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THE DEFINITIVE GUIDE TO THE MAKING OF DOCTOR WHO 
[BI BIC) 


DOCTOR * 


WHO ~ 


fs, 


a STORIES 221-223 7 [ if 
THE GIRL WHO WAITED, 


THE GOD COMPLER 
AND CLOSING TIME 


THE GIRL WHO WAITED 
THE GOD COMPLE 
CLOSING TIME 


1B I BIC] 


DOCTOR 


WHO 


THE COMPLETE HISTORY 


EDITOR JOHN AINSWORTH 

EDITORIAL ASSISTANT EMILY COOK 

ART EDITOR PAULVYSE 

ORIGINAL DESIGN RICHARD ATKINSON 

COVER AND STORY MONTAGES LEE JOHNSON 

PRODUCTION ASSISTANT PETER WARE 

ORIGINAL PRODUCTION NOTES ANDREW PIXLEY 

ADDITIONAL MATERIAL JONATHAN MORRIS, RICHARD ATKINSON, 
ALISTAIR McGOWN 

WITH THANKS TO JAMES BRAILSFORD, CHRIS CASSELL, CHRIS 
CHIBNALL, PAUL CONDON, KEVIN DAVIES, JAMES DUDLEY, MAT FIDELL, 
BEN FOSTER, MARTHA GAVIN, DEREK HANDLEY, DAVID J HOWE, NIC 
HUBBARD, ANTHONY MACKAY, TOM MACRAE, ANDREW MARTIN, 
BRIAN MINCHIN, STEVEN MOFFAT, KIRSTY MULLEN, STEPHEN 
NICHOLAS, JON PREDDLE, GARETH ROBERTS, ZOE RUSHTON, EDWARD 
RUSSELL, JIM SANGSTER, GILLANE SEABORNE, TOM SPILSBURY, MATT 
STREVENS, JO WARE, BBC WALES, BBC WORLDWIDE AND BBC.CO.UK 
MANAGING DIRECTOR MIKE RIDDELL 

MANAGING EDITOR ALAN O'KEEFE 


BBC Worldwide, UK Publishing: 

DIRECTOR OF EDITORIAL GOVERNANCE NICHOLAS BRETT 
DIRECTOR OF CONSUMER PRODUCTS AND PUBLISHING 
ANDREW MOULTRIE 

HEAD OF UK PUBLISHING CHRIS KERWIN 

PUBLISHER MANDY THWAITES 

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[email protected] 
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CYBERMAN and K-9 (word marks and devices) are trade marks of the 
British Broadcasting Corporation and are used under license, BBC logo © 
BBC 1996. Doctor Who logo © BBC 2009, Dalek image © BBC/Terry Nation 
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Contents 


THE GIRL WHO WAITED 


INTRODUCTION 


41 


PUBLICITY 


INTRODUCTION 


79 


PUBLICITY 


INTRODUCTION 


122 


PUBLICITY 


10 12 24 


STORY PRE-PRODUCTION PRODUCTION 
BROADCAST MERCHANDISE CAST ANDCREDITS 


THE GOD COMPLE 
54 56 66 


STORY PRE-PRODUCTION PRODUCTION 


81 83 84 


BROADCAST MERCHANDISE CAST ANDCREDITS 


CLOSING TIME 
92 94 108 


STORY PRE-PRODUCTION PRODUCTION 
BROADCAST MERCHANDISE CAST AND CREDITS 


132 


INDEX 


DOCTOR WHO | THE COMPLETE HISTORY 


34 


POST-PRODUCTION 


&& 


PROFILE 


74 


POST-PRODUCTION 


PROFILE 


119 


POST-PRODUCTION 


PROFILE 


VOLUME 69 


Welcome 


Below: 

The Cybermen 
remain 
optimistic in 
Revenge of 
the Cybermen. 


he Cybermen that the Doctor 
encounters in Closing Time 
[2011 - see page 88] are a bit 
of a sorry bunch. After crash- 
landing, and then waiting for 
a few hundred years, buried 
beneath the eventual site of the Sanderson 
& Grainger department store, they have 
seen better days. But a core Cybermen trait 
would seem to be: never give up - even 
when things are looking a bit grim. 
Despite their sales pitch to organic, 
humanoid life that they are the superior 
beings, the Cybermen have repeatedly 
made rather a bad show of proving this in 
practice. On more than one occasion, they 
have been seen to be teetering on the edge 
of extinction. Possibly their eagerness to 
force people against their wishes to replace 
flesh and blood with metal and oil and 
dispose of those pesky emotions, has made 
them a tad unpopular, resulting in rather 
aggressive resistance. 


DOCTOR WHO | THE COMPLETE HISTORY 


XXX XNNNARAS 


In The Tenth Planet [1966 - see Volume 
8], the original Cybermen fetched up in 
Earth’s solar system on their wandering 
planet, Mondas. It all looked a bit dicey 
for the human race for a while, as the 
Cybermen invaded the cities of the world, 
cheerily announcing, “You will become like 
us.” But things quickly went pear-shaped 
for them, when Mondas sucked up too 
much of the Earth’s energy and fell to bits, 
reducing the Cybermen to puddles on the 
floor in the process. 

The Mondasian Cybermen may have 
been kaput, but a new lot from the 
planet Telos were soon throwing their 
weight around the galaxy. However, 
things apparently didn’t go too well for 
them either, as by the time the Second 
Doctor paid them a visit in The Tomb of 
the Cybermen [1967 - see Volume 10] they 
were reduced to just a handful, all tucked 
up in hibernation - albeit in a somewhat 
elaborate, but ultimately unsuccessful plan 
to jump-start a new Cyber empire. 

The Fourth Doctor encountered the 
Cybermen in the aftermath of the Cyber 
Wars, in Revenge of the Cybermen [1975 - see 
Volume 23]. Once again the silver giants 
had been reduced to barely more than 
single figures, with the Doctor describing 
them as “just a pathetic bunch of tin 
soldiers skulking about the galaxy in an 
ancient spaceship”. The Cyber Leader was 
having none of it though, insisting that 
the Cybermen were “destined to be rulers 
of all the cosmos”. This proved to be over- 
optimistic, as he and his Cyber-chums were 
blown to smithereens a short while later. 


John Ainsworth — Editor 


A CORE "CY BERMAN TRAIT T WOULD — 


NEVER GIVE UP, 


® STORY 221 


Amy becomes separated from the Doctor and 
Rory on the paradise planet Apalapucia, 
in the middle of a plaque. The Doctor and 
Rory must save her... but time for Amy is 
passing at a different speed. 


Doctor. 
Ewes 
VyAITING 


& DOCTOR WHO | THE COMPLETE HISTORY 


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DOCTOR WHO | THECOMPLETE HISTORY ¢ 7 


THE GIRL WH 


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‘KAREN GILLAN’S IMPRESSIVE 
PERFORMANCE 1S ONE OF THE 
1AIN REASONS THAT Hak, WARM 


TO THIS EPISODE. | —t 


@ DOCTOR WHO | THE COMPLETE HISTORY 


LAA. S|. RN 


Introduction 


n idea that Doctor Who often 
returns to, is characters being 
prematurely aged. Jo in The 
Claws of Axos [1971 - see 
Volume 16], poor old Stuart 
Hyde in The Time Monster 
[1972 - see Volume 18], Professor Kerensky 
in City of Death [1979 - see Volume 31], the 
Doctor himself in The Leisure Hive [1980 
- see Volume 32] and Nyssa and Tegan in 
Mawadryn Undead [1983 - see Volume 36]. 
It’s attempting little plot wrinkle in a series 
that deals with time travel. It also gives the 
make-up department the opportunity to 
do something a bit more creative. 

Since the series returned to television 
in 2005, the majority of the regulars have 
braved hours in the make-up chair to pile 


on the decades. In Amy’s case, of course, 
she hadn't aged prematurely. In The Girl 
Who Waited she was abandoned by the 
Doctor for 36 years. This is on top of 
the 12 years she waited for the Doctor at 
the start of The Eleventh Hour [2010 - see 
Volume 63] and the additional two years 
she waited at the end (admittedly under 
slightly less isolated circumstances). It’s 
still peanuts, of course, compared to the 
2000 years Rory waited for Amy in The Big 
Bang [2010 - see Volume 66]. 

It’s slightly strange that writer Tom 
MacRae made the 36 years that Amy was 
isolated a miserable experience. If she'd 
lived a contented life, the dilemma over 
whether to save old Amy or to erase her 
from existence would have been a trickier - 
and all the more tragic - call. As it stands, 
the obvious choice was to go back and save 
the younger Amy before it all happened 
- even if it meant the older Amy, with her 
experiences and autonomy, would have to 
sacrifice herself. 

Instead of being looked after at the Two 
Streams facility, Amy spent her time trying 
to avoid the Handbots. Like the Siren 
in The Curse of the Black Spot [2011 - see 
Volume 67] earlier that year, these were a 
type of artificial intelligence, misguidedly 
trying to cure someone. Both of these were 
variations on a similar idea first seen in The 
Empty Child/The Doctor Dances {2005 - see 
Volume 50]. 

You could argue that older Amy was 
given a tougher case to argue, when she 
decided she didn’t want to die. And Karen 
Gillan’s impressive performance - under all 
that make-up - is one of the main reasons 
that fans warm to this episode. 


DOCTOR WHO | THE COMPLETE HISTORY & 


Introduction 


Left: 

An aged Fourth 
Doctor in The 
Leisure Hive. 


THE GIRL WHO WAITED 


he Doctor has decided to take 
T Rory and Amy to the beautiful 
world of Apalapucia. The TARDIS 

lands in a white room, and while Amy 
goes back inside to get her phone, Rory 
presses a green button and a door opens. 
Inside, the Doctor and Rory find a room 
containing a large looking glass. [1] 

Amy emerges from the TARDIS and 
presses a red button, which takes her 
into an identical version of the same 
room. The door closes behind her. She 
speaks to the Doctor and Rory via the 
looking glass, then a robot enters and 
welcomes them to the Two Streams 
Facility. The looking glass glitches - and 
Amy tells the Doctor she has now been 
in the room for a week! [2] She’s ina 
faster time-stream! 

The robot explains that Apalapucia 
is under planet-wide quarantine due 
to an outbreak of Chen-7 plague. The 


oe DOCTOR WHO | THE COMPLETE HISTORY 


area they are in is sterile and the plague 
does not affect humans - but it is lethal 
for Time Lords, so the Doctor can’t 
enter the Facility. He uses the ‘time 
glass’ to tell Amy to go into the Facility 
and find somewhere to hide. [3] Back 
in the TARDIS, the Doctor then gives 
Rory some glasses which will enable the 
Doctor to see what he sees. 

Amy enters the Facility where a 
sinister ‘Handbot’ advances towards 
her, intending to inject her with lethal 
medicine. [4] Amy flees into a vent 
tunnel, where the robot is unable to 
see her. 

The Doctor locks the TARDIS onto 
Amy’s time-stream and lands it ina 
gallery in the Facility. 

Amy enters a ‘gate’ area which leads 
to the various zones. [5] The Facility’s 
disembodied Interface explains that 
vents channel exhaust fumes from the 
temporal engines and Amy realises 
the temporal engines mess up the 
Handbots’ sensors. 


. © AA |e RN 


Rory explores the Facility, and is 
attacked by a figure in improvised 
armour. The figure turns out to be Amy 
- but older. She has been living alone in 
the Facility for 36 years. [6] 

Amy leads Rory to her lair in the 
temporal engines, where she tells him 
- and, via Rory’s glasses, the Doctor - 
her life has been hell. The Doctor gets 
some technical specifications from 
the Interface and realises that he can 
fix everything by using the temporal 
engines to fold two points of Amy’s 
timeline together. [7] 

Amy realises the Doctor intends to 
rescue her past self, which will mean she 
will cease to exist. The only way she can 
survive is if she leaves with the Doctor 
and Rory. 

Using the time glass, Rory makes 
contact with the young Amy as she 
enters the lair. Young Amy persuades 
her older self to help her - she agrees, 
but on the condition that they take her 
with them. [8] 


Under the Doctor’s guidance, 

Rory manages to bring the two Amys 
into the same time-stream, with the 
TARDIS struggling to sustain the 
paradox. [9] 

They head to the gate area, where 
they are attacked by Handbots. Old 
Amy holds them off [10] as Rory and 
young Amy enter the gallery, only to 
find more Handbots there. One of them 
injects Amy with an anaesthetic that 
renders her unconscious. Rory carries 
her into the TARDIS. Old Amy then 
reaches the gallery and runs towards 
the TARDIS - but the Doctor closes the 
door. [11] He explains to Rory that if 
they leave her, she will cease to have 
ever existed. 

Rory still wants to let Old Amy in - 
but she appeals to him not to let her 
in. [12] She is then knocked out by 
one of the Handbots as the TARDIS 
dematerialises. And in the TARDIS, 
the young Amy wakes up, now the 
only Amy. 


DOCTOR WHO | THE COMPLETE HISTORY & 


THE GIRL WHO WAITED 


nig 
7 


ey 


NY 


ia 
. 


Z S | . 
(BY THE TIME AMY COULD BE RESCUED : 
| THE DOCTOR AND RORY SHE HAD LIVE 


DECADES OF HER LIAS 


a2) DOCTOR WHO | THE COMPLETE HISTORY 5 5 
> 


d unusual story - it 
ally have any other 
acters, doesn’t have 
nd the Doctor isn’t 
it that much,” 

iter Tom MacRae 
ode of Doctor Who 

ok East magazine 
before transmission. 
hire-born Tom MacRad 
itten the two-part story 
en/The Age of Steel [2006 - 
which had reintroduced the 
actor Who in the 2006 series. 
ad come close to having 
Century House, accepted as 

€ of the 2008 series after 


rig 


Pre-production 


being deferred from the 2007 run; this 
would have been a story focusing on the 
Doctor, who would become involved in the 
live broadcast of a Most Haunted-style reality 
television programme... but which was 
ultimately felt to be too similar to elements 
of the seventh episode, The Unicorn and the 
Wasp [2008 - see Volume 58]. However, 
MacRae’s career had blossomed outside 
Doctor Who with scripts for ITV1’s Marple 
and Lewis as well as BBC One’s Bonekickers. 
He also won an award with his first book for 
children, The Opposite. 

Since first working on Doctor Who, 
MacRae had got to know executive 
producers Steven Moffat and Piers Wenger, 
and during 2010 wanted to submit a 


DOCTOR WHO | THE COMPLETE HISTORY 


Older Amy 
meets her 
younger self. 


new story for the series. Prior to going 
in to pitch in the early autumn, he had 
an idea for a high-concept time-themed 
storyline which he discussed with his 
friend and fellow writer Leo Richardson 
on a boat trip; the reason for this was that 
he knew that Leo did not like science- 
fiction concepts. However, Leo understood 
MacRae’s idea which encouraged the writer 
to develop his concept of a time-bending 
story and so pitched it to the Doctor Who 
production team a week or so later. 

“T went in with the most Moffaty idea 
1 could think of, thinking it might be too 
much,” MacRae told Doctor Who Magazine. 

The idea was originally called The 
Visitors’ Room and concerned the Doctor’s 
companion, Amy, becoming trapped in an 
environment where time ran at a different 
speed, meaning that by the time she could 
be rescued by the Doctor and Rory she 
had lived decades of her life... while in 
tandem her younger self was still existing 
in her own past. Moffat was concerned 
that - to coin one of his own pieces of 
the Doctor’s phraseology - the idea was 
a bit ‘timey-wimey’, even by the standards 


DOCTOR WHO | THE COMPLETE HISTORY 


of his own chronology-twisting scripts 
such as The Girl in the Fireplace [2006 - see 
Volume 52], Blink [2007 - see Volume 56] 
or The Pandorica Opens/The Big Bang [2010 
- see Volume 66]. However, the storyline 
was sufficiently strong for MacRae to 

be commissioned to develop it further 

as a potential standby story. One of the 
slots for the 2011 series had yet to be 
allocated... and alongside MacRae’s 

idea were four other possible stories 

from other writers. 

“I fought for this spot. It was always a 
floating script... That’s one of the reasons 
I worked so hard on it - I wanted it to be 
made,” MacRae told Doctor Who Magazine. 
He very much wanted to write a special 
story for Amy Pond - as played by Karen 
Gillan - rather than a tale which would 
work with any other companion; this was 
because a central part of the idea was 
that Amy would again be ‘The Girl Who 
Waited’ as first seen in The Eleventh Hour 
[2010 - see Volume 63]. The basic idea of 
the time-streams and two Amys did not 
alter during development, and indeed the 
first 20 pages of script barely changed at 


V ©’ AAR 


all. The central idea was that the viewers 
would become engaged in the plight of 
the two Amys. However, in the original 
draft, the older Amy did not appear until 
quite near the end. One speech from the 
very first draft was Amy describing Rory as 
the most beautiful man that she had ever 
met. While this was not vital to the plot, 
executive producer Beth Willis liked this 
dialogue so much that she insisted that it 
should remain in the final script. 


he story originally had far more 
TT sierescn concepts and ideas 

at the start of the episode, but 
many of these were jettisoned during 
development to allow the Doctor 
and Rory to encounter Old Amy 
at an earlier stage and so dwell 
upon the appalling situation which 
Amy found herself in... plus the 
heartbreaking decision facing the 
Doctor and, more importantly, Rory. 
Consequently, while the script had 
initially started off with the feel 
of a science-fiction prison- 
break narrative, it softened 
into something with 
far greater emotion 
from the characters. 
By now it was also 
clear that some 
other characters 
who had appeared 
early in the tale to 
set up the situation 
and concepts were 
no longer needed. 
Consequently, the 
core story involving 
the three regular 
characters ended up 
as being clear and 


Pre-production 


simply plotted. Realising that 


the life of Amy was the key Connections: 

element, MacRae expanded Chen? _ 

this as the emotional strength B The BOGSrS Time . 
Lord physiognomy with 


of his story and pushed it 
as far as he could, stripping 
back on any redundant 
elements. The removal of 
some of the science-fiction 
elements also simplified 
what had originally been a 
more complex resolution to the situation 
into one which was firmly rooted in the 
characters. “It’s all about Amy and Rory 
and about the idea of if you could be in the 
same place at the wrong time,” explained 


two hearts, as established 
in Spearhead from Space 
[1970 - see Volume 15] 

is key to the Doctor's 
vulnerability to Chen-7, 


; Left: 
MacRae on Look East, “it’s about The Coster 
losing someone and trying to faces a moral 
choice, 


get them back.” 

Through his story and 
» the two different Amys, 
MacRae was keen to explore 
exactly what sort of person 
the Doctor’s companion was. 
Both were different versions 
of the same character, with the 
older Amy being angry and 
vulnerable. The writer’s aim was 
to take real human emotions 
and imbue these in the 
fantastic situation as far as 
possible. However, there was 
also another vein running 
through the story. “The Girl 
Who Waited, although at its 
heart it’s not funny at all, 
has got lots of humour 
in it,’ MacRae told Doctor 
Who Magazine. “Draft by 
draft, [script editor] 
_ Caroline Henry 
A was saying, ‘It’s 
getting much 
funnier as it 
goes along...” The 


DOCTOR WHO | THE COMPLETE HISTORY a> 


THE GIRL WHO WAITED » sme 


script was also written to 
be budget conscious, and so 
MacRae drew upon simple, 


Connections: 
Clom 
® The Check-In Girl refers 


blank, neutral sets and basic 
doorframes that would 
transport characters to 
different places. 

“This was commissioned 
as a back-up script... The 
first two drafts were great 
and I liked them very much,” 
Moffat told Doctor Who 
Magazine. “And then, sitting 
on the train to Cardiff, I read 
the third draft and I felt that 
old gut-punch of ‘This is 
brilliant’. Because suddenly 
it was clear and clever and 
moving and thrilling - and I was on the 
phone to the others to say it wasn’t a back- 
up script any more.” Moffat was very keen 
to see Amy given a showcase in this script, 
feeling that his character had always had 
the potential to be an action hero, as she 
displayed a ruthless streak when cornered. 

MacRae also enjoyed his first taste 
of writing for the Doctor’s eleventh 
incarnation. “It’s wonderful writing 
for Matt, he’s such a fantastic actor 
and a genuinely lovely guy,” he told the 
Northampton Chronicle. “He’s about the 
same age as me, we’re from the same town 
and we've got a lot of friends in common, 
so it was great to work with him. And as 
the Doctor, I admire him so much. I’m a 
huge fan of what he’s done on the show, 

I would say he’s ‘my Doctor’” 

For the main protagonists of the story, 
Tom MacRae had developed well-meaning 
robotic figures which attempted to help 
the infected such as Amy - but whose 
compassion would turn out to be deadly. 
He originally envisaged these as cloaked 
figures which would advance with a hand 
stretched out from their garb to administer 


to the planet Clom, the 
home of Abzorbaloff 
in Love & Monsters 
[2006 - see Volume 53] 
and the twin world of 
Raxacoricofallapatorious. 
There was also apparently 
a Disneyland on the planet 
Clom; Disneyland was a 
theme park established 

in California by the 

Disney Corporation 
in1955, 


6 DOCTOR WHO | THE COMPLETE HISTORY 


treatment; a potential influence on this 
was a scary scene MacRae recalled from 
The Trial of a Time Lord [1986 - see Volume 
42] in which the Vervoids had attacked 
one of their victims and overcome them 
with a thorn delivered from their hands. 
The cloaked figures transformed into full 
body-suited robots. In one draft of the 
script, one of the Handbots was to lose 
its hand when it was chopped off, but the 
hand would continue to move around of 
its own accord like Thing from the comedy 
horror series The Addams Family. This 
would climax in a sequence where Rory 
was able to see where the scuttling hand 
was through the Time Glass and had to 
try to direct Amy as to its whereabouts. 
“It would have been scary and funny,” he 
told the BBC website as he recalled that 
this was changed to get the characters 
back into the TARDIS. 

There was one notable change made 
to the script when it was scheduled for 
production. “I got a call from Caroline 
Henry saying, ‘Now don’t shout, but 


Zs 


can you just take Matt out of the story?” 
recalled MacRae in Doctor Who Magazine. 
This proved straightforward for the 
writer; by having the plague pose a 
threat specifically to the Doctor as a twin- 
hearted being (unlike Amy and Rory), the 
Doctor would have to spend much of the 
narrative aboard the TARDIS. The scenes 
where he originally accompanied Rory 
back out into the Kindness Facility of 
Apalapucia were simply reworked so that 
the Doctor remained aboard his ship and 
communicated with Rory via his special 
spectacles. Consequently, the Doctor would 
be present throughout the entire story, but 
the bulk of his scenes could be recorded 
by Matt Smith in a single day aboard the 
standing TARDIS set, consequently freeing 
Smith up to appear in the Doctor-centred 
Closing Time [2011 - see page 88] which 
would barely feature Amy and Rory. 
During development, the title had 
changed to The Visiting Hour and then to 
simply Kindness. However, the final title of 
the episode was The Girl Who Waited, a nod 


Pre-production 


to how the Doctor had referred to Amy 
when she had waited for him for a very 
long time in The Eleventh Hour [2010 - see 
Volume 63] and The Pandorica Opens/The 
Big Bang [2010 - see Volume 66]. Along 
with The God Complex [2011 - see page 

50], The Girl Who Waited was to be made 
as part of Block Five under the direction 
of Nick Hurran. Although new to Doctor 
Who, Londoner Hurran had an extensive 
television career, having worked on a wide 
variety of shows since the 1980s including 
Never the Twain, Wogan, Telly Addicts, Boon, 
Outside Edge and The Last Detective (on 
which he was also producer) as well as 
directing at the Royal National Theatre and 


; ? Left: 
films such as Little Black Book and It’s a Boy "Ha Dostor 
Girl Thing. He had directed Tom MacRae’s and Rory look 
script The Lines of War for BBC One’s through a 
Time Glass. 


Bonekickers series (which delighted MacRae, 
who knew that Hurran would turn his 
script into something amazing), and also 
helmed ITV1’s revival of The Prisoner. 


T t had originally been planned that a 


readthrough for The Girl Who Waited 

and The God Complex would be held 
at Upper Boat on Wednesday 9 February 
at 5.30pm... but in the event only The God 
Complex was read since this was the first 
to enter production; the reading of The 
Girl Who Waited was deferred for a few 
weeks. One of the initial discussions about 
production of the episode concerned the 
realisation of Old Amy. The team had two 
options: either to cast an older actress 
who resembled Karen Gillan in the role 
or to use prosthetics to age Gillan for the 
Old Amy material - and to record many 
key scenes twice with Gillan playing both 
roles. The concerns on the part of the 
production team were that another actress 
might not allow the audience to accept Old 


DOCTOR WHO | THE COMPLETE HISTORY & 


“KAREN GILLAN HEARD ABOUT THE 
VE FOR THE EPISODE AND 
OWED 


NARRAT | 


SETITIONED HARD TO BE ALI 


TO PLAY BOTH PARTS.” 


DMPLETE HISTORY 


Pre-production 


THE GIRL WHO WAITED » smwea 


Connections: 
Cool shades 
® When getting Rory to wear 


Amy as Amy, but to view her 
as a brand-new character. 
Moffat felt that it was best 
to have the same performer 


the spectacles, the Doctor 
claims that “glasses are 
cool”, expressing his usual 
belief in items of clothing 
or styles established when 
he chose to wear a bow tie 
in The Eleventh Hour 
[2010 - see 
Volume 63]. 


in both roles. During the 
discussion period, Karen 
Gillan heard about the 
narrative for the episode and 
petitioned hard to be allowed 
to play both parts. “They 
were talking about getting in 
an older actress, and I was, 
like, ‘Please let me do it’ 

I thought, I really, really want 
to play the 57-year-old version of Amy. 

I really just feel like I know Amy,” recalled 
Gillan in Doctor Who Magazine. 

“T volunteered myself to play older Amy,” 
she explained on Doctor Who Confidential. 
This fitted in with the production team’s 
thoughts: “In the end we all felt that this 
had to be Karen Gillan playing this part 
because that was the only way you would 
really care about her,” explained Beth Willis 
on Doctor Who Insider. 

The readthrough draft for The Girl Who 
Waited was issued on Tuesday 8 February 
and contained various differences to the 
shooting script. As the Doctor deduced 


ae 


with Rory he admitted, “Something you 
need to know, small point, but we might 
not get there exactly when we left, might 
overshoot a bit, might be a bit late.” “How 
late?” asked Rory. “A few hours? A few 
days?” ruminated the Doctor. “She’ll be 

in there for days?” exclaimed Rory. “Ora 
few weeks... maybe,” admitted the Doctor. 
“Weeks! What about years?” asked Rory. 
“Years! No! Not years! I’m not an idiot! 
And here - we - go!” replied the Doctor, 
slamming a lever and bringing the TARDIS 
in to land. “If we’re out, can we try again?” 
asked Rory, to which the Doctor replied, 
“No, this is a one-time-only trip. How can 
I put it simply? We try twice, the planet 
blows up.” 

