D O C T O R

W H

No,

1./Pilot:
Anthony
PRODUCER:

"An U n e a r t h l y C h i l d ' '

Series

A
ASSOC.

by

Coburn
MERVYN P I N F I E L D

VERITY LAMBERT

. PRODUCER:
DIRECTOR

WARIS HUSSEIN

LIGHTINGSUP:
SOUND SUP: VISION MIXER: GRAMS. OP.:

T.0.M:

K. Mac C r e g o r
S. Barclay

DESIGNER:

P. Brachacki
M.

CREW:

P.A.: A.F.M.: ASSISTANT : SECRETARY:

J. C i a y t o n C. D o i g A. Bishop-Leggatt No.1. D. C a m f i e l d
C. C h i l d s
P. Lupton
M. A l l e n
D. Whitaker

COSTUME SUP: MAKE-UP SUP:

Heneghan

B. Blattner

S C R I P T EDITOR:

CAMERA REHEARSAL:

STUDIO D. FRIDAY, 2 7 t H SEPTEMBER (overnight s e t I% l i g h t : 26th Sept.)

1963

8.3O/ 10.30 10.30/1.00 1.(00/2.00 2 .OO,j7 .OO

7.00/8 .OO

8.30/9.45

8.00/8.30

S e t and light
C a m e r a rehearsal Lunch
C a m e r a rehearsal Tea: 3.45)
D Inner
Sound and vision C C . (VT/T/19491)

(with TK-1)

( w i t h TK-1)

L i n e up
Recording.

TECHNICAL REQUIREMENTS : Cameras: 4 - Pedestals

Booms: 3 + stand and slung mics as necessary
G r a m + f o l d back
2 cut keys
Telecine - f r o m 10.30.

DR.

WHO

WILLIAM HARTNELL
WILLIAM RUSSELL
JACQUELINE

IAN CHESTERTON

BARBARA WRIGHT
SUSAN FOREMAN POLICEMAN

HILL

SCHOOL CHILDREN

CAROLE ANN FORD FRED RAWLINGS CAROL CLARKE

MAVIS RANSON

FRANCESCO BERTORELLI
HEATHER LYONS

(iii)

FADE U P TELECINE 1:

Opening Sequence

S.O.F.

1.

3 A
LS S t r e e t

(B1) /A-1/2

1.

INT.

A STREET.

DAY

Policeman into (THE TIME IS THREE O'CLOCK

s h o t . Hold s h o t I N THE MORNING. DARK.
a s he comes t o SWIRLING FOG.
camera in MCU profile.

Track quickly i n t o BCU a s he t u r n s . shot through clock chimes. L e t h i m walk away from camera t o MCU and t r a c k forward w i t h h i m as he walks t o gates.

I N THE STREET HEAR TWO THINGS. WE

H E A R THE STRIKING O F
THREE O'CLOCK FROM A
NEARBY CLOCKTOWER AND FOLLOWING TEAT W E H E A R THE APPROACHING CRUNCH OF A POLICEMAN ON H I S BEAT.

(Q CLOCK AS
P.C. COMES INTO CU )

W E SEE TEE POLICEMAN ONLY AS A VAGUE, SLOWLY-MOVING FIGURE, COMING TOWARDS US I N THE FOG.
W E PULL BACK TO SEE THE POLICEMAN AGAINST THESE GATES.

PHONIC IN ONE OFTHE GATES BAND 1 IS A SMALLER ENTRY GATE. T H I S I S CLOSED, HUMMING)

(QRADIO

(4 next, corridor)
- 1 -

Track i n t o CU Policeman's hand. Pan t o

THE POLICEMAN FLASHES HIS TORCH ON THE! GATES.

W E READ THE! F A D E D
WRITING ON THE GATES.
1 . M .FOREMAN, SCRAP MERCHANT, AND A
SMALLER, NEWER SIGN:
"PRIVATE KEEP OUT"

see sign i n

l i g h t of torch.

C r a b round p o l i c e m a n holding him from R. t o L . of' shot. T r a c k i n t o gate towards signs on g a t e as Policeman leaves shot. T r a c k i n t o gates and p a s t f/gd. objects.

THE POLICEMAN PUSHES THE SMALLER GATE,

WHICH OPENS. HE
LOOKS THROUGH I T I N T O THE YARD. THEN HE
CLOSES I T AND MOVES ON.

WE STAY ON THE GATE.

WE SEE SWIRLING F THE I N FRONT O GATE AND SLOWLY OPENS, CREAKING AS I T DOES.
THERE I S ALL MANNER OF JUNK LYING ABOUT THE YARD.

OF FOG
SMALL
IT A BIT

C r a b L . and pull
back t o include Phone Box i n M L S .
Hold s h o t f o r t i t l e superimposition.

WE SEE A P O L I C E BOX)

SUPER/POSE SLIDE 1: SUPER/POSE SLIDE 2:

"An Unearthly C
Written by

ANTHONY COBURN

SLOW MIX TO
2.

4A(C1)
2.

D e p r e s s e d L.S.
of C o r r i d o r

INT.

CORRIDOR OF SCHOOL.

DAY.
BELL)

(Q SCHOOL

(1 next, MCU Ian)

Hold shot a s children walk p a s t , two g i r l s in front.

See B a r b a r a

(AT THE F A R END O F THE CORRIDOR W E SEE BARBARA WRIGHT AND A SMALL NUMBER O F SCHOOLCHILDREN, AGE GROUP FOURTEEN TO F l F T E E N , ENTER THE CORRIDOR FROM A CLASSROOM. THEY ARE GOING HOME.

beyond. Lose E x t r a s and track in towards Barbara.

P u l l back with her and pan her t o Laborstory door.

H A L FW A Y DOWN THE CORRIDOR, THEY BID HERE GOODNIGHT AND WALK TOWARDS US AND AWAY.

SUSAN

D00R.)

BARBARA

FOREMAN STAYS WITH WHO OPENS ANOTHER

BARBARA: Wait i n here,please Susan. I w o n ' t be long.

SUSAN:

Y e s , Miss Wright.

(SUSAN ENTERS THE ROOM AND BARBARA COMES TOWARDS US,

SHE STOPS OPENS A DOOR)

MCU Ian
3.

INT.

SCIENCE LABORATORY.

DAY.

Lab. tubes In f/gd.

( 2 next, 2-s.

B/I)

- 4 3 on 1

Barbara i n t o 2-s Barbara/Ian

(CHESTERTON IS AT A TABLE,
CORRECTING SOME PAPERS.

