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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 via which he is entering the room and spots a dragon.)
(to the dragon) Hello. Anybody there?
(He moves fully into the museum and notices the exhibits.)
Wey! It's a museum! I've always felt at home in museums. Hmm.
(He moves forward and notices one exhibit in particular - the Giant Robot from his first serial, 'Robot', from 1974.)
Giant Robot. Beat you, cock!
(He starts to walk down past the exhibits. Next up are the Cybermen - from 'Moonbase' to 'Silver Nemesis', Cybermen in one form or another.)
Cybermen. Beat you!
(Next is a Dalek facing a mirror, which gives visitors the ability to enter the open portion and pretend to be a Dalek.)
Daleks.
(TOM bends down and blows into the open side of the case.)
Beat you!
(Next comes Davros - the 1980s version.)
Davros.
(TOM sighs.)
Davros... Phew. I beat him as well.
(He turns and starts to walk back along the line of creatures.)
I was irresistible in those days, irresistible.
(He reaches another set of monsters. First up is the Yeti from Patrick's 'The Abominable Snowmen' - 1967.)
Yeti. Ha-ha.
(The next one is a Gundan robot with an axe, from Tom's 'Warrior's Gate' - 1980)
Gundan 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. This causes the robot to move with the axe.)
Ah, no, no, no.
(He moves on down the line, looking at each of the monsters. The next one is the Vervoids - from Colin's 'Terror of the Vervoids', or 'Trial Of A Time Lord III', 1986.)
Vervoid.
(Sea Devil - the version from Peter's 'Warriors of the Deep', 1984)
Sea Devil.
(Ice Warrior - probably, by the look, from Jon's 'Curse of Peladon', 1972)
Krarg.
(He has been speeding up and passes the monster, a creature that appears to be made from plates of coal. It stands in its spot. He comes up short and stops when he realises what he's just seen.)
Krarg?
(He remembers the story in which the Krargs appeared and shouts slightly.)
SHADA!
(He shushes himself.)
The untransmitted story. (to the Krarg) Why wasn't it transmitted? No (waving off the question he has asked). 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 spaceship. Douglas said: 'Anyone can design a visible spaceship, but to design an invisible spaceship that needs 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. Hm.
(The word 'became' triggers more memories.)
That's right. Cambridge. About 1979. Ponting on the Cam. There was a choir on the corner as I biked by, singing Faure's Requiem or some train song or other. Daniel Hill - I'd heard he'd become the manager of a, an old people's home. Or maybe he went into an old people's home - I can't remember. Or maybe he was always old. I don't know.
[NOTE: This refers to Daniel's role in the BBC sitcom Waiting For God, in which Daniel played 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 had 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 the image is totally gone, TOM looks back into the camera and grins.)
(ROLL TOM'S TITLE SEQUENCE FROM SEASONS TWELVE TO SEVENTEEN (1974-1979))
SHADA
BY
DOUGLAS
ADAMS
PART ONE
(would have been transmitted 19th January 1980)
1. SPACE STATION, EXTERIOR(We see a space station, which sits in space near a red star.)
2. CONTROL ROOM(Round the walls of a large 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 is indeed filled with a man. At the centre of the cone sits a small sphere (not much bigger than a hand). Nearby is a screen, which is mirrored at the bottom of the cone. On the screen, accompanied by a little beep each second, is a counter in Roman numerals counting down from XXX against a red background.
We move about to see the faces of the men in the recesses of the machine, and each man, bar one, is slightly filled with strain. All of them have their eyes closed. All of them, bar the one who looks unaffected, is dressed in a sort of white tracksuit affair with triangle-in-circle logo on the front, which emphasises their impersonality. The other is dressed in a more fitted white suit, open at the neck and with a silver lining. We reach the other face, that of a man who has two main scars - one on the forehead and the other running from his right eye to his cheek. Lights flicker in the cone.