When Rory emerged into the Gallery 
and saw the ‘ghosts’, the Doctor explained, 
“Forty thousand residents, they put them 
in family groups, community groups, 
groups of friends; each group gets their 
own timestream. It’s quarantine within 
the quarantine.” “So Amy’s completely 
alone in here?” asked Rory. “Apart from 
the Handbots - that’s why they don’t 
see,” replied the Doctor. “Having to keep 
track of all this - visual sense would be 


Right: ‘ as 

mi really the purpose of the Kindness Facility, he 
could spend originally said, “Oh. That’s it... That’s 
ie so beautiful. That’s so sad. One day that 


lasts a life time... There’s no cure, you can 
never leave, but you get to live a full and 
long life.” Explaining further to Rory, he 
commented, “There must be fixed visiting 
periods, when the Green Anchor and Red 
Waterfall timestreams meet up. Then 
after that - well you saw it; the red light 
comes on, a couple of seconds pass for 

us, and for Amy...” When the Doctor told 
Amy that he was going to use the TARDIS 
to smash through to her, he originally 
added, “I promise you won't be waiting 
long.” However, once aboard the TARDIS 


oe DOCTOR WHO | THE COMPLETE HISTORY 


AMM 


IKSSS 


too confusing. Think of it like a TV set, 
but we’re watching every channel at once. 
Every group living their own extended day. 
Their last day. Stretched into a lifetime.” 
When Rory found Amy’s smudged lipstick 
message, he asked the Doctor of the Time 
Glass, “Why’s it doing that? How come the 
Time Glass is looking back in time?” “In 
the visitors’ room I locked it onto young 
Amy,” explained the Doctor, “it’ll always 
show us when she is, and from our point 
of view - that’s in her own past.” “Waiting, 
replied Rory. “For us...” 

The sequences in the garden were 
originally set in a forest, with Rory and 
Old Amy stepping into the rich foliage 
through the glowing doorway. “How can 
you have a door without a wall?” asked 
Rory, to which Old Amy rapped the ‘air’ 
beside the door which made a noise and 
replied, “The wall’s there, you just can’t 
see it.” In the forest, Rory was stunned 
by a Handbot ‘dressed in a gardener’s 
brown overalls’. 

As the Doctor explained his rather 
wobbly plan to Amy and Rory, he 
commented, “I know, blinding you 
with science, but think malleable, 


y) 


think bendable, think the impossible. 
There’s 40,000 residents in thousands of 
timestreams, all kept in place by temporal 
engines... Old Amy and Young Amy will 
literally exist here in the same place at the 
same time and that’s how we bring her 
home... I just need something to connect 
the two Amys across time, a sentient 
signal - Old Amy! That’s you! You’re the 
link between your past and your present.” 
He also emphasised to Rory of his choice 
of whom to rescue, “That’s the only Amy 
that’s coming on the journey. We can’t try 
twice.” None of the rewiring instructions 
from the Doctor to Rory appeared, and 
Amy recalled Rory dancing at the “junior 
disco”. The montage of Amy recalling the 
TARDIS was a later edition too. 


he final TARDIS scene was 
TT siecocaty different at this stage, 

starting with Amy waking up and 
asking, “Where am I?” “In the TARDIS,” 
explained Rory. “No, where am I? Old me?” 
clarified his wife. “She couldn’t come,” 
replied Rory. “She gave you the future, 
Amy. She gave us a future.” “So, she’s 
just... gone?” asked Amy. “No,” replied the 
Doctor, “she’s yet to be. Make her proud, 
Amy. Make her proud of all you become. 
Now, I’m starving, who fancies food? 
I fancy food. I fancy fancy-food. Rory - 
Takeaway? That’s a planet 
by the way, Planet Takeaway, 
fantastic Chinese restaurants. 
Terrible Thai. Middling 
pizza.” “What I really need 
- is a bath,” declared Amy, 
“My head’s like cotton wool. 


Connections: 

Downsizing 

® The Doctor refers to 
jettisoning parts of the 
TARDIS architecture - in 
this case a karaoke bar 


Pre-production 


Left: 
Old Amy fends 
for herself. 


That thinks it’s broken glass. -inamanner first seen 
Order for me, eh? Love you.” in Logopolis [1981 - see 
Kissing Rory, Amy headed Volume 33]. 


out of the control room via 


DOCTOR WHO | THE COMPLETE HISTORY & 


Above: 
Hello to 


the Handbots. 


‘ 


an inner door, leaving her husband to 
talk to the Doctor about the solution to 
the paradox. “Sometimes there’s no right 
and wrong. Just wrong and less wrong,” 
the Doctor told Rory as he pondered if it 
would be better for the Ponds if he had 
never met them. “No. Don’t say that,” 
said Rory. “We won today. Time travel, 
sometimes it... shows you things, but Amy 
came home. She’s home now.” With this, 
Rory walked off, leaving the Doctor alone 
at the console. “I can’t keep doing this to 
them...” whispered the Doctor to himself 
as he slammed a lever down and made 
his choice... 

A shooting script for The Girl Who Waited 
was issued on Thursday 17 February. 
In it, the visitors’ room was described as 
‘a decent sized space, white walls, white 
floor, white ceiling - clinical. Green Anchor 
designs are placed on each wall, like a 
logo. In the centre of the room - a long 
white desk with seats on either side, and 


( DOCTOR WHO | THE COMPLETE HISTORY 


. SN 


mounted in the top of it - a device exactly 
like a large magnifying glass, straight out 
of Sherlock Holmes. Except this is a Time 
Glass. The lens is the size of a bicycle 
wheel, in a brass fitting. The wood handle 
is fixed to the top of the desk. Mounted 
into the handle in a vertical row, just 
below the lens, are two round lights, one 
green, one red. The red light is currently 
illuminated (meaning the Time Glass is 
inactive, showing the real room through 
the lens). When the Time Glass operated, 
the script noted, ‘it illuminates with a 
gentle noise like a PC starting up. The 
Time Glass is now active’ 

The Handbots were envisaged very 
differently, and the first - encountered 
by the Doctor and Rory - was outlined 
as ‘a robot. Dressed in a cross between a 
concierge’s uniform and a security guard’s 
- official looking but helpful rather than 
threatening. The head is white, smooth 
and featureless, like an egg. Mounted on its 


: : Pre-production 


left chest are two lights - one green, the ground, levelling the sword blade 
one red, neither illuminated at the at his throat. The figure pulls the visor 
moment. And rather horribly... its hands up revealing the lined, worn face of a 

are human. Flesh and nail and muscle - fifty-something-year-old woman, close 
at the end of tight long cuffs. The Handbot cropped red/grey hair’ 

sees with its hands - having no eyes at In the scene where Rory and Amy 

all. It holds one palm out flat as it enters made their way towards the departure 
the room, scanning round with it, reading gate, the conversation between Rory and 
the Doctor and Rory’s presence... Handbot _his older wife was originally far longer 
speaks with a soft, calming voice.’ Later with references to red-headed television 
on, other Handbots were seen ‘in blue presenter and journalist Anne Robinson. 
guards’ uniforms’ while the one which After Rory told Old Amy to stop flirting 
attacked Amy with syringes at the with him, Old Amy replied, “Aren’t you 
Check-In was seen ‘in a pilot’s uniform going to compliment my hair? I did it for 
and hat’. At this point, the Handbots did you. Don’t you remember, you had that 
not have their secondary delivery system thing for Anne Robinson.” “I was 14!” 
where their faces opened up. The voice of protested Rory. “So was I,” replied Amy, 
Interface was originally male, described _ “And you had a thing for Anne Robinson.” 
as ‘a rich, warm voice like Eddie Mair’s’ “T didn’t!” argued her husband. “You 

in reference to the tones of the Scottish sent her a Valentine. Twice,” insisted 
broadcaster best known as the host of Old Amy, nodding to her younger self, 
Radio 4’s PM programme. “T can tell you what she’s thinking; one 


day, when I’m older, I am going to fulfil 
my husband’s wildest Watchdog fantasy. 
And look. I did.” She gave an Anne 


he Gallery of Red Waterfall 2 was Robinson-style wink and said, “Goodbye.” 
Teese as ‘an art gallery - full of “I... oh... wow...” gasped Rory. 

familiar paintings and sculptures For the Doctor and Rory, the events 
- Mona Lisa, Venus de Milo - but took place pretty much in real time over 
interspaced [sic] with loads of really the space of an hour or so, but for Old 
weird alien stuff, a mish-mash of known Amy, the adventure spanned 36 years three 
and unknown’; this referenced both the months and four days. 
sixteenth-century painting La Gioconda A new production schedule for Block 
by Leonardo da Vinci and the second- Five was then issued on Monday 21. 
century BC Greek sculpture attributed Because of changes to planned recording 
to Alexandros of Antioch. Old Amy was days at weekends, various locations and 
introduced as ‘a figure’ described as being sequences were shuffled around; it had 
‘dressed in a mish-mash of scavenged and originally been planned to record the 
adapted pieces hammered into armour, forest scenes at Dyffryn Gardens on 
all mis-matched - a direction sign, a half- Friday 4 March, at the power station in 
pipe, a bit of Handbot face casing. The Uskmouth on Friday 11, at the National 
figure’s face is covered in a visor and it Museum of Wales for the Gallery of Red 
carries a long Japanese sword in one Waterfall on Monday 14 and Tuesday 15, 
hand and a bo staff in the other. With and then to record the TARDIS scenes on 
catlike grace it strides towards Rory on Saturday 19. 


DOCTOR WHO | THE COMPLETE HISTORY & 


S WAITED >» storv221 


© DOGTOR WHO | THE COMPLETE HISTORY 
Pa 


-STYLE 
SOLD AMY DEVELOPED A NINJA STY 


| TYPE OF FURTIVE MOVEMENT ._ 


-. 


) = 
Praduction 


nsert recording for The Girl Who 

Waited began on Wednesday 23 

February; this was Day 6 of Block 

Five and was largely devoted to 

The God Complex, but after 2pm 

a second camera unit recorded 
all the material with the video Check-In 
Girl played by Josie Taylor in Studio 6 at 
Upper Boat Studios. During the day, Karen 
Gillan was scheduled to have a fitting for 
her prosthetic as Old Amy, and Rhiannon 
Ward was also to have a series of fittings 
since she would be body-doubling Gillan 
for much of the recording on The Girl Who 
Waited. The prosthetics camera test was 
deemed successful and so plans for Gillan 
to play Old Amy went ahead. “It’s really 
scary,” Gillan told Doctor Who Magazine of 


GBETOR WHO | THE COMPLETE HISTORY > 


THE GIRL WHO WAITED 


Right: 

The handy 
Handbots seek 
their patients. 


the aging prosthetics, “It was really freaky 
seeing myself for the first time. It was one 
of the freakiest things ever.” 

The readthrough for The Girl Who 
Waited was held at 7.30pm on Thursday 
24 February at the Novotel in Cardiff 
following recording for the day on The God 
Complex; the only cast members required 
were the three regulars - Matt Smith, 
Karen Gillan and Arthur Darvill - plus 
Rhiannon Ward. “When I read the script 
for The Girl Who Waited | was so excited 
because it explores brand-new territory 
in the character of Amy Pond,” Gillan 
told the BBC website, while explaining to 
Confidential about the different versions 
of Amy: “I see them as two different 
characters. They’ve led two different lives 
which has made them very different.” 
Arthur Darvill was also very impressed 
with the script with regards his character’s 
involvement, telling Confidential, “1 think 
it’s one of the hardest situations Rory’s 
ever been in.” 


longside recording on The God 
A Complex, Gillan had a costume-fitting 

for Old Amy at noon on Monday 
28 February; this featured some subtle 
padding to show Old Amy as being still fit 
and quite muscular. Recording on The Girl 
Who Waited began in earnest on Tuesday 
1 March. The morning was devoted to 
work on The God Complex on location, 
while back at Upper Boat the team from 
BBC Three’s Doctor Who Confidential was 
present for the Handbot rehearsals being 
conducted by choreographer Ailsa Berk 
with her team of movement artists in 
Studio 2 from 9am. Six plastic Handbot 
suits had been constructed by the specialist 
costume-maker Robert Allsopp (who had 
constructed the peg-dolls for the Mark 


ss DOCTOR WHO | THE COMPLETE HISTORY 


Gatiss’ script Night Terrors [2011 - see 
Volume 68]), and during the day stunt 
performer Belinda McGinley also had a 
fitting with one of these for the action 
sequences which she would be required 
to perform in later scenes. The suits were 
specifically designed to enforce a rigid, 
robot-like movement, particularly with 
regards the mobility of the hands and 
arms. Also present for recording was Tom 
MacRae, who was delighted with the look 
of the Handbots; the finished image of 
the robots looked benign and pleasant, 
but allowed the automatons to become 
threatening later in the story. Beneath the 
solid masks of the Handbots, the actresses 
wore smooth hoods over their hair. 

When the team returned to Upper 
Boat later on that day, Berk also worked 
with Gillan regarding her movement and 
posture for her performance as Old Amy, 
and how Old Amy would have developed 
a ninja-style type of furtive movement. 
Gillan also had sessions with a voice 
coach who explained how her voice 
as Old Amy should be lower in tone. 
The actress was careful, however, to 
show glimpses of younger Amy at key 


points in her performance as required by 
the script. 

From after lunch to 8pm, recording 
continued in Studio 5 where the visitors’ 


room and associated entrance corridor 
had been constructed for the Two Streams 
Facility. This was initially dressed as the 
visitors’ room for Green Anchor in which 
the Doctor and Rory found themselves. 
This was the first day on which Matt 
Smith worked wearing the Doctor’s new 
longer coat which viewers would first 
see in Let’s Kill Hitler [2011 - see Volume 
68] (an episode recorded after The Girl 
Who Waited); “I’ve been campaigning for 
a new coat,” he told the Confidential crew 
as he demonstrated to his co-stars how 
the garment had a special pocket for the 
Doctor’s screwdriver... and then proceeded 
to continue teasing Karen Gillan. In 
addition to the three regulars, Barbara 
Fadden also featured as the Handbot 
which approached the Doctor and Rory, 
with the actress being shot from angles 
which did not require her to be wearing 
the costume’s head. 

Work on Wednesday 2 March began 
at 7am with a further prosthetic test for 


Production 


Gillan to try out her make-up 
as Old Amy; for four hours, 
Gillan tested out the neck 
and face pieces as well as the 
teeth fashioned for her by 

a specialist company called 
Fangs FX. Meanwhile, the 
camera crew began recording 
at 8am with further work 

on the futuristic white sets 


Connections: 

Work of art 

® Aversion of the Mona 
Lisa painting by Leonardo 
da Vinci can be seen in 
the Gallery on Apalapucia; 
this famous portrait had 
been central to the plots of 
City of Death [1979 - see 


in Studio 2, completing Nelame:st] and mi = 
various shots in the entrance adventure Mona Lisas 
corridor and visitors’ room VERGE OM FNS SEKI 
for Green Anchor with the Jane Adventures, 


focus on Smith and Darvill. 

From Thursday 3 March, a second 
production team was at work on Closing 
Time [2011 - see page 88] which comprised 
Block Six; as such, some of the regular 
crew was split between the two units and 
Matt Smith went to work with the team 
recording on location for Closing Time. Nick 
Hurran’s team remained at Upper Boat, 
continuing to record on the sets in Studio 
5 from 8am. Scenes of Amy in the entrance 
corridor were completed first, followed by 
the material of her in the visitors’ room and 
airlock for Red Waterfall 1. For the shots 
requiring glimpses of the Doctor and Rory, 
Matthew Humphries doubled for Smith 
alongside Darvill. Elsewhere at Upper Boat, 
the Handbots had their final fittings. The 
end of the day was spent working on The 
God Complex. 

A series of pink revision pages was also 
issued for The Girl Who Waited on Thursday 
3. These generally covered the new facet 
of the Handbots, which allowed their faces 
to open to reveal their secondary delivery 
system for their drugs: ‘Suddenly, its head 
starts to split open - the line of the split 
extends and runs side-to-side along the 
whole length of the Handbot’s lower face 
- a horizontal crack in the whole head 
appearing. Then - the top half of the face 


DOCTOR WHO | THE COMPLETE HISTORY & 


THE GIRL WHO WAITED 


Connections: 
Raggedy man 
® Old Amy calls the Doctor 


slides up, like a motorcycle 
helmet visor being opened - 
the lower half staying fixed in 
place as everything else moves 
up and away from it. Imagine 
yawning and the whole of the 
top of your face sliding off - 
that’s what it looks like. As the 
face slides clear it reveals the 
internal workings; blinking 
lights and wires - and a nozzle 
in the centre of the ‘face’, 
where the bridge of the nose 
would be - which extends out 
of the Handbot head - a blow 
pipe!’ The conversation between Rory and 
Old Amy about Anne Robinson was also 
dropped in favour of a shorter exchange 
about their childhood, while there were also 
minor changes to Old Amy’s demise as the 
Handbot injected her. 

Friday 4 March saw Nick Hurran’s 
team working on The God Complex while 


“Raggedy Man” as she had 
done in The Pandorica 
Opens/The Big Bang [2010 
- see Volume 66], recalling 
her childhood memories 
of the "Raggedy Doctor’ 
Rory also recalls the Doctor 
wearing a fezin The 
Pandorica Opens/ 
The Big Bang. 


camer ws Smith, Gillan and Darvill concentrated 
Red Waterfall... on Closing Time. On Saturday 5 March, 


© 
a 


the South Wales Echo ran a story about the 
recently announced Doctor Who bus tours 
of Cardiff run by Brit Movie Tours for 
four hours every Saturday from the start 
of April; the company had previously run 
similar location tours for the sitcom Gavin 
& Stacey. 

The Wales Millennium Centre in Cardiff 
Bay was to be one of the main venues for 
parts of the Two Streams Facility, having 
previously been featured in New Earth 
[2006 - see Volume 51] and The Sound 
of Drums [2007 - see Volume 56] as well 
as episodes of The Sarah Jane Adventures. 
For Monday 7 March, a ‘continuous day’ 
without a lunch break was scheduled 
starting at 7.30am and concluding at the 
earlier hour of 4.30pm. Gillan had a 4am 
start so that Neill Gorton and Dominique 
Colbert from Millennium FX could apply 
the prosthetics to transform her into 
Old Amy; Ward would play Young Amy 
for the day. Of the aging process, Gillan 
told the BBC Press Office, “It was great 
fun - despite the early starts each day!” 


Once in make-up, during the morning 
Gillan rehearsed some action sequences 
with stunt arranger Crispin Layfield and 
also McGinley who would be playing 

the stunt Handbot. A team from Doctor 
Who Confidential was present, along with 
Ailsa Berk, who supervised the first major 
sequences with the Handbots. Work began 
on the scene at the Red Waterfall check- 
in as the two Amys met and engaged in 
combat with the Handbots, and then 

the subsequent scene in which Rory and 
both Amys attempted to evade a whole 
group of Handbots as they approached 
the departure gate. The crew then moved 
onto the Check-In scenes earlier in the 
episode where Old Amy lost her temper 
with the Doctor. For various sequences 
during the story, a take of the scene also 
had to be recorded on a handheld camera 
to simulate Rory’s point of view through 
his spectacles for later playback onto the 
TARDIS screens. 

Monday 7 March was also the day that 
Faith Penhale was announced as the new 
head of drama at BBC Cymru, joining 
the corporation from Kudos Film and 
Television, and would be taking over the 
senior position from Piers Wenger; Wenger 
would however continue in his role as an 
executive producer on Doctor Who for the 
next few months. 

There was no early make-up start for 
Gillan back at the Millennium Centre 


on Tuesday 8 March where work from 
7am to 4pm was planned around scenes 
featuring Young Amy. The first sequence 
to be recorded was of Amy entering the 
spaceport coffee bar and talking to the 
interface. Following this, the BBC crew 
moved to the upper floor of the venue to 
record Amy hiding and leaving her lipstick 
message for the Doctor. The other half 
of the scenes from the previous day were 
now recorded with Gillan as the younger 
Amy and Ward standing in as her older 
self; parts of the scenes already recorded 
were played back for reference, with the 
Confidential crew again present to cover 
work, including McGinley’s flip in the 
Handbot costume onto a crash mat when 


_ attacked by Amy. A greenscreen was also 


used for planned multiplication shots 
of the Handbots assembling at the Red 
Waterfall check-in along with a few 
other insert and effects shots of desks 
and the plinth seen as a hologram in the 
garden scenes. 


afety precautions were of paramount 
G importance on Wednesday 9 March 

when the Block Five team recorded 
from 7am to 5.40pm at Uskmouth Power 
Station in Newport; this venue had been 
used a few weeks earlier when recording 
A Good Man Goes to War [2011 - see 
Volume 68]. Gillan was playing Old Amy 
again which meant a 4.35am make-up call 
for work with Millennium 


Production 


Left: 

.. While the 
Doctor is in 
Green Anchor. 


FX. The industrial area Connections: 
sequences in Red Waterfall Tweet, tweet 

were recorded first, starting ® The Doctor believes 
with Ward as Young Amy that Amy wants to update 


moving towards her hiding 
place, and continuing with 
Rory and Old Amy returning 
from the gardens. The scenes 


DOCTOR WHO | THE COMPLETE HISTORY a 


Twitter, the popular online 
social microblogging site 
launched in 2006, 


Karen Gillan 
takes out 
a Handbot. 


in the engine room where Amy had made 
her secret headquarters were recorded 
next, with Nathalie Cuzner in the Handbot 
costume as Rorybot. 

Back at the Millennium Centre on 
Thursday 10, recording was scheduled 
for 6am to 3pm, starting with the rest 
of the first scene in the check-in area 
which featured Amy interacting with the 
pre-recorded image of the Check-In Girl. 
The team then moved upstairs for other 
check-in area scenes such as Young Amy’s 
encounter with a Handbot which wanted to 
inject her, and also her sprint to the hiding 
place where she would leave her message for 
the Doctor. Sequences were then recorded 
of Rory seeing the message through the 
Time Glass and also his rewiring of the 
mechanism hidden in the plinth. 

Comments made by Gillan about being 
taunted over her tall stature and red hair 
at school fuelled various news stories on 
Friday 11 including Gillan suffered ‘ginger’ 
taunts in The Sun and Doctor Who star 
Karen Gillan was teased over red hair in the 


DOCTOR WHO | THE COMPLETE HISTORY 


Daily Mirror. Meanwhile The Sun also ran 
Rearguard action for the Doctor and reported 
that Matt Smith’s posterior was not going 
to appear on screen in the forthcoming 
BBC Two film Christopher and His Kind in 
which Smith played writer Christopher 
Isherwood... apparently because the BBC 
was concerned about his wholesome image 
as the Doctor. 

Work from 7am to 6pm on Friday 11 
March was staged at Dyffryn Gardens 
at St Nicholas in the Vale of Glamorgan. 
The Victorian country manor offered 
lavishly landscaped botanic gardens which 
were perfect for the exterior scenes, and 
had previously featured in The Girl in the 
Fireplace [2006 - see Volume 52] and Silence 
in the Library/Forest of the Dead [2008 - see 
Volume 59] as well as episodes of Torchwood 
and The Sarah Jane Adventures. Scenes 
with Gillan as Young Amy discovering the 
door to the temporal engines and pressing 
the Handbots’ hands together were 
recorded first, after which Gillan was again 
transformed into her older self by Gorton 


and Colbert from 10.30am. Meanwhile, 
establishing shots of the garden were taken 
and there was a long lunch for the rest of 
the team. Gordon Seed then stood in as 
stunt arranger for the sequence where 

Old Amy saved Rory after he was stunned 
by a Handbot. Work concluded with the 
garden scenes of the Doctor pondering 

on the location of the regulator for the 
temporal engines. 


Ctint 4 
SLUT AT 


aturday 12 saw another early start for 
Gillan, once again being transformed 


into Old Amy from 6.15am. 

Recording was staged back at Upper Boat 
from 8am to 9pm, with the white sets 
used earlier in Studio 5 now revamped 
into the gallery for Red Waterfall. The 
first sequence to be recorded was Old 
Amy rescuing the newly arrived Rory in 
an action piece co-ordinated by Crispin 
Layfield, with McGinley again playing the 
stunt Handbot dispatched by the older 
woman. The subsequent scenes of Rory 
talking to his older, embittered wife then 
continued. Work proceeded with the 
sequences of Rory alone in the gallery, 
prior to seeing the ‘ghosts’. After this, the 
remainder of the day was spent on a stunt 
rehearsal of the major set piece for the 
episode - Old Amy’s dispatching of the 
Handbots. “I also got to film an amazing 
fight sequence for the episode,” Gillan 
told the BBC Press Office. “I had two 
weapons and had to take on six Handbots. 
I worked with a stunt co-ordinator who 
choreographed the scene and I had to do 
it in one fluid movement. It was actually 
quite difficult and I take my hat off to 
people who do that for a living.” 

After a day off, it was a 5.55am call for 
Gillan on Monday 14 so that she could 
be ready to record as Old Amy from 8am 


Production 


to 7pm at Upper Boat; this 
instance of the prosthetics 
application was covered by 
the Confidential crew. There 
was then a stunt rehearsal 
for the Handbots under the 
supervision of Layfield, with 
McGinley joined by stunt 
performer Stephanie Carey. 
The action sequence of Old 


Connections: 

Dance craze 

»® Amy recalls dancing 
the Macarena in her 
youth; this 1994 Spanish 
dance song by Los del 
Rio had become a major 
international hit in 1995 
and 1996, particularly 


Amy fighting the Handbots see o — 
in the Gallery prior to the recording as ‘the Bayside 
Boys Mix. 


TARDIS door slamming 
shut was recorded first, with 
Andy Jones doubling for the absentee 
Matt Smith who was still working with 
the other unit. This was shot specifically 


_ in slow motion at 50 frames per second 


by means of a special camera attachment; 
Nick Hurran wanted one shot in particular 
using this technique - a shot of Old Amy 
taking out the six Handbots in the most 
elaborate way possible with the slow 
motion emphasising the grace of her 
weapons and the swirl of her long hair, 
making the whole sequence look larger and 
more powerful. “I think Amy’s becoming 

a bit of an action hero,” commented 

Gillan to the Confidential crew of this 
sequence. The scenes of Old Amy talking 
to Rory through the TARDIS door (the 
new, recently constructed prop) were then 
recorded, prior to her sacrifice for her 
younger self. The earlier action scene of 
Young Amy being rescued while Old Amy 
held the Handbots off was also recorded, 
along with a slow motion insert for The 
God Complex. 

Karen appeared as young Amy on 
Tuesday 15 March when recording in 
Studio 5 from 8am to 7pm was conducted 
alongside work in Studios 2 and 6 by 
the Block Six team. The shots of Young 
Amy for the major action set-piece in 
the Gallery and gate area were recorded 


DOCTOR WHO | THE COMPLETE HISTORY & 


THE GIRL WHO WAITED =» storvezi 


Right: 
Karen Gillan 
stands by 
for action. 


with Layfield supervising McGinley’s 
stunt performance as a Handbot. The 
other scenes in the gate area were then 
recorded with Young Amy deciding to 
visit the garden. Further pick-up shots 
recorded included Rory controlling the 
temporal engines, an insert of Rory seeing 
Amy’s lipstick message, Rory’s spectacles 
exploding and some inserts for The God 
Complex. Confidential was again on set, this 
time following focus puller Steve Rees for 
the latest A Day in the Life feature. 