HE LOOKS UP)

(4toB)

Crab R . favouring Barbara in 2-s. t o R. f/gd. Ian/Barbara

CHESTERTON:

Not gone y e t ?

BARBARA: (a LITTLE COLDLY) Obviously not.

CHESTERTON:
quest ion.

BARBARA:

Ask a s i l l y

I ' m sorry.

CHESTERTON: / all r i g h t . f o r g i v e you t h i s time.

Ill

BARBARA: Oh, I've had a t e r r i b l e d o n ' t know w h a t t o make day. of it.

CHESTERTON: Oh, w h a t ' s t h e

t r o u b l e . Can I help?
Pan Barbara L . and t i g h t e n cross 2-e
Barbara/Ian

BARBARA: Oh, I t ' s one of t h e

g i r l s Susan Foreman.

Susan Foreman
CHESTERTON: She your problem too?

BARBARA:

Yes.

CHESTERTON: And you don't

know what t o make of her?

Favour I a n over Barbaras shoulder.

CHESTERTON: Barbara?

H o w old is she

( 2 next,

2-s

B/I)

3 on 1

5BARBARA: F i f t e e n .
CHESTERTON: F i f t e e n . She l e t s her knowledge out a b i t a t a time, so a s not t o embarrass me. Thatswhat I f e e l about h e r . She knows more science than1 1 1 ever know. She's a genius. Is that w h a t she 's doing with History?

BARBARA:

Something like that.

Crab L. as I a n moves stage o l d g cross 2-s Barb ./Ian in R. f/gd.

down

CHESTERTON So your problem is whether t o stag i n business o r hand over t h e class t o her?
BARBARA:
No.

Not quite.
What then?

CHESTERTON:

(BARBARA RELAXES A BIT WITH HIM AND BECOMES MORE CONFIDENTIAL )

BARBARA: Ian, I must t a l k t o someone about t h i s , but I don't want t o g e t t h e girl i n t o t r o u b l e . AND i know you're going t o t e l l m e I ' m imagining t h i n g s . CHESTERTON
Push in to

No I ' m n o t .

MCU Barbara l o s i n g Ian.

BARBARA: W e l l , I t o l d you how good she is a t History. I had a t a l k w i t h her and I told . her she ought t o s p e c i a l i s e

(IAN TURNS DOWN A BUNSEN BURNER AND UNSCREWS A TEST-TUBE BUBBLING WITH SOME CHEMICAL )

( 2 next, 2-s B / I )

-5-

on 1

Well, she seemed q u i t e i n t e r e s t e d u n t i l I s a i d Id be w i l l i n g t o work with h e r a t her home. Then she said i t would be a b s o l u t e l y impossible as h e r Grandfather didnt l i k e strangers

BARBARA:

Full back t o include Ian I n 2-shot

he? Itsa

CHESTERTON:

He's a doctor, i s n ' t b i t o f a lame excuse.

( I A N EXTRACTS A DROP F R O M THE TEST TUBE AND PUTS I T DOWN UPON A SLIDE)

Track i n t o t i g n t 2-s. as Ian X ' S U/S Barbara i n L.F/G. Hold s h o t as she moves t o Ian.

BARBARA: Well, I d i d n ' t pursue thep o i n t , but t h e n r e c e n t l y h e r homeworks been so bad. CHESTERTON: Yes, I know. (IAN PUTS A CIRCULAR STICKER OVER THE DROP ON THE SLIDE TO FIX IT AND THEN PULLS A MICROSCOPE T O W A R D S HIM)

4. 2 A
MC 2-shot

Barbara/Ian

BARBARA: F i n a l l y , I w a s so i r r i t a t e d with a l l h e r excuses, I decided t o have a talk with this Grandfather of hers and t e l l him t o t a k e some i n t e r e s t i n her. CHESTERTON : Well , d i d you Indeed?

Lose I a n .
Hold MCU Barbara.

And what's t h e o l d boy l i k e ?

BARBARA:

Well, that's j u s t it.

Igother address from t h e s e c r e t a r y :

T o t t e r ' s Lane and I went along t h e r e one evening. (PLEADING) O h , Ian do pay a t t e n t i o n .

76

MC 2-shot Barb ./Ian framing i n f/fg.

CHESTERTON: Sorry. You went along t h e r e one evening?

(HE PUTS THE SLIDE AND MICROSCOPE ASIDE)

(2 t o B
Classroom)

on 1 Favour Barbara as she comes t o Ian.

-7-

there. I t ' s j u s t an

BARBARA:

And, t h e r e i s n ' t anything o l d junkyard.

CHESTERTON: Well, you must have gone t o t h e wrong place.

BARBARA: Well, that was t h e address t h e s e c r e t a r y gave me.

CHESTERTON: Well, t h e s e c r e t a r y got it wrong, then.

Track i n t o CU
Barbara

l o s i n g Ian.

No. I checked. There wasabig w a l l on one s i d e houses on t h e o t h e r and nothing I n t h e middle. And t h i s nothing i n t h e middle is No.76 T o t t e r ' s Lane.
BARBARA:

CHESTERTON: Hm. T h a t ' s a b i t of a mystery. Well, t h e r e must be a simple answer somewhere.

Pull back t o include Ian i n X 2-sh0t

BARBARA:

Well what?

Ian/Barbara

CHESTERTON: Well, w e ' l l have t o f i n d o u t f o r ourselves wont we?

BARBARA: Thank you f o r t h e "we" s h e swaiting in one o f t h e classrooms. I ' m lending h e r a book on t h e French Revolution.
Crab R. past table and f/gd. o b j e c t s holding 2-shot and t i g h t e n 2-shot a t door.

CHESTERTON: What s she going t o do r e w r i t e it? A l l right, What do we do ask h e r p o i n t - b l a n k or

BARBARA: No, I thought we could d r i v e there, wait till she arrives and s e e where she goes.
CHESTERTON: Well.
BARBARA: d o i n ganything

a l l That's,
right.
i f you're not I mean
not.
No. I ' m
After

CHESTERTON: you.

- 8 on 1 (CHESTERTON PUTS MICROSCOPE INTO I T S CASE. BARBARA GOES TO THE DOOR AND OPENS IT.)

BCU Susan's hand.

4. INT. CLASSROOM.

DAY.

Pan up with it t o BCU Susan's f a c e & crab L. holding h e r as she turns.

(SUSAN I S TWISTING TO THE MUSIC FROM HER TRANSISTOR RADIO. ) BARBARA:

Susan

i n t o MC 3-shot Ian/Barb ./Susan.