We cut back to the counter on the red screen. It is now at III. As the 'I' disappears, we cut to the face of the silver-and-white-suited man (SKAGRA), and his eyes open. The screen is now counting upward (again in Roman numerals), against a green screen. The instruments start to register and from the sphere at the centre of the machine we start to hear strange whispering voices. SKAGRA stands up and goes over to check the dials and instruments, while the other men move about in pain. He reaches up to a bank of switches, and the voices from the sphere become louder as all of the men still seated collapse. SKAGRA moves over and roughly checks a man to see whether he is unconscious. He then moves over to another console and checks the instruments there. He smirks and goes over to the main control console, where he 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 of Advanced Sciences is under strict quarantine. Do not approach. Do not approach. Everything is under our control.
(SKAGRA stands between the door to the control room and the control console. He raises his hand, palm up, toward the sphere in the centre of the cone. With a small hum, the sphere raises itself from the cone and moves smoothly across to SKAGRA's hand, which is now palm down. The sphere lands on his hand. Still carrying the sphere, hand out, SKAGRA leaves the room through the control-room door.)
3. CORRIDOR, SPACE STATION(As the recorded warning message plays again, SKAGRA calmly walks down the corridor and reaches a door marked 'SHUTTLE BAY'. The doors open, and he enters.)
4. SPACE STATION(After a shot of the men around the machine weakly beginning to stand - and in at least one case promptly falling over - while still hearing the recording loop, we see a highly futuristic spaceship take off from behind the station and fly off at great speed toward the right.)
5. CAMBRIDGE(A man, CHRIS, in about his late twenties, is riding his bike through the streets of Cambridge, England.)
6. ST CEDD'S COLLEGE(CHRIS rides down the main road, crosses the street, and leaves his bike in the bike rack. He then walks into the college. He unfolds a piece of paper and looks at the address in it. Folding it again, 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: Yes. It's 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 pair of students, who were talking to a tutor, and enters the ivy-covered 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. 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 the curtains. He then walks back into the room just as there is a knock on the door.)
PROFESSOR: Come in.
(CHRIS enters the room. The PROFESSOR talks over his shoulder as he enters the kitchen area.)
PROFESSOR: Excuse the muddle. Creative disarray, you know.
CHRIS: (after pausing at the police box) 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, uh, we met at a faculty party a few weeks ago. It's Chris Parsons.
(CHRIS removes his hands from his pockets, and 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 anyone else says.
CHRIS: Well, yes. You said that y-
PROFESSOR: Talk, talk, talk. Never listen.
CHRIS: No, well. Well, look, I hope I'm not taking up your valuable-
PROFESSOR: Time? Oh, no. When you get to my age, you'll find that time doesn't matter too much. Not that I expect you'll get to my age.
CHRIS: Really?
PROFESSOR: Yes. I remember saying to the last Master of College but one, or was it the last master but two? (tapping CHRIS on the shoulder) Could've been three.
CHRIS: Three?
PROFESSOR: Yes. Nice young chap. Died rather tragically at the age of... (he shrugs) 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, of course. Happy to. (there is whistling) Ah, there's the kettle. (He starts to move toward the kitchen again, and CHRIS does a 360 in place) You'll find the books you want at the far end of this shelf. Third shelf down.
CHRIS: Thanks.
(He is now in the kitchen. CHRIS goes over to the bookshelf. On the way, he looks rather askance at the TARDIS. He pulls out a book three shelves down from the top. He looks at it. It is clearly not what he expected and is very puzzling to him.)
PROFESSOR: (oov) Or is it the second shelf down? Second, I think. Anyway, take what you want.
(CHRIS places the book under his arm and takes a couple of books from that shelf. He nods with satisfaction: this is what he had been expecting.)
PROFESSOR: (oov) Milk?
CHRIS: Oh. Yes, please.
PROFESSOR: (oov) One lump or two?
CHRIS: Two, please.
PROFESSOR: (oov) Sugar?
(An amazed CHRIS looks in the direction of the PROFESSOR, who comes into the room with two cups of tea.)
PROFESSOR: Ah, here we are.
(He brings in a tray and hands CHRIS a cup of tea. However, CHRIS doesn't want to be harassed by the man's eccentricity anymore, and he 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. Erm, look, I'll bring these back to you next week, is that all right?
PROFESSOR: Oh, yes, of course. Well, goodbye.
(They shake hands again.)
CHRIS: Goodbye. Actually, Professor, could I just ask you, where did you get that?
(He points at the TARDIS.)
