambridge. About 1979. Ponting on the Cam. There was a choir on the corner as I biked by, singing "Requiem" or some other train song. Daniel Hill, I heard he become manager of a old people's home. Or maybe he went into a old people home, I can't remember. Or maybe he was always old. I don't know.

(NOTE: This refers to Daniel's role in BBC sitcom "Waiting For God" where Daniel was the bossy manager of an old people's home. The show was quite popular at the time.)

And Victoria Burgoyne. It was her first television and when she heard it was cancelled. She was so unhappy. She cried a lot. We all cried a lot. We were very sad.

(TOM looks up into the sky.)

Shada! Shada! Shada!

(We fade out but before we totally fade out TOM looks back into the camera and grins.)

(ROLL TOM'S TITLE SEQUENCE FROM SEASONS TWELVE TO SEVENTEEN (1974 - 1979))


SHADA
PART ONE

by DOUGLAS ADAMS
would have been transmitted - 19th January 1980


1. SPACE STATION, EXTERIOR

(We see a Space Station which is parked near a red star.)


2. CONTROL ROOM

(Round the walls of the big Control Room are arrays of equipment. Mostly TV Monitors, Computers and Control Consoles.... But the most interesting thing in the room is a large white cone, about the height of a man. The cone has small recesses for a humanoid to sit down in and each of the recesses are filled with a man. In the central of the cone there sits a small sphere (no much bigger than a hand.) Nearby is a screen and it is mirrored at the bottom of the cone. On the screen with a little beep of noise per second is a counter in roman numerals counting down from thirty on a red screen.

We move about the faces of the men in the recesses of the machine, and each man, bar one, is slightly filled with strain but all of them has their eyes closed. All of them, bar the one who looks normal, is dressed in a sort of white track suit affair, to emphasise their impersonality. The other is dressed in a smaller white suit, open at the neck and has silver lining. We reach the other face, who has two main scars - one on the forehead and the other, main, scar from his right eye to his cheek.

We cut back to the counter on the red screen and it is now counting down from III (3). The second it reaches zero, we cut to the other face (SKAGRA) and his eyes open. The screen starts to count upwards (again in roman numerals) on a green screen. The instruments start to register and for the sphere in the machine of the machine start to whisper strange whispering voices. SKAGRA stands up and moves over and checks the dials and instruments while the other men move about in pain and then they all collapse. When the men collapsed the sphere's voices become more louder. SKAGRA moves over and roughly checks a man to see if he was unconscious. He then moves over to another console and checks the instruments there. He smirks and goes over to the main control console and presses buttons and turns knobs. His actions causes a computer voice to start speaking:)

VOICE: (oov) This is a recorded message. The foundation for the study for advanced sciences is under strict quarantine. Do not approach. Do not approach. Everything is under our control.

(This is obviously a loop, as the message starts again and again. We hear it all the time that we are in the station.)

(SKAGRA stands by between the door to the control room and the control console. He raises his hand palm up at the sphere in the centre of the cone. With a small hum the sphere raises itself from the cone and moves itself across to SKAGRA's hand, which is now palm down and the sphere lands itself on the hand. Still carrying the sphere hand out, SKAGRA leaves the room through the control room door.)


3. CORRIDOR, SPACE STATION

(SKAGRA, with still the computer voice speaking the warning, calmly walks down the corridor and reaches a door marked "Shuttle Bay". The doors open and he enters.)


4. SPACE STATION

(Still hearing the computer voice, we see a highly-futuristic space-ship take off from behind the station and fly off at great speed towards the right.)


5. CAMBRIDGE

(A man, CHRIS, about late-twenties is riding his bike through the streets of Cambridge, England.)


6. ST. CEDD COLLEGE

(CHRIS rides across the main road and parks his bike in the bike rack and then walks into the college. He opens up a piece of paper and looks at the address in it. He walks off in what he hopes is the right direction. Coming out of a building, he bumps into two students coming the other way.)

CHRIS: Excuse me?

STUDENT: Yeah?

CHRIS: Do you know where P-14 is?

STUDENT: Over there.

(He points CHRIS in the right direction.)

CHRIS: Thanks.

(CHRIS walks off in the direction the STUDENT pointed. He walks across the courtyard, past another two students who were talking to a tutor and enter the building on the other side...)