Crab L. swinging shot t o favour Susan over I a n ' s shoulder

Ian

& Barbara

(SUSAN STOPS TWISTING)

I didnt h e a r you coming i n .

Aren't t h e y fabulous?

SUSAN:

Oh, I ' m s o r r y M i s s Wright,

BARBARA

who?

SUSAN: It's John Smith and t h e Common Men. They've gone from nineteen t o two.

IAN: John Smith i s t h e s t a g e name from t h e Honorable Aubrey Waites. H e started his career as Chris Waites and t h e C a r o l l e r s , didnt he , Susan?
SUSAN: You are s u r p r i s i n g , M r . C h e s t e r t o n . I wouldn't expect you t o know t h i n g s l i k e that.
IAN:

I ' v e an enquiring mind, And a very s e n s i t i v e e a r .

(SUSAN T U R N S O F F RADIO) SUSAN: Oh, I ' m sorry. Thank you.

IAN:

SUSAN: Is that t h e book you promised me?

- 8 -

6 on 2

- 9 -

SUSAN: Thank you very much. It w i l l b e i n t e r e s t i n g . Ill r e t u r n it tomorrow.

(BARBARA HANDS HER THE BOOK)

BARBARA:
SUSAN:

Oh, that's not necessary. Keep i t t i l l you've f i n i s h e d it.

Ill have f i n i s h e d it.

CHESTERTON: Where do you l i v e , Susan? I'm g i v i n g Miss Wright a l i f t , I ' v e room f o r one more.
SUSAN:

Ilike walking through t h e dark.

Its mysterious.
(SHE PUTS RADIO ANT) BOOK IN HER SATCHEL)
Crab L. on

N o thank you, M r . Chesterton.

BARBARA: Be c a r e f u l Susan, t h e r e
probably be f o g a g a i n t o n i g h t .

Susan's move holding I a n R.F/G. 2-s. Susan/Ian.

BARBARA:
A s I a n moves up t o Susan Crab L.

See you i n t h e morning.

SUSAN:

I expect so.

Goodnight.

a g a i n on I a n ' s move i n c l u d i n g Barbara i n t i g h t 3-shot.

BARBARA : Goodnight.

CHESTERTON:

Goodnight, Susan.

(IAN & BARBARA: EXIT)

Lost I a n & Barbara on e x i t holding Susan as she moves around.

MIX TO

( (B2) 4B 3B & 2 slung mikes)

CAR SHOPPING) C O R N E R O F TOTTERS LANE. NIGHT.

7. 3

B Windscreen of Car.

(GRAMS:

5.
(4 next. Tight 2-s.

7 on 3
M.C.

- 10 ( I A N AND BARBARA I N CAR, IAN DRIVING)

Pull back t o 2-sh0t Barbara/Ian.

BARBARA: T h a t ' s n o t r i g h t . O v e rthere.

(CHESTERTON PUTS ON THE SAFETY BRAKE, SWITCHES OFF THE LIGHTS AND THE ENGINE)

Id never
BARBARA:

IAN: Lucky there was no f o g .

have found t h i s .

tohave

Well, she d o e s n ' t seemed a r r i v e d yet.

(BARBARA PULLS HER COAT A R O U N DH E R A LITTLE MORE CLOSELY;

BARBARA:

I suppose

(SHE STOPS AND LOOKS AT LAN)

BARBARA: W e are doing t h e r i g h t t h i n g , a r e n ' t we?

8.

4 B
T i g h t 2-shot Barbara/Ian
I A N : You cant j u s t i f y curiosity.

(2 next, M C S boy & g i r l laughting)

- 10 -

8 on

- 11 BARBARA:
IAN:
But her homework
?

isn't it? I've seen far worse.

A bit o f an excuse, really,

The truth is, we're both curious

about Susan and we won't be happy
until we know some of the answers.
Well, you can't just
off like that. If I thought, I was just being a busybody I'd go straight home. I thought you agreed she was a bit of a mystery.
IAN: Yes, but I think your f i n d theres a very simple explanation to all this.

BARBARA:

BARBARA: Well, I don't know how

you explain a teenage girl who doesn't h o w how many shillings there are in a pound.
IAN:

Really? She said she

thoughtwe were on the decimal

system.

(Q MUSIC

BARBARA: Really.

TAKE 1)

9.

MIX TO 2 B
MCS Bog &

6 . INT.

CLASSROOM

DAY.

girl laughing. Crab R. to catch Susan in C S & favour her as she stands.
(THERE IS LAUGHTER I N THE CLASSROOM AND TWO G I R L S MAY BE SEEN LOOKING AT SUSAN AND LAUGHING AT HER SUSAN IS STANDING BEHIND ONE OF THE DESKS, NOT TOO MUCH PUT OUT, BUT REALISING SHE'S
MADE A MISTAKE) SUSAN:

I'm sorry, Miss Wright;.

on 2

- 12 -

Susan. The United S t a t e s has

BARBARA:

(o.v.)

Don't be s i l l y ,

a decimal system, you know p e r f e c t l y well that, we do not.

SUSAN:

system h a s n ' t s t a r t e d y e t .

Of course, t h e decimal

(THERE IS A SILENCE AT THIS S T R A N G E REMARK AND SUSAN SITS DOWN)

MIX TO
CU Ian

7.

INT.

THE CAR.

NIGHT.

(C.I. IAN AT FIRST, DIGESTING THIS NEW PIECE O F INFORMATION) (FADE MUSIC

I A N : I suppose she c o u l d n ' t be a f o r e i g n e r . It d o e s n ' t make sense. Nothing about this g i r l makes sense! For i n s t a n c e , t h e o t h e r day, I was t a l k i n g about chemical changes. I ' d given o u t l i t m u s paper t o show cause and effect.

BARBARA: (OOV) And she knew t h e answer before you'd s t a r t e d . (Q MUSIC SAMEBAND 1)
I A N : Well, not q u i t e . The answer simply d i d n ' t i n t e r e s t her. (Q MUSIC SAME
M I X TO

BAND)
(1A

11.

1 A

(Al))

M C S Susan past 2 f/gf. girls.

Crab L. holding .her i n s h o t past g i r l i n f/gd. and push i n t o CU Susan.

8.

I N T .

SCIENCE LABORATORY.

SUSAN: Yes, I can s e e red t u r n s t o blue, M r . Chesterton, b u t

t h a t ' s because we're d e a l i n g with two i n a c t i v e chemicals. They o n l y a c t when t h e y ' r e i n r e l a t i o n t o each o t h e r .