PROFESSOR: Oh, I don't know. I think someone must have left it there while 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 removes the book from earlier from its bag. It's The Time Machine, by H.G. Wells. He starts 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: Wordsworth. Rutherford. Christopher Smart. Andrew Marvell. Judge Jeffreys. Owen Chadwick.
ROMANA: (looking up from her book) Who?
DOCTOR: Owen Chadwick. Oh yes, some of the greatest labourers in the history of Earth have thought here.
ROMANA: Newton, of course.
DOCTOR: Oh, definitely Newton.
ROMANA: 'For every action, there is an equal and opposite reaction.'
DOCTOR: That's right.
ROMANA: So, Newton invented punting.
DOCTOR: Oh yes. There was no limit to Isaac's genius.
(He chuckles. The punt cruises under a bridge.)
ROMANA: Isn't it wonderful how something so primitive can be so...
DOCTOR: Restful?
ROMANA: No. Simple. You just push in one direction and the boat goes in the other.
DOCTOR: Oh, yes.
(We pull back and see the back of St Cedd's in the background.)
ROMANA: Oh, I do love the spring. All the leaves, the colours.
DOCTOR: It's October.
ROMANA: (surprised) I thought you said we were coming here for May Week.
DOCTOR: I did. May Week's in June.
ROMANA: (shaking her head) I'm confused.
DOCTOR: (laughing) So was the TARDIS. Ha-ha.
ROMANA: Oh, I do love the autumn. All the leaves, the colours.
DOCTOR: Yes. Well, at least with something as simple as a punt nothing can go wrong. No co-ordinates, no dimensional stabilisers, nothing. Just the water, the punt, a strong pair of hands, and the pole.
(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 grimaces as the DOCTOR flails his arms.)
ROMANA: A pole.
DOCTOR: Er, I think it's about time we went to see if the Professor's back in his room.
(While the two Time Lords are talking, we look up at 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.)
DOCTOR: Ask me how.
ROMANA: How?
DOCTOR: For every reaction, there is an opposite and equally different action.
(We see SKAGRA grinning at the two's troubles and clutching the bag, which causes it to start up the thin babble of inhuman voices again. He is still dressed in silver but now has a sort of floppy hat and a long cloak with silver and white panels. He walks away from us.)
ROMANA: Did you just hear voices?
DOCTOR: What?
(The DOCTOR has a paddle and is paddling 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, featuring lab benches filled with carbon dating machine, spectrographic analyser, x-ray machine, Bunsen burner - the lot. CHRIS enters. He puts down a large satchel he has slung 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, then pulls out a third. He clicks his tongue with annoyance at himself as he realises that this is the first book he'd picked off the Professor's shelves, which he'd put under his arm at the time, and not one he'd 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 Gundan 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'S 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'd used to row the punt ashore.)
DOCTOR: (in 'guide' mode) Here we are. St Cedd's College, Cambridge. Founded in the year something or other, by someone someone in honour of someone someone someone, in honour of someone whose name escapes me completely.
ROMANA: St Cedd?
DOCTOR: Do you know, I think you're very probably right? You should be an historian.
ROMANA: (looking very proud of herself) I _am_ an historian.
DOCTOR: (spotting one of the porters (WILKIN) sticking something on a noticeboard outside the porter's lodge) Good afternoon, Wilkin.
WILKIN: (not looking up from the noticeboard) Good afternoon, Doctor.
DOCTOR: (half surprised) Wilkin! You remembered me.
WILKIN: Why, yes, of course, sir. Honorary degree in 1960?
DOCTOR: Yes. But how _kind_ of you to remember me.
WILKIN: That's my job, sir.
DOCTOR: And you do it splendidly. Now....
WILKIN: Professor Chronotis, sir? He returned to his room a few minutes ago.
DOCTOR: Oh, good. Good. Good.
(He starts to move back to where ROMANA is looking about her, with her hands clasped behind her, but is puzzled and turns back to WILKIN.)
DOCTOR: Wilkin, how did you know I wanted to speak to Professor Chronotis?
WILKIN: Because that's who you asked for when you were here in 1964, 1960, and 1955, sir.