7. PROFESSOR'S ROOM

(Here, PROFESSOR Chronotis is unpacking his shopping. He has bought a book, still in its bag, and is taking off his coat and scarf making it clear that he has just returned. He spots the TARDIS parked in a corner of the room but he doesn't seem fazed by having a police box in his room. He moves across and opens up the curtains. He then walks back into the room just as there was a knock on the door.)

PROFESSOR: Come in.

(CHRIS enters the room. PROFESSOR talks over his shoulder as he enters the kitchen area.)

Excuse the muddle. Creative disarray you know.

CHRIS: Professor Chronotis?

PROFESSOR: Tea?

CHRIS: Oh thanks.

PROFESSOR: (entering) Just put the kettle on.

CHRIS: Er, Professor Chronotis, I don't know if you remember me, we met at a faculty party a few weeks ago. It's Chris Parsons.

(They shake hands.)

PROFESSOR: Oh yes, of course. Enjoy those faculty dos, do you?

CHRIS: Well, you know ....

PROFESSOR: Lot of boring old dons talking away at each other, never listen to a word anybody else says.

CHRIS: Well, yes. You said that ....

PROFESSOR: Talk Talk Talk. Never listen.

CHRIS: No, well... I hope I'm not taking up your valuable......

PROFESSOR: Time? No no. When you get to my age, you'll find that time doesn't matter too much. Not that I expect you will get to my age.

CHRIS: Oh, really?

PROFESSOR: Yes, I remember saying to the last Master of College but one, or was it the last but two? May have been three.

CHRIS: Three?

PROFESSOR: Yes. Nice young chap. Died rather tragically at the age of ...... Run over by a coach and pair.

CHRIS: What was it you said to him?

PROFESSOR: Oh. I don't know. Long time ago you know.

CHRIS: (doubtfully) Yesss.. Er, Professor when we met, you were kind enough to say that if I dropped round you would lend me some of your books on carbon dating.

PROFESSOR: Oh yes. Happy to. Ah, there's the kettle.

(He starts to move towards the kitchen again.)

You find the books you want at the far end of the bookshelf. Third shelf down.

(He is now in the kitchen. CHRIS goes over to the bookshelf. On the way he look rather askance at the TARDIS. He pulls a book down three down from the top. He looks at it. It is clearly not what he expected, and is very puzzling to him.)

(oov) Or is it the second shelf down? Second I think. Anyway, take what you want.

(CHRIS takes a couple of books from that shelf also, and nods with satisfaction: this is what he had been expecting.)

(oov) Milk?

CHRIS: Oh. Yes please.

PROFESSOR: (oov) One lump or two?

CHRIS: Two please.

PROFESSOR: (oov) Sugar?

(CHRIS looks amazed at the PROFESSOR who comes into the room with two cups of tea.)

Ah, Here we are.

(He gives CHRIS a cup of tea. However, CHRIS doesn't want to be harassed by the man's eccentricity anymore and glances at his watch and puts his tea down.)

CHRIS: Oh, actually Professor, I've just realised I'm going to be really late for a seminar. I'm terribly sorry. Look, I'll bring these back to you next week, is that alright?

PROFESSOR: Oh, yes yes. Well, good-bye.

(They shake hands again.)

CHRIS: Goodbye. Er... actually Professor, can I just ask you, where did you get that?

(He points at the TARDIS.)

PROFESSOR: That? I don't know. I think someone must have left it there whilst I was out.

CHRIS: Yes, well, I'll bring these back as soon as I can...

(He leaves.)

(The PROFESSOR puts down the teas and sits in a chair. He takes out the book from the bag. It's "The Time Machine" by H. G. Wells. He start to read........)


8. RIVER CAM

(At the back of the college, The DOCTOR and ROMANA are in a punt. The DOCTOR in his shirtsleeves and waistcoat is punting while ROMANA is relaxing. A record is playing.)

DOCTOR: Wordworth. Brumford. Christopher Smart. Andrew Marvel. Judge Jefferies. Owen Chadwick?

ROMANA: (looking up from the book.) Who?

DOCTOR: Owen Chadwick. Oh yes, one of the greatest labourers in history of Earth in the first era.

ROMANA: Newton, of course.

DOCTOR: Oh, definitely Newton.

ROMANA: "For every action, there is a equal and opposite reaction."

DOCTOR: That's right.

ROMANA: So, Newton invented punting.