1 1 on 1

- 13 IAN: (o.v.) But, that's t h e whole p o i n t - o f t h e experiment, Susan

obvious i s n ' t i t ? Well, I ' m not

t r y i n g t o be rude but c o u l d n ' t we d e a l with two a c t i v e chemicals? Then t h e y could t u r n b l u e by Itself and w e could g e t on with something e l s e .

SUSAN:

Yes

it's

a bit

(SIGHING)

I ' m sorry, it was j u s t an idea.

(SHE SUBSIDES, CONCENTRATING ON THE LITMUS PAPER AND THE OTHER CHEMICAL PARAPHANALIA BEFORE HER, PERHAPS A LITTLE CONSCIOUS SHE'S SAID TOO MUCH) (MUSIC MORE SOFT) 12.

4 B
Tigh 2-s. Ian/Barb

( (B2) 4B))

9.

INT.

CAR.

NIGHT.

I A N : She means it. These simple experiments are c h i l d ' s play t o her. BARBARA: I t ' s almost g o t t o thep o i n t where I d e l i b e r a t e l y want-to t r i p h e r up.

IAN: (BREAKING I N ) Yes, something like that happened t h e o t h e r day.

I ' d s e t t h e class with a problem w i t h A. B . and C as t h e t h r e e dimensions.

a t board.

CU Susan

1 0 ,

INT. SUSAN:

CLASSROOM.

DAY.

I t ' s impossible, unless

you use D. and E.

( 4 next, 2-s I/B)

- 13

13 on 2

14

.
D. and E. Whatever Do the problem that's set,

for?

IAN: (o.v.)
Susan

SUSAN: I can't Mr. Chesterton. Youcan't simply work on three of the dimensions.

(o.v.) "Three of them". time being the fourth I suppose? Then what do you need E for? What do you make the fifth dimension?
IAN:

SUSAN:

Space.

(SUSAN, LOOKING FRIGHTENED AND ANXIOUS; SITS DOWN AND STARES DOWN AT HER BOOKS)

(FADE MUSIC)

14.

MIX TO

B
1 1 .

(lC

(B2) 4B 3B)
CAR.
NIGHT

MC 2-Shot Ian/Barbara

INT.

BARBARA: Too many questions and notenough answers.

LAN: Stupid, or just doesn't know. So we have a fifteen year old girl, who is absolutely brilliant at somethings and excruciatingly bad at others.
BARBARA:
Here she is.

15.

MC 2-Shot
Barbara/Ian
Over shoulder
see Susan
in 3-shot.

(1 next, BCU Susan)

- 14 -

15 on 3

- 15 c
(9o

16.

BCU Susan r e a c t i o n

AROUND. OPENS THE GATES

AND

GOES-IN CLOSES THE GATES BEHIND HER)

(SUSAN APPROACHES, LOOKS

MC 2-shot

Ian/Barbara

I hate to t h i n k o f

BARBARA:

Look, can we go i n ? her alone i n t h a t place.

CHESTERTON: She is alone. Look, she I s f i f t e e n . She might D i d n ' t that be meeting a boy. occur t o you?

BARBARA:

I almost hope she is.

W h a t do you mean?

CHESTERTON:

Well, it would be so wonderfully normal. Silly i s n ' t it? I f e e l frightened. A s i f w e ' r e about t o i n t e r f e r e in something that i s b e s t l e f t alone. BARBARA:
(CHESTERTON TAKESA TORCH OUT OF THE GLOVE BOX AND PUTS I T INTO HIS COAT POCKET) CHESTERTON:

it over w i t h .
(1 next, Ian/Barb)
BARBARA:

Come on.

Let s g e t

Well, d o n ' t you f e e l it?

- 15 -

18 om 4

P u l l back t o s e e Ian g e t o u t of c a r . Hold Barbara & s e e Ian i n 2-shot a t back.

- 16 CHESTERTON: I t a k e t h i n g s as t h e y come. Come on. (THEY BOTH GET OUT OF THE CAR)

Track i n w i t h Barbara s move holding MC 2-shot Ian/Barbara

(WE SEE THEN LEAVE THE CAR AND CROSS OVER THE GATE)

(CHESTERTON TRIES THE SMALL GATE, OPENS I T AND THEY

19.

D
12.

B C2

2-shot

Beyond f / g d . object. Favour them i n t h e i r moves f/wd. crabbing L. Movements ab Instructed.

Ian/Barbara

INT.

THE YARD.

NIGHT

CHESTERTON: W h a t a mess: I'm not t u r n i n g over any o f t h i s s t u f f t o f i n d her.

BARBARA:

Over t h e r e .
(DROPS TORCH)

CHESTERTON :

Blast.
BARBARA:

Ive dropped

What?

it!

CHESTERTON :

The torch.

BARBARA:
CHESTERTON:

Well use a match? I h a v e n ' t g o t any.

Ah never mind.
BARBARA :

(CALLS)

Susan!

(PAUSE FOR NO ANSWER)

- 16 -

19 on 1

17

CHESTERTON : (CALLS) Susan, Susan, Susan, Susan M r . Chesterton and Miss Wright. (PAUSE) She c a n ' t have g o t o u t without us s e e i n g her.

Track i n t o
Phone Box holding
2-shot
Track i n t o
CU I a n ' s hand.
Barbara's hand.
i n t o shot.
Pull back as I a n
moves. Hold
Barbara i n shot.

BARBARA:

Ian, look a t t h i s .

box.

CHESTERTON: Well, its a p o l i c e W h a t on' e a r t h I s it doing h e r e ? Tfiese t h i n g s art u s u a l l y on t h e street, they

(FADE MUSIC.

OSE

S U P P /O S R A D O IP H O N C IHUM) HUM)

Pull back t o
MLS as I a n comes
round box.

WHILE HE SAYS THIS, HE GOES THE DOOR AND TOUCHES THE LOCK. THEN HE PRESSES THE TIPS OF HIS FINGERS AGAINST IT, THEN AGAINST THE DOOR. THEN SOMEWHERE ELSE)

TO

F e e l it,

Feel this.

( B A R B A R A DOES THE SAME)

You f e e l i t ?
BARBARA:
A f a i n t vibration.

CHESTERTON : Its a l i v e .

(HE W A L K S ROUND I T ) I t ' s not connected t o anything. Unless/through the f l o o r .

its
Pull back
holding 2-shot

I a n run behind
steps.