Wednesday 16 March was the final day 
that Gillan had to be aged by Gorton 
and Colbert, attending her 6.05am call 
to be ready for recording from 8.15am to 
6.45pm on location at the service area of 
Johnsey Estates, an industrial estate near 
Pontypool used frequently on Doctor Who, 
most recently in November for scenes in 
The Impossible Astronaut/Day of the Moon 
[2011 - see Volume 66]. There was also 
a change to the production schedule 
announced; originally it had been planned 
to record Matt’s scene in the TARDIS on 
Saturday 19, but these were now deferred 
to Wednesday 23. The crew ensured that 
they stuck to designated areas only as the 
scenes with Old Amy in the engine room 
and service area were recorded. A couple 
of insert shots were also recorded of Old 
Amy expiring and pressing together the 
Handbots’ hands. There was also a change 
to the production schedule announced on 
this day; originally it had been planned to 
record Smith’s scenes in the TARDIS on 
Saturday 19, but these were deferred to 
Wednesday 23. 

The second day at Johnsey Estates on 
Thursday 17 also ran from 8.15am to 
6.45pm, with Gillan as Young Amy and 
Ward as her aged double. The sequences 
with Young Amy in the engine room 
quarters and service area were then 
recorded, corresponding with some of the 


& DOCTOR WHO | THE COMPLETE HISTORY 


work undertaken the previous day. This 
included the earlier scenes in which Amy 
attempted to hide and then had to escape 
from a Handbot before finding refuge in 
the exhaust port. 


lock Six concluded recording on 
i Thursday 17, which meant that 

Matt Smith was able to rejoin the 
crew of Block Five on Friday 18 March for 
work from 8am to 7pm. Recording on the 
TARDIS set occupied most of the day, with 
some initial material for The God Complex. 
The opening TARDIS scenes with all three 
regulars were recorded first, after which 
Matt Smith rehearsed all the solo Doctor 
material to be recorded the following 
Wednesday. Other inserts included the 
shot of the syringe being plunged into Old 
Amy’s arm in the Gallery, and a shot of 
Rory’s reaction as he saw the writing on 
the door via the Time Glass. Friday 18 also 
saw a barrage of publicity for Christopher 
and His Kind which was due to air that 
weekend on BBC Two. That evening, Smith 


travelled to London to make an appearance 
in character as the Doctor on BBC One’s 


live Comic Relief telethon. 

Saturday 19 found Smith being 
interviewed by Graham Norton on his 
Radio 2 morning show during which he 
promoted both Christopher and His Kind 
and the forthcoming new run of Doctor 


Production 


Who; answering questions from listeners 
he indicated that his Doctor Who schedule 
which required working two weekends per 
month was “totally all-consuming... it is 
gruelling, I can’t lie... it’s a fantastic job”. 
Following a day off on Monday, 
recording on Let’s Kill Hitler kicked off 
Block 7A on Tuesday 22 March. However, 
Wednesday 23 March was then spent on 
Day 26 of Block Five, completing recording 
of all the outstanding TARDIS material on 
the standing set of Studio 1 at Upper Boat. 
The scenes at the end of the episode with 
the Doctor, Rory and Amy were recorded 
first, and then Smith completed the 
scheduled 8am to 7pm recording with all 
the Doctor’s solo scenes aboard his vessel. 
The final recording for The Girl Who 
Waited comprised the crowd shots of the 
‘ghosts’ seen by Rory, recorded at Upper 
Boat by a second camera unit helmed 
by Steve Webb of Doctor Who Confidential 
between 2pm and 4pm on Tuesday 26 
April during the recording of The Wedding 
of River Song [2011 - see Volume 70] for 
Block 7B. 


PRODUCTION 
Wed 23 Feb 11 Upper Boat Studios: 
Studio 6 - Neutral Backing 


Tue 1-Wed 2 Mar 11 Upper Boat Studios: 


Studio 5 - Entrance Corridor - Green/Red/ 
Visitors’ Room - Green Anchor 

Thu 3 Mar 11 Upper Boat Studios: Studio 
5 - Entrance Corridor/Visitors' Room - Red 
Waterfall 1/Airlock - Red Waterfall 1 
Mon7 Mar 11 Millennium Centre, Bute 
Place, Cardiff Bay (Check-In Area - Red 
Waterfall 2) 
Tue 8 Mar 11 Millennium Centre 
(Spaceport Coffee Bar - Red Waterfall 2/ 
Check-In Area - Red Waterfall 1 & 2) 

Wed 9 Mar 11 Uskmouth Power Station, 
West Nash Road, Newport (Industrial Area 


- Red Waterfall 1/Red Waterfall 2/Engine 
Room - Red Waterfall 1/Red Waterfall 2) 
Thu 10 Mar 11 Millennium Centre (Check- 
In Area - Red Waterfall 1 & 2) 

Fri 11 Mar 11 Dyffryn Gardens, St 
Nicholas, Vale of Glamorgan (Garden - Red 
Waterfall 1/Red Waterfall 2) 

Sat 12 Mar 11 Upper Boat Studios: Studio 
5 - Gallery - Red Waterfall 2 

Mon 14 Mar 11 Upper Boat Studios: 
Studio 5 - Gallery 1 - Red Waterfall 2/ 
Gallery 2 - Red Waterfall 2 

Tue 15 Mar 11 Upper Boat Studios: 
Studio 5 - Gate Area - Red Waterfall 2/ 
Gallery - Red Waterfall 2/Gate Area - Red 
Waterfall 1/Check-In Area - Red Waterfall 
1&2 


Wed 16 Mar 11 Johnsey Estates, 
Mamhilad Park Industrial Estate South, 
Pontypool (Engine Room Quarters - Red 
Waterfall 2/Service Area - Red Waterfall 
2/Gallery Area - Red Waterfall 2/Gate Area 
- Red Waterfall 2) 
Thu 17 Mar 11 Johnsey Estates (Engine 
Room Quarters - Red Waterfall 1/Service 
Area - Red Waterfall 2/ Service Area - Red 
Waterfall 1) 
Fri18 Mar 11 Upper Boat Studios: 
Studios 1+2 - TARDIS/Gallery - Red 
Waterfall 2/Red Waterfall 2 

Wed 23 Mar 11 Upper Boat Studios: 
Studios 1+2 - TARDIS 
Tue 26 Apr 11 Upper Boat Studios: 
Ghost Shots 


DOCTOR WHO | THE COMPLETE HISTORY ae 


THE GIRL WHO WAITED 


Rory is reunited 
with his wife, 


STORY 221 


Post-production 


he voice of the Interface was 

recorded by the award-winning 

actress Imelda Staunton 

whose notable stage career 

ran alongside movie work 

including the Harry Potter films 
and television series including The Singing 
Detective and Up the Garden Path. 

Numerous cuts were made to the episode 

to bring it down to time, and the middle 
of the episode was also substantially 
resequenced to separate out the different 
timestreams for Amy. After Rory peered 
through the Time Glass and remarked on 
it being a magnifying glass, he originally 


© DOCTOR WHO | THE COMPLETE HISTORY 


added, “But it doesn’t magnify anything.” 
“Well, it’s just a glass then,” replied the 
Doctor. When Amy found that she was 
unable to enter the visitors’ room, she 
called out to her fellow travellers, “Boys - 
hello - 01 - it’s locked!” A short scene was 
cut after Rory wondered where Amy had 
got to, showing that Amy was standing 

in exactly the same place as Rory in the 
visitors’ room, but facing into it rather 
than out. “Where are you?” she asked as 
the door slid shut and she realised that 
there was no exit button. “Great. Trapped,” 
remarked Amy as she crossed to the Time 
Glass and sat at the desk. When confronted 


NN NN stprotuction 


by the Handbot, Rory originally asked 
“Man in a suit?” “No. Robot with hands,” 
replied the Doctor in an exchange which 
was redubbed. As Rory backed up against 
the wall from the advancing Handbot, Amy 
continued talking to the Doctor: “So the 
next time this thing bleeps and I lose you 
how long will it be?” “Seconds, minutes 
maybe,” replied the Doctor, adding, “years, 
maybe.” “If the visiting period cannot 

be confirmed, the visiting period will be 
terminated,” announced the Handbot as it 
raised its hand to Rory who called, “What 
do I say! Doctor!” 


3 
fter the opening titles, when the 
|. Vie sonicked the Time Glass, 
he cut off Amy’s questions and 
turned to Rory, ordering, “Robot - 
repeat question!” The dialogue was then 
resequenced within the scene itself. After 
the Doctor replied that the visit would 
be as long as it takes, he asked, “Good 
enough answer for you?” “Visiting period - 
confirmed,” agreed the Handbot as a green 
light glowed on its chest and it withdrew 
its hand from Rory’s face. Rory slammed 
the exit button opening the doors and 
called, “Amy! Press the exit button!” In the 
Red Waterfall version of the room, Amy 
stared at a blank wall and said, “There 
isn’t one!... Not where I am!” “How can 
she hear me?” asked Rory. “Speakers, in 
this, clever thing,” explained the Doctor 
as he examined the Time Glass before the 
discussion about the Handbots which 
was placed earlier into the scene. “Robot, 
Handbot - will you answer questions?” 
asked Rory. “Statement - confirmed,” said 
the Handbot as its chest lit green. “Why is 
my wife on the wrong side of that glass?” 
asked Rory. “The infected must be shown 
kindness,” explained the Handbot. When 


the Handbot explained that Apalapucia Above: 
. . - A Handbot 
was under quarantine with no visitors, the 
approaches, 


Doctor exclaimed, “But you're the great 
explorers, the hub of 10,000 cultures, you 
invented the Christofi Warp Drive, you 
can’t just shut down!” When the Doctor 
heard about the outbreak of Chen-7, Rory 
said, “I don’t get it - what’s being ill got 
to do with splitting time?” As the Doctor 
pondered that Red Waterfall was time- 
compressed, he noted, “You could be in 
there years and out here only a day would 
pass. A kindness facility. It’s the only thing 
they can do for the people they love. You 
get Chen-7, you die in a day, but put you 
in a faster timestream - that day becomes 
a lifetime.” “In quarantine?” asked Rory, 
“What about their families? Their friends?” 
“Visiting hours’ the Handbot said,” 
recalled the Doctor. “This is a visitors’ 
room.” When the Doctor triggered his 
small act of vandalism, he told Amy, 

“The room is going into lockdown” and 
told her to head into the Facility. “I have 
to go in there!?” asked Amy, to which the 
Doctor replied, “Hide in the crowd.” As 
Amy called out to the Doctor not to leave 


DOCTOR WHO | THE COMPLETE HISTORY & 


THE GIRL WHO WAITED =» smwea 


Right: 

“Doctor, let 

me in.” Old Amy 
doesn't want to 
get left behind. 


her and the Doctor assured her he was 
right there, she asked, “Where are you?” 
to which he replied, “By your side. Oh 
Amy Pond, I am right by your side.” 
Having established the position of Rory 
and the Doctor relative to herself, Amy 
said, “Good, cos this is for both of you. 

I trust you. Completely.” She gave them 

a big thumbs up. When the Doctor said 
he was using the TARDIS to smash 
through and find her, he added, “But 

I trust you, and I know you, and you can 
do this.” When Amy left the airlock in 
Red Waterfall, she was to have opened the 
door and heard the chatter and bustle of 
a busy spaceport, causing her to say, “Oh. 
My. Word.” 


PATO VO 
s the Doctor prepared to smash 
Pieces the time wall and told Rory 
to hold onto something, he originally 
added, “No Rory, not me, flattered but hug 
a railing - geronimo!” As Amy entered the 
spaceport check-in, she was to hear all the 
noise of the other unseen travellers. After 
the Interface announced that it would be 
her guide and friend, Amy asked, “What 
is this place?” “The check-in for new 
residents,” explained the voice, “A perfect 
replica of the famous Mayfield Avanti 
Spaceport.” “Right, getcha, a little taste 
of home,” said Amy, “Well, someone’s 
home. But the Handbot said 40,000 
residents - where are they?” “You entered 
alone,” explained the Interface. “You are 
the only resident in this timestream.” 
“T don’t understand, I can hear them,” 
remarked Amy. “The soundtrack of the 
Mayfield Avanti Spaceport provides mood 
and ambience. If you prefer I can switch 
it off,” offered the Interface as the area 
fell silent. After speaking of the Glasmir 
Mountains, the Check-In Girl originally 


6 DOCTOR WHO | THE COMPLETE HISTORY 


continued, “Or for some home comforts, 
try the restaurant zone, offering a selection 
of Apalapucian, Martian, Atraxi and 
traditional Earth cuisine.” “This place - 
it’s a theme park...” asked Amy. “Your 
interest is in theme parks?” asked the 
Check-In Girl as she commented on the 
roller-coaster zone. Having been directed 
to the departure gate, Amy commented, 

“I was so ready for monsters. Being alone’s 
worse. Interface?” “I am here, Amy Pond,” 
said the voice. “So you'll tell me anything 

I want to know?” asked the new inmate. 
“That is my function,” agreed the Interface. 
“Tell me how I can find my friends,” asked 
Amy, only to be met with silence. “Right, 
so you'll tell my anything I want to know 
as long as it doesn’t help me escape,” 
continued Amy, to be met by more silence 
and prompting her to observe, “Your 
silence speaks volumes.” 

The sequence of the story was then 
revised. Originally the spaceport check-in 
scene was to be followed by a short scene 
of the TARDIS landing and Rory waiting 


anxiously by the door. “Rory - I’m giving 
you my sonic screwdriver,” said the Doctor. 
“T’ll be working it by remote control, 

you just point and click. Do not lose it. 

It’s my favourite one.” Rory took the 
instrument and replied, “Ok, let’s go get 
the wife.” Handing Rory the Time Glass, 
the Doctor added, “And put this back, 
Rory. Come on now. We're not thieves.” 
Rory then stepped out into the Gallery, 
monitored by the Doctor. Following this, 
Amy encountered the Handbot near the 
check-in which attempted to inject her. She 
fled through the service area. Meanwhile, 
Rory was studying the apparently deserted 
Gallery. Amy was then confronted by 

the three Handbots in the service area. 
Back in the Gallery, Rory encountered the 
strange figure who revealed herself as the 
Old Amy... while at the same time Young 
Amy was entering the departure gate 

and selecting the garden, arriving in the 
replica of the Shallanna mansion. Back in 
the Gallery, Old Amy saved Rory from a 
Handbot, after which Young Amy walked 


among the statues in the garden and 
asked about the temporal engines. When 
she received silence from the Interface, she 
asked, “Ok! Another way! The temporal 
engines are linked up to the vents, right? 
And the vents are in check-in - so the 
engines must be too. Warmer?” There 

was still no response. “Check-in is a copy 
of the Mayfield Avanti Spaceport. I want 
to see Mayfield Avanti - the real one,” 
asked Amy, and an image of the real 
Spaceport appeared in the Interface’s light 
beam. Scanning it, Amy commented, “Ok, 
ok, ok - hold on! That wall!... Now show 
me the Spaceport here.” Comparing images 
she noted, “There! There’s an extra door 
in the copy! Now why would you have an 
extra door? Unless, that’s where you’re 
hiding your temporal engines! Oh yes! 
How smart was I?” “You were extremely 
smart,” agreed the voice. “Interface! That’s 
the nicest thing a beam of light’s ever said 
to me,” said Amy as she moved off. 

Back in the Gallery, Rory learned how 
long his wife had been alone and Old 
Amy vented her wrath at the Doctor. 

The Doctor asked how Amy knew he was 


DOCTOR WHO | THE COMPLETE HISTORY 


Amy ina pair 


of “ridiculous” 


glasses. 


37 


THE GARY. : 


Rory looks 
through the 
Time Glass. 


listening in on their conversation. “I’m a 
genius now,” replied Old Amy, “I notice 
these things. If you'd used a retrogressive 
chatback loop you could have fitted the 
whole thing in a contact lens.” “Yes, but 
glasses are cool,” replied the Doctor. When 
the Doctor warned Old Amy about the 
Handbots behind her, the action cut to 
Young Amy in the garden tackling two 
Handbots by placing their hands together. 
Old Amy then did exactly the same thing 
in the Gallery, commenting that she had 
learnt this trick on her first day. The 

next scene with Young Amy was then of 
her writing her lipstick message on the 
door which suddenly became older with 
the passage of time as the subsequent 
scenes continued mainly with Old Amy. 
“And what about Amy, my Amy, can we 
get her back?” Rory asked the Doctor, 
whose voice replied, “Time’s in flux here, 
anything’s possible.” After Rory remarked 
that she had made a sonic screwdriver, 
Old Amy retorted, “It’s a probe, not a 
sonic screwdriver, a sonic probe!” “Ok, ok, 


DOCTOR WHO | THE COMPLETE HISTORY 


potato potahtoe,” agreed Rory. “No - listen 
to me - probe!” shouted Old Amy. 

When Old Amy told the Doctor that 
the Interface didn’t work in the engine 
room, she added, “You have to be in 
one of the zones.” In the garden, after 
Rory said that his wife was a genius, the 
Interface agreed, “Amy Pond is indeed 
a genius.” “And?” asked Old Amy. “And 
monumentally kick-ass,” added the voice. 
When the Doctor spoke to the Interface, 
he began, “Interface, first question: the 
science behind the temporal folds - I’m 
looking at a standard Gourounlian Hinge 
Engine, correct?” When Rory was stunned 
by a Handbot which Old Amy then dealt 
with, she cried, “Rory! Rory! Oh God, 
no...” As the Doctor explained his extra 
wubbly plan, Rory asked, “Right explain 
the wubbly bit again?” “Certainly, Rory,” 
replied the Doctor, “because we’ve got 
loads of time and I'd love to stop and chat 
= CALL IT MAGICIPF IT HELPS!” 

In the engine room, as Amy appeared 
in the Time Glass, the Doctor said, 


NNN NC Post production 4 


“Remember this, Amy, younger Amy: she 
named her robot ‘Rory’” Rory moved 
away allowing the two Amys to stare at 
each other. “You look good,” began Young 
Amy, “Good to know. How long’s it been?” 
“Thirty-six years. Since I was you,” said 
Old Amy. “Wow you look really good. 
Pond genes,” replied Young Amy, “Sorry, so 
- do you remember this happening? When 
you were me?” “Oh yes,” agreed her older 
self. “My first day at Two Streams, looking 
into those old eyes, asking her questions, 
like...” “... so what happens next?” said 
both Amys simultaneously. “Yeah. I’ve been 
here before,” agreed Old Amy. “You know,” 
realised Amy. “You know my future.” After 
Old Amy indicated that she remembered 
her older self refusing to help the Doctor 
and Rory, she continued, “I remember, so 
long ago, having this conversation. But 

I was you then...” “I don’t understand!” 
said Young Amy. 

When Amy spoke about calling the 
robot Rory and not the Doctor or Biggles, 
she continued, “Or Sexy Mr Jennings 
the hot hot art teacher - you called it 
Rory. Because we always need a Rory by 
our side.” As the two Amys talked, Rory 
stood some way off by the Handbot-Rory, 
asking, “So what’s she like to live with? The 
missus?” The Handbot-Rory shrugged, 
and the real Rory replied, “Yeah. Tell me 
about it.” 


t the check-in, when Old Amy told 
A to hang onto his spectacles, 

Rory replied, “Sounds dangerous. 
Is it dangerous?” As Old Amy commented 
on who she was taking her actions for, she 
looked at Rory and said, “You understand 
me? I’ve broken the future, everything’s 
in flux.” Rory also recalled Amy dancing 
the Macarena at the “birthday disco”. 


After Rory commented that he was with 
his wives, Old Amy passed Young Amy 

her staff and asked, “You know how to 

use this?” “No!” replied her younger self. 
“Well live through today and I promise to 
teach you,” said Old Amy as Rory called 
out, “Incoming!” and three Handbots 
appeared. In the ensuing fight, Old Amy 
recalled Kate Hayler “after she tried to chat 
up Rory”. When Young Amy knocked a 
Handbot’s head clean off its neck, Old Amy 
commented, “Not bad for a first day.” 

In the service area, following Rory’s 
quips about having two Amys at 
Christmas, Amy asked her older self of 
her travels, “And you'll fund this perpetual 
gap year howe” “The Doctor. I bet he’s 
loaded,” replied Old Amy. “He’s got one 
set of clothes,” replied Amy, recalling the 
events of The Eleventh Hour, “that he stole.” 
“Six o'clock!” called Old Amy and - when 
the pair looked blankly at her - added, 
“It’s behind you!” as a Handbot appeared. 
There was then an extra scene at the 
check-in as a row of Handbots stood at 
the entrance to the departure gate. Rory 
and the Amys attempted to move directly 
behind the Handbots towards the door to 


Below: 
Old Amy is still 
feisty as ever. 


DOCTOR WHO | THE COMPLETE HISTORY & 


THE GIRL WHO WAITED » sme 


Above: the gate. “And what about Mum and Dad, 
eneu Ory what do I tell them?” asked Young Amy. 
keeps Old ; 

Amy company, “Mum. I’m older than mum...’ ruminated 


Old Amy. “We did have a materialising 
TARDIS at our wedding reception,” said 
Rory, recalling The Pandorica Opens/The 
Big Bang, “Maybe they’ll be quite open- 
minded.” “We'll figure everything out when 
we get there,” assured Old Amy. “I’m a 
genius, which means one day - so are you.” 
Rory stared at his two wives, saying, “It’s 
like, you share this amazing potential, you 
share these incredible ideas, you share... 
You are not sharing me.” “I don’t know,” 
said Old Amy, “We’re both Amy. I’m not 
technically the other woman. In fact, I’m 


0 DOCTOR WHO | THE COMPLETE HISTORY 


2 ee ES 


exactly the same one.” “Oi!” called Amy. 
“Joking!” agreed Old Amy, who winked 
at her husband when her younger self 
wasn't looking. The trio continued to 
creep behind the Handbots when one of 
them turned its wrist to face backwards 
over its shoulder. As the Handbots swung 
around, Rory and the Amys ran into the 
departure gate. 

As the Handbot administered its lethal 
injection to Old Amy, the Interface 
said, “Goodnight Amy Pond.” In the 
final TARDIS scene, as Amy slept by the 
console, Rory asked, “What do I tell her? 
Old her, that whole future - just gone.” 
“Not gone Rory - yet to be,” replied the 
Doctor, “Amy’s been given the gift of a 
new future. Tell her that. Tell her to make 
herself proud of all she becomes.” After 
Rory realised that the Doctor knew saving 
both Amys could never work, the Doctor 
asked him, “Do you ever think, if you’d 
never met me... I have turned your lives 
upside down, so many times.” Rory paused, 
unable to answer, and then Amy woke up. 
The Doctor excused himself, saying to 
Rory, “You'll explain it better than I could.” 
As he watched Amy and Rory together, he 
whispered to himself “I can’t keep doing 
this to them...” as the episode ended. 


VERA 


uch of the music heard in the 
Vi episode had been composed by 

Murray Gold for earlier episodes, 
with some tracks coming from the recording 
for Let’s Kill Hitler [2011 - see Volume 68] 
and The Wedding of River Song [2011 - see 
Volume 70] by the National Orchestra of 
Wales on Tuesday 19 July 2011. The music 
cue heard as the Interface offered Amy the 
chance to experience the cinema was Paul 
Mottram’s 2003 piece Challenge for the Stars 
from the Audio Network Music Library. Ml 


£F, 


Publicity 


at § 


At the same time as developing The 
Girl Who Waited, Tom MacRae had 
also co-written the immersive Doctor 
Who show The Crash of the Elysium 
which opened in Manchester over the 
summer. Consequently, MacRae gave 
various interviews to promote the live 
production, and talking to Dominic 
Cavendish in The Daily Telegraph on 
Tuesday 21 June, commented of The 
Girl Who Waited, “What’s interesting 
is that the requirements of the script 
meant that for various reasons nothing 
has gone out about it at all. We didn’t 


Za f/f 


do much location filming, and the 
way the guest characters work is 
unusual, so no one knows anything 
about my episode. There’s speculation 
about it which is wrong - some 

bright spark has put the title of 

the episode on IMDb as The Green 
Anchor - it has never been called that! 
I’m amazed we’ve kept it this secret 
because there’s a really big surprise in 
it. All I will say is that it’s an unusual 
episode and it’s really great.” The 
Northampton Chronicle’s article on 
Wednesday 27 July, Northamptonshire 


The two Amys’ 
worlds collide. 


S 


THE GIRL WHO WAITED = » stoxv2zi 


Right: 
The Doctor's 
dilemma. 


Man wrote Doctor Who episode for actor 
Matt Smith, saw MacRae commenting, 
“I went down onto the set quite a lot 
and it was great to see it filmed. It’s 

a real tear-jerker of an episode and 
it’s very much focused on Karen. Her 
acting in it is amazing. I know she’ll 
break the viewers’ hearts in two when 
they watch it, it’s so emotional.” 


® Following transmission of Night 


Terrors on Saturday 3 September, 

the BBC Website made available a 
video of Tom MacRae (interviewed 
in London on Tuesday 7 June) and 
Karen Gillan discussing The Girl Who 
Waited; the writer commented on 
how the adventure would be “a treat 
for the fans of Amy and Rory”. When 
Radio Times appeared on Tuesday 6 
September, The Girl Who Waited was 
selected as one of Saturday’s Choices 
with Patrick Mulkern declaring 

that it was a ‘beautifully directed, 
really quite moving episode’; the 
programme billing was accompanied 
by a photograph of Amy in the 
garden area. 


® That evening, Matt Smith attended 


the 2011 GQ Men of the Year event 
at London’s Royal Opera House 
where he was named Most Stylish 
Man at the awards ceremony. On 
Thursday 8, three extracts from 

The Girl Who Waited were released 
showing the Doctor and Rory 
encountering a Handbot, the Doctor 
hearing about the Chen-7 infection 
and a Handbot attempting to inject 
Amy; several preview clips for Doctor 
Who Confidential were also made 
available. 


oe DOCTOR WHO | THE COMPLETE HISTORY 


® The regional BBC news programme 
Look East promoted The Girl Who 
Waited on Friday 9 September; 

the report by Jo Black made a firm 
connection between the show and 


Northampton - home town to Matt 
Smith and Tom MacRae (seen in an 
interview recorded on Tuesday 6), 
venue for location work on The Talons 
of Weng-Chiang [1977 - see Volume 
26], and also offered a chat with fan 
and gents outfitter Patrick Leonard... 
as well as the extract of the Handbot 
appearing. MacRae also revealed 
that Karen Gillan would be coming 
round to watch the broadcast of the 
episode with him on Saturday (“I 
don’t know Karen that well”). The 
BBC also invited viewers to answer 
questions alongside Matt Smith on 
Facebook; Smith was to answer five 
questions over 10 weeks with fans 
able to record their own answer after 
Smith’s. Over at the BBC website, a 
further video featured a Confidential 
introduction to The Girl Who Waited 
from Tom MacRae. Next day, Pete 
Naughton of The Daily Telegraph 
previewed that night’s episode and 
the associated Confidential. 