DOCTOR: Oh yes, there was no limits to Isaac's genius.

(He chuckles)

(The punt cruises under a bridge.)

ROMANA: Isn't it wonderful that something so primitive can be so........

DOCTOR: Restful?

ROMANA: No. Simple. You just push one way and the boat moves in the other.

DOCTOR: Oh yes.

(We pull back and we see the back of St. Cedd in the background.)

ROMANA: Oh, I do love the spring. All the leaves and colours.

DOCTOR: It's October.

ROMANA: (surprised.) I thought that you said we were coming here for May week.

DOCTOR: I did. May week in June.

ROMANA: (shaking her head.) I'm confused.

DOCTOR: (laughing) So was the TARDIS.

ROMANA: Oh, I do love the autumn. All the leaves, the colours.

DOCTOR: Yes. Well, at least as something as simple as a punt nothing can go wrong. No co- ordinates. No dimensional stabilisers. Nothing. Just the water, a punt, a strong pair of hands and the pole.

(However the second he says that, the pole gets stuck in the mud and the DOCTOR is forced to let go as the punt goes under another bridge.)

ROMANA: Pole?

DOCTOR: Err. I think it's about time that we go and see if the Professor is back in his room.

(While the two Time-Lords are talking we look up the bridge, and looking at them (but just by coincidence) is SKAGRA. He has with him a carpet bag, large enough to be concealing the sphere.)

Ask me how.

ROMANA: How?

DOCTOR: For every action there is a equal and indifference reaction.

(We see SKAGRA grinning at the two's troubles and clutches the bag which causes it to start up the thin babble of inhuman voices again. He is still dressed in silver but now had a sort of floppy hat and a long silver cloak. He walks away from us.)

ROMANA: Did you just heard voices?

DOCTOR: What?

(The DOCTOR has got a paddle and is padding like mad for the shore. SKAGRA walks away with a sort of arrogance in every step.)


9. CHRIS'S LAB (NOT MADE)

(Full of equipment, lab benches filled with a carbon dating machine, spectro analyser, x-ray, Bunsen burner - the lot. CHRIS enters. He puts down a large satchel he has strung over his shoulder. He goes and checks a couple of pieces of equipment. Then he comes back to the satchel and pulls out some books. He quickly flips through the first couple, and then pulls out a third. He clicks his tongue with annoyance at himself as he realises that this is the first book he picked off the PROFESSOR's shelves, and not one he wanted or meant to take. Still, out of curiosity he looks at it again, with many expressions of puzzlement. He is surprised by two things in particular: first the fact that it is printed in a totally unknown alphabet, and secondly the texture of the paper, which feels very odd to him. He rubs it between his fingers. He even sniffs it.)

[TOM appears between the Gunden Robot and the Vervoid.]

TOM: Chris Parsons went to the lab and discovered that one of the books that he had borrowed was written in a totally unknown alphabet.


10. ST. CEDD COLLEGE

(The DOCTOR and ROMANA arrive at the College from the outside entrance (the one CHRIS used.) The DOCTOR is now back in his brown coat and scarf and is carrying the paddle that he used to row the punt ashore.)

DOCTOR: (in his "guide" mode) Here we are. St. Cedd's College, Cambridge. Founded in the year something or other, by someone someone someone in honour of someone someone someone who's name escapes me completely.

ROMANA: St. Cedd?

DOCTOR: Do you know I think it very probably right? You should be a historian.

ROMANA: (looking very proud of herself.) I AM an historian.

DOCTOR: (spotting one of the Porters (WILKIN) sticking something on a notice board outside the Porter's lodge.) Good afternoon Wilkin.

WILKIN: (not looking up from the noticeboard.) Good afternoon Doctor.

DOCTOR: (half surprised.) Wilkin! You remember me.

WILKIN: By yes, of course sir. Took an honorary degree in 1960.

DOCTOR: Yes. How kind of you to remember me.

WILKIN: That's my job.

DOCTOR: And you do it splendidly. Now....

WILKIN: Professor Chronotis sir? He returned to his room a few minutes ago.

DOCTOR: Oh good. Good.

(He starts to move back to where ROMANA is looking about her, with her hands clasped behind her but is puzzled on how WILKIN knows that he wanted the PROFESSOR.)

How did you know I wanted to speak to Professor Chronotis?

WILKIN: That's who you asked to see when you were here in 1964, 1960 and 1955, sir.