Look, I 've had enough. and f i n d a policeman.

a s Barbara &

IAN:

Yes, a l l r i g h t .

(O.O.V. THEY HEAR THE FRONT GATE CREAK OPEN) BARBARA: Is that her?
CHESTERTON: I t ' s not her. Quick!
( O . O . V . THEY HEAR AN OLD MAN COUGHING)

( 3 next, M S D r . Who)

19 on 1
Dr. W h o I n t o 3-s. Barb ./Dr ./Ian.

- 18 (HE DRAGS HER DOWN

See g a t e s beyond.

BEHIND THE PILE OF LUMBER IN THE CORNER; WHEN THEY ARE OUT OF SIGHT :)

20.

M S D r . Who past f/gd. o b j e c t s .

Crab L. going with Dr. W h o t o phone

box.

( I N S I D E THE GATE W E SEE DOCTOR WHO. HIS CLOTHES ARE BIZARRE. HE STANDS, COUGHING FOR A MOMENT, POUNDING HIS- CHEST. HE MOVES ACROSS THE YARD. HEENTERSTHE SHED)

21.

MC 3-shot a/b (DOCTOR WHO APPROACHES THE POLICE BOX. SHOW CHESTERTON AND BARBARA'S REACTION TO DOCTOR WHO.

22.

9o

DCU DR. WHO'S

hands a t l o c k .

THE DOCTOR TAKES ORDINARY DOOR KEY OUT. INSERTS IT I N LOCK. HE TURNS THE KEY AND THE WHOLE LOCK COMES AWAY FROM THE DOOR.
DOCTOR SHINES A SMALL TORCH LIKE OBJECT INTO THE OPENING.

THE DOOR STARTS TO OPEN WITH A HIGH ELECTRONIC WHINE.

MUSIC RISES ABOVE T H I S WHINE. THE MUSIC O F SUSAN'S TRANSISTOR RADIO, ALTHOUGH BARBARA AND CHESTERTON DO NOT KNOW THIS.

- 18 -

- 19 -

22 on 2

ALL THEY ARE PUZZLED ABOUT I S THAT THEY CAN HEAR MUSIC AT ALL COMING OUT O F THE CRAMPED SPACE O F WHAT APPEARS TO BE ROCK TELEPHONE BOX)

(Q

DISC)

23.

D
SUSAN: (OOV) T h e r e you Grandfather. BARBARA: Susan! CHESTERTON- Shush. EXCAIMS I N SURPRISE. CHESTERTON WARNS FOR SILENCE BUT DR. WHO'S KEEN EARS HAVE HEARD. H E SWITCHES OFF HIS TORCH AND PUSHES THE DOOR BACK I N PLACE.

3 - s h o t a/b ( B a r b / D r ./Ian)

24.

X U D r . Who.

Reaction.

25.

3 B
MCU D r . Who. Ian i n t o 2-shot
Ian/Dr. Who

CHESTERTON LOOKS AT BARBARA A S MUCH A S IF TO SAY "Well, l e t ' s p u t a b r a v e face on it" AND GETS UP) CHESTERTON : Excuse me.

(DOCTOR WHO TURNS SLOWLY AND LOOKS AT HIM)

DOCTOR: (MILDLY) d o i n gh e r e ? CHESTERTON:

What a r e you

We're l o o k i n g for ag i r l . . . . . .

26.

9 '

BCU D r . Who (A/B)

DOCTOR : We?

MC 2-shot

Barbara/Ian

(BARBARA COMES INTO

VIEW)

BARBARA:
Good e v e n i n g .

D r . Who i n t o 3-shot Brb/Ian/Dr.

(DOCTOR WHO REGARDS HER CAFBFULLY)

27 on 3

- 20 DOCTOR:
What do you want?

Susan Foreman. came i n t o t h i s

yard

CHESTERTON:

One of our pupils,

Areyou sure?

DOCTOR:

--Really? I n here?

BARBARA: Yes, we saw h e r from across the s t r e e t .

28.

c 9o
One of y o u r - p u p i l s not a t least
DOCTOR:

BCU D r . Who

CHESTERTON: (FIRMLY) I beg your pardon.

DOCTOR:

her? Who are you?

Why were you spying on

29.

9o
CHESTERTON: W e heard a young g i r l ' s voice c a l l o u t t o you.

BCU Ian.

30.

9o
DOCTOR: Your hearing must be very a c u t e . I d i d n ' t hear

BCU Dr. Who

anything.
BARBARA: It came from i n here.

DOCTOR: You imagined it.

imagine it.
31 *
BARBARA:
I certainly did not

B
DOCTOR: (SMOOTHLY) Young man, It i s reasonable t o suppose that anybody would be i n s i d e a cupboard l i k e that.

MC 3-shot

Pull back favouring Ian & Dr. W h o as t h e y move f/wd.

32. 2

21

CHESTERTON: Would it t h e r e f o r e be unreasonable t o ask you t o l e t us have a look i n s i d e ?

go
DOCTOR: I wonder why I have never seen that before. Now i s n ' t t h a t s t r a n g e , very damp and d i r t y .

BCU D r . Who

33

3 B
MC 2-shot Ian/Barbara
P u l l back t o include D r . i n MC 3-shot

Ian/Bar . / D r

BARBARA: Won't you help us? We're two of her teachers from the G o a l H i l l School. W e saw her come i n and w e haven't seen her leave. Naturally we 're worried. DOCTOR: Oh, I ' m a f r a i d i t ' s none of my business. I suggest you l e a v e here.

Hold I a n as D r . moves back t o

Push In t o

Ian/Dr
34. 2 c

t i g h t 2-s.

9o

CHESTERTON: Not until we're s a t i s f i e d that Susan i s n ' t h e r e , And f r a n k l y I don't understand your a t t i t u d e .
DOCTOR: Yours leaves a lot t o be d e s i r e d .

BCU Dr. who

CHESTERTON: (OOV) W i l l you open the door?

DOCTOR: there.

There's nothlng l n

35. 3 B
BCU I a n

9o

you a f r a i d t o show us?

CHESTERTON:

Then what a r e

36. 37.

9o

BCU D r . Who (A/B)

3 B

9o

DOCTOR:

Afraid.

Oh, go away.

21

- 22 39.

3 B

9o
CHESTERTON: (LOOKING AT BARBARA) I think w e better go and f e t c h a policeman,
(THEY BOTH LOOK AT THE DOCTOR. THE DOCTOR REGARDS THEM, THEN SHRUGS)

I a n (A/B) Pan on h i s look t o CU Barbara

40.

c
DOCTOR:

Tight 2-shot
Ian/Dr. Who

Very well.