Broadcast 


® ‘Oh my word what a night! I have the 
Ponds, check-in-girl and @russelltovey 
voice of Confidential at mine, the 
part-ay is OOONNN!’ tweeted an 
excited Tom MacRae on Saturday 
10 September. 


® Screening at 7.15pm against the 
ailing and heavily criticised ITV1 
game show Red or Black?, The Girl Who 
Waited won its timeslot with ease. The 
corresponding Doctor Who Confidential 
- entitled What Dreams May Come - was 
screened on BBC Three at 8pm (BBC 
HD was screening live coverage of the 
Last Night of the Proms and aired the 
programme at midnight); this explored 
the theme of ‘holodeck’ experiences by 
giving Gillan and Darvill the chance 
to live out their dreams; Gillan - who 
had never had a driving lesson - 


experienced the Thruxton Motorsport 
Centre in Hampshire with expert racer 
Pat Blakeney, while on Monday 27 
June, Darvill had joined diver Kelly 
Timmins at the Blue Planet Aquarium 
in Cheshire to go diving with sharks. 
The day before transmission of the 
episode, two new videos appeared on 
the BBC website in which Tom MacRae 
commented on the missing scene 

with the disembodied Handbot hand 
while Gillan discussed playing the Girl 
Who Waited. 


It's like looking 
into a mirror. 


® Following broadcast, the episode 


was reviewed by Gavin Fuller of 
The Daily Telegraph (‘a powerful and 
moving drama, with an ending that 
although inevitable still delivered a 
well of sadness’), Neela Debnath of 
The Independent (‘a tearful tragedy 


Rory worries 


DOCTOR WHO | THE COMPLETE HISTORY 


about his wife. 


43 


Above: with a time paradox that reminded 

i hal audiences that the Doctor has a darker 

the Time Glass side’) and Dan Martin of The Guardian 

he Green (‘something to properly get your teeth 
nAchor 


into’). Sunday 11 then found Karen 
Gillan acting as DJ on Inverness- 
based Monster FM (pre-recorded on 
Wednesday 7 September) while BBC 
America issued a 1’17” video Tom 
MacRae on the missing scene. 


» BBC America released a Doctor Who 
Insider video entitled Birth of Old 
Amy on Tuesday 13 September with 
comments from Karen Gillan and Beth 
Willis about the crafting of this older 
version of the Doctor’s companion. 
Formula One coverage meant that 
there was no repeat of The Girl Who 


ORIGINAL TRANSMISSION 
EPISODE DATE TIME 
The GirlWhoWaited SaturdaylOSeptember2011 715pm-8pm 


oe DOCTOR WHO | THE COMPLETE HISTORY 


CHANNEL 
BBC One 


Waited on BBC Three on the Sunday 
evening, although it was screened 
again at 7pm and 3am on Friday 

16 September accompanied by a 
15-minute version of What Dreams 


May Come. 


“I think the episode should feel very 
‘simple’ to watch,” Tom MacRae 
commented of his new and acclaimed 
script in Doctor Who Magazine. “I don't 
think it’s a challenging watch, but it 
was a very challenging exercise.” The 
Girl Who Waited prompted Steven 
Moffat to describe it in Radio Times as 
“one of the best uses of time travel in 
any story anywhere - mind-blowing 
and heartbreaking in every twist 


and turn”. 
DURATION RATING(CHARTPOS) APPRECIATION INDEX 
4556" 7.60M(13th) 985 


Merchandise 


eleased on DVD and Blu-ray by 
2|entertain in October 2011, 
Doctor Who: Series 6 — Part 2 
included The Girl Who Waited. 
The episode was also on The 
Complete Sixth Series DVD/ 


Blu-ray box set in November 2011. Also 


included 


was the short version of the 


accompanying Doctor Who Confidential. 
Murray Gold’s incidental music for 
the episode, played by the BBC National 


Orchestr 


a of Wales and conducted by Ben 


Foster, was featured on Silva Screen’s two- 

disc CD Doctor Who Series 6 in December 

2011. The tracks for The Girl Who Waited 
were: Apalapucia, 36 Years and Lost in 


the Wrong Stream. Lost in the Wrong 
Stream was also included on Silva 
Screen’s 11-disc CD 
- set Doctor Who — 
The SOth Anniversary 
Collection, released 
in September/ 
_ November 2014. 
In August 2012 
Character Options issued a 
Character Building mini set 
' for The Girl Who Waited. This 


Karen Gillan 
and Arthur 
Darvill indulge 
in some extra- 
curricular 
activities on 
the DVD extras. 
PAT BLAKNEY™ 
Pro Driver 
set contained a Handbot micro-figure. 
Figurines of a Handbot were included lh 
i é i gurineo 
with issue 52 of the Doctor Who Figurine = Handhint 
Collection published by Eaglemoss in the Character 
August 2015. Options mini 
ki fi = fi h rl Wh Building set, 
Skinny-fit T-sl irts for The Gir 0 and Titan's 
Waited were available from Titan in 2013. Tshirt. 


i + 
w 
THE 
GIRL WHO 
WAITED 


" “THE GIRL WHO WAITED 
MINI SET 


155 


Powe Coavestes sang £4) 


DOCTOR WHO | THE COMPLETE HISTORY 


45 


THE GIRL WHO WAITED » smwea 


Cast and credits 


Below: 

The cast and 
crew gather for 
ascene outside 
the TARDIS. 


CAST 
Matt Smith... 


JOSIE TAYVION ca crnananecnannmnnan Check-In Girl 
Imelda Staunto...........ccc Voice of Interface 


UNCREDITED 

Matthew Humphries........ Double for The Doctor 
Barbara Fadden, Naomi Berners, Louise 
Bowen, Nathalie Cuzner, Victoria Thomas....... 


Pe ono Gan Cette er enter te Handbots 
LOUISE BOWEN... Double for Old Amy 
Belinda McGinley .............cccccs Stunt Handbot 
LOUISE BOWER. csi Dead Handbot 
Nathalie CUZNET |... Rorybot 
RAIANNON WalG sess 
ee Double for Young Amy/Double for Old Amy 
ASTEIG HALE iisssninistnnrccisninaeuninenennoomenian Handbot 
ANd y JONES.........::6::ccssssssseen Double for The Doctor 
Stephanie Carey. ............00csen Stunt Handbot 


Stephen Bracken-Keogh...... Voice of Handbots* 


Credited in listings publications 


oe DOCTOR WHO | THE COMPLETE HISTORY 


SSR NA 


CREDITS 

Written by Tom MacRae 

Produced by Marcus Wilson 

Directed by Nick Hurran 

Stunt Coordinator: Crispin Layfield 

Assistant Stunt Coordinator: Gordon Seed 

Stunt Performers: Belinda McGinley, 
Stephanie Carey 

1st Assistant Director: William Hartley 

end Assistant Director: Heddi-Joy Taylor-Welch 
[uncredited: James DeHaviland] 

3rd Assistant Director: Janine H Jones 

(uncredited: Heddi-Joy Taylor-Welch] 

Assistant Director: Danielle Richards 

[uncredited: Janine H Jones, Michael Curtis, 

Alex Williams, Harry Bunch, lestyn Hampson 

Jones] 

Location Manager: Nicky James 

Unit Manager: Rhys Griffiths 

Location Assistant: Geraint Williams 

Production Manager: Phillipa Cole 

Production Coordinator: Claire Hildred 

Asst Production Coordinator: Helen Blyth 

Production Secretary: Scott Handcock 

Production Assistant: Charlies Coombes 

Asst Production Accountant: Kristina Raschboeck 

Script Executive: Lindsey Alford 

Script Editor: Caroline Henry 

Script Supervisor: Elaine Matthews 

Camera Operator: James Leigh 

Focus Puller: Steve Rees, Jonathan Vidgen 

Grip: Gary Norman [uncredited: Gary Norman] 

Camera Assistants: Simon Ridge, Matthew Lepper, 
Elliot Hale [uncredited: Gail Jenkinson, 
Katie Kardasz] 

Assistant Grip: Owen Charnley 
(uncredited: Gary Sheppard] 

Sound Maintenance Engineers: Jeff Welch, 
Dafydd Parry 

Gaffer: Mark Hutchings 


Best Boy: Pete Chester 
Electricians: Ben Griffiths, Bob Milton, 
Stephen Slocombe, Alan Tippetts 
Supervising Art Director: Stephen Nicholas 
Set Decorator: Julian Luxton 
Production Buyer: Ben Morris 
Decorator/Buyer: Kate Wilson 
Standby Art Director: Amy Pickwoad 
Assistant Art Director: Jackson Pope 
Concept Artist: Richard Shaun Williams 
Props Master: Paul Aitken 
Props Buyer: Adrian Anscombe 
Prop Chargehand: Rhys Jones 
Standby Props: Phil Shellard, Helen Atherton 
Dressing Props: Tom Belton, Kristian Wilsher 
Graphic Artist: Christina Tom 
Draughtsman: Julia Jones 
Design Assistant: Dan Martin 
Petty Cash Buyer: Helen O'Leary 
Standby Carpenter: Will Pope 
Standby Rigger: Bryan Griffiths 
[uncredited: lan Redmond] 
Store Person: Jayne Davies 
Props Makers: Alan Hardy, Penny Howarth, 
Nicholas Robatto 
Props Driver: Medard Mankos 
Practical Electrician: Albert James 
Construction Manager: Matthew Hywel-Davies 
Construction Chargehand: Scott Fisher 
Graphics: BBC Wales Graphics 
Assistant Costume Designer: Samantha Keeble 
Costume Supervisor: Cat Lovett 
[uncredited: Vicky Salway] 
Costume Assistants: Jason Gill, Yasemin Kascioglu, 
Frances Morris [uncredited: Phoebe Radula-Scott, 
Amanda Hambleton] 


Cast and credits 


Make-Up Supervisor: Pam Mullins 
Make-Up Artists: Vivienne Simpson, 

Allison Sing [uncredited: Ros Wilkins, 

Julie Fox] 
VFX Producer: Beewan Athwal 
Casting Associate: Alice Purser 
Assistant Editor: Becky Trotman Left: 
VEX Editor: Cat Gregory Karen Gillan 
Post Production Supervisor: Nerys Davies BV BQH AY 
Post Production Coordinator: Marie Brown 
Dubbing Mixer: Tim Ricketts 
ADR Editor: Matthew Cox 
Dialogue Editor: Darran Clement 
Sound Effects Editor: Paul Jefferies 
Foley Editor: Jamie Talbutt 
Online Editor: Jeremy Lott 
Colourist: Mick Vincent 
Online Conform: Mark Bright 
With thanks to 
The BBC National Orchestral of Wales 
Conducted and Orchestrated by Ben Foster 
Mixed by Jake Jackson 
Recorded by Gerry O'Riordan 
Original Theme Music; Ron Grainer 
Casting Director: Andy Pryor CDG 
Production Executive: Julie Scott 
Production Accountant: Dyfed Thomas 
Sound Recordist: Bryn Thomas 
Costume Designer: Barbara Kidd 
ake-up Designer: Barbara Southcott 
Music: Murray Gold 
Visual Effects: The Mill 
Special Effects: Real SFX 
Prosthetics: Millennium FX 
Handbot Design: Robert Allsop & Associates 
Editor: Tim Porter 
Production Designer: Michael Pickwoad 
Director of Photography: Owen McPolin 
Associate Producer: Denise Paul 
Line Producer: Diana Barton 
Executive Producers: Steven Moffat, Piers Wenger, 
Beth Willis 
BBC | Cymru Wales 
bbc.co.uk/doctorwho 
© BBC 2011 


DOCTOR WHO | THE COMPLETE HISTORY a 


48 


THE GIRL WHO WAITED 


Profile 


TOM MacRAE 


Tom MacRae's 
first Doctor 
Who credit 
was 2006's 
Rise of the 
Cybermen/The 
Age of Steel. 


STORY 221 


Writer 


orn Thomas Anthony 

MacRae on 6 August 1980 

in Northamptonshire, his 

Scots-born father was an artist. 

He attended the local 

Weedon Bec Primary School, 
Daventry, then Campion School, 
Bugbrooke and began acting at the latter. 

He grew up keenly watching Sylvester 
McCoy’s Doctor Who adventures, recalling 
to the Daily Record in 2013: “I was obsessed 
with Doctor Who in the same way that the 
children are that I meet today. I loved it 
and it was my favourite show when I was 
a kid.” 

After seeing a magic show at Coventry’s 
Belgrade Theatre he also became interested 
in magic and as a teenager performed at 
children’s parties. 


DOCTOR WHO | THE COMPLETE HISTORY 


Leaving school at 16, he spent two years 
at Daventry Tertiary College, studying film- 
making and also learning to touch type. 

While studying for a BA in anthropology 
at Goldsmiths, University of London, he 
chanced upon a book signing by Russell 
T Davies in 1999. Admiring Davies’ 
scriptwriting, he popped in to say hello. 
Davies took him to lunch and they 
remained in touch. Between ruminations 
on how to bring Doctor Who back to TV, 
Davies also mentored MacRae’s early 
writing attempts. 

Briefly working as a runner in TV 
production at Zenith and LWT and given 
slushpile scripts to read, MacRae suggested 
his producer might read some of his own 
writing. One script became Channel 4’s Off 
Limits single drama School’s Out (2002) and 
earned MacRae a BAFTA nomination. 

Soon he was busy writing for youth- 
orientated TV dramas, including As If 
(2002), raunchy airline drama Mile High 
(2003), a play for Channel 4’s Coming Up 


strand Money Can Buy You Love (2003), U 
Get Me (2004) and Toby Whithouse’s No 
Angels (2005). 

Through his connection to Russell T 
Davies, MacRae’s first Doctor Who writing 
credits came on Rise of the Cybermen/The 
Age of Steel [2006 - see Volume 52]. Written 
at just 25, he later admitted to the Daily 
Record: “I was young enough not to be too 
scared about it, even though I didn’t know 
what I was doing. 

“Unlike some of the other writers, I’m 
not someone who has been involved in 
Doctor Who since it finished,” he explained 
to aintitcool.com in 2006: “I loved it and 
then it finished and I moved on, so I’ve 
never really thought about it since in 
terms of how the show worked. I just 
remembered things about it, so I was just 
trying to recapture what I remembered, 
which was that it was dark and scary.” 

His next script Century House, the 
planned eighth episode of the 2008 series, 
went unproduced. Based on a Davies steer, 
it was to have seen the Doctor take part 
in light-hearted ghost show Most Haunted. 
Davies had second thoughts however, 
considering its lighter tone too similar 
running side-by-side with The Unicorn 
and the Wasp [2008 - see Volume 58] and 
replaced it with his own last-minute script 
Midnight [2008 - see Volume 59]. 

MacRae’s next script, the acclaimed 
The Girl Who Waited, was nominated for 
a Hugo award. 

He wrote spin-offs in other media, 
contributing short story Once Upon a Time 
to The Doctor Who Storybook 2007 and Cats 
and Dogs to the 2008 edition. 

With theatre group Punchdrunk 
he devised interactive Doctor Who live 
experience The Crash of the Elysium (2011, 
MediaCityUK Studios, Salford), staged 
for the Manchester International Festival 
and later remounted in Ipswich Crown 


Profile 


Street Car Park in 2012. Other TV writing Above: 
credits came on Mayo (2006), Marple: aes 
: script for 
At Bertram’s Hotel (2007), Lewis (2008), The Girl Who 
Waited was 


Bonekickers (2008), Casualty (2010) and 
Sky One’s Fungus the Bogeyman (2015). 

He was creator/lead writer on two series 
of Comedy Central sitcom Threesome 
(2011/12) about a young male/female 
couple and their gay friend. He has also 
written children’s picture books The 
Opposite (2006), Baby Pie (2009) and When 
I Woke Up I Was a Hippopotamus (2012). 

West End stage play Everybody’s Talking 
About Jamie, the story of a Sheffield 
teenager struggling to come out, was based 
on TV documentary Jamie: Drag Queen at 
16 (2011). MacRae provided the storyline 
and lyrics, with Dan Gillespie Sells of The 
Feeling writing the music. Premiered at 
Sheffeld’s Crucible in February 2017, it 
transferred to the Apollo that November. 
Nominated for five Olivier awards, it won 
the What’s On Stage award for Best New 
Musical. A performance was relayed live to 
cinemas in July 2018. 

In 2017 MacRae relocated to Hollywood 
with husband Dannie Pye, to co-produce 
on TNT fantasy series The Librarians 
(2017/18) and develop movie scripts, 
including a feature film of Everybody’s 
Talking About Jamie. & 


nominated for 
a Hugo award. 


DOCTOR WHO | THE COMPLETE HISTORY a 


THE GOD 
COMPLE 


® STORY 222 


Unable to find the TARDIS, the Doctor, Amy 

and Rory investigate what appears to bea 
1980s Earth hotel, but with no exit. A mighty 
monster stalks the corridors and one by one 
the residents are checking out - permanently. 


© DOCTOR WHO | THE COMPLETE HISTORY 


DOCTOR WHO | THE COMPLETE HISTORY © 


< 


THE MINOTAUR W : 
A DISTANT COUS 


Zz 


HE.COMPLETE HISTORY 
- 


®AReSaws 


Introduction 


he Minotaur in The God Complex 
was revealed, at the end, to be 
a distant cousin of the Nimon 
- similarly bull-like creatures 
seen in The Horns of Nimon 
[1979/80 - see Volume 31]. 
The Nimons set themselves up as gods to 
be worshipped, enslaving whole planets, 
feeding on energy drained directly from 
their victims. The Minotaur’s race also 
presented themselves as gods but, in their 
case, they fed on the faith of others - 
killing them in the process, naturally. 
The hotel the Doctor, Amy and Rory 
found themselves trapped in was an 
automated prison that snared people and 
showed them their deepest fears, so that 
they fell back on whatever faith they had 
to sustain them... 

Ultimately, it’s Amy’s faith in the Doctor 
that puts her in danger. The Doctor has 
to convince her that he isn’t the hero she 
thinks he is, in the same way that he had 
to destroy Ace’s faith in him in The Curse 
of Fenric [1989 - see Volume 46]. 

The Doctor had sympathy for the 
Minotaur. It wasn’t a feeling that was 
reciprocated, however. With its last breath, 
the Minotaur described the Doctor as “an 
ancient creature, drenched in the blood 
of the innocent, drifting in space”. This 
is part of the 2011 series’ over-arching 
theme that to some civilisations, it’s the 
Doctor who is the real monster; that his 
lifestyle isn’t without deadly consequences. 
At that point, we already knew something 
of the assassination attempt orchestrated 
by the Kovarian chapter of the Church of 
the Papal Mainframe. Later, in The Time 
of the Doctor [2013 - see Volume 75] we 


learnt that they also blew up his TARDIS - 
destroying the universe. The cracks in time 
and space that the explosion created were 

also revealed in The Time of the Doctor to be 
the fear that the Doctor faced in the hotel. 


The Minotaur’s dying words must 
have hit home as, at the end of the story, 
the Doctor takes Amy and Rory home, 
deciding that if they continue to travel 
with him they’ll end up dead. Unable to 
keep away, however, he returned to take 
them on days out and, in the end, they 
do die in The Angels Take Manhattan [2012 
- see Volume 72]. Despite this damage 
limitation strategy not being wholly 
successful, it’s the model he adopts with 
his next companion - letting Clara stay at 
home, travelling with him in the TARDIS 
only on a part-time basis. 


DOCTOR WHO | THE COMPLETE HISTORY © 53 


Above: 
The bull-like 
Nimons in 
1979/80's 
The Horns 
of Nimon. 


THE GOD COMPLEH 


® STORY 222 


MM ucy, a policewoman, wanders the 
L maze-like corridors of a hotel. [1] 

MM She notices that the gaps between 
her “worship” have been getting shorter 
- and something large and ferocious 
lumbers towards her. 

The TARDIS lands in the hotel 
stairwell. The Doctor, Rory and Amy 
emerge and make their way to reception. 
The Doctor believes they are not on 
Earth, which is borne out when they 
find a photograph of a Sontaran: 
“Commander Halke, defeat.” They 
are surrounded by three other people 
trapped in the hotel; a girl called Rita, 

a boy called Howie and an alien called 
Gibbis. [2] Gibbis is from Tivoli, the 
most invaded planet in the galaxy. 
Howie explains that the hotel’s walls 
move and rooms vanish and reappear. 
There are no external doors or windows 
and the rooms contain “bad dreams”. 


DOCTOR WHO | THE COMPLETE HISTORY 


The Doctor and his friends try to 
return to the TARDIS, only to find it has 
gone. They go to the restaurant where 
another of Rita, Howie and Gibbis’ 
group, Joe, has been tied to a chair, 
surrounded by ventriloquist’s dummies. 
[3] Joe says there is a room in the hotel 
for everyone. 

They head through the corridors. 
Howie is a conspiracy theorist and 
believes that they are in Norway and 
the hotel is a CIA thing. Rita then finds 
her room, which contains her dad 
castigating her getting a B in Maths. [4] 

Joe breaks free of his bonds and when 
the Doctor finds him, he is dead - but 
with no apparent cause of death. Rita 
believes they are in Jahannam, a version 
of hell. Howie starts saying, “Praise 
him,” which means he will be the next 
victim of the creature that roams the 
corridors. [5] The Doctor infers that 
the creature feeds on fear. 

They tie Howie up and transmit his 
voice through the intercom to lure the 


creature into the hotel spa. The Doctor 
confronts it; it is a Minotaur. [6] He isn’t 
sure whether it is a prison warden or the 
prisoner itself. 

Gibbis releases Howie. Howie calls 
for the creature and it smashes its way 
out of the spa. Meanwhile Amy is drawn 
to a room and opens the door just a 
crack... [7] The Doctor chases after the 
Minotaur and discovers Howie’s corpse. 

Rita is the next to fall under the 
creature’s influence. The Doctor spots 
her, using the hotel CCTV, and phones 
her using one of the room telephones. 
She tells him she is trying to get as far 
away from them as possible and that 
she is at peace. [8] She hangs up and 
becomes the Minotaur’s next victim. 

The Doctor realises that he was 
wrong. The creature doesn’t feed on 
fear. It preys on faith; after each person is 
faced with their primal fear, they fall back 
on their most fundamental faith. [9] 

Amy becomes possessed by the 
creature, saying, “Praise him,” and, “He 


is beautiful.” The Doctor takes 
her to the room the hotel has created 


for her, which contains Amy’s younger 
self, waiting for the Doctor to take 

her away. [10] The Minotaur bursts 

in - but the Doctor tells Amy to 

forget her faith in him: “I’m not a 
hero. I really am just a mad man in 

a box.” 

With no faith to feed on, the 
Minotaur collapses and the hotel 
disappears around them to reveal 
that they are, in fact, inside a prison 
floating in space. [11] The prison was 
programmed to snatch people to feed 
the creature but it developed glitches 
and got stuck on the ‘hotel’ setting. 
The Minotaur dies. 

Having taken Gibbis home in the 
TARDIS, the Doctor then returns Rory 
and Amy to Earth, providing them 
with a new home and a car as a parting 
gift. He has decided he can no longer 
risk their lives by letting them travel 
with him. [12] 


DOCTOR WHO | THE COMPLETE HISTORY = 55 


— 
-——- = —~ 


ee NK 
~~ \ Nae 


THE GOD COM 


PARTICULARLY ONE 

4 WALLS THAT MOVED AROUND 
— COULD BE A 
yY STORY.’ 


‘A HOTEL — 


DISORIENTATINGLY 
TTING FOR A VERY SCAR 


SE 


© DOCTOR WHO | THE COMPLETE HISTORY 


ee a ee 


eNO Oo ON ae 


Pre-production 


a come in. My, you look 
well. Have you been away? 
Somewhere nice, I expect. 
Somewhere really, really, really 
ie ane Probably involving a 
a. Anyway. The setting 
for your Doctor Who this year - a hotel. 
A rubbish hotel. A really horrible, nasty, 
cheap, smelly hotel. That kills you.” 
Although this was how lead writer 
Steven Moffat jokingly referred to the 
commissioning of Toby Whithouse’s 
next script for Doctor Who in Doctor Who 
Magazine, in fact the story had been in 
existence long before Whithouse’s trip 
out to Venice courtesy of Doctor Who 
Confidential to tie in with his episode, The 
Vampires of Venice [2010 - see Volume 64]. 
Indeed, the vampire episode had effectively 
replaced what would ultimately become 
The God Complex. 


An established showrunner and writer 
of his own BBC Three fantasy drama Being 
Human, Toby Whithouse had first written 
a script for Doctor Who for the 2006 series 
- School Reunion [2006 - see Volume 52]. 
When the 2010 series of Doctor Who was 
being planned during 2009, Whithouse 
had been invited to submit a story for the 
new Doctor, based on a one-line pitch 
from Moffat: ‘The Doctor and Amy are 
stranded in a hotel, and the corridors 
and rooms keep shifting, so that they’re 
completely lost.’ 


Hotel corridors 


ee hat struck me as very Doctor 

Tie: commented Moffat on 

Confidential as he pondered on how 

a hotel setting offered lots of corridors 
with doorways leading off them. The 
showrunner had found the experience of 
staying in hotels on his own to be quite 
odd and disconcerting, and suggested that 
a hotel - particularly one with walls that 
moved around disorientatingly = could be 
a setting for a very scary story. 

“A hotel is essentially a maze,” observed 
Whithouse on Confidential. “The most 
logical thing to have in a maze would 


~ be a Minotaur.” Ever since childhood, 
*Whithouse had loved Greek mythology 
» which he had used as the starting point 


for his first play, Jump Mr Malinoff, Jump 
in 1998; although concerning Russian 
immigrants in the present day, the 
background was actually about the curse 
attributed to the Greek Royal House of 
Atreus. When it came to the hotel with its 
maze of corridors, Whithouse naturally 


Pre-production 


e ¢ 


Left: 

The Doctor 
explores 
the hotel's 
corridors. 