DOCTOR: Did I really. I was also here in 1958.

WILKIN: (puzzled) Were you sir?

DOCTOR: Yes, but in a different body.

(WILKIN laughs a little.)

WILKIN: Yes, sir.

ROMANA: Come along, Doctor.

(The DOCTOR gives WILKIN the paddle.)

DOCTOR: Nice to meet you, Wilkin. Bye Bye.

(The two Time-Lords start to walk off towards the PROFESSOR's room. WILKIN looks at the paddle with a "What am I doing to do with this?" look on his face before moving back into his office.)


11. PROFESSOR'S ROOM

(The PROFESSOR is still reading "The Time Machine". However like a signal. He stops reading and gets up and goes to the kitchen. Just as he goes out, there is a knock at the door.)

PROFESSOR: Come in.

(The DOCTOR and ROMANA enter the room and start to make themselves at home.)

DOCTOR: He'll ask us if we want tea.

PROFESSOR: (oov) Tea?

DOCTOR: (laughing) Yes please. Two cups.

PROFESSOR: (oov) Milk?

DOCTOR: Yes please.

PROFESSOR: One lump or two?

DOCTOR: Two please. And two sugars.

(This causes the PROFESSOR to poke his head round the corner with three cups.)

PROFESSOR: Ah! Doctor, how splendid to see you!

DOCTOR: And you Professor.

(They shake hands.)

This is Romana.

PROFESSOR: Ah delighted, delighted. I've heard so much about you.

DOCTOR: (surprised.) Have you?

PROFESSOR: Well, not yet, but I'm sure I will have done. When Time Lords get to my age they tend to get their tenses muddled up. Would you liked some biscuits too?

DOCTOR: Well, I wouldn't have said no.

PROFESSOR: Crackers?

DOCTOR: (laughing) Oh, sometimes.


12. CAMBRIDGE

(We follow SKAGRA walking through the streets of Cambridge but we favour the bag.)


13. PROFESSOR'S ROOM

(All three Time-Lords now have tea and biscuits.)

ROMANA: Three hundred years?

PROFESSOR: Yes my dear

ROMANA: In the same set of rooms?

PROFESSOR: Ever since I retired from Gallifrey.

ROMANA: Didn't anybody notice?

PROFESSOR: One of the delights of the older Cambridge Colleges. Everyone is so discreet. Now Doctor young fellow. What can I do for you?

DOCTOR: (Surprised) What can you do for me? What can I do for you? You sent for me.

PROFESSOR: Sent for you?

DOCTOR: I got your signal.

PROFESSOR: Signal? What signal?

DOCTOR: (biting into cracker.) Romana. Didn't we pick up a signal from the Professor? Would we come and see him as soon as possible.

ROMANA: Yes. We come straight away.

PROFESSOR: I haven't sent you a signal. But it's very splendid to see you. Have another cracker.

DOCTOR: Professor, if you didn't send that signal.... who did?


14. ST. CEDD COLLEGE

(We sees SKAGRA walk into the entrance and into the section containing WILKIN's area. WILKIN is still busy with his notice board. SKAGRA stands near the porter and looks into the College.)

SKAGRA: (speaks quickly but with the total arrogance of someone who doesn't even know what arrogance means.) You!

(WILKIN looks at SKAGRA but turns back - he does not take kindly to this mode of address.)

You!

(WILKIN decides SKAGRA must be talking to him as he is the only person about and walks over to SKAGRA while making it clear that it is against his better judgement.)

WILKIN: (frostily) Were you addressing me?

SKAGRA: I want Chronotis.

WILKIN: Professor Chronotis?

SKAGRA: Where is he?

WILKIN: He will not want to be disturbed. He is with the Doctor. A very old..... A very old friend.

(WILKIN makes it clear on "friend" saying that SKAGRA is not. SKAGRA continues to stare ahead but then marches off back out of the entrance. WILKIN looks at him but a disgusted look on his face.)


15. PROFESSOR'S ROOM

(The PROFESSOR is pouring ROMANA some more tea.)

PROFESSOR: Wait!

ROMANA: What for?

PROFESSOR: I've had an idea about who might have sent that message?

ROMANA: Who?

PROFESSOR: Me!

DOCTOR: But you just said....

PROFESSOR: Yes, I know. Memory's getting a bit touchy of late. Doesn't like to be prodded about too much. But my dear old things, It must been ages since I send it.