CHESTERTON:
w i t h us.

And youre coming

DOCTOR: Oh, am I? I don't t h i n k so young man. No.. I d o n ' t t h i n k so.

ON DR.'S

MOVE

41.

1 D M C 3-shot B/I/Dr.
Hold D r . ' s move

across 3 - s h o t BCU Barbara

(HE SITS DOWN

ON LADDER)

43.

1 D M C 3-shot D r ./Barb ./Ian

BARBARA:

W e c a n ' t force him.

CHESTERTON: But w e c a n ' t l e a v e framing L. f/gd. him here. Doesn't it seem obvious t o you that he's got her locked up i n t h e r e ?

BARBARA: Look a t t h e door.

CHESTERTON: There's no door handle, t h e r e must be a s e c r e t l o c k somewhere.

voice

BARBARA

?
That

Susan's

- 22 -

43 on 1
Crab R. s l i g h t l y t o see I a n ' s move t o box. Hold Dr. in f/gd.

- 23 CHESTERTON:
in t h e r e ?

O f course it was.

(CALLING) Susan. Susan, a r e you I t ' s Mr. Chesterton arid Miss Wright, Susan.
(HE KNOCKS ON THE DOOR

AND RECEIVES NO REACTION)

DOCTOR: D o n ' t you t h i n k you're being r a t h e r high-handed, young man? You thought you saw a young g i r l e n t e r t h e yard. You imagine you heard h e r voice. You b e l i e v e she might be in t h e r e . It's n o t very s u b s t a n t i a l , is it?
BARBARA: help us?

But why won't you help

44. 2 c 9o
BCU Dr. Who

DOCTOR: I ' m n o t hindering you. If you both want t o make f o o l s of yourselves, I suggest you do w h a t you said you d do. Go and f i n d a policeman,

4 5 .

B CHESTERTON: While you n i p o f f q u i e t l y i n the other d i r e c t i o n or something.

DOCTOR: There's only one way out of t h i s Yard. I s h a l l be here when

MC 3-shot Dr/Barb/Ian framing R. f / g d .

you g e t back. I want t o see your f a c e s when you t r y t o e x p l a i n your behaviour t o a policeman.

46.2C
MC 2-shot Barbara/Ian
CHESTERTON: (GRIMLY) Nevertheless we're going t o f i n d one. Come on Barbara. (Q DISC O F ROCK Mus I C ) (THEY START TO MOVE.)

23

46 on 2
Dr. W h o i n t o 3-s. Favour D r . & I a n as t h e y s t r u g g l e

- 24 W h a t a r e you doing Grandfather? CHESTERTON: She i s i n t h e r e . . . DR. WHO: (TO SUSAN) C l o s e t h e door andstay t h e r e .
SUSAN: (OOV)

outthere

(CHESTERTON CATCHES AT DR. WHO'S ARM)

CHESTERTON: Barbara!

47.

3 c
C S doorway

(3C/D, 13. INT.

(B2)( C 3 ) IE, 2D,

( A 3 ) 4C-1/2)) INSIDE THE SHIP (Q RADIOPHONIC

Crab L. holding door shot as Barbara e n t e r s shot. S e t t l e over shoulder shot i n t o ship.

MUSIC BAND3)

(MUSIC. BARBARA AND CHESTERTON ENTER. SUSAN LOOKS AT THEM F R O M CENTRE OF SHIP. SHE STARES AT THEM I N AMAZENENT.

48.

1 E

9o

BCU Barbara CHESTERTON STOPS AND LOOKS AROUND. HE SEES PANELS O F INSTRUMENTS AND THE PARADOX O F COMFORTABLE

to D

CHAIRS.

49.

C1

DR. WHO ENTERS BEHIND THEM AND CLOSES THE DOOR.

Periscope long 4-shot Barb/Ian/Dr/Susan

HE ADVANCES INTO THE ROOM)

50.

1 E 9o BUC Susan

Close t h e door Susan. DOCTOR: /I b e l i e v e t h e s e people areknown t o you./

(TO DOCTOR) They're two school t e a c h e r s . What a r e you doing here?
SUSAN:

5 1 . 2 D MC 2-shot
Dr/Susan

- 24 -

- 25
5 1
on 2

Crab R. & p u l l back t o include I a n & Barbara i n 4-s. as Dr. moves t o susan.

DOCTOR: They must have followed you? T h a t r i d i c u l o u s school. I new something l i k e t h i s would happen if we stayed i n one place t o o long.

(4 t o C2)

me!

SUSAN: Why should they f o l l o w

BARBARA: Is t h i s r e a l l y where you l i v e , Susan? SUSAN:

52. 3 D 9o

CU D r . W h o

Yes.

DOCTOR:

53.

1 E 9o B U C Ian

And what's wrong with i t ?

54.

3 D 9o BCU Dr. Who (A/B)

1 E BCU Barbara

CHESTERTON: But it was j u s t a telephone box!

55.

9o

D O C T O R:

Perhaps.

BARBARA: And t h i s i s your Grandfather?

SUSAN:

Yes.
Well, why d i d n ' t you

56.

3 D DR. Who ( r e a c t i o n )
DOCTOR: I d o n ' t d i s c u s s m y private l i f e w i t h strangers. CHESTERTON: But it was a p o l i c e telephone box. I walked a l l round it. Barbara, you saw me!
DOCTOR: You d o n ' t deserve any explanations, you pushed your way i n h e r e u n i n v i t e d and unwelcome.
2

9o

tell us t h a t ?

BARBARA:

57.

MC 3-shot Ian/Barb/Susan i n f/gd. frame.

leave.

BARBARA:

I t h i n k we ought t o

57 on 2
Track in t o Ian t o single of Susan and then pan him t o MC 3-shot Ian/Dr/Susan

- 26 know
CHESTERTON: J u s t a minute. I t h i s i s absurd butI feel.... I wzlked a l l round it.

DOCTOR: I t ' s stopped again you

no, and I ' v e t r i e d Oh, you wouldn't understand.

CHESTERTON: But I want t o

understand.

DOCTOR: Yes..yes,yes. By the wag S u m ! X g e d t o f i n d a replacement for that p o r t o f i l o it w a s q u i t e a job b u t I'll t h i n k It w i l l serve.
CHESTERTON : Its a n i l l u s i o n ,
it must be.