DOCTOR WHO | THE COMPLETE HISTORY © 


THE GOD COMPLEH =» sww zzz 


Connections: 

Have faith 

® The crux of Amy's faith i 
the Doctor stems back t 
when she waited for hin 


to return at the age of 
seven in The Eleventh Hour 
[2010 - see Volume 63 


and how he did eventually 
come back and save her; 
he described himself agai 
as “amad man ina box” 
and again spoke of 
Amy as “the girl 
May who waited’ 


thought of the legend of the 
Minotaur, the half-man/half- 
bull which lived at the centre 
of the Cretan labyrinth; this 
figure was born to Pasiphae, 
the wife of King Minos, 

after a curse from the gods 
urged her to mate with a 
bull. The creature was sent 
tributes in the form of young 
people who would perish 

in the labyrinth, but it was 
slain by the royal Athenian 
hero Prince Theseus who 
smuggled a sword into the 
maze and used a ball of 
thread to ensure that he did 


not become lost. Researching the myths 
about the Minotaur further, Whithouse 
devised the idea of the hotel setting being 
a sophisticated prison to which tributes 
and sacrifices would be brought for the 
creature. The creature itself would have 
been a god to an alien civilisation, but as 
they had become more apathetic in their 
beliefs towards it, it had become redundant 
as a figure of praise. Consequently, the 
being was placed inside a prison that 
would wander through space, seeking 
those with faith who would be able to feed 
the creature’s existence. The creature fed 
purely on instinct, aware that its ongoing 


existence was totally at the cost of the lives 
of others; thus the beast really only wanted 
death for itself. “You have to find the 
sympathy of it,” commented Whithouse of 
the creature at the San Diego Comic-Con 
on Sunday 24 July 2011. “There’s nothing 
more boring than a villain that just wants 
to be evil.” The fact that the Minotaur - or 
a similar creature - had featured before in 
Doctor Who did not inhibit the writer. “I 
didn’t want to be put off by Doctor Who's 
history with Minotaur-like creatures,” the 
writer told Doctor Who Magazine, “because 


DOCTOR WHO | THE COMPLETE HISTORY 


it’s often good to go with your first 
instinct, and that was mine. 

“Steven was very specific that the 
hotel shouldn't be your standard, creepy 
Victorian hotel,” recalled Whithouse. 
Consequently, the establishment he 
envisaged was a tacky 1980s hotel which 
piped cheap muzak, drawing upon 
childhood holidays which the writer had 
spent in resorts such as Weymouth and 
Ilfracombe. The idea of a mysterious hotel 
being a trap also reminded Whithouse 
of elements from the ATV fantasy series 
Sapphire & Steel which had aired from 
1979 to 1982, and his recollections of the 
show subsequently influenced the tone 
of his writing. 

Early on in development, Whithouse 
settled on the title for the adventure: 
The God Complex referred to the phrase 
commonly applied to someone’s inflated 
feeling of personal talents or infallibility 
and their refusal to admit to error or 
failure in the face of impossible tasks. 

However, as it transpired, The God 
Complex would not appear as the sixth 
episode of the 2010 series. Early in 2009 


there was a rethink about the structure 


of the 2010 series as a whole, particularly 
with regards to the labyrinth of Weeping 
Angels planned for the fourth and fifth 
episodes (The Time of Angels/Flesh and Stone 
[2010 - see Volume 64]). “I'd done a couple 
of drafts of the outline, but then Steven 
and Piers {[Wenger, executive producer] 
realised that they had too many episodes 
with the Doctor trapped in some kind of 
maze or labyrinth,” explained Whithouse 
in Doctor Who Magazine. “They said, 

‘Can we bump it to the next series, and 

do something else this series?” Instead, 
Whithouse developed The Vampires of Venice 
to fill the same slot, and then began work 
on the script for The God Complex as part 
of the Eleventh Doctor’s second series 

in late 2010. The first line that he wrote 
for his new script was “death would be 

a gift” - dialogue which he saw as being 
equally applicable to the Doctor as to the 
imprisoned Minotaur. 

In early drafts, the alien character of 
Gibbis from Tivoli was a similar human 
character called Edward, a weak-willed, 
conservative and pompous figure who 


believed that somebody in authority 
would ultimately come to rescue him; 
the changing of Edward into an alien 
prompted the idea of a whole race of 
proud, unapologetic alien cowards. 

As a contrast to this, another of the 
captives, the younger Howie, had ‘faith’ 
in conspiracy theories. 

However, Whithouse was certain 
that - although not a religious person 
himself - he wanted the most heroic 
of the group trapped at the hotel to 
have a strong faith. Having considered 
Christianity, he instead felt that a Muslim 
character - Rita - would give a more 
interesting mix to the characters. 


Left: 

Joe Buchanan 
falls under the 
influence of 
the Minotaur. 


Personal fears 


late addition to the narrative in the 
A last couple of drafts was the idea of 

different nightmares for different 
people in each of the hotel rooms. This 
came from a production meeting in the 
first week of January 2011 when executive 
producer Beth Willis - concerned about 
the interior-bound nature of the story 
becoming monotonous - suggested that 
the story needed something more visual 
and Steven Moffat suggested the idea of 
a room containing personal fears. This 
new concept of personal terrors fitted in 
perfectly with the nominated location for 
the story, and also took the 
tale in a different direction. 
A major influence here had 
been Whithouse’s writing of 
the start of the third series of 
Being Human; the first episode 
had featured characters 
trapped in purgatory on their 


Connections: 

You're fired! 

® When the Doctor tells 
Amy, “With regret, you're 
fired,” he is referencing 
the catchphrase used by 
Lord Alan Sugar in the 


way to Hell... and Whithouse 
realised that Hell would 
manifest itself in different 
ways to different people. 


BBC One reality show The 
Apprentice, which had 
been running since 2005. 


DOCTOR WHO | THECOMPLETE HISTORY 59 


Above: 
Dining 
dummies. 


Consequently, each room had a separate 
version of Hell for each person - not 


just objects or creatures, but themes 


Connections: 


Young Amelia 

® Little Amelia - seen in The 
Eleventh Hour [2010 - see 
Volume 63], The Pandorica 


Opens/The Big 


[2010 - see Volume 66] 
and Let's Kill Hitler [2011 - 


see Volume 68 


again, and the Doctor 


speaks to Amy 


‘Amy Williams, her 
conventional married 


) > ~ N name as O 


rn aN referring to her and 


Rory as 


DOCTOR WHO | THE 


and feelings... or even a PE teacher 

(“I don’t know where I got that from!” 
quipped Whithouse). For one of the first 
examples of fear displayed on a large scale 
in the hotel’s dining room, 
Whithouse derived the idea 
of a room full of ventriloquist 
dolls which would give a 
strong visual image early 

in the story. “There is 
something very macabre 
about them,” he mentioned 
on Confidential. 

As with the other 
characters, the Doctor would 
as see his own fear in one of the 
hotel rooms... but this would 
not be shown to the viewers. 
“Tm sure the contents of 
room 11 are going to be 
hotly debated,” noted 
Whithouse on Confidential. 


Bang 


] - appears 


pposed to 


‘the Ponds. 


COMPLETE HISTORY 


Furthermore, the episode would also 
continue the recent story of the Doctor 
and the Ponds to the point where the 
Doctor felt it was no longer wise for the 
young couple to travel with him, leading 
to his decision to leave them at home 
on Earth as the only way that he could 
guarantee their safety. 


The Minotaur’s costume 


| he God Complex was initially scheduled 

Mas the tenth episode of the 2011 
series, but when The Girl Who Waited 
[2011 - see page 6] by Tom MacRae was 
confirmed, Toby Whithouse’s script moved 
down a position to become the eleventh 
episode. Both episodes were to be made as 
Block Five by director Nick Hurran. “I met 
Nick Hurran a few times and we discussed 
the episode and his instincts seemed right 
on the money,’ Whithouse told the BBC’s 
Doctor Who website. 

In advance of the episode’s recording, the 
Confidential team followed the development 


aR NN Nas NS ee Pre-production 


of the Minotaur which was to be played 

by six-foot-seven Welsh actor Spencer 
Wilding. A former British and European 
kickboxing champion, Spencer had played 
monsters in various other film projects 
and undertaken some stunt work. On the 
first visit to the premises of Millennium 
FX, the Confidential crew also spoke to 
prosthetics assistant Dave Bonneywell as 
it was ensured that the basic bodysuit of 
the Minotaur fitted in advance of fur being 
added to it; the bodysuit had been built on 
a full body cast already taken of Spencer. 
A fortnight later, Spencer made a return 
visit to try on the finished costume with 
suit fabricator Lisa Crawley; this included 
hooves crafted over built-up shoes to 
increase Spencer’s height even more. The 
outfit was very stuffy, with a cotton mesh 
around the mouth through which an 
oxygen tube could be inserted between 
takes to help the performer breathe. 

The costume was topped off by a fully 
animatronic bull head with 12 channels of 
movement including an articulated jaw, 

lip movement, snorting nose, moving 

and blinking eyes and a frowning brow; 


— 


: 
hy 
oS 
y 
», 


this was operated by two 
different people. 

The readthrough script 
for The God Complex was 
Draft 4, and was issued on 
Monday 31 January. It had a 
number of small differences 
from the shooting script. The 
woman in the pre-credits 
was unnamed at first and 
then initially referred to as 
Lucy Miller; this name was 
changed to Lucy Hayward 
to avoid similarity with the 
character of Lucie Miller, 
the companion of the 


Connections: 

Old enemies 

» Amy comes face to 
face with the Weeping 
Angels, as she had done in 
The Time of Angels/Flesh 
and Stone [2010 - see 


Volume 64] (the creatures 
had first appeared in Blink 
[2007 - see Volume 56)), 
and spoke of River Song 
when she told the Doctor 
to ask her daughter to 
visit her. 


Doctor’s eighth incarnation in the series 
of audio adventures produced by Big 
Finish. The TARDIS materialised in the 
hotel reception rather than the stairwell 
in this draft. Absent from this version 
were the Doctor seeing the scratch marks 
on the ceiling and Amy finding Lucy’s 
note in the corridor; in this draft, Amy 
noticed that Lucy’s message was on a little 
framed notice (like those regarding fire 
precautions) in the dining room. When 


talking to Rita about Jahannam and the 
hotel, the Doctor originally commented, 
“Tt’s like a desktop setting on a computer. 


Left: 
The Minotaur 
craves worship. 


It’s odd though, it’s clearly been on this 
programme for a while as there’s signs of 
wear and tear.” At this point, the room 
for Amy was not defined as number seven 
(the age she had been when she first met 
the Doctor in The Eleventh Hour [2010 - 
see Volume 63]). After Rory talked to the 
Doctor about Howie’s stammer, Rita had 
said, “We need to keep an eye on Amy. I 
think she went into her room.” “Really? Oh 
for...” began the Doctor as he bellowed, 
“It’s great how you've all been so careful 
to follow my instructions!” “Yeah, sorry, 

I think that’s pretty much everyone now 
except you,” replied Rita. “Maybe I’m in 


DOCTOR WHO | THE COMPLETE HISTORY a 


THE GOD COMPLEH =» sww zz 


Connections: 
Greatest fear 

® Mention is made of the 
Doctor's arch-enemies the 
Daleks as being the thing 
feared by Lady Silver Tear. 
The Doctor's own fear 
isnotseen, 


inroom 11 
but the TARDIS' ominous 
warning alarm, the 


Cloister Be 
Logop 


| - first heard in 
olis [1981 - 
Volume 33] - 


Right: 
Medical 
student Rita 
reflects on 
her fears. 


eard, 


it,” said the Doctor, fidgeting 
guiltily. “Death all around 
and I don’t know how to stop 
it.” Gibbis’ crowing about 
survival through cowardice 
was added later, as was the 
reference to River Song. 

The readthrough for The 
God Complex - recorded by the 
Confidential team - was held 
at 5.30pm on Wednesday 
9 February in the meeting 
room at Upper Boat. The 
main guest star for the serial 
was not present - this was 
comedian, actor and writer 
David Walliams who would be playing 
Gibbis; Walliams was best known for his 
comedy television series including Rock 
Profile, Little Britain and Come Fly with Me, 
but was also a huge fan of Doctor Who. 

Born in 1971, he had grown up avidly 
watching the Tom Baker series and 
remained a devotee through to the show’s 
disappearance from the BBC schedules 

in 1989, attending the Doctor Who: The 
Developing Art event at the National Film 
Theatre in 1983 and the play, Doctor Who: 
The Ultimate Adventure at Wimbledon 
Theatre in 1989. He had also appeared in 
Big Finish’s Doctor Who audio adventure 
Phantasmagoria in 1999, and had joined his 
friend and colleague Mark Gatiss to record 
a series of themed comedy sketches for BBC 
Two’s Doctor Who Night the same year. It 
had been because of Walliams’ admiration 
for Tom Baker as the Doctor’s fourth 
incarnation that Baker had been hired to 
narrate Little Britain. In December 2010, 
Walliams had appeared with Matt Smith 
on The Graham Norton Show when they had 
been promoting their respective BBC shows 
for Christmas. “I kept on saying to my 
agent, ‘Have they asked me to be in Doctor 
Who yet because everyone else has been in 


62 QOCTORWHO | THE COMPLETE HISTORY 


it. Why haven't I been in it?’ And then I got 
an email and the subject was Doctor Who... 
and I was really excited to be part of the 
show,’ Walliams told Confidential. For his 
role as Gibbis, Walliams’ features would 
be hidden beneath a prosthetic devised by 
Neill Gorton and his Millennium FX team; 
the actor had originally been concerned 
about this inhibiting his performance, and 
on the first make-up test went through the 
script in front of the mirror to see how his 
facial expressions would appear on screen. 


Cast and crew members 


f the rest of the cast, Amara Karan, 
0 who played Rita, was a Londoner 

born to Sri Lankan parents and had 
recently appeared in ITV1’s Kidnap and 
Ransom, while Dimitri Leonidas cast as 
Howie Spragg had featured as Josh Irvine 
in Grange Hill. Returning to the cast fora 
day’s recording was Caitlin Blackwood - 
Karen Gillan’s cousin - who would play 
young Amelia Pond, and so reprise her role 


from The Eleventh Hour and The Pandorica 
Opens/The Big Bang [2010 - see Volume 66]. 

On Friday 11 February, the BBC Wales 
crew members were invited to make 
cameo appearances in The God Complex in 
the form of photographs of the previous 
victims seen on the hotel walls. “Because 
I wouldn't ask the crew to do anything I 
wouldn't do, I had my photograph taken as 
well,” explained producer Marcus Wilson 
in Doctor Who Magazine. “Beth is in there 
somewhere too. Piers and Steven were 
the only ones who avoided it.” An initial 
photocall was held in the Upper Boat 
meeting room that day between 10am 
and 2pm, with the attendees asked to 
bring smart clothes which did not feature 
bright colours. 

A recee of locations in the Cardiff 
Bay and Bute Park area was held from 
Monday 14 February, the same day that 
the shooting script for The God Complex 
was issued. 

The shooting script had various 
differences to the finished programme. 
When the gorilla emerged from the 


bathroom to confront Lucy (who was 
generally referred to as ‘the Woman’), the 
stage directions noted, ‘He’s wearing a 


Pre-production 


Above: 
Gibbis the 
cowardly 
Tivolian. 


burglar’s stripy jersey and cloth cap, with 
a newspaper under his arm. The script did 
not contain Lucy’s voice-over as she wrote 


her note. 


The hotel interior was described as ‘not 
Gothic or grand, but suburban. Kitsch 
decor. The sort of place that has a carvery 
and a lounge where you sit in chairs of 
fake bamboo and drink cocktails made 
in The Manhattan Bar... The only sound 
is a silky dribble of muzak... The walls 


of the stairwell are covered 
in framed portraits. Those 
cheesy pictures a hotel puts 
up of the staff that will be 
serving you during your 
stay. But some are human 
and some are alien. There’s a 
Judoon, an Ood, a Sontaran, 
one of those cat people. 

And all of them - even the 
Judoon and Sontaran - grin 
cheerfully at the camera and 


Connections: 

Qualified 

® The Doctor indicates 
that he was a medical 
doctor, as he had implied as 
far back as The Moonbase 
[1967 - see Volume 9], 
when he recalled studying 
with Joseph Lister in 

Edinburgh in 1888. 


DOCTOR WHO | THE COMPLETE HISTORY 


THE GOD COMPLEH =» sw zz 


sport a collar and clip-on 
tie’ The hotel corridors were 
later described as seeming ‘to 
yawn and stretch in front of 
[the group]. It’s nightmarish. 
Impossible. The walls are 

all bedecked with the same 
chintzy flock wallpaper. 
Heavy and oppressive. The 
hotel’s beauty salon featured 
‘huge hood hair dryers, like 
early sci-fi space helmets. 
Little tables with period 
magazines, Woman’s Realm, 


Connections: 

In the family 

® The Doctor comments 
that the God creature is 
a ‘distant cousin of the 
Nimon’' in reference to the 

-like race of parasites 


in The Horns of 
Nimon [1979/80 - see 


Volume 31], another serial 
. which had drawn 
co 
[Per ee strongly upon the 
vam) Minotaur legend, 


Smash Hits, Look In!. Dividing 
the room like a partition wall is a large, 
long tropical fish tank. The height of 
80s kitsch. 

Of the prisoners in the hotel, Rita 
(named in some production paperwork 
as Rita Afzal) was described as ‘a young 
British Muslim, in hospital doctor’s scrubs. 
She’s smart and brave’; Howie was ‘young, 
shambolic. T-shirt and jeans and trainers. 
Pale. A mouth breather. Any similarity 
between him and fans of a certain science 
fiction TV show are purely coincidental’; 
Gibbis was ‘an alien. He looks like 
someone has taken Mole from [Kenneth 
Grahame’s classic 1908 children’s story] 
Wind in the Willows and shaved him. Podgy, 
with milky greenywhite [sic] hairless skin, 
and pink eyes lurking amongst his pinched 
little features. He wears a shambolic suit 
over a cardigan’ while Joe was ‘in his 30s. 
He’s smartly dressed (we might notice his 
dice cufflinks, and round his neck is a chain 
with a tiny gold horse shoe on it). 

Of the nightmares in the rooms, the 
PE Teacher was described as ‘a man in 
a tracksuit. Cropped hair. Whistle on a 
string. He stares at the Doctor with that 
mixture of anger and disdain that only a 
PE teacher could pull off’ Rita’s father - 
named as Munir Afzal in some production 


64 DOCTOR WHO | THE COMPLETE HISTORY 


paperwork - was ‘in his 50s, Indian, 
wearing a white doctor’s coat over a smart 
suit. He looms over her, clutching a sheet 
of paper. 

The Minotaur creature was at first 
described obliquely: ‘We might catch 
glimpses of it in the many mirrors. Its 
bulbous hunched back. The mottled metal 
of its breastplate and helmet. The lethal 
horns that scrape the ceiling... Its chest 
rising and falling with a sound like low 
thunder, making its chains and armour 
rattle. Its head almost completely hidden 
in shadows. We might just see the outline. 
Immense. Horned. With a long snout.’ 

At the climax of the tale, the creature was 
described as ‘an eight-foot-tall Minotaur. 
Primal and grotesque, wearing a hotch 
potch of armour. A battered breastplate. 
Rusted tattered chain mail. But it looks 
old. The armour is ancient. Its fur is 
patchy. The skin is drawn back against 
the skull of its bull’s head’ Later on as the 
creature lay prone, the stage directions 
noted, ‘It tries to tug off its helmet.’ 

The stage directions noted that Howie’s 
words were broadcast around the hotel 
on the sound system with ‘the sonic 
screwdriver... wired up like a microphone 
(like in [A] Christmas Carol [2010 - see 


Volume 66]). When Amy said “praise 
him’ for the first time, the script noted 
- with reference to the famous BBC One 


children’s magazine programme - ‘Amy 
has both her hands clamped over her 
mouth, like she just accidentally swore 
on Blue Peter’ 


“T’m a Survivor 


hen the hotel corridor faded away 
WW: reveal The God Complex, this was 
envisaged as an ‘immense black 
box, the size of an aircraft hanger. Like the 
holo-deck in [the 1980s US science-fiction 
series| Star Trek: The Next Generation, there’s 
a grid on the floor, the walls and ceiling 
(hundreds of yards above). This scene was 
changed during recording with regards 
to the character of Gibbis. Originally, the 
alien did not point out his home world 
to Rory, but instead trotted over to the 
Doctor with a smug grin, sneering, “You 
were right. I survived, while all the others 
died. I knew I would! I’m a survivor.” The 
Doctor gave the alien a thunderous look 
and Gibbis scuttled off. 
The home which the Doctor returned 
Amy and Rory to at the end of the tale 
was originally seen as ‘a cottage. But not 


any old cottage. The dictionary definition 
of a dream home. Ivy covers the red brick 
walls all the way up to the thatched roof. 
There’s even a gleaming vintage car in 
the driveway.’ 

The final scene in the TARDIS had no 
dialogue; the stage directions read: ‘The 
Doctor at the controls. He hums and 
“pom-pom’s as he yanks levers, turns 
dials. A flurry of displacement activity that 


eventually dies. And now all is quiet, aside Left: 
from the grind of the engines. The TARDIS Ui 
has never seemed so big and empty. The alongside 
Doctor steadies himself against the desk Howie as he 


as the loss of Amy crashes into him like a 
wave. A sob escapes him. He looks so old. 
So sad. And so alone’ 

Another photoshoot for the reception 
portraits was held on Tuesday 15 February 
in the meeting room between 11am 


and 3pm, and this time with the art ripe 

es unning 
department providing garments to through the 
be worn. & corridors, 


DOCTOR WHO | THE COMPLETE HISTORY 


faces his fears. 


THE GOD COMP 


Above: 
Preparing the 
Minotaur. 


4 


| ednesday 16 February 
| was the first day of 
| recording on Block 
| Five - Day 108 of the 
overall shoot for the 
| 2011 series. Work for 
the first couple of days was scheduled 
between 8am and 7pm at Upper Boat, 
and David Walliams had an early 6.35am 
call so that Millennium’s Sarah Lockwood 
and Dominque Colbert could spend two 
hours transforming him into the alien 
from the planet Tivoli. In addition to the 
portrait photos of Dimitri Leonidas and 
Daniel Pirrie which were taken in the 
meeting room, Matt Smith, Karen Gillan 
and Arthur Darvill also donned red noses 
for a special Comic Relief photocall, which 


DOCTOR WHO | THE COMPLETE HISTORY 


Production 


would be used on the covers of Doctor Who 
Magazine and the listings magazine TV & 
Satellite Week. Recording started in Studio 
6 where the corridor and corridor junction 
sets for the hotel had been constructed; 
the first scenes covered the Doctor 
encountering room 11 as he attempted to 
find Joe, and then Amy opening the door 
to her own room 7. Following this, effects 
shots of the stretching corridor were 
recorded, along with the PE Teacher scene 
from room 158, Howie recoiling from the 
girls’ room, and the initial approach of 
the creature. Because David Walliams was 
the first actor to arrive in the mornings to 
work with the Millennium FX team, and 
the last one to leave after his Gibbis face 
had been removed, the rest of the cast 


never saw him properly. “I’ve only ever met 
David when he’s been dressed as a mole,” 
Gillan later told the BBC Press Office. 

“He was always on set an hour before me 
because he had to have prosthetics put 
on... He was an absolute hoot though. He 
was extremely witty.” 

Pink revisions to the shooting script were 
issued on Thursday 17 February; these 
omitted the Doctor describing Gibbis as 
having ‘greeny white skin’ and changed all 
the references of a fish tank in the beauty 
salon into a glass partition with water 
cascading over it. Recording on day two 
continued in Studio 6, with the emphasis 
on the corridor scenes, and was the first 
day with Spencer Wilding in the full 
Minotaur rig; the actor reported at 6.25am 
for dressing by the Millennium FX team 
of Adam Keenan, Dave Bonneywell, Fiona 
Barnes, Sarah Lockwood and Dominque 
Colbert, prior to movement rehearsals with 
choreographer Ailsa Berk at 9am. Various 
corridor scenes were recorded, such as the 
Doctor finding Joe’s body and Joe’s fate 
at the creature’s hands. The portrait shot 
of Amara Karan was taken at 9.40am in 
Studio 1. Scenes of the Doctor running 


along the corridors and Amy’s party 
bursting out of the Weeping Angels room 
were recorded before Gillan and Darvill left 
to work with the Confidential team on the 
TARDIS set in Studio 1; “We've got such a 
good monster!” Gillan told the BBC Three 
team when speaking of the Minotaur. Matt 
Smith recorded a greenscreen shot of the 
Doctor running along the corridor and 
then rehearsed the phone conversation 
scenes between the Doctor and Rita before 
leaving for additional dialogue recording at 
4pm. The scenes of Rita in the corridor - 
including the CCTV shots for the monitors 
- were then recorded into the evening, 
along with other corridor shots for early in 
the episode. 


Seabank Hotel 


he Confidential crew was present 
T on location on Friday 18 February 

when recording for the reception 
scenes began at the Seabank Hotel on 
the Esplanade in Porthcawl. Work was 
scheduled from 10.15am to 8.45pm, with 
blackouts used to give the confined feel to 
the venue, and the set dressing included 
photographs of the previous ‘victims’ 


: : : Left: 
including shots of a Sontaran (Christopher Rs. tallsane 
Ryan as General Staal from The Sontaran Doctor: 
Stratagem/The Poison Sky [2008 - see Volume vie ee 


58], alias Commander Halke), a Judoon, a 
Silurian and one of the Catkind (Anna Hope 
as Novice Hame from New Earth [2006 - 
see Volume 51], alias Novice Prin) seen in 
previous episodes. Work commenced with 
the sequence of the Doctor realising that 
all the victims had faith and grasping the 
problem before moving onto the start of the 
TARDIS crew meeting the other captives 
early on in the episode. 

It had originally been planned that 
recording on the reception scenes would 
continue at the Seabank Hotel on Saturday 


DOCTOR WHO | THE COMPLETE HISTORY 


67 


THE GOD COMPLE 


Connections: 


Bull heade 


> The Minotaur itself had 


previously a 
as a fictiona 


in The Mind 
see Volum 


nd athlete 


transforma 


ncountered by the Doctor 


n Atlantean councillor 


the strength of a 
ull had resulted in his 


® STORY 222 


19 February, but instead this 
was changed to a rest day. 
The BBC now announced 
that David Walliams was 

to appear in Doctor Who in 

‘a spooky episode playing 

a character called Gibbis’; 
Walliams was quoted as 
saying “I am a huge fan 

of Doctor Who and am so 
looking forward to working 
with Matt Smith and running 
up and down some corridors 


with him.” This fuelled 


d 


ppeared 
| characte 


Robber [1968 
e 13] andas 


whose quest 


ion by Kronos 


» thech 


\. Time Monster [1972 


y -se 


Recording a 
scene with 
the Weeping 
Angels in 
Gibbis’ room. 


onovorein The Leigh Holmwood’s article 


Holy Moley... David Walliams 
on Doctor Who in The Sun, in 
which it was revealed that 
Walliams would look like Mole from The 
Wind in the Willows with a BBC insider 
commenting, “They thought he would 
be perfect for the role of alien Gibbis”; 
in turn, this generated David Harrison’s 
report David Walliams lands alien role in Dr 
Who from The Daily Telegraph. Meanwhile, 
The Guardian was giving away the free 
Doctor Who CD adventure The Hounds of 
Artemis which was followed the next day by 
The Ring of Steel from The Observer. Sunday 
20 was the official opening of the Doctor 
Who Experience at Olympia, with Matt 
Smith present alongside Steven Moffat 
and various others. That evening, Gillan 
and Smith attended the Pam Hogg fashion 
show at the Royal Courts of Justice where 
his girlfriend Daisy Lowe was one of those 
on the catwalk. This prompted items from 
the fashion publication Vogue (Doctor in 
the House) and the Daily Mail (Who’s your 
favourite leading lady?) the next day. 