ROMANA: Told you'd got the time wrong Doctor.

DOCTOR: I know, but you're always saying that.

ROMANA: Well you're always getting the time wrong.

DOCTOR: Professor?

PROFESSOR: Yes?

DOCTOR: What was it about Professor?

PROFESSOR: What was what about?

DOCTOR: (patiently) The message?

PROFESSOR: I don't know. You've seen it more recently than I have.

DOCTOR: Was it to do with the voices?

PROFESSOR: What voices?

DOCTOR: Well, When I was on the river I heard a strange sound, a sort of babble of inhuman voices. Didn't you Romana?

ROMANA: Yes.

PROFESSOR: Oh just undergraduates talking to each other I expect. I've trying to have it banned....

DOCTOR: No, no, no. It wasn't like that at all. It was the sound of human or ghosts , very quietly...

ROMANA: Screaming.

DOCTOR: Yes.

PROFESSOR: Overwrought imaginings Doctor. No, I remember what it was.

DOCTOR: What?

PROFESSOR: Delicate matter, slightly. It was about a book.....


16. CHRIS'S LAB (NOT MADE)

(CHRIS has just set up his Microscope. He is not certain that he should be doing this, but he picks up the book, opens it, and tries to slice a sliver of page with a razor blade. He can't cut the paper. This astonishes him. He takes the book over to a Spectrographic Analyser. He puts the book into it, with the spine folded back so that only one page is actually being examined. He turns the Spectrograph on. After humming for a few minutes it emits a loud bang from inside and smoke starts to pour out of it. CHRIS is horrified and rips the plug out of the wall. CHRIS next moves the book under the old x-ray machine. He watches from behind the shield window as he takes a plate. The book starts to Glow. He hastily switches the machine off and approached the book carefully. He is wearing a full protective apron and it seems most off that he should appear almost afraid of the book. He reaches out to touch it then withdraws as if burnt.)

[TOM - same place as before.]

TOM: And no sooner as Chris switched on the Spectrographic Analyser to examine the book then smoke start to pour out of it, and then he tried to x-ray the book which immediately started to glow. Chris switched off the book, reached out for it , and hurt his hand.


17. CAMBRIDGE

(SKAGRA walks down a little gully between two shops. He pauses outside one of them and peers into the window. He looks at the clothes and it becomes clear that SKAGRA needs a change of clothes to stop looking so conspicuous. A MAN dressed in clothes advertised in the shop comes out and looks SKAGRA up and down, obviously amazed at what SKAGRA is wearing. He moves forward to the car parked outside the shop.)

SKAGRA: I say...

MAN: Yes? Can I help you?

SKAGRA: Maybe you can.

(We pull back and after some unheard talking the MAN lets SKAGRA into the car. The car starts to drive off... but suddenly stops halfway down the road.)

[The location filming on the story is complete but however, none of the following scene was made but this is the logical sequence (I think) of what happened next.]

[SKAGRA, in the passenger seat, opens the carpet bag. To the MAN's surprise the sphere floats up out of it and the thin babble of voices is heard. The sphere presses itself again the MAN's forehead causes him to stop the car. The babble sound increases sharply for a moment, the MAN writhes, and then stiffens in his seat. The sphere then detaches itself and sinks back into the bag. SKAGRA takes over the controls and shoves the MAN's body onto the back of the car.]

[This is mostly confirmed with what is shown after and TOM's link:]

TOM: (over the car) Skagra opened the bag and the sphere emerged, attaching itself to the Driver's forehead. The Driver, not surprisingly, passed out and Skagra took charge of the car.

(We see SKAGRA driving past the college with the babble of voices can be heard again.)


18. PROFESSOR'S ROOM

(The PROFESSOR is up at the bookshelves and is giving ROMANA three books when he pauses... The DOCTOR and ROMANA are looking slightly alarmed. They all have heard the voices.)

PROFESSOR: Did you just hear voices?

DOCTOR: I think that..... I just heard voices.

Romana, Did you just hear voices?

ROMANA: Yes, very faint this time.

DOCTOR: Anything to do with that book, Professor?

PROFESSOR: What? Oh no, no, no. That's just a book I accidentally bought back with me from Gallifrey.

ROMANA: From Gallifrey?! You brought a book from Gallifrey to Cambridge.