DOCTOR: Did I really? I _was_ 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 toward the Professor's room. WILKIN looks at the paddle with a 'What am I going 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, as if he knew he should do so, 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: (sotto, to ROMANA) 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: You too, Professor. (they shake hands) This is Romana.
PROFESSOR: Oh, delighted, delighted. I've heard so much about you.
DOCTOR: (surprised) Have you really?
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 have 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: And 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? You mean what can I do for you. You sent for me.
PROFESSOR: Sent for you?
DOCTOR: Yes, we got your signal.
PROFESSOR: Signal? What signal?
DOCTOR: (biting into a cracker) Romana, didn't we get a signal from the Professor? Would we come as soon as possible.
ROMANA: Yes. We came straight away.
PROFESSOR: I never sent you a signal. But it's splendid to see you. Have another cracker.
DOCTOR: Hmm. Professor, if you didn't send that signal... who did?
14. ST CEDD'S COLLEGE(We see SKAGRA walk to the entrance and into the section containing WILKIN's area. WILKIN is still busy with his noticeboard. SKAGRA stands near the porter and looks into the college.)
SKAGRA: (speaking 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.)
SKAGRA: You!
(WILKIN decides SKAGRA must be talking to him, as he is the only person about, and walks slowly over to SKAGRA while making it clear that it is against his better judgement.)
WILKIN: (frostily as SKAGRA finally turns to him) Were you addressing me?
SKAGRA: I want Chronotis.
WILKIN: _Professor_ Chronotis.
SKAGRA: Where is he?
WILKIN: He will not wish to be disturbed. He is with the Doctor. A very old, a very old _friend_.
(WILKIN makes it clear by his emphasis that SKAGRA is not in that category. SKAGRA continues to stare ahead but then marches back out of the entrance. WILKIN looks at him with a disgusted expression 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 of who sent that message.
ROMANA: Who?
PROFESSOR: Me.
DOCTOR: I thought you said you didn't.
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 be ages since I sent it.
ROMANA: I told you you'd got the time wrong, Doctor.
DOCTOR: Yes, 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: What was what about?
DOCTOR: (patiently as the PROFESSOR prepares the tea) 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 the strange babble of inhuman voices. Didn't you, Romana?
ROMANA: Yes.
PROFESSOR: Oh, undergraduates talking to each other, I expect. I'm trying to have it banned...
DOCTOR: No, no, no. It wasn't anything like that at all. It was the sound of humans 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, 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 from a 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 approaches the book carefully. He is wearing a full protective apron, and it seems that he should appear almost afraid of the book. He reaches out to touch it, then withdraws as if burnt.)
(TOM is in the same place as before.)
TOM: And no sooner had Chris switched on the spectrographic analyser to examine the book than smoke started to pour out of it, and then he tried to x-ray the book, which immediately started to glow. Chris switched off the machine, touched the book, and burnt his hand.
17. CAMBRIDGE(SKAGRA walks down a little alley 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 if he is 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: Can I help you?
SKAGRA: Yes, perhaps you can.
(We pull back, and after some unheard talking the MAN lets SKAGRA into the car. The car starts to drive off, but it suddenly stops halfway down the road.)
[The location filming on the story is complete, but none of the following scene was made. This seems to be the logical sequence of what happens 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 against the MAN's forehead, causing him to stop the car. The babble sound increases sharply for a moment, the MAN writhes, and then he 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 by what is shown after and TOM's linking narration:]
TOM: (over the shot of the moving 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. 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: Professor, 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 brought back with me from Gallifrey.
ROMANA: From Gallifrey?! You brought a book from Gallifrey to Cambridge?
PROFESSOR: (a little cagey) Well, just a few knick-knacks. You know how I love my books, Doctor.
DOCTOR: Professor, you said that you'd brought it back by accident.
PROFESSOR: An oversight. I overlooked the fact that I had decided to bring it. Just for study, you know. But as I'm now getting... very old...
DOCTOR: You thought that perhaps I'd take it straight back to Gallifrey for you.
PROFESSOR: Well, as 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's very risky bringing books back from Gallifrey. I mean they could be so dangerous in the wrong hands, hmm?
19. CHRIS'S LAB (NOT MADE)[TOM doesn't say anything about this bit, but from the script book this seems to be the most logical place for the scene to occur.]
