(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
Wey! It's a museum! I've always felt at home in
(He moves forwards and notices one exhibit in
particular - The Giant Robot from his own first story "Robot" in
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
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.)
(TOM blows into it.)
(Next comes Davros - the 1980s version.)
I beat him as well.
(He turns and starts to walk back sighing to
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.)
(The next one is Gunden Robot with an axe from Tom's
"Warrior's Gate" - 1980)
(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)
(Sea Devil - Peter's "Warriors Of The Deep" -
(Ice Warrior - Probably by the look - Jon's "Curse
Of Peladon" - 1972)
(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.)
(He remembered the story the Krargs appeared in.
(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
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))
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
(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?
CHRIS: Do you know where P-14 is?
STUDENT: Over there.
(He points CHRIS in the right direction.)
(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?
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.
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
(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
(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.)
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
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...
(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
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.
(The punt cruises under a bridge.)
ROMANA: Isn't it wonderful that something so primitive can be
ROMANA: No. Simple. You just push one way and the boat moves in the
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.)
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.
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?
(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
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
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: (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
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
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
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
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.
DOCTOR: (laughing) Oh, sometimes.
(We follow SKAGRA walking through the streets of Cambridge but we favour
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.)
(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
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.)
ROMANA: What for?
PROFESSOR: I've had an idea about who might have sent that message?
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: 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?
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...
PROFESSOR: Overwrought imaginings Doctor. No, I remember what it
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.
(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
[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
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
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
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
DOCTOR: That perhaps I thought that I'd take it back to Gallifrey
PROFESSOR: Well now that I'm retired I'm not allowed to have a
(ROMANA being the genius and caring person she is makes an "Ahhh"
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
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
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)
(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
PROFESSOR: Oh just the odd two or seven. There's only one that's in
(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
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
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
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
24. SKAGRA'S SPACESHIP, BRIDGE (NOT
(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.)
(By his side a beautifully prepared serving trolley
laden with equally delightful food appears. SKAGRA sits in one of the
(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.
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
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...)
Voice Of Ship
Voice Of Krarg
Title Music by
and the BBC RADIOPHONIC
Production Unit Manager
Assistant Floor Manager
Visusal Effects Designer
Electronic Effects Operator
(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
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