A revised schedule for the block 
was issued on Monday 21 February, 
confirming that recording would now also 
be taking place on Saturday 12 March. 
The second week of recording found the 


e Volume 18}, 


DOCTOR WHO | THE COMPLETE HISTORY 


BBC spending two days at the Manor 

Parc Hotel in Thornhill, Cardiff where 
scenes involving the dining room were 
scheduled from 9am to 8pm each day. The 
Confidential team was present on the first 
day when as many members of the crew 
as possible were pressed into service and 
hidden under the tables to operate the 
ventriloquist’s dummies that surrounded 
Joe; they also interviewed runner Ross 
Southard and actor Daniel Pirrie who was 
playing Joe. The Doctor’s recollection of 
Joe’s gambling-themed jewellery was also 
recorded, after which the crew made a start 
on the scene of Rita offering the Doctor 
some tea. 

While the TARDIS landed for half-term 
at Raglan Castle in south-east Wales, the 
dining room scenes continued on Tuesday 
22 at Manor Parc, with Amy finding 
Lucy’s note and the Doctor reading it 
out. Following this, the kitchen sequences 
were recorded, including the shots of 
Gibbis eyeing up a fish (the business 


AA NNN 


of the alien with the lone fish was an 
afterthought added during production) 
and the kettle boiling, concluding with the 
sequences of the bodies being laid out in 
the dining room. 

The same day that work was drawing to 
a close at Manor Parc, Nicholas Courtney 
- one of Doctor Who’s longest serving and 
most loved performers - died after a long 
illness at the age of 81. Nicholas had first 
appeared on Doctor Who in 1965, and 
in 1968 had originated the character of 
Alistair Lethbridge-Stewart, the soldier 
who would work alongside the Doctor in 
the rank of Brigadier for UNIT in many 
stories, and whose final appearance on 
television had been in a 2008 story for 
The Sarah Jane Adventures. Steven Moffat 
paid tribute to the actor, writing that he 
‘only met Nicholas Courtney once and very 
briefly - but he was as kind and generous 
and funny as his reputation suggests. 
And on screen, his perfectly pitched 
performance as the Brigadier carved a 


very special place in the history of Doctor 
Who. Not just because he could be grave 
and funny at the same time, and wise and 
silly in the same moment, and not just 
because you could still love him when he 
was clearly in the wrong, or because he 
could point a gun at you and still somehow 
twinkle - but because out of all the people 
the Doctor has met, in all of space and 
time, Nicholas Courtney’s Brigadier 
Alistair Gordon Lethbridge-Stewart 

was the only one who was ever his boss. 
Somewhere out there, the Doctor just got 
a little lonelier’ 


vo 


Interviews and photocalls 


hile the press carried tributes 
WW: Nicholas Courtney, back at 

Upper Boat on Wednesday 23 
February, recording was scheduled for 8am 
to 7pm in Studio 6; also present were the 
Confidential crew and a team from BBC 
America under director Scott Saunders, 
who were to record promotional interviews 
with Smith, Gillan and Darvill as well as 
Piers Wenger, Beth Willis, Marcus Wilson 
and production designer Michael Pickwoad 
on the TARDIS set in Studio 1. Sarah 
Quintrell, who was playing Lucy, was also 
present for a photocall at 
11.30am in Studio 6, while 
the other cast members also 
fitted in publicity photo 
shoots during the day and 
the regulars recorded wild 
track material for The Curse 
of the Black Spot [2011 - see 
Volume 67]. Recording began 
on the corridor set with the 
Doctor’s party discovering 
Howie dead, after which 
scenes of the Doctor lost in 
the corridors were recorded, 
and then the sequence of 


Connections: 

Folk song 

® Joe recites part of the 
English nursery rhyme 
and folk song Oranges 
and Lemons, while the 


girls whom Howie feared 
referred to the fictional 
language ‘Klingon’ 
associated with the alien 
race that first appeared in 
the 1960s science-fiction 
series Star Trek. 


DOCTOR WHO | THE COMPLETE HISTORY 69. 


70 


Abo 


Recording a 
scene witha 
creepy clown. 


Connections: 
ubed 


® As he did in Night Terrors 
[2011 - see Volume 68], 
the Doctor plays witha 


C 


ve: 


Rubik's Cube, a popular 


e when 


. Mass-marketed 
rin 1980. 


Amy being lured into her bedroom. Stunt 
co-ordinator Gordon Seed was present 
to supervise the collapse of the Minotaur 
outside the bedroom, after which Gillan 
joined Millennium FX to test the Old 
Amy prosthetics for The Girl Who Waited. 
Following this, the climactic scene in 
Amy’s bedroom was recorded with Caitlin 
Blackwood sitting in the manner that she 
had done waiting for the Doctor’s return 
in The Eleventh Hour, and Gordon Seed 
supervising the Minotaur smashing into 
the room; this scene had to be recorded 
twice with both Gillan and Caitlin as Amy, 
with Matt Smith quipping 
to Caitlin, “You’re so much 
cuter than your older cousin 
aren’t you?” 

The BBC America and 
Confidential crews were 
still present on Thursday 
24 February, along with 
Benjamin Cook of Doctor 
Who Magazine, while the 
BBC Press Office announced 


DOCTOR WHO | THE COMPLETE HISTORY 


the development of a new, multi-player 
Doctor Who game entitled Worlds in Time 
being created in partnership with Three 
Rings. At Upper Boat, recording from 
8am to 7pm began in Studio 6 with the 
scenes in the redressed bedroom set which 
now contained the Weeping Angels of 
room 216. Visiting the set for the day 

as part of Confidential’s A Day in the Life 
feature was Toby Whithouse along with 
his children Lucas and Maddy; the trio 
were met in reception by Karen Gillan and 
then shown by script executive Lindsey 
Alford around the hotel corridor sets in 
Studio 6 before having a tour of the prop 
store with Torchwood’s UK producer and 
The Sarah Jane Adventures producer Brian 
Minchin (Lindsey’s husband) where they 
also encountered Piers Wenger and Beth 
Willis. After the scenes in the Weeping 
Angels bedroom, Matt Smith then joined 
BBC America for more interview material 
prior to the recording on The God Complex 
set in Studio 5; for this scene, it had been 
decided to change some of Gibbis’ dialogue 


YA AEB 


to make him more sympathetic, and so 
Darvill and Walliams improvised new lines 
as they gazed down at Tivoli. It was here 
that Whithouse corrected Smith on the 
pronunciation of Nimon (“as in Simon”) 
as well as seeing his Minotaur ‘in the flesh’ 
(“To see your own monster is absolutely 
thrilling,” noted the writer); following this, 
Whithouse and his family were overjoyed 
to see the TARDIS set and as the writer 
later admitted at the San Diego Comic- 
Con, “I was more excited than they were.” 
Gillan and Darvill also fitted in chats with 
BBC America as scenes in the security suite 
set built in Studio 6 were recorded with 
Matt Smith reacting to a live feed of Amara 
Karan on the adjoining corridor set... as 
well as various pre-recorded images. After 
that evening’s wrap, the three regulars 
joined director Nick Hurran at the local 
Novotel for the deferred readthrough of 
The Girl Who Waited, which was to start 
recording in earnest the following week. 
That night, Karen Gillan finally got to see 
David Walliams out of make-up as the pair 
enjoyed a few hours in the nightclubs 

of Cardiff. 


The deferred day at the 
Seabank Hotel was staged 
from 11am to 9.30pm on 
Friday 25 February and 
concluded the early reception 
scenes (and associated CCTV 
shots) before moving onto 
the stairway sequences 
featuring the Doctor. Of 
the photographs of the 
crew placed on the wall, 
the shot of Marcus Wilson 
was the one which Amy looked at and 
named as Royston Luke Gold (“Until I 
saw the rushes, I didn’t know I was there,” 
commented Marcus), while the series’ petty 
cash buyer Kate Wilson could be seen as 
Lady Silver Tear. Matt Smith had to leave 
for additional dialogue recording (ADR) 
work at 6.30pm, and so the later scenes in 
reception covered Gibbis guarding Howie, 
as well as recording Howie’s dialogue 
to echo around the corridors. This was 
David Walliams’ last day. Work at the hotel 
concluded on Saturday 26 February from 
9.30am to 8pm; this covered the arrival of 
the recently constructed TARDIS prop on 
the stairwell and the other staircase scenes, 
finishing with more oblique shots of 
the Minotaur. 


Pec: their day off, the team was 


Connections: 
Jahannam 

® The Doctor and Rita 
discuss the Muslim 
concept of Jahannam, the 
equivalent to Hell where 
itis believed that those 
unfaithful to their religion 
will be punished after the 
judgement day of Qiyamat. 


Left: 
Brave Amy and 
a fearful Gibbis. 


back in studio on Monday 28 February 

for recording in Studio 2 from 8am 
to 7pm. Karen Gillan spent the morning 
undertaking ADR at Bang through to 
9.30am, after which she returned to Upper 
Boat for publicity sessions in the green 
room through to noon, and then a further 
Old Amy costume fitting. Doctor Who 
Confidential was present for the day, with 
work initially focusing on the sequences 
with the Doctor and the Minotaur in the 


DOCTOR WHO | THE COMPLETE HISTORY (a) 


THE GOD COMPLE 


Connections: 
Photo finish 


® The photo 


the God Complex included 
a Sontaran (a race first 


seenin Th 
[1973/4 - 


and most recently in A Good 


Man Goes 


see Volume 68)), a Silurian 
of the species seen in The 
Hungry Earth/Cold Blood 
2010 - see Volume 65] 


and again 


one of the 


Volume 5 


doon (i 
ith and 
see Volum 


Hoix (seen in Love & 


Monsters 


Volume 53] and The 
» Pandorica Opens/The 
& Big Bang [2010 - 


y Se 


72. DOCTORWHO | 


Goes to War), a Tritovore 


from Planet of the Dead 
2009 - see Volume 61)), 


in New Earth [2006 - see 


2007 - see Volume 55)), 


® STORY 222 


hotel’s beauty salon (which was named 
the Pasiphae Spa after the mother of the 
Minotaur). After lunch, the scenes in the 
corridor outside the salon were recorded, 
with Rory being knocked out and seeing the 
fire escape door appear again. 

Tuesday 1 March saw the recording 
schedule split across both episodes of 
the production block. Work began on 
location at 9am with the BBC team based 
at Caspian Point car park so that the 
closing sequence outside Amy and Rory’s 
dream house could be recorded on Bute 
Esplanade in Cardiff Bay. 
Rory’s distinctive red 1970 
E-Type Jaguar was provided 
by Classic Motoring Ltd. 
After lunch, the regular cast 
then returned to Upper 
Boat for work on The Girl 
Who Waited. Location shots 
of Amy kissing the Doctor 
goodbye found their way into 
the press, prompting Time 
Lord enjoys the smack of the 
present by James McCarthy 
of the Western Mail, Dan 
Menhinnitt’s Amy Pond’s 
tender kiss for Dr and (Dr) Who 
loves ya? from The Sun and Is 
there trouble ahead for Amy and 
Rory? The Doctor gets close to 
his companion from the Daily 
Mail on Thursday 3 March. 
That same day also saw Matt 
Smith joining the Block Six 
crew to work on Closing Time 
[2011 - see page 88], while 
recording on Block Five 
took place at Upper Boat, 
starting with material for The 
Girl Who Waited. Following 
costume changes for Karen 
Gillan and Arthur Darvill, 
work on The God Complex then 


s of victims of 


e Time Warrior 
see Volume 20] 


to War [2011 - 


in A Good Man 


Catkind (seen 


] and Gridlock 


ntroduced in 
Jones [2007 - 
e54]) anda 


2006 - see 


e Volume 66)). 


THE COMPLETE HISTORY 


continued in Studio 2 through to 7pm with 
scenes in the corridor outside the beauty 
salon featuring only Spencer Wilding 
alongside the regulars. 


Nightmare rooms 


% octor Who Confidential was present 

for work at Upper Boat on Friday 4 

March when recording from 8am to 
7pm was devoted to The God Complex and 
focused on the bedroom set in Studio 6. 
This commenced with Rita’s nightmare 
encounter with her father, and then the 
girls laughing at Howie in Room 155, 
plus cutaway shots of a Weeping Angel 
played by Louise Bowen who was made 
up by Kate Harris and Sarah Lockwood 
of Millennium FX. Karen Gillan had 
been working on ADR that morning, and 
arrived at Upper Boat to record the clown 
sequence around 2pm before heading 


bathroom in room 214. This was the main 
day that Sarah Quintrell was required, 
as she recorded her corridor scenes and 
voice-overs; she and Dimitri Leonidas were 
also interviewed by Confidential. A second 
camera unit then recorded cutaways 
against a black screen of 10-year-old 
Lucy with her birthday cake, and Lucy’s 
husband laughing at her. 
An insert shot of Lucy’s note fluttering 
to the floor in slow motion was recorded 
on the corridor set during work for The 
Girl Who Waited on Monday 14 March, 
while pick-ups the next day included 
a double for the Doctor touching the 
scratched ceiling, Lucy’s photograph on 
the wall, and the shot of the gorilla story 
book recalled by Lucy. On Friday 18 Left: 
March, work at 8am began with the last Cewmenn 


DOCTOR WHO 


= [= 
S) 


‘ ‘ . get their 
major recording for The God Complex; this hair done 
covered scenes in the security suite with in between 

scenes. 


the Doctor, Amy and Rory watching the 
monitor screens and talking to Rita. While 
Gillan and Darvill then went for make- 

up changes to record scenes for The Girl 
Who Waited, Smith recorded the closing 
TARDIS scene of the lonely Doctor for 
The God Complex. & 


off to join the Block Six crew on location 
that night. The remaining scenes thus 
comprised the room full of balloons seen 
by Lucy, the photographer in room 215, 
and then the gorilla emerging from the 

2 - Hotel - Beauty Salon Corridor 2/ 


PRODUCTION Bedroom (Amy's) 


Wed 16 Feb 11 Upper Boat Studios: 
Studio 6 - Hotel - Corridor Junction/ 
Corridor 

Thu 17 Feb 11 Upper Boat Studios: 
Studio 6 - Hotel - Corridor/Greenscreen 
Fri 18 Feb 11 Seabank Hotel, Esplanade, 
Porthcawl (Hotel - Reception) 

Mon 21Feb 11 Manor Parc Hotel, 
Thornhill, Cardiff (Hotel - Dining Room 
Corridor/Dining Room) 
Tue 22 Feb 11 Manor Parc Hotel (Hotel - 
Dining Room/kKitchen) 
Wed 23 Feb 11 Upper Boat 
Studios: Studio 6 - Hotel - Corridor/ 


Thu 24 Feb 11 Upper Boat Studios: 
Studio 6 - Hotel - Bedroom (Weeping 
Angels)/Security Suite/Studio 5 - Hotel - 
Corridor/God Complex 

Fri 25 Feb 11 Seabank Hotel (Hotel - 
Reception/Stairwell) 

Sat 26 Feb 11 Seabank Hotel 

(Hotel - Stairwell) 

Mon 28 Feb 11 Upper Boat Studios: 
Studio 2 - Hotel - Beauty Salon/Beauty 
Salon Corridor 2 

Tue 1 Mar 11 Bute Esplanade, 

Cardiff Bay (House) 


Thu 3 Mar 11 Upper Boat Studios: Studio 


Beauty Salon Corridor 1 

Fri 4 Mar 11 Upper Boat Studios: Studio 
6 - Hotel - Bedroom (Rita’s)/Bedroom 
Howie's)/Bedroom (Weeping Angels)/ 
Bedroom (Clown)/Bedroom (Balloons)/ 
Bedroom (Photographer)/Bedroom 
Gorilla)/Corridor/Black Screen 

Mon 14 Mar 11 Upper Boat Studios: 
Studio 5 - Hotel - Corridor 

Tue 15 Mar 11 Upper Boat Studios: 
Studio 5 - Hotel - Corridor/Stairwell/Gorilla 
Story Book 

Fri18 Mar 11 Upper Boat Studios: Studio 
1+2 - Hotel - Security Suite/TARDIS 


DOCTOR WHO | THE COMPLETE HISTORY © 73 


THE GOD COMPLE 


Tivolian 


and Howie. 


uring post-production, various 
elements of the episode were 
edited and resequenced to form 
the finished programme. The 
first room that Lucy looked into 
was not originally the clown 
room, but a room full of party balloons. 
In reception, after the Doctor enthused 
about whoever had made the hotel, Amy 
replied, “Wait a sec, I remember the last 
time we ended up somewhere by ‘accident’. 
Doctor, tell me now: am I not really me, 
am I made of butter or something?”; this 


DOCTOR WHO | THE COMPLETE HISTORY 


was a reference back to the events of The 
Rebel Flesh/The Almost People [2011 - see 


Volume 67]. As Rory read out the names 


of the hotel’s victims and their associated 
fears, this originally included “Julie 
Collins: Grandad”. After the Doctor took 

a shine to Rita during their introductions 
in reception, he added, “I’m the Doctor, 
this is Amy and Rory. How’s it going? 
Badly, I’m guessing.” Then he noted that 
Howie had been surprised to be back in 
reception, adding, “You said you’d walked 
in the opposite direction.” After the Doctor 


NN NS Post-production 


commented on it being rude for people to 
be dropped into a 1980s hotel, he added, 
“But you know the bit I really don’t like? 
Those pictures. I do not like the stories 
behind those pictures.” 

A short scene was cut after the Doctor’s 
party discovered that the TARDIS had 
vanished and prior to their entry to the 
dining room. Standing outside the dining 
room, Rita told the TARDIS travellers 
about Joe: “He was fine. I mean, he was 
lost and scared like us, but he was, you 
know, himself. Then suddenly he started 
freaking out. Talking about how we were 
all going to die here. My God, as if we 
weren't frightened enough... Anyway then 
it was like he switched back, and told us 
to tie him up.” “Hmmm,” ruminated the 
Doctor, “intermittent possession’. Very 
dangerous. Very unpredictable. Worth 
about 140 points in Scrabble though.” 

As the Doctor reached out for the door 
handle, Rita warned, “Doctor. He’s not 
alone.” Inside the dining room, after Joe 
had said that there was a room there for 
everyone - including the Doctor - he 
added, “And in it is the very worst thing 
in the galaxy. Find that and he'll find 
you.” Before the Doctor scooped up the 
restrained Joe, he originally said, “Well, 
much as I hate to stand in the way of 
true love...” 


he next scene in reception was 
Tne slightly. After the Doctor 

pondered why the four victims had 
been imprisoned, Howie replied, “One 
word. My website.” “Here we go...” said 
Rita, rolling her eyes. “Www. Who-ate- 
all-the-lies,” gabbled Howie as the others 
stared at him, “Y’know, as in ‘who ate 
all the pies’. Look, all the cool domain 
names had gone, OK? Anyway, it’s got 


everything ‘they’ don’t want you to know 
about JFK, the Moon landing, Roswell. 
And so ‘The Man’ dumps me here: Hotel 
Guantanamo. Sorry guys, you're just 
civilians, caught in a secret war you will 
never understand.” After a moment, the 
Doctor continued to ponder: “So, like I 
said: why you four?” After Gibbis said it 
didn’t matter, the Doctor continued, “Tell 
them how it works, Pond.’ “That’s not 
how we roll,” explained Amy. “There'll be 
banter, there’ll be running down corridors. 
He'll have an explanation that won’t make 
sense, but just nod and we’ll be home in 
time for Countryfile.” (This was a reference 
to BBC One’s Sunday early evening rural 
magazine programme which had been 

on air since 1988). The Doctor looked 

at Amy, a little stung as Rita speculated 
on to whom Joe had been referring. 
“Whatever is possessing him obviously 
wants to frighten us,” observed the Doctor, 
“but that doesn’t mean it’s real with, you 
know, a face and shoes and knees.” This 
was what Joe laughed at, and after Howie 


Below: 
Creepy corridor. 


DOCTOR WHO | THE COMPLETE HISTORY es) 


76 


THE GOD COMPLE 


Below: 


Don't blink! 


® STORY 222 


asked if they couldn’t do something about 
the laughing man, the Doctor grabbed 
some gaffer tape from the hotel desk and 
tossed it to Howie who crossed over to 
Joe. “You’re next. Just so you know,” said 
Joe to Howie quietly as the geek hesitantly 
slapped the tape across the man’s mouth. 
After the Doctor said that they needed the 
TARDIS, Gibbis added, “And if we find the 
person in charge, we surrender to them, 
yes?” “ Surrender’ is not in my vocabulary,” 
retorted the Doctor. “Really?” said Gibbis, 
“We've got 56 different words for it.” The 
Doctor warned the party not to enter any 
particular room, adding, “Gibbis, make 
yourself useful and wheel Joe. Come along 
Ponds and non-Ponds!” 

When Rita confronted her father in the 
bedroom, the older man raged, “This is 
what I worked for? So you could bring 
disgrace on this family?” When Joe ran out 
into the corridor to face the creature, he 
called out, “I... 7M HERE! COME TO ME! 
I’M HERE!” As the Doctor dashed along 
the corridors, he heard a scream; the same 
scream was also heard by Amy and the 
others. The Doctor then found and looked 
inside room 11 en route for the screaming 
Joe, but this scene was dropped back to 
later in the episode. 


DOCTOR WHO | THE COMPLETE HISTORY 


When Amy spoke to Gibbis about their 
fears and how the Doctor would save 
them, the alien shuddered and asked, 
“What if he wants us to... fight it?” “Ok, 
Gibbis, look at it like this: you can hardly 
be enslaved or oppressed if you're dead, 
can you,” reasoned Amy, as she walked off. 

After Joe’s body had been moved to the 
dining room and Rory commented on Amy 
hitting him with her shoe, Amy shrugged, 
“Ah, let ‘em play Doctor and Nurses. 
What’s my boy been up to?” “Me and 
Howie are barricading the door. We had 
to move like loads of tables,” replied Rory. 
“Ooh, show me your muscles. Come on, 
show me your - oh you are,” said his wife. 
When Rita commented that the 1980s 
hotel took her by surprise, the Doctor 
replied, “Yeah, it is odd... It isn’t a real 
hotel, so must be making itself look like a 
hotel. But it doesn’t have any relevance to 
any of us, so maybe it’s just got jammed 
on an old setting.” As Amy remembered 
the note she had found earlier, Rita asked, 
“Doctor. You can speak... alien, can’t you? 


The creature, what is it saying?” “Uh, it’s a 
very old dialect, I can’t be certain...” replied 
the Doctor evasively, “Outside the room, 
when we were hiding, it said ‘death’. That’s 
all. ‘Death.” As the Doctor read out Lucy’s 
note about Luke being the first victim, he 
originally continued, “Then Tim. Then 
Charlie and beautiful Novice Prin.” 

In the corridors, Howie was originally 
to be saying, “Praise him! Praise him!” 
but in ADR this was changed to “Bring me 
death. Bring me glory. My master my lord 
lam here.” The sequencing of the Doctor 
with the creature in the beauty salon 
was slightly different to the script with 
regards intercutting to his friends outside. 
When the Doctor tried to understand the 
creature, he originally said, “Gimme a sec, 
your language is so old it’s hard for me 
to translate it...” When Howie talked to 
Gibbis, he asked, “Let my master have me,” 
and then told the alien, “You’re a survivor. 
That Doctor guy said so himself. Why? Coz 
you think like a survivor. I respect that.” 
After Gibbis said that Howie was possessed 


and Howie suggested that he could 

have ‘overpowered’ him, the prisoner 
continued, “You didn’t tie this very 
tightly...” When Gibbis hurried to check 
his prisoner’s bonds, Howie said to him, 

“T bet there’s some nice juicy armada on 
its way to your planet right now. And 
you're missing it.” The next scene in the 
corridors was cut; it featured Rory holding 
the beauty salon door shut and seeing the 
fire exit door materialise on the wall next 
to him. Inside the salon, as the Doctor 
realised the creature wanted things to stop, 
he continued, “When you said ‘death’ in 
the corridor, you meant your death... But 
you cannot... make... it end.” Outside the 
salon when Rita checked on the dazed 
Rory, she asked, “Are you dizzy? Can you 
focus on me?” “Oh he’s fine, he does this,” 
quipped Amy. 


Left: 
“Gottle o' geer. 
Gottle o' geer.” 


Faith not fear 


WM n reception, after Rory told the 
| Doctor that there was nothing left 
Mle for him to be scared of, he added, 
“I keep seeing a door. It’s different to the 
others. It’s marked fire exit. It pops up 
out of nowhere.” “Have you opened it?” 
asked the Doctor. “It doesn’t hang around 
long enough,” explained Rory, “I asked 
the others, but no one else has seen it. 
I wondered if you had.” “No. Just you,” 
said the Doctor, curiously eyeing Rory. 

When the doomed Rita said she was 
about to hang up on the phone, she added, 
“And then I’m going to turn away from 
the camera.” In reception, when Amy said 
that they needed to let the Doctor have 
his furious outburst, the Doctor looked 
up and said, “Say that again.” “Er, I just 
said it’s fine,” replied Amy, “You'll work it 
out. You always do.” As the Doctor realised 
that the key was faith and not fear, he 
continued, “That’s the connection. You all 


DOCTOR WHO | THE COMPLETE HISTORY 


7 


a pa 
* 


Above: 

The Doctor 
visits the hotel 
restaurant. 


i} 


<* 5 
| —<—< 


have faith.” “Are you sure?” asked Amy, 
“T mean Rita was kinda religious, but 
we're not.” 


God Complex 


MM fter the hotel had melted away to 
al \ reveal the God Complex and the 

® WDoctor explained about the glitches 
not tidying away the previous victims’ 
fears, Amy asked, “But why bother? Why 
not just stick it [the Minotaur] out here 
and let it starve?” “Maybe he was a good 
god to them,” speculated the Doctor. 
“Maybe this was his pension.” 

After Rory entered his new home, Amy 
asked, “So do you have, like, a whole 
drawer of winning lottery tickets?” “In 
the kitchen, the one with the receipts and 
take away menus,” replied the Doctor (the 


78 =QOCTOR WHO | THE COMPLETE HISTORY 


Doctor’s manipulation of lottery wins 
had previously featured in School Reunion, 
The End of Time [2009/10 - see Volume 62]) 
and A Christmas Carol). When Amy 

asked why the Doctor had to leave now, 
his reply originally began, “Because you 
still love it. Because you still love me.” 

As he speculated over the horror of 
standing over Amy’s grave or Rory’s body, 
he added, “All those people in that hotel, 
those innocent people, sacrificed for that 
ancient creature. It has to stop, Amy. It 
has to stop.” 

The bulk of the music heard in the 
episode, composed by Murray Gold, 
already existed - and included material 
recorded by the National Orchestra of 
Wales on Tuesday 19 July for Let’s Kill Hitler 
{2011 - see Volume 68] and The Wedding 
of River Song [2011 - see Volume 70]. 