DOCTOR: now?
SUSAN:

What i s he t a l k i n g about

58. 3
59.
2

9o

CU Susan

What are you doing Ian?

I d o n ' t know.

D D

60.

9o

CHESTERTON:

DOCTOR: You dont underssand,

s o you f i n d excuses, I l l u s i o n s indeed. You say you c a n ' t f i t a n enormous building i n t o one of your smaller s i t t i n g rooms.
CHESTERTON : No.

DOCTOR: But youlve discovered

T e l e v i s i o n haven't you?

CHESTERTON :

Yes.

DOCTOR: Then by showing a n enormous b u i l d i n g on your t e l e v i s i o n screen you can do what's humanly possible. Couldnt you?
CHESTERTON: Well, yes.

But I
s t i l l dont un

60 on 3

- 27 Icansee by your f a c e that y o u ' r e

n o t certain:

DOCTOR:

Not q u i t e c l e a r i s i t 3

You d o n ' t understand. and I knew your wouldn't Ha! ha! never mind.

Now, which switch was it no.... no... ah, yes that is it. The p o i n t i s n o t whether you understand. W h a t is going t o happen t o you? You can t e l l everbody about t h e s h i p now. CHESTERTON : (OOV)
DOCTOR:

"Ship?

61. 1 E

9o
9o

you know.

doesnt r o l l alone: on wheels.

Yes, yes "Ship", t h i s

BCU Barbara

62. 3 D

BARBARA:

You mean, it moves?

CU Susan (A/B)

63. 2

SUSAN: The T a r d i s can go anywhere/

D

4-sh0t (A/B)
BARBARA :

"Tardis, I dont

understand you Susan.

Crab round Susan i n CU losing others.

SUSAN: Well, I made up t h e name Tardis from t h e i n i t i a l s . Time and R e l a t i v e Dimension I n

Space. I thought youd both understand when you saw t h e d i f f e r e n t dimensions i n s i d e from those outside.

BCU I a n

CHESTERTON:
straight.

65.

a Police BOX standing i n a j u n k yard. It can move anywhere in time and space.
2 D MC 2-shot

Oh, l e t m e get this A thine: that looks l i k e

Dr./Susan

SUSAN: Yes.
DOCTOR:

Quite so.

- 28 -

65 on 2
CHESTERTON: But that's r i d i c u l o u s .
SUSAN: :

i i i

W h y won't t h e y believe

66.

D
BARBARA: Well, how can we.
DOCTOR: Now, now d o n ' t g e t exasperated Susan. Remember t h e r e d Indian when he saw t h e f i r s t .steam t r a i n h i s savage mind thought it a n i l l u s i o n t o .

CHESTERTON: Your t r e a t i n g u s likec h i l d r e n to.

DOCTOR: Am I, t h e c h i l d r e n of 'my c i v i l i s a t i o n would be i n s u l t e d .

CHESTERTON:
DOCTOR:

Your c i v i l i s a t i o n !

Itolerate t h i s c e n t u r y b u t I d o n ' t

Yes, my c i v i l i s a t i o n .

enjoy it. Have you e v e r thought

what i t ' s l i k e t o be wonders i n t h e
f o u r t h dimension. Have you?
To be e x i l e s . Susan and I are
c u t o f f from our own p l a n e t ,
without friends or p r o t e c t i o n ,
b u t one day, we shall g e t back.

Yes, one day.

SUSAN:

One day.

(THERE I S A LOOK OF SHEER DISBELIEF BETWEEN CHESTERTON AND BARBARA) Every word You d o n ' t know what you've done coming here.
Its t r u e .

ofit is t r u e .

(THEN SHE TURNS DESPERATELY TO DOCTOR WHO)

66 on 3

- 29 SUSAN: (Contd) Grandfather, l e t them please. Look i f t h e y understand t h e y c a n ' t a t a l l . I understand

go now, don't help us these

67. 2 D
68. 3 D

9o

BCU Barbara
2-shot Dr/Susan. Hold Dr. as he
stands. Ian i n t o 3-s.

people b e t t e r than you do, t h e i r minds r e j e c t t h i n g s they d o n ' t understand.

DOCTOR:

No.

69. 1 E
70.

9o

CHESTERTON : u s here.

They can t keep

3 D
3-shot (A/B)
Crab R. q u i c k l y as Barbara e n t e r s t o 4-shot. B/Dr./I/S framing R. f/gd. (B. framing L.f/gd)

(DOCTOR WHO STARES AT CHESTERTON WITH A CONFIDENCE THAT M A K E S CHESTERTON V A G U E L Y UNEASY.

BARBARA GOES T O SUSAN

AND PUTS H E R ARM ON
SUSANS SHOULDERS)
BARBARA: Susan, l i s t e n t o m e c a n ' t you s e e t h a t a l l t h i s is a n i l l u s i o n . I t ' s a game t h a t you and your Grandfather a r e playing i f you l i k e . But you c a n ' t expect u s t o b e l i e v e it.

SUSAN: Its n o t a game.

BARBARA: But, Susan.

Favour Susan as she moves u p t o Barbara

SUSAN: I t ' s n o t . Look I loved your school. I loved England i n t h e twentieth century. The last f i v e months have been t h e h a p p i e s t of m y l i f e .
BARBARA:

Youlook l i k e us.
like us. SUSAN:

But you a r e one of us. You sound

another world.

I was born i n a n o t h e r time,

29 -

- 30 70 on 3
Pull back & pan Barbara & I a n t o door.

CHESTERTON: Now, look here Susan, You

Oh, comeon, Barbara.
(HE GRABS BARBARA A N D BEGINS TO LEAD HER TOWARDS THE DOOR)

L e t ' s g e t out o f here.

SUSAN:

No, you two c a n ' t g e t o u t .

(CHESTERTON COMES UP THE OBVIOUSLY IMPASSABLE DOOR, HE

PUSHES I T . HE THUMPS
IT. HE TUGS AT IT.
H E GETS DESPERATE.
HE TURNS TO DOCTOR WHO)

AGAINST

71.

9 '

CU D r . Who

laughing

(DOCTOR WHO LAUGHS AT HIM)

MC 2-shot

73.

Ian/Barbara Pan I a n t o D r .
& then t o Susan.
4 C1 L.4-shot
f a v . Ian.

SUSAN:

HE won't l e t you go.

Track i n t o c o n t r o l s on I a n ' s move. 74.