PROFESSOR: (A little cagey.) Yes, just a few knick knacks you know. And you know how I love my books, Doctor.

DOCTOR: Professor, you just said that you brought it back by accident.

PROFESSOR: An oversight. I overlooked the fact that I decided to bring it. Just for study you know. But as I'm now getting... very old I thought .....

DOCTOR: That perhaps I thought that I'd take it back to Gallifrey for you.

PROFESSOR: Well now that I'm retired I'm not allowed to have a TARDIS.

(ROMANA being the genius and caring person she is makes an "Ahhh" face.)

PROFESSOR: Professor, I don't want to be critical but I will. It very risky bringing books back from Gallifrey. They could be terribly dangerous in the wrong hands. Hmm.


19. CHRIS'S LAB (NOT MADE)

[TOM doesn't say anything about this bit but in my point of view and in the script book - This is the most logical place that this scene and bit occurs.]

(CHRIS is on the telephone talking to somebody in an excited state.)

CHRIS: (into phone) Keightley? Hey, yes it's Chris. Listen, I've just ... where? Yes, I'm fine. Listen, the most amazing thing. I've got this strange book. It's got a molecular structure unlike anything I've seen. Yes. I said book. It's like nothing on Earth. And I think I mean that literally. Extra-terrestrial. No, I'm not mad. Listen I've done everything, x-rays, spectrograph, you name it. You don't have to believe anything till you've seen it yourself. Yeah, come on over. Great. See you soon.

(He puts the phone down.)


20. CAMBRIDGE OUTSKIRTS

(We see the car driving through the outskirts with fields in the distance.)


21. PROFESSOR'S ROOM

(The DOCTOR and ROMANA are looking through some of the books.)

DOCTOR: "On some nights, New York was as hot as Bangkok."

(passes the book in question to ROMANA.) I'll read that.

ROMANA: Hm. Saul Bellow.

DOCTOR: "Once upon a time" (passes)

Read that.

(The DOCTOR starts to read the third book and is surprised on that was in the book.)

DOCTOR: Ahh. "And in the Great Days of Rassilon, five great principles were laid down. Can you remember what they were, my children?"

ROMANA: It's just a Gallifreyan Nursery Book.

DOCTOR: I know. I know.

ROMANA: I had it when I was a Time Tot!

DOCTOR: It's very good.

PROFESSOR: Oh, no no, that's just another momento. Not the right book at all. Now where is it? Is this the one?

(He picks out another.)

Oh dear no. Where is it? I know it's here somewhere.

DOCTOR: Professor? Professor? How many books did you bring for heaven's sake?

PROFESSOR: Oh just the odd two or seven. There's only one that's in any way.....

DOCTOR: Dangerous?


22. FIELD

(SKAGRA stops his car near a field and gets out of the car with the bag. He moves forwards and opens the gate and enter the field and appears to be walking straight ahead. He then appears to walk up some invisible steps As he does so he slowly disappears from the head downwards. We hear a door closing and the rest of him is quickly cut off. He has entered a spaceship which is totally invisible.)


23. PROFESSOR'S ROOM

(Books are everywhere now.)

ROMANA: Well what does it look like? What's it called?

PROFESSOR: The Worshipful And Ancient Law Of Gallifrey.

(The name causes the DOCTOR to drop his book.)

DOCTOR: The Worshipful And Ancient Law Of Gallifrey.

PROFESSOR: Yes. Little book, about five by seven.

DOCTOR: Professor, how did that book get out of the Panopticon Archives?

PROFESSOR: Well, what I did you see is ... well, I just took it.

DOCTOR: Took it?

PROFESSOR: Well, no one interested in Ancient History on Gallifrey anymore. And I thought that possibly certain things would be safer with me.

DOCTOR: And were they?

PROFESSOR: Well, in principle.

DOCTOR: (to ROMANA) Excuse me.

(He picks the PROFESSOR, who was standing on the steps looking at higher shelves and carries him down.)

Delicate situation, slightly. Professor, that book dates back to the days of Rassillon....

PROFESSOR: (Ingenuously) Does it? Yes indeed.....

DOCTOR: It's one of the artefacts.

PROFESSOR: Is it? Indeed.

DOCTOR: Professor, you know that perfectly well. And you also know perfectly well that Rassillon had secrets and powers that even we don't fully understand. You've no idea what might be hidden in that book.