Publicity 


¥ On Sunday 24 July, Toby Whithouse 
joined Matt Smith, Karen Gillan, Beth 
Willis and Piers Wenger on the Doctor 
Who panel at Comic-Con in San Diego 
and introduced a special trailer for The 
God Complex showing the Minotaur’s 
assault on the hotel bedroom. 
“Certainly the audience seemed to 
respond to it really well,” Toby told the 
BBC website in an interview released 
on Wednesday 3 August. “I think the 
performances and direction are out of 
this world.” On Friday 19 August, BBC 
Radio 1’s Newsbeat ran a story entitled 
David Walliams a ‘challenge’ to work with 
in Doctor Who, in which Karen Gillan 


commented of the episode’s guest ® Following the transmission of The Girl Above: 
star, “He is so funny. It’s hard working Who Waited on Saturday 10 September, oh 
with David Walliams because he is the BBC website released an interview 

constantly making you laugh.” with Toby Whithouse in which he 


commented of the finished version 

of The God Complex, “I’m thrilled 

with it... It’s beautifully directed by 
Nick Hurran - a genuinely wonderful 
piece of work. He’s imbued this bland 
domestic setting with genuine terror 
and creepiness.” There was also a video 
with Arthur Darvill featured on the 
website, with the actor recalling work 
on the episode as he noted, “David 
Walliams was hilarious... It was a really 
fun episode to film. It felt like we were 
making a 1970s horror film because we 
were in these creepy hotel corridors.” 


» On the evening of Monday 12 
Left: 
September, Doctor Who was announced Dont tallte 
as Best Family Drama while Karen the clown, 


DOCTOR WHO | THE COMPLETE HISTORY 79 


THE GOD COMPLE 


Above: 

The Doctor 
ponders the 
God Complex. 


® STORY 222 


Gillan was named Best Actress at the 
TV Choice Awards held at the Savoy 
Hotel in London; both Steven Moffat 
and Karen Gillan were present at the 
ceremony to accept the accolades. The 
new edition of Radio Times on Tuesday 
13 saw Mark Braxton nominate The God 
Complex as Saturday’s Pick of the Day 
(‘And just when you think you've got the 
story pegged, it evolves into something 
altogether more moving and surprising’) 
along with a photo of the ventriloquist’s 
dummies, while the programme billing 
was highlighted by a photograph of 
Gibbis and Howie. Three preview clips 
from the episode were made available 
on Tuesday 13 showing the TARDIS 
crew meeting the three captives in 
reception, the discovery of Joe in the 
dining room of dummies, and also the 


DOCTOR WHO | THE COMPLETE HISTORY 


bedroom of Weeping Angels. A Doctor 
Who Confidential video on Wednesday 
14 September saw comments from 
Marcus Wilson, Toby Whithouse and 
David Walliams about the forthcoming 
adventure, along with a second preview 
of Smith interviewing Walliams and 
then being joined by Gillan. Arthur 
Darvill did additional voice recording 
for the adventure game, The Gunpowder 
Plot on Wednesday 14 at The Moat 
studios in London, while the following 
day, Smith did similar pick-ups for the 
same game at Tinopolis in Llanelli. 
Smith’s video interview with Gillan for 
Confidential then appeared on Thursday 
15, the same day that ITN and The Sun 
covered the story of 49-year-old Rob 
Hull of Doncaster, who was now in the 
Guinness World Records book for his 
collection of 571 Daleks, the biggest in 
the world! 


» Matt Smith gets rowdy on set! was the 


title of the Confidential video released 
on Friday 16. In the US, BBC America 
offered comments on The God Complex 
from Smith, Gillan, Moffat, Wenger 
and Willis in a Doctor Who Insider 
entitled Hotel Horrors, as well as 
revealing that Smith would be the 
special guest on the premiere of The 
Nerdist on BBC America on Saturday 
24 September, directly after Closing 
Time. On Friday evening, Blackburn 
Rovers fan Matt Smith did a quick 
phone interview with Colin Murray on 
Kicking Off on BBC Radio 5 Live and 
chatted about Doctor Who as well as 
sport... and how he had been recording 
the Christmas Special (The Doctor, the 
Widow and the Wardrobe [2011 - see 
Volume 70}). 


®A AEN 


Publicity | Broadcast 


Broadcast 


® Scheduled for 50 minutes, The God 
Complex was broadcast by BBC One 
at 7.10pm opposite All Star Family 
Fortunes on ITV1, and followed by 
Heartbreak Hotel - the latest edition 
of Doctor Who Confidential - at 8pm 
on BBC Three which attracted half a 
million viewers; the behind-the-scenes 
show was then repeated at 3.40am 
the next morning, while the BBC HD 
broadcast was a couple of hours earlier 
at 1.35am. The overnight figures 
for The God Complex saw a slight fall, 
and suggested that Doctor Who had 
been marginally beaten by its ITV1 
competition. In terms of press reviews, 
the episode was seen as ‘a bit of a 
curate’s egg’ by Gavin Fuller of The 
Daily Telegraph and ‘another frightener’ 
by Neela Debnath of The Independent 
while Dan Martin of The Guardian 
noted of the story that ‘blind faith... 
emerged as dangerous’. 


® The overnight ratings for The 
God Complex prompted the story 
Fans switch off Doctor Who from an 
anonymous journalist in The Sun on 
Monday 19 as it was claimed that 
‘fans complain the storylines have 
become too complicated’. Dan Martin 
of The Guardian did a more in-depth 
feature entitled Has Doctor Who got too 
complicated? on Tuesday 20 in which 
he discussed online comments about 
the ongoing River Song narrative 
and presented comments from series 
writers Gareth Roberts and Toby 
Whithouse. “I don’t think the problem 


is that Doctor Who has become more 
complicated, surely it’s the fact that 
the rest of television has become more 
simplistic,” noted Toby. “The themes 
and plots are no more complex than 
some classic Who stories. The only 
difference is, Tom Baker’s Doctor wasn’t 
jostling in the schedules against Red or 
Black?. Personally, I think Doctor Who 
should be complicated. Not despite 

but because it’s a children’s show. It’s 
fantastic that the next generation of 
storytellers are being told such rich and 
dark and intricate stories. When did 


—_ a Il Below: 
aving to concentrate become mutually Menacing 
exclusive to enjoyment?” Minotaur. 


DOCTOR WHO | THE COMPLETE HISTORY a 


ibove: 
Minotaur 
and mirrors. 


» BBC Three screened The God Complex 
at 7pm on Sunday followed bya 
truncated version of Heartbreak Hotel 
through to 8pm, and repeated the 
episode again at 3.40am the next 
morning. The one-hour package of 
episode and abridged Confidential then 
appeared again from 7pm to 8pm on 
Friday 23 September. 


® When the final BARB (Broadcasters’ 
Audience Research Board) ratings for 
the episode were made available, the full 
story of the nation’s viewing habits 
was revealed; while the overnight figure 
for All Star Family Fortunes had exceeded 
that for Doctor Who, the consolidated 
ratings (including viewers who watched 
over the next seven days) demonstrated 
that Doctor Who had attracted over a 


ORIGINAL TRANSMISSION 


EPISODE 


The God Complex 


DATE 
Saturday 17 September 2011 


TIME 


DOCTOR WHO | THE COMPLETE HISTORY 


CHANNEL 


7.10pm-8.00pm BBCOne 


million more viewers than its ITV1 
competition and won its timeslot with 
a 28 per cent audience share. 


The departure of Amy and Rory from 
the TARDIS drew the episode to a dark 
conclusion, advancing the Doctor’s 
own life towards his fate as seen in 

The Impossible Astronaut/Day of the Moon 
[2011 - see Volume 66] - particularly 
with regards the dying comments 

of the creature in the maze. “Since 

we know the Doctor is two episodes 
from death, that hits close to him,” 
said Steven Moffat as he ruminated 

on the break-up of the closely bonded 
TARDIS trio in Doctor Who Confidential. 
“At a certain point, like Wendy and 
Peter Pan, they have to go away and 
grow up.” 


DURATION 
47'54" 


RATING (CHART POS) 
6.77M (18th) 


APPRECIATION INDEX 


86 


Merchandise 


TOBY WHITHOUSE 


fi j Writer 
” 7 


he God Complex was released on 
DVD and Blu-ray by 2|entertain 
in October 2011 as part of 
Doctor Who: Series 6 — Part 2. 
The episode was also on The 
Complete Sixth Series DVD/Blu- 
ray box set in November 2011. The shorter 
version of the associated Doctor Who 
Confidential was also included. 

Music for The God Complex 
composed by Murray Gold was 
included on the CD Doctor Who Series 
6, issued by Silva Screen in December 
2011. The tracks from this episode 
were: The Hotel Prison, Room of Your 
Dreams, Fear Enough, What’s Left to Be 
Scared of ? and Rita Praises. 

Issue 9 of Obverse Books’ 
unofficial Black Archive series, 
published in December 2016, was a 
look at The God Complex by Paul Driscoll. 

A figurine of the Minotaur was 

included with special 
issue 17 of the Doctor 

Who Figurine Collection 
published by Eaglemoss 
in August 2018. 


Far left: 
Doctor Who 
Confidential 
goes behind 
the scenes, 


Below: 

The Black 
Archive book 
on The God 
Complex. 


Left: 
Eaglemoss' 
figurine of 
the Minotaur. 


DOCTOR WHO | THE COMPLETE HISTORY 83 


84 


THE GOD COMPLEH =» sm 2z 


Cast and credits 


Below: 
Matt Smith 
discusses a 
scene with 
director 


Nick Hurran. 


CAST 
WTAE RASSNNNUCR Meet eteieraccsrscscessasssstssssercesssessen The Doctor 
and 
EGET (CHTETD copra Amy Pond 
PASERAES IAS AMIN rrrrtreiitstisvsaiitiseesisisssasssvissesasssrssssassessseon Rory 
Sarah Quintrell 
PAMACARSALRS AN CAIN rryiciiretoericrrvusesrssnsicvsseveasssssvsssesseeiees 
Dimitri LEONIMAS............ces Howie Spragg 
Daniel PIrrie.....iiccsiissen Joe Buchanan 
David WalliaM once Gibbis 
Dafydd Emyr.... uw. PE Teacher 
Spencer WIIdING.................:ccin The Creature 
Rashid Karapiet...............ccccscsene Rita's Father 
Caitlin BlackWOOG ......ccie Amelia Pond 
FOREN Mea Strrnrignsiiscitiricessccisecsssssnsssssssnen Gorilla 


DOCTOR WHO | THE COMPLETE HISTORY 


UNCREDITED 

Ella Whilton-Stroude.............0.600000 Young Lucy 
PREMERA AY  essesesscssccesvesscsssiscstsnsecenssserren Lucy's Husband 
RSARVIPIODIS  eorrcssssciscsstssiscsssssrinensscieveeesssers Photographer 


Joanna Blewitt, Kally Davies, Louise Garrett 
Evans, Louise Harris, Hollie Miles, Vicky 


Be eNaa EE RM ee eit syticsaccpodsessesiaacenscecsenaseassesenctsneceasars Girls 
Matthew Humphrie.......... Double for the Doctor 
GUISE BOWEN osessccssseissstssssseeesisccsseascesssneasersesansncsse Angel 
VAMIONMPOTOTY vsccsscssissssssaseossiesssnussennsesssecsinesene Clown 
lestyn HAMPSON JONES... Unknown 


CREDITS 

Written by Toby Whithouse 
Produced by Marcus Wilson 
Directed by Nick Hurran 
Stunt Coordinator: Crispin Layfield 
[uncredited: Gordon Seed] 

Stunt Performer: Gordon Seed 

1st Assistant Director: William Hartley 

2nd Assistant Director: James Dehaviland 
[uncredited: Heddi-Joy Taylor-Welch] 

3rd Assistant Director: Heddi-Joy Taylor-Welch 
[uncredited: Janine H Jones] 
Assistant Directors: Michael Curtis, Janine H Jones 
[uncredited: Harry Bunch, Danielle Richards, 
Ross Southard] 
Location Manager: Nicky James 

Unit Manager: Rhys Griffiths 

Location Assistant: Geraint Williams 
Production Manager: Phillipa Cole 
Production Coordinator: Claire Hildred 
Asst Production Coordinator: Helen Blyth 
Production Secretary: Scott Handcock 
Production Assistant: Charlie Coombes 
Asst Production Accountant: Ceredig Parry 
Script Executive: Lindsey Alford 

Script Supervisor: Elaine Matthews 
Camera Operator: Joe Russell 

Focus Puller: Steve Rees, Jonathan Vidgen 


Grip: Gary Norman [uncredited: Clive Baldwin] 
Camera Assistants: Simon Ridge, Svetlana Miko, 
Matthew Lepper [uncredited: Katie Kardasz, 

Gail Jenkinson, Elliot Hale] 
Assistant Grip: Owen Charnley 
Sound Maintenance Engineers: Jeff Welch, 
Dafydd Parry [uncredited: Lou Franklin] 
Gaffer: Mark Hutchings 
est Boy: Pete Chester 
ectricians: Ben Griffiths, Bob Milton, 
Stephen Slocombe, Alan Tippetts 
upervising Art Director: Stephen Nicholas 
et Decorator: Julian Luxton 
Production Buyer: Ben Morris 
Standby Art Director: Amy Pickwoad 
Assistant Art Director: Jackson Pope 


Left: 

Matt Smith 
prepares for 
the next scene. 


ies) 


m 


VFX Editor: Cat Gregory 

Post Production Supervisors: Nerys Davies, 
Ceres Doyle 

Post Production Coordinator: Marie Brown 

Dubbing Mixer: Tim Ricketts 


Ss 
S 


Dialogue Editor: Paul McFadden 
Sound Effects Editor: Paul Jeffries 


Concept Artist: Richard Shaun Williams Foley Editor: Jamie Talbutt 
Props Master: Paul Aitken Online Editor: Jeremy Lott 
P 
P 


rops Buyer: Adrian Anscombe Colourist: Gareth Spensley 

rop Chargehand: Rhys Jones With thanks to The BBC National 

Standby Props: Phil Shellard, Helen Atherton Orchestral of Wales 

Dressing Props: Tom Belton, Kristian Wilsher Conducted and Orchestrated by Ben Foster 
Graphic Artist: Christina Tom Mixed by Jake Jackson 

Draughtsman: Julia Jones Recorded by Gerry O'Riordan 

D 

P 

S 


esign Assistant: Dan Martin Original Theme Music: Ron Grainer 
etty Cash Buyer: Kate Wilson Casting Director: Andy Pryor CDG 
tandby Carpenter: Will Pope Production Executive: Julie Scott 
Standby Rigger: Bryan Griffiths Production Accountant: Dyfed Thomas 
Store Person: Jayne Davies Sound Recordist: Bryn Thomas 


Props Makers: Penny Howarth, Nicholas Robatto, 


Alan Hardy 


Props Driver: Medard Mankos 

Practical Electrician: Albert James 

Construction Manager: Matthew Hywel-Davies 
Construction Chargehand: Scott Fisher 
Assistant Costume Designer: Samantha Keeble 


Costume S 


upervisor: Vicky Salway 


Costume Assistants: Jason Gill, Yasemin Kascioglu, 


Frances Morris 


Make-Up Supervisor: Pam Mullins 
Make-Up Artists: Vivienne Simpson, Allison Sing 


ake-up Desig 


Visual Effects: 
Special Effects 
Prosthetics: Mi 
Editor: Tim Por 


Associate Prod 
Line Producer: 


Costume Designer: Barbara Kidd 


ner: Barbara Southcott 


usic: Murray Gold 


BBC Wales Graphics 
‘Real SFX 

lennium FX 

er 


Production Designer: Michael Pickwoad 
Director of Photography: Owen McPolin 


ucer: Denise Paul 
Diana Barton 


Executive Prod 


ucers: Steven Moffat, 


[uncredited: Julie Fox] 
VFX Producer: Beewan Athwa 
Casting Associate: Alice Purser 
Assistant Editor: Becky Trotman 


Piers Wenger, Beth Willis 
BBC | Cymru Wales 
bbc.co.uk/doctorwho 
© BBC 2011 


DOCTOR WHO | THECOMPLETE HISTORY © 85 


THE GOD COMPLEH =» sw zz 


Profile 


Below: 
Toby 
Whithouse 
wrote the 
2006 Doctor 
Who episode 
School 
Reunion. 


Writer 


orn June 1970, Tobias Lawrence 
Whithouse grew up in 
Southend, Essex. Dad John was 
a ship-broker, mother Mira (née 
Day) worked in a restaurant. 
Toby’s brother Jonathan was 
five years his elder. 

Overweight as a child, young Toby found 
solace in books, comics (including Doctor 
Who Weekly), TV and movies. 

At Thorpe Bay High School he was 
academically middling but, chiefly inspired 
by comics creator Alan Moore, wanted to 
be a comic artist. He attended Southend 
College of Technology to study for a BTEC 
in art and design but quit after a year, at 
17. He next moved on to study A-levels 
in drama and art at Seevic College, Essex. 
Involved in amateur acting groups including 
the Focus Theatre Workshop he now 
dropped out of his studies after winning 


DOCTOR WHO | THE COMPLETE HISTORY 


a place at the Guildhall School of Music 
and Drama. 

His TV début came in the regular role 
of Norman Foss in costume melodrama 
The House of Eliott (1992-4). Further TV 
included The Upper Hand (1992), Scarlet and 
Black (1993), The Bill (1996), Bright Hair 
(1997), Goodnight, Mister Tom (1998) and 
Goodnight Sweetheart (1999). Supporting 
film parts came in Shadowlands (1993), 
Breathtaking (2000) and Bridget Jones’s Diary 
(2001), while stage work included Inventing 
a New Colour (1991, Northcott Theatre, 
Exeter) and playing opposite Gene Wilder 
in Laughter on the 23rd Floor (1997, Queen's 
Theatre, London). 

Disappointed by some poor television 
scripts he was expected to perform, 
Whithouse began writing possible vehicles 
for himself. A full play, Jump Mr Malinoff, 
Jump, won the 1998 Verity Bargate award 
and was the first production staged at the 
Soho Theatre in 2000, featuring relative 
unknown Martin Freeman. It was adapted 
for BBC radio in 2006. Later play Blue Eyes 
and Heels was staged at the same venue in 
2005, also starring Freeman. 

Approached to write for medical 
melodrama Where the Heart Is, Whithouse 
provided the episode Letting Go (transmitted 
9 May 1999) but turned down offers to 
write more. 

His next writing credits came with BBC2’s 
internet-business drama Attachments (2000), 
made for World Productions. World asked 
him to develop a series about four northern 
nurses and he was later credited as deviser 
on the resulting No Angels (2004-6). 

Elsewhere he provided an episode of 
frothy hotel drama Hotel Babylon (2006) and 
contributed to comedy sketch series The 
Armstrong and Miller Show (2007). 

Occasional acting roles have included 
Holby City (2000/4), Kavanagh QC (2001), 
Doctors (2003) and The Virgin Queen (2006). 


Friend Julie Gardner invited him to 
write for the newly revived Doctor Who. His 
first storyline, written to a brief that he 
should feature Sarah Jane Smith and K9, 
was initially set in a remote village near a 
military base, relocated at Russell T Davies’ 
suggestion to a school. Originally titled 
Black Ops, it became School Reunion [2006 - 
see Volume 52]. 

It would be another four years before 
Whithouse returned to the show. In the 
meantime he performed stand-up comedy 
and wrote Channel 4’s Comedy Showcase 
pilot Other People (2007), about a former 
child star. 

Creating a flat-sharing comedy drama 
concept for indie Touchpaper, which 
seemed to be going nowhere, in desperation 
he transposed the three lead characters into 
a vampire, werewolf and ghost, borrowing a 
werewolf sitcom idea he'd been attempting 
elsewhere. The end result was BBC Three 
pilot Being Human (2008), with positive 
viewer reaction leading to a subsequent 
series that ran five seasons between 2009 
and 2013. Whithouse also played Alistair 
Frith in the 2013 series. 


He followed Being Human by 
showrunning 1970s-set spy thriller The 
Game (2014). 

Whithouse has written enough Doctor 
Who episodes for Steven Moffat to call him 
a ‘mainstay’ of the series. For Matt Smith 
he wrote The Vampires of Venice [2010 - see 
Volume 64], The God Complex and A Town 
Called Mercy [2012 - see Volume 71]. Peter 
Capaldi contributions comprised Under the 


Lake/Before the Flood [2015 - see Volume 81] 


and The Lie of the Land {2017 - see Volume 
88]. As an end-of-an-era nod, Whithouse 


also played the time-locked German soldier 


about to kill Lethbridge-Stewart in Twice 
Upon a Time [2017 - see Volume 89]. 

In the Doctor Who universe, Whithouse 
also wrote Torchwood episode Greeks Bearing 
Gifts (2006). 

He wrote and starred in one-man show 
Executioner Number One (2017, Soho 
Theatre) about an enthusiastic hangman 
working in a parallel Britain. Whithouse 
is also lead writer on a BBC adaptation of 
Malorie Blackman’s dystopian young adult 
novel Noughts and Crosses, due 2019. 

Whithouse married Helen Wickens in 
April 1997. Their son Lucas was born in 
1999, and daughter Madeleine in 2001. @ 


Below: 
The 2010 
Doctor Who 
episode The 
Vampires of 
Venice was 
written by 
Whithouse, 


A 
A Xe 


DOCTOR WHO | THE COMPLETE HISTORY 


© DOCTOR WHO | THE COMPLETE HISTORY 


DOCTOR WHO | THE COMPLETE HISTORY © 


CLOSING TIME » storvzzs 


IN THE LODGER’ : 


> DOCTOR WHO | THE COMPLETE HISTORY Y 


rom the Doctor’s point of view, 
200 years had passed between 
the end of The God Complex 
[2011 - see page 50] and the 
events of Closing Time. He'd 
spent part of the intervening 
period hiding from royalty under women’s 
skirts, escaping from prison camps and 
starring in Laurel and Hardy films, as seen 
in the opening to The Impossible Astronaut 
{2011 - see Volume 66] at the start of the 
series. He'd also sent the cards seen in that 
episode, inviting his younger self, Amy 
and Rory to his preordained death at Lake 
Silencio. But before he headed off to fulfil 
the temporal equivalent of a contractual 
obligation, he decided to see a friend (in 
a similar way to how he dropped by past 
companions prior to his regeneration in 
The End of Time {2009/10 - see Volume 62)). 
On this occasion he visited Craig Owens, 
with whom he'd spent some time with in 


Introduction 


the previous season's The Lodger [2010 - see 
Volume 65]. With Amy and Rory relegated 
to a cameo, Craig adopted the role of the 
Doctor’s companion, in the same way he 
did last time when Amy was trapped in 

a localised time loop. 

Also returning in this episode were the 
Cybermen. The 2011 series was the first 
time since 2005 that a series of Doctor Who 
didn’t include a Dalek episode (although 
one did make a cameo in the series finale). 
And so, perhaps it was important that the 
series’ other major league monsters put in 
an appearance. They were trying to find a 
new Cyber Controller - maybe to replace 
the one seen in The Tomb of the Cybermen 
[1967 - see Volume 10] and killed at the 
end of Attack of the Cybermen [1985 - see 
Volume 40]. 

Closing Time also resurrected the 
Cybermats, small mechanical rodent- 
like creatures used by the Cybermen... 
although this time, like the Cybermen, 
they seemed to have an organic 
component. They had previously been 
seen in The Tomb of the Cybermen, The 
Wheel in Space [1968 - see Volume 12] and 
Revenge of the Cybermen [1975 - see Volume 
23] serving a variety of purposes. Here, 
they were collecting and storing energy. 
The next time we saw the Cybermen, in 
Nightmare in Silver [2013 - see Volume 
74], the Cybermats would be supplanted 
by Cybermites - smaller, more advanced 
versions of these creatures. 

It was an enjoyable diversion, but the 
Doctor couldn't put off the inevitable 
forever, and as Closing Time ended we saw 
the Doctor’s executioner being readied to 
set off and meet him... 


DOCTOR WHO | THE COMPLETE HISTORY a 


Introduction 


Left: 

The Cybermats, 
as seenin The 
Tomb of the 
Cybermen. 


CLOSING TIME 


STORY 223 


| hona is one of the employees of the 
Sanderson & Grainger department 
store in Colchester. After the store is 
closed she is checking the changing rooms 
and discovers a Cyberman! [1] 

The Doctor’s friends Craig and Sophie 
now have a baby son, Alfie. Sophie has left 
Craig in charge of the baby for the first 
time. After she has gone, there’s a knock 
at the door. It’s the Doctor. He suspects 
something is wrong and rushes inside - 
and wakes up the baby! [2] 

The Doctor quietens Alfie, and tells 
Craig that his son would prefer to be 
called Stormageddon. The Doctor 
explains that he is visiting as part of 
a “farewell tour”. [3] 

The Doctor intends to leave, but having 
noticed the electrical fluctuations, he can’t 
resist investigating. The next morning, 
Craig is out shopping with Alfie when he 
discovers the Doctor in the Sanderson & 


DOCTOR WHO | THE COMPLETE HISTORY 


Grainger toy department demonstrating 
a remote-controlled helicopter. [4] 

The Doctor is investigating something 
dangerous and alien; three people have 
recently disappeared. 

They enter the store lift, which is 
marked ‘Out of Order’. The Doctor 
activates it so that Craig and Alfie can 
leave the store, but the three of them are 
surprised to find themselves teleported 
into a darkened spaceship. The Doctor 
tries to distract Craig by telling him he 
loves him [5] as a Cyberman stomps 
towards them, then they return to the 
lift. The Doctor fuses the teleport relay to 
prevent it being used again. 

The Doctor and Craig investigate the 
jewellery department, where the shop 
assistant Val mistakes them for a couple. 
[6] She mentions seeing a “silver rat thing” 
in the toy department - a Cybermat! 

After the store has shut, the Doctor 
and Craig (with Alfie) catch a Cybermat 
surprisingly easily, because it is low 
on power. [?] 


In the basement, the security guard 
George hears something moving and is 
attacked by a Cyberman. The Doctor and 
Craig hear his scream and the Doctor runs 
to investigate - only for the Cyberman 
to knock him unconscious. When he 
comes round, he explains to Craig that 
the missing people must have been turned 
into Cybermen. [8] 

They return to Craig’s house. Craig 
leaves the Doctor in charge of Alfie 
while he goes to get milk. The Cybermat 
reactivates but the Doctor stuns it with his 
sonic screwdriver and carries Alfie outside. 

Craig returns home and the Cybermat 
attacks him. [9] The Doctor smashes 
through the patio doors and together they 
manage to deactivate the Cybermat. 

The next morning, the Doctor returns 
to the department store and enters the 
changing rooms. He finds a disguised 
door which leads down to the Cybership, 
buried underground. 

Craig arrives at the store and leaves 
Alfie with Val as he goes to look for the 


Doctor. He enters the Cybership and 
threatens the Cybermen with a barcode 
reader. The Cybermen decide that they 
will make Craig into their new Cyber 
Controller and start to convert him by 
eradicating all emotions - but he hears 
the sound of Alfie crying and his emotions 
return. [10] This creates a feedback 
loop in the Cybermen’s emotional 
inhibitors, causing them to overload 
and explode. 