1 E MC 3-shot Susan/Dr/Ian

(CHESTERTON IGNORES HER AND STRIDES PAST DOCTOR WHO TO THE CONTROL PANEL)

(HE SEES THE COMPLICATED EXTENT O F THE CONTROL

PANEL)

Caption)

Photo

- 30 -

74

on 1
(CHESTERTON TURNS TO
DOCTOR WHO)
CHESTERTON:

H e closed t h e doors from over t h e r e . I saw him. Now, which is It, which i s it, which c o n t r o l operates t h e doors?
DOCTOR: S t i l l t h i n k i t ' s all an illusion.

Track i n t u CU D r . W h o

CHESTERTON: I know that f r e e movement in time and space I s a s c i e n t i f i c dream that I d o n ' t
yard.

expect t o f i n d solved i n a junk

DOCTOR:

Your elegance I s n e a r l y i s g r e a t a s your ignorance.

Will you open t h e

P u l l back t o M C 3-shot

CHESTERTON:

door?
(DOCTOR LAUGHS)

Open the door.

(DOCTOR LAUGHS)

Susan,will you help us?

75 4

C1 L .2-shot Ian

CHESTTRTON: Very well then, I ' l l have t o r i s k it myself. (DOCTOR WHO'S HAND
HOVERING NEAR A
SWITCH MARKED

76. 1

E 9o BCU D r . Who

IMMOBILISER")

Pan down t o see h i s hand.

DOCTOR:

I c a n ' t s t o p you.

77.

9o

( H I S HAND PRESSES
DWON SWITCH. A LIGHT
FLASGES ON ABOVE
CONTROL. CHESTERTON
MOVES TO MACHINE)
(INCREASE RADIO PHONIC SOUND. (SUSAN SEES L I G H T )

BCU Susan

(4 next

4-shot)

77 on 2
78.
4 C1
M C 4-shot

- 32
SUSAN: Not t h a t Oh, d e a r !

I t ' s alive

B/S/Dr./Ian.
(CHESTERTON PUTS OUT

A HAND TO SOME DIALS.

HE I S THROWN BACK BY SOME FORCE OF ELECTRIC CURRENT. HE FALLS TO THE FLOOR.
DOCTOR WHO REGARDS ALL

THIS WITH TRIUMPHANT AMUSEMENT.

BARBARA GOES TO CHESTERTON, WHO IS S H A K E N BUT UNHURT

CHESTERTON I S TRYING TO GRASP WHAT HAS HAPPENED TO H I M )

BARBARA:

What on e a r t h do you t h i n k youre

doing. SUSAN: Grandfather, l e t them go now, please.
DOCTOR:

(TO DOCTOR, RISING

ANGER

79. 1 E 9o BCU Dr.Who

be a B y tomorrow w e shall/public s p e c t a c l e s u b j e c t f o r news and i d l e gossip.

(DOCTOR SHAKES HIS HEAD THOUGHTFULLY)

B/I/Susan
Pan Susan

M C 3-shot

SUSAN: But they won't say

anything.

losing others.
Include D r .
i n 2-shot. Crab L . t i g h t e n i n g on D r . & Susan i n f/gf. See Barbara & Ian behind.
Favour D r .

(SHE TRIES TO HIDE HER

TEARS, DOCTOR TO HER
GENTLY, PUTTING HIS A R M
AROUND HER SHOULDERS)

DOCTOR: My dear c h i l d , of course they will. Put yourself in t h e i r place, theyrebound t o make some s o r t of a complaint, t o t h e a u t h o r i t i e s o r at t h e very least t a l k t o t h e i r f r i e n d s . If I d o let them go Susan you r e a l i s e of course t h a t w e must go to.

(1 next, 4 - s h o t )

- 33 SUSAN:

No, Grandfather,
There's no a l t e r n a t i v e

DOCTOR: child.

SUSAN: I w o n ' t t o s t a y . Look, t h e r e both kind people, Why won't you t r u s t them? All you've got t o do i s o f f e r t o promise them t o keep our s e c r e t .
DOCTOR:

Its out of the question.

SUSAN: I won't go Grandfather,

I won't leave t h e t w e n t i e t h century. I ' d r a t h e r leave the Tardis and you.

DOCTOR: Now you're being sentimental and c h i l d i s h . SUSAN:

No, I mean it.
Then you I ' l l open

DOCTOR: Very w e l l ! must go with them. t h e door.

BARBARA:

Are you coming Susan?

Oh, no Grandfather no.

SUSAN:

81. 1.E M. 4-shot

Struggle

No!
DOCTOR:

G e t back t o t h e ship hold it

82.

4 C1
LS Struggle. Control panel i n f/gd.

(DR. WHO STRUGGLE.

IAN

(DR. WHO AND STRUGGLE)

IAN

33 -

83. 1 E
4-shot (A/B)

34

(
RADIOPHONIC ( D R . WHOs HAND GRADUALLY REACHES TOWARDS THE LEVER WITH CHESTERTON STRAINING TO PREVENT HIM. SUDDENLY THE DOCTOR TWISTS H I S BODY AND CHESTERTON I S THROWN O F F BALANCE. THE DOCTOR PLUNGES H I S HANDS ON SWITCH AND PULLS I T DOWN.

T r a c k i n towards

BARBARAAND IAN
FALL TO GROUND.

IMMEDIATELY THE LIGHTS FLASH OFF AND THEN

Monitor past
D r . and Susan.
CUT TO TELECINE 2.

Monitor Output
WHIRR DOWN SOUND O F CONTROLS, LESSEN LIGHTING EFFECTS, FLASHING BULBS AND SPINNING D I A L S . CLARIFY PICTURE TO ABSOLUTE STILLNESS)

84. 3

Photot of Desert

85. 1 E

M S Monitor.

P u l i back t o
CU Susan.

Pan t o CU D r . Pan across Ian

t o CU Barbara.

Hold Barbara
CUT TO TELECINE

3:

(FADE MUSIC KEEP WIND.)

Ship i n Desert.

Shadow comes a c r o s s d e s e r t , the f i g u r e

of a man unseen. It
gradually moves towards
the ship u n t i l the
shadow almost reaches
it.

34

86. SUPERIMPOSE CAM. 4.

ROLLER CAPTION

35

(GRAMS: : CLOSING MUSIC)

In cue:
O u t cue:

Dr. W h o

....... William H a r t n e l l

A s s o c i a t e Producer Mervyn P i n f i e l d

SUPERIMPOSE S L I D E :

Producer

V e r i t y Lambert

SUPERIMPOSE SLIDE:

D i r e c t e d by
Waris H u s s e i n

FADE V I S I O N

FADE SOUND