(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.' (he passes the book in question to ROMANA) I've read that.
ROMANA: Hmm. Saul Bellow.
DOCTOR: 'Once upon a time' (passes) Read that.
(The DOCTOR starts to read the third book and is surprised at what is in it.)
DOCTOR: Ahh. Heh. '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: Yes. It's very good.
PROFESSOR: Oh, that's just another memento, not the right book at all. Now where is it? Is this the one? (picking out another) Oh dear, no. Where is it? No, no. 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. Well, there's only one that was in any way...
DOCTOR: Dangerous?
(The PROFESSOR nods.)
22. FIELD(SKAGRA stops his car near a field and gets out with the bag. He moves forward and opens the gate. He enters 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 that 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, a rather hefty tome.)
DOCTOR: The Worshipful and Ancient Law of Gallifrey?
PROFESSOR: Yes. Red 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: Yes. There's no-one interested in ancient history on Gallifrey any longer, and I thought that certain things would be safer with me.
DOCTOR: And were they?
PROFESSOR: Yes, in principle.
DOCTOR: Yes. (to ROMANA) Excuse me. (He picks the PROFESSOR, who was standing on the steps to look at higher shelves, and lifts him down.) Delicate matter, Professor slightly. That book dates back to the days of Rassillon..
PROFESSOR: (ingenuously) Does it? Yes, indeed, it-
DOCTOR: It's one of the Artefacts.
PROFESSOR: Is it indeed?
DOCTOR: Professor, you know that perfectly well. Rassillon had powers and secrets that even we don't fully understand. You've no idea what might have been hidden in that book.
PROFESSOR: Well, there's no chance of anyone else understanding it then, is there?
DOCTOR: I only hope you're right. But we'd better find it. Romana?
ROMANA: (looking 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 turn with an '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.)
SKAGRA: 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.)
SKAGRA: 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 speaks 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' through to 'Creature from the Pit'. SKAGRA blinks very rapidly, and it is clear that he is assimilating the material. The process on the screen stops.)
SKAGRA: He has no more power than 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 return to SKAGRA's face.)
SKAGRA: 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 that seems to be composed of plates of coal with burning eyes [a close-up of the Krarg model from the museum].)
KRARG COMMANDER: Everything is ready, my Lord.
[TOM is in the same place.]
TOM: In his invisible spaceship. Skagra absorbed masses of information about me and then informed the commander of the carrier ship via the communicator that he would be joining him soon and that the universe should prepare itself. The commander assured him that all was ready as his image solidified on the spaceship screen.)
Doctor Who
TOM BAKERRomana
LALLA WARDSkagra
CHRISTOPHER NEAME
Professor Chronotis
DENIS CAREYChris Parsons
DANIEL HILL
Porter
GERALD CAMPION
Computer Voice [recorded message]
DAVID BRIERLEY [Clare Keightley
VICTORIA BURGOYNE
Voice of Ship
SHIRLEY DIXON
Voice of Krarg
JAMES COOMBES]
[The rest of the credits are given here as they would have appeared if the programme had been broadcast.]
Title Music by
RON GRAINER
and the BBC RADIOPHONIC WORKSHOPIncidental Music
(DUDLEY SIMPSON)
KEFF McCULLOCHSpecial Sound
DICK MILLSProduction Assistant
RALPH WILTONProduction Unit Manager
JOHN NATHAN-TURNERDirector's Assistant
OLIVIA BAZALGETTEAssistant Floor Manager
VAL McCRIMMONVisual Effects Designer
DAVE HAVARDElectronic Effects Operator
DAVE CHAPMANVision Mixer
JAMES GOULDVideotape Editor
ROD WALDRONStudio Lighting
MIKE JEFFERIESStudio Sound
JEFF HARTSHORNCostume Designer
RUPERT ROXBURGHE-JARVISMake-Up Designer
KIM BURNSScript Editor
DOUGLAS ADAMSDesigner
VICTOR MEREDITHProducer
GRAHAM WILLIAMS
Directed by
PENNANT ROBERTS© BBC MCMLXXIX (1979)
© 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 episode 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, checked and edited by ANNA
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