PROFESSOR: Well there's not much chance of anyone else understanding it then is there?

DOCTOR: I only hope you're right. But we better find it. Romana?

ROMANA: (look at the higher shelves.) Yes?

DOCTOR: Little red book.

ROMANA: Five by seven.

DOCTOR: Good. Good.

(The DOCTOR starts to look again.)

PROFESSOR: (From another corner of the room.) Could be green.

(Both ROMANA and the DOCTOR turns with a "I don't believe it" look on their faces.)


24. SKAGRA'S SPACESHIP, BRIDGE (NOT MADE)

(The interior of the ship reflects the sleek and deadly exterior - comfortable in a spartan way. SKAGRA pauses in absolute stillness for a few moments.)

SKAGRA: Feed me!

(By his side a beautifully prepared serving trolley laden with equally delightful food appears. SKAGRA sits in one of the loungers.)

Rest me

(He closes his eyes and his head is bathed in a gentle aura for a few moments. The aura disappears. SKAGRA opens his eyes, and looks refreshed and revitalised. He takes something from the trolley and begins to eat.)

I have confirmed the location of the book. It shall soon be mine.

(Finally we hear what he has been talking to - the SHIP itself. It talks in a woman's voice.)

SHIP: Congratulations my Lord.

SKAGRA: Tell me of the one called "The Doctor."

(A screen on the wall, a bewildering and very fast showing [according to the video] of the DOCTOR's recent adventures from ANDROIDS OF TARA to CREATURE FROM THE PIT. SKAGRA's blinks very fast and it is clear that he is assimilating the material. The process on the screen stops.)

He has no more power then the others. Only one has the power I seek, and when I have the book that power shall be mine. Get me the carrier ship.

(The screen flickers and resolves into a new image but before it totally resolves we resume on SKAGRA's face.)

All goes well, I shall be with you very soon, and then let the Universe prepare itself for me!

(Finally we look at the screen. On it is the face of the Krarg commander, a face which seems to be composed of lumps of coal with burning eyes [a close-up of the Krarg model from the Museum.])

KRARG COMMANDER: Everything is ready my Lord.

[TOM - Same place]

TOM: In his invisible space-ship. Skagra absorbed massive of information about me and then informed the Commander of the flag ship via the communicator that he would be joining him soon and that the universe should prepare itself. The Commander ashore him that all was ready as his image solidified on the space-ship screen...)


Doctor Who
TOM BAKER

Romana
LALLA WARD

Skagra
CHRISTOPHER NEAME

Professor Chronotis
DENIS CAREY

Chris Parsons
DANIEL HILL

Clare Keightley
VICTORIA BURGOYNE

Porter
GERALD CAMPION

Voice Of Ship
SHIRLEY DIXON

Voice Of Krarg
JAMES COOMBES

Quarantine Voice
DAVID BRIERLEY


Title Music by
RON GRAINER
and the BBC RADIOPHONIC WORKSHOP

Incidental Music
(DUDLEY SIMPSON)
KEFF McCULLOCH

Special Sound
DICK MILLS

Production Assistant
RALPH WILTON

Production Unit Manager
JOHN NATHAN-TURNER

Director's Assistant
OLIVIA BAZALGETTE

Assistant Floor Manager
VAL McCRIMMON

Visusal Effects Designer
DAVE HAVARD

Electronic Effects Operator
DAVE CHAPMAN

Vision Mixer
JAMES GOULD

Videotape Editor
ROD WALDRON

Studio Lighting
MIKE JEFFERIES

Studio Sound
JEFF HARTSHORN

Costume Designer
RUPERT ROXBURGHE-JARVIS

Make-Up Designer
KIM BURNS

Script Editor
DOUGLAS ADAMS

Designer
VICTOR MEREDITH

Producer
GRAHAM WILLIAMS

Directed by
PENNANT ROBERTS

(c) BBC MCMLXXIX (1979)
(c) BBC Video MCMII (1992)


Certain credits above do not apply. "Title Music by Ron Grainer. . . " is a credit given on the BBC Video, but it was not customary at the time to include it except on the first and last episodes of the season. The original Incidental Music was to have been done by Dudley Simpson, but of course, they never got to that stage. Keff McCulloch provides the music on the BBC Video. John Nathan-Turner's PUM credit does not appear on the BBC Video.


Transcribed by
LEE HORTON

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