Craig is reunited with Alfie and goes 
home with the Doctor. The Doctor 
informs Craig that Alfie is very proud 
of his dad. He then collects some blue 
envelopes and leaves, saying he has an 
appointment he cannot miss. Moments 
later, Sophie returns - to find that Alfie 
has learnt a new word: “Doctor.” [11] 

The Doctor returns to the TARDIS to 
face his destiny at Lake Silencio... where 
the Impossible Astronaut will be waiting 
for him. And inside the spacesuit is the 
woman reared by Madame Kovarian to 
kill the Doctor - River Song! [12] 


DOCTOR WHO | THE COMPLETE HISTORY 93 


ERTS WAS DELIGHTED TO 
SIT THE CHARACTER OF 
CRAIG OWENS.’ 


‘GARETH ROB 
REV 1 


© DOCTOR WHO | THE COMPLETE HISTORY 


. 


Doct hinks he’s going to 
die the next day, and he’s come 
to say goodbye to his mate.’ 
This was the brief which writer 
Gareth Roberts received from 
executive producer Steven 
Moffat at the readthrough for the 2010 
Doctor, Who Christmas Special, A Christmas 
[see Volume 66] on Thursday 8 July. 
The ‘mate’ in question would be none 
other than Craig Owens, the everyday 
ploke who had suddenly found the Doctor 
as his rather strange tenant in Roberts’ 
pisode The Lodger [2010 - see Volume 
5] which had been broadcast in June. 
One of the great joys for me last year 
as how successful and how beloved The 


- 


~ 


asproduction 


Lodger was, because it was quite close to 

my heart,” commented Moffat on Doctor 
Who Confidential. And having enjoyed the 

off-beat relationship between the Doctor 
and Craig as the Doctor attempted to live 
a ‘normal’ everyday life in present-day 


_ Colchester, Moffat wondered if the pairing 


of the two rather inept mates could be 
used again - this time in the penultimate 
episode of the 2011 series. “I leapt at the 
chance of a sequel and Gareth Roberts 
leapt at the chance to take up his story 
again,” recalled Moffat in Radio Times. 

In a break with the way that the series 
of Doctor Who had usually been structured 
since its return in 2005, Moffat had opted 
not to make the final two episodes of 


DOCTOR WHO | THE COMPLETE HISTORY © 


CLOSING TIME » stor22s 


Connections: 
Power dressing 
® Kelly is cross that her 


television we 
the middle of 


Next Top Model, a reality 


TV show laun 


2003 which aired 


inthe 


the 2011 series a two-part 
story. Instead he decided to 
use the last episode alone 

to conclude some of the 
ongoing River Song narrative 
established in the first two 
episodes and then revisited 
in the seventh and eighth 
episodes. The penultimate 
episode of the series would 


nt off in 
America's 


ched in 


UKon 


Sky Li 


Mg therefore be more of a 


standalone adventure. “On 
the train home, I had the first scene with 
the Doctor and Craig’s baby already in 
my head,” commented Roberts in Doctor 
Who Magazine. 

Roberts was delighted to revisit the 
character of Craig Owens, who had been 
brought to life on screen by comedy actor 
James Corden. “He is perfect at pitching 
a look,’ commented Roberts of Corden on 
Confidential. “I was thinking of returning 
to Craig when I knew James had been cast 
in The Lodger, and even more so when 
I saw his performance,” Roberts told the 
BBC website. “He and Matt [Smith] have 
an amazing on-screen chemistry, and it 
already felt like he was one of the Who 
family, as it were.” 

Prior to the discussion in July, the 
services of James Corden had already been 
secured to ensure that his busy schedule 
would allow him to return to the world of 
Doctor Who. The actor was delighted to be 
able to recreate the role of Craig Owens, 
telling Radio Times, “When I left last time, 
I thought it was a great experience but it 
never crossed my mind that I would come 
back, because most people don’t. So when 
they asked me to return - which was before 
they’d written it - I said yes immediately.” 
However, Daisy Haggard’s availability to 
reprise her role as Craig’s girlfriend Sophie 
was less certain. By the autumn, it was 
known that Haggard would be starring in 


—s DOCTOR WHO | THE COMPLETE HISTORY 


the title role of Becky Shaw at the Almeida 
Theatre from January to March 2011, 

and so would probably only be available 
for a day or two’s recording at most. 
Consequently, Sophie would be absent 
from the bulk of the narrative, keeping the 
focus on Craig and the Doctor. 

This time around, Roberts wanted 
to use Craig in a slightly different way. 

As with The Lodger, the new episode 
would be structured to focus mainly on 
the Doctor, and so it would be made by 
one production team with Matt Smith, 
while Karen Gillan and Arthur Darvill 
were recording another episode - The Girl 
Who Waited {2011 - see page 6] - with 

a different crew. 

“The Doctor allows Craig to come along 
and gives him the part of the companion,” 
explained Roberts, noting that during 
the Doctor’s new investigation of the 
strange events in Colchester that Craig 
would attempt to imitate the style and 
approach of the Doctor in a hilariously 
unsuccessful attempt to elicit information. 
The writer viewed the pairing of the 
Doctor and Craig as very similar to that 
of the Doctor’s second incarnation with 


his Scots Highlander companion Jamie 
McCrimmon, in so much as Craig - 
like Jamie - did not judge the Doctor 
and his actions. He also liked the idea 


that, knowing that he was soon to die, 
the Doctor would drop in on one of 

his ordinary friends - someone with a 
simple life, rather than the chronological 
complexities and excitement surrounding 
River Song. Furthermore, Craig had no 
desire to become a companion of the 
Doctor’s or to go off for adventures in 
space and time; he just wanted to stay at 
home and lead a normal life. 


oberts started storylining his 
RR evscee during September 2010, 
and the setting for the bulk of the 
narrative began to emerge. “Initially 
I wanted a police station or a hospital,” 
explained Roberts. “The hospital was 
too similar to The Curse of the Black Spot 
[2011 - see Volume 67] and The Eleventh 
Hour [2010 - see Volume 63] and it was 
hard to contrive Craig and the Doctor 
to keep going [to a police station]. 


Pre-production 


Then I wanted a supermarket but 
Marcus [Wilson, producer] said it would 
be impossible because of all the brand 
names in vision. So we went for a 
department store and I’m glad we did.” 
The name of the fictitious department 
store of Sanderson & Grainger came 
from a desire to have a pair of names 
like Marks & Spencer or Lilley & Skinner. 
“Sanderson was the name of a character 
in a book I'd just read, Grainger was a very 
memorable primary school teacher of 
mine,” explained Roberts. “They seemed 
to fit together.” 


Left: 
Since The Lodger, the lives of Craig Craig 
and Sophie, would have moved on; meets shop 
assistant Val, 


they would now be parents, and a key 
element of the story would again be the 
theme of a bond between father and son. 
Consequently, Roberts wrote baby Alfie 
(AKA Stormageddon) into the tale, hoping 
that having an infant as such an integral 
part of the story would not prove to be 
a problem on set... 

“The single worst thing that could 
happen to a new dad having to look 
after a new baby on his own for the 
very first time would be the 
arrival of the Doctor and the 
Cyberman invasion,” Steven 
Moffat observed on Doctor 
Who Insider. “1 thought there 


Connections: 
Magnificent 

talent 

® While demonstrating the 


should be a sense of history 
about the Doctor’s final 
battle to save Earth before 
he heads off to meet his 
death,” Roberts told the 
BBC website. Consequently, 
he wanted to bring back 
some of the Doctor’s 

most famous villains: the 
Cybermen. Apart from brief 
appearances in The Pandorica 
Opens/The Big Bang [2010 - 
see Volume 66] and A Good 


model helicopter, the 
Doctor quotes part of 
the theme lyrics for the 
1965 comedy film Those 
Magnificent Men in Their 
Flying Machines, and 
later comments to Craig 
about local girl Nina who 
was competing in ITV1's 
Britain's Got Talent, a 
talent show which had 
débuted in 2007, 


DOCTOR WHO | THE COMPLETE HISTORY a 


Above: 

The Doctor 

is out of his 
comfort zone 
in the lingerie 
department. 


Connections: 
Beam me up 


se DOCTOR WHO | THE 


® Trying to describe the 
teleport, Craig compares it 
to the transporter system 
seen inthe 1960s US 
series Star Trek and 
uses the phrase 
“beam me up". 


Man Goes to War [2011 - see Volume 68], 
the cybernetic creatures first introduced 
in The Tenth Planet [1966 - see Volume 8] 
had not featured in the series prominently 
since The Next Doctor [2008 - see Volume 
60]. However, the Cybermen would 
remain in the background compared 
to the partnership of the Doctor, Craig 
and Alfie. 

“The Cybermen are at their scariest, 
I think, when they’re lurking in the 
shadows like they did back in the 1960s, 
so I tried to bring some of that back to 
them,” noted Roberts. Furthermore, 
Roberts would also be reintroducing 
the rodent-like Cybermats, 
created for The Tomb of the 
Cybermen [1967 - see Volume 
10] and last seen in the series 
in Revenge of the Cybermen 
[1975 - see Volume 23]. 

The ‘initial thoughts’ for 
the episode were written 
up by Gareth Roberts on 
Wednesday 22 September. 
The fundamental structure 


COMPLETE HISTORY 


of the story was very close to the finished 
episode, running from Friday evening 
through to Sunday morning with Sophie 
leaving Craig to look after their baby for 

a weekend. In this version, Craig and 
Sophie’s baby was a girl called Grace, and 
the Doctor told Craig that he was stopping 
off on his way to see the Aldebarran 
sunset. The things which attracted the 
Doctor’s attention on his brief visit to 
Colchester were the missing persons 
reports, strange scrawled symbols, and the 
tap water tasting odd. The centre of this 
activity seemed to be the House of Fraser 
department store where the Doctor took 

a job. There he talked to an old lady who 
remembered the last time people went 
missing in the area, and also encountered 
a woman called Chrissie who had been 
terrified by a silver hand during her hot 
stone massage and who - according to the 
Doctor - had had ‘something’ removed. 
The Doctor detected something trapped 
in a block of concrete which he and Craig 
took back to Craig’s home; this was a 
Cybermat which attacked Craig and which 


ANN. 


the Doctor deactivated with gold from 
Sophie’s Cash for Gold envelope. When 
the Doctor returned to the department 
store on Sunday morning, he asked Craig 
to go with him - but Craig initially refused 
as he wanted to look after Grace. 


t the store, the Doctor confronted the |, 
ee - a Cyberman which had 

renewed itself over centuries to the 
extent that there was nothing of the original 
Cyberman left any more. The Guardian 
attacked the Doctor, but then Craig 
arrived to save him, turning 
off the Guardian. The Doctor 
was appalled; the amalgam 
human was now protecting 
humanity from something in 
a buried podule. The podule 
opened to reveal a 
Cyber Controller 
and two troopers 
which emerged 
into the store, 
causing panic 
amidst the early 
shoppers. Craig 
left Grace in 
the care of 
Val and used a 
wrecking ball 
to defeat the 
Cybermen... although the 
Controller escaped. 

The subsequent 
storyline was entitled 
Three Cybermen and a 
Baby and opened in the 
basement of Sanderson 
& Grainger where a 
customer called Lynette 
was having a massage 
in the Silverleaf Spa; 


Pre-production 


suddenly the female hand 
massaging her became that 
of a man and she looked into 
a distorted face. Craig and 
Sophie’s daughter was now 

a four-month-old girl called 
Tess and they had moved to 
a new flat. As a father, Craig 
was not pulling his weight; 
Sophie was angry that Craig 


Connections: 

Apptitude 

® When the Doctor 
discovers that he 
needs to circumvent the 
Cybermat's shielding, h 
comments to Craig, “Ih 
an app for that,” which 
derived from Apple's slogan 
to promote the versatility 


had bought a cheap baby = 
buggy from a mate at the pub of the : hone with 
and it had already broken. Sree Senna 


software applications. 


During his visit to Craig’s, 
the Doctor noted instances of 
mechanical failure due to the theft of 
parts, and Craig asked where Amy was 
as the Doctor explained that he was 
off to see the Triple Sunset of Exedor 
(a name which Roberts derived from 
the planet Exxilon in Death to the Daleks 


Left: 
. [1974 - see Volume 21] and The Cybermen 
4 the monster Aggedor from _are back! 


the following story The 
Monster of Peladon {1974 

% - see Volume 21)). 
On leaving Craig’s, 
the Doctor found a 
broken-down bus 
lacking a stolen 
grommet, and 
with weird graffiti 
scrawled on its 
side. Next day, 
when Craig 
went to buy 

a new buggy 
at S&G he 
found them 
demonstrated - 
very badly (because 
bits had gone missing) - by 
the Doctor who had used his 
psychic paper to get a job with 
the firm. When Craig offered to 


DOCTOR WHO | THE COMPLETE HISTORY os 


CLOSING TIME » stores 


Connections: 
In control 
® The Cybermen aim to 
turn Craig into their 
Cyber Controller - arank 
introduced in The Tomb of 
the Cybermen [1967 - see 
Volume 10]. The phrase 
“you will be like us” had 
also been used by the 
Cybermen in The Tomb 
of the Cybermen, while 
their emotional inhibitors 
had been pointed out by 
the Doctor in Rise of the 
Cybermen/The Age of 
Steel [2006 - see 


help the Doctor, the Doctor 
insisted that he worked alone 
and had two days to solve 
the mystery of the thefts and 
strange markings (some of 
which hailed from Ancient 
Briton) centred on S&G. 

The Doctor cultivated the 
friendship of Val - the oldest 
staff member at 68 - on the 
cupcake counter and puzzled 
over the symbols while icing 
cupcakes. Val recalled people 
going missing at Silverleaf 
Market on the site of which 
C&G was built, and pointed 
the Doctor in the direction 
of a local history display in 


ENN ANNNAAS 


attacked Craig but was immobilised by the 
Doctor’s sonic screwdriver. 

Returning to S&G next morning, the 
Doctor confronted the Cyberthing which 
had replaced itself with equipment and 
tissue over the years; it had a camcorder 
eye and hands from different people. 

It had originally been a lone Cyberman, 
one of a ship which landed on Earth 
centuries ago to assess the planet for 
colonisation using a Cybermat scout 
which had become fossilized. Without a 
signal from the Cybermat, the Cyberman 
had remained on automatic, waking every 
71 years when the stars were in the right 
position to send command signals about 
a possible invasion. The grafhti ‘tags’ were 
elements of the original Cyberprogram 


Mauna), to mark where it had scanned for parts. 


With none of the original Cyberman 

left, it was now a tired assimilation of its 
donors which wanted to die. Craig arrived 
to help the Doctor and appealed to the 
Cyberthing for the sake of his daughter; 
the Cyberthing turned itself off and fell 
apart. However, this activated two other 
hibernating Cybermen which emerged into 


the store. 

Meanwhile, Lynette 
was causing a fuss about her beautician 
disappearing the previous night, but before 
George the security man could eject her 
from the premises, the Doctor talked to her 
and discovered that she had been injected 
with a sedative; something was going to 
abduct her, but had taken her masseur 
instead. In the history display, the Doctor 


Right: : ; 

ivei became fascinated by the foundation 

rat thing’... stone of Silverleaf Market which bore the 
pe emnise strange markings and determined that he 
known asa : : : 

Cybermat. would steal it that night and take it back to 


Craig’s flat in the new baby buggy; during 
the theft, he heard George scream as the 
security man was attacked by a strange 
creature. When the Doctor confronted the 
‘thing’ he noted that it had the hand of 
the missing beautician before he was shot 
and drugged with a venom dart of Nytol. 
Back at Craig’s flat, a recovered Doctor set 
up a chemistry set to crack open the stone 
while discovering from local records that 
people disappeared in the area every 71.77 
years. Inside the stone was a fossil which 
uncurled to reveal a Cybermat which then 


100 DOCTOR WHO | THE COMPLETE HISTORY 


the store, causing havoc as they pursued 
the Doctor. While the Doctor led the 
Cybermen to the building’s roof, Craig 
got the Cyberthing’s head and used his 
football skills to kick it to the Doctor who 
used his sonic screwdriver to transmit the 
Cyberthing’s personality matrix into the 
Cyberman troopers, making their heads 
explode. With the adventure concluded, 
the Doctor knew that he had no time 

to visit Exedor and would have to travel 
to America, leaving with a Stetson 

from Craig. 


A “wonderful accident” 


he untitled Draft 1 script for the 
TT esce was dated Monday 8 
November and was effectively a 
script derived from the storyline Three 
Cybermen and a Baby. The title was a 
reference to the successful 1987 comedy 
film Three Men and a Baby; the story of how 
three bachelors adapted their lives to look 
after an infant. The outline opened with 
Lynette receiving a massage from Shona, 
a beautician at the Silverleaf Spa who 
suddenly vanished before Lynette glimpsed 
the Guardian. Craig wanted to watch 


Above: 


football rather than look after his daughter 
Cyber-Craig. 


- Tess Emily - and had bought the useless 
baby buggy from Sean for a tenner. The 
Doctor arrived (“I’m your old lodger”) with 
a key to Craig’s old house and found the 
baby in the kitchen (“You have spawned!”); 
Craig explained that Tess was a “wonderful 
accident”. Heading off to see the Alignment 
of Exedor, the Doctor found the broken- 
down bus parked by the TARDIS and 
repaired it with his sonic screwdriver. At 
the department store, the Doctor had 

used his psychic paper as a CV to get a job 
(“Five years as secretary to Atilla the Hun”) 
and heard from an assistant called Johnny 
about strange thefts - such 
as a component from an 
expensive plasma TV rather 
than the TV itself. 

When the Doctor talked to 
Val (‘gossipy, Mrs Slocombe- 
type’ - a reference to the 
character from the 1970s/80s 
department store sitcom 
Are You Being Served?) at the 
cupcake stand, there was a 
flashback to 1947 when Val 
recalled her four-year-old 
self, her six-year-old sister 


Connections: 
Bonded 

»® When the Docto 
finds the door leading 
down to the Cybership, 

he comments on it being 
made from disillium- 
bonded steel; the scope 
in Carnival of Monsters 
1973 - see Volume 19] 
had been made from 
molectic-bonded disillium. 


DOCTOR WHO | THE COMPLETE HISTORY 


101 


( 
EEGGGGS @ 


ship crashed at the time of the Ancient 


CLOSING TIME » stor 22s 


. Sheila and six-year-old 
Connections: 


Peggy Warnock seeing a Britons, who had poured quicklime 
Rodent robots commotion at the Silverleaf over the Cybermat; its Cyberman scout 
@ wien DECEOr Saye, Market Hall where a tramp remained stuck on automatic, replacing 
bug am ie : o ie was found with a strange itself with spare parts. 
thiswasciline fstased ip mark on his head talking Next morning, the Doctor entered a 


the 1976 novelisation of 

Revenge of the Cybermen 

[1975 - see Volume 23], 
Se—\, inwhich the 


of “the dead hand” and the 
Guardian watched from the 
trees. Sanderson & Grainger 
was built on the site of the 
haunted market and opened 
in 1971; the foundation 
stone of the market was 

laid in 1760. Craig was questioning 

Kelly in the Spa when the hysterical 
Lynette entered; calming Lynette down 

in the staff room, the Doctor decided 

to investigate Shona’s disappearance. He 
then had to hide when Rory and Amy came 
into the store shopping for something for 
their new house. The couple explained 

to Val that they were passing through 
Colchester, although Amy recalled being 
stuck there previously; the Doctor hid 
behind a carousel of dresses which 

Amy inspected. 


hen the new buggy was used to 
Wy ==: the foundation stone 

to Craig’s, the Doctor gave Craig 
a papoose for Tess and then found the 
Guardian attacking George; the Guardian 
had Shona’s hand and stung the Doctor 
with Nytol, leaving him for Craig to find. 
At Craig’s the Doctor used the internet to 
confirm that people went missing every 
64 years, and Craig realised that there 
was something wrong with the Doctor - 
suspecting that he was ill. The Cybermat 
emerged from the stone, attacked Craig 
and was deactivated by the Doctor who 
explained that the creature was made from 
bits of left-over brain. A Cyberman survey 


Cybermats had 
also featured. 


102 DOCTOR WHO | THE COMPLETE HISTORY 


_ triggered the store alarms and led the 
__ creatures up to the roof while Craig got the 


Cybersphere via the spa and discovered a 
graveyard of parts and bodies. There was 
nothing left of the original Cyberman in 
the Guardian, and the Doctor attempted 
to talk to what remained of Shona which 
indicated that it wanted to save its people. 
While the Doctor was out cold, Craig 
arrived and used the sonic to deactivate 
the Guardian; this however activated the 
two dormant Cybermen back-ups which 
ran amok through the store as Johnny 
and Kelly were opening up. The Doctor 


Cyberthing head; the Cybermat attacked 
the Cybermen which fought each other 
and their heads exploded. The Doctor 
explained the strange silver creatures away 
to Kelly (“It was just a promotion of Moon 
Bars. The new, out-of-this-world chocolate 
treat”) and departed, with Craig and Tess 
seeing the Doctor off in the TARDIS which 
had been parked in their backyard. 

In Draft 2 - dated Tuesday 7 December 
- the Spa had been renamed the Kingstone 
spa in honour of the old Kingstone Market 
Hall. Tess was now five months old. A 
key figure in the history of Colchester - 
or Colne Ceaster - was Old King Briffa 
(“Father of Our Town”). When Craig saw 
the grave markers in the Cybersphere, 
he asked the Doctor to let the Guardian 
die; it was Craig rather than the Doctor 
who realised that the Guardian had 
been protecting the town. One of those 
absorbed by the Cyberform was Old King 
Briffa who had overcome the alien and 
protected his town and its children by 
keeping the other two Cybermen dorman: 


r 
—_—l 
S 


-— 


» 


al 


‘AT THE DEPARTMENT STORE, THE DOCTOR 


ED HIS SSYCHIC PAPER 
TO GET A JOB.’ 


“i 
— 


DOCTOR WHO | THE COMPLETE HISTORY 103 


CLOSING TIME » stow 


Connections: 
Farewell tour 


® In much the 
that he had 
his compani 


was nearing the end of his 


regeneratio 


of Time [20 
Volume 62] 


It was the personality matrix 
of Briffa that was ultimately 
transmitted into the 
Cybermen to destroy them. 
By Draft 4 - dated Friday 
28 January 2011 - Lynette 
and the spa storyline had 
been dropped along with 
the buggy storyline, and the 


baby was now five-month- 


same way 
ooked inon 
ons when he 


nin The End 
09/10 - see 
, the Doctor 


decides to d 
Craig Owens the 
day before he is 


due 


Right: 

The Doctor 
becomes 
Sanderson 
& Grainger's 
newest 
employee. 


rop inon 


old Alfie. The bus had been 
removed and the Doctor 
now noticed the street lights 
flickering on his way back 
to the TARDIS and talked 
to an old gent who was out walking his 
dog. The lift scenes were now added with 
the teleport visit to the Cybership; when 
Craig asked if he and Alfie would be safe 
with his sister in Billericay, the Doctor said 
that the nearest they would be safe was 
Alpha Centauri. The Doctor assisted Val at 
her cupcake stand, but the flashback and 
market history had been dropped, with the 
Doctor capturing the Cybermat in a net. 
The Cyberman that attacked George still 
had Shona’s hand. In the Cybership, the 
Doctor was captured by the Cybermen and 
also the partially converted Cyber-George 
and Cyber-Shona in a climax far closer to 
the broadcast version. 

Draft 6 - dated Monday 14 February - 
was very close to the shooting script, 
but retained the old gent the Doctor 
met as he returned to the TARDIS, while 
the Doctor’s CV now indicated that he 
had spent “five years as PA to Anne 
of Cleves”. The teleport visit to the 
Cybership was reworked, the attack on 
a warehouseman was added, and Val was 
now demonstrating a vegetable chopper 
rather than running a cupcake stall. In the 
sequence with Amy and Rory, it was now 
indicated that Amy’s interest in buying a 
jacket was “retail therapy” after the loss of 


to die. 


106 DOCTOR WHO | THE COMPLETE HISTORY 


EXT XXKANNARAAS 


her Grandad Pond. The references to the 
partially converted Shona and George as 
Cybermen were omitted. 

During the writing process, Moffat 
advised Roberts to trust his first draft 
instinct more, and consequently a lot of 
the writer’s original dialogue and narrative 
made it to the screen. Although much 
of the story would be very humourous, 
the climax was to be something far more 
scary, as it would appear that Craig, the 
loving father, had become one of the ranks 
of blank-faced, unemotional Cybermen. 
Consequently, Craig would actually be 
seen partially transformed into a new 
Cyber Controller. “I wanted the audience 
to think, ‘Maybe they’re going to do it,” 
explained Roberts on Confidential. “The 
series has got that thing of death and 
lingering darkness, so we wanted to hold 
that moment as long as possible.” 

Craig would be rescued from the Cyber 
conversion process by his own emotions 
- the mixture of love and fear engendered 
by the sound of his baby son crying, 
something over which he had no control. 
Extreme emotions were shown to be 


incompatible with Cyber technology, as 
had been seen in The Invasion [1968 - see 
Volume 13]. 

The Doctor’s ability to ‘speak baby’ 
was unknown to Roberts during the first 
draft of his script, and only became clear 
in the later stages after Steven Moffat had 
introduced the idea in his own script for 
A Good Man Goes to War. 


oberts’ episode would be made in a 
BR ci block of its own - Block 

Six - under director Steve Hughes. 
Hughes was a new director for Doctor Who; 
growing up in Wigan, he had watched 
Doctor Who from the late 1970s and had 
developed a passion for film and television 
which he had studied in Northumberland, 
making his own short films (some of which 
had won awards) from 1999. Entering 
the industry initially as an editor and 
cameraman, he graduated to television 
drama directing in 2005, since when he 
had helmed episodes of BBC series such 
as Doctors, Land Girls and Holby City. It 
was his work on Land Girls which caught 
the attention of executive producer Beth 
Willis, who invited him in for a meeting 
to discuss working on Doctor Who. Hughes 
had watched the more recent episodes of 
Doctor Who and had very much enjoyed The 


Lodger, telling Doctor Who Magazine, 
“I genuinely thought it was brilliant.” 

“Tt was sensational to work with James 
Corden,” noted Hughes on Confidential as 
he explained his admiration for the star 
of the BBC sitcom Gavin & Stacey. The 
director saw the characters of the Doctor 
and Craig as forming a double act with 
elements of classic comedy partnerships 
such as Stan Laurel and Oliver Hardy, 

Bud Abbott and Lou Costello, and also the 
contemporary pairing of Simon Pegg and 
Nick Frost in films like Shaun of the Dead. 

Because of the double-banking alongside 
Block Five, the episode was to be produced 
by Denise Paul, rather than Marcus 
Wilson. A talented writer, Paul had entered 
the television industry some years earlier 
and worked as a script editor on Rebus 
and Taggart before becoming an associate 
producer on Doctor Who during 2010. Paul 
was delighted with the opportunity to 
work on the script, which she saw as giving 
a wonderful contrast to the big story arc 
of the 2011 series, in that it focused on 
the ‘matey’ friendship between the Doctor 
and Craig. 

Denise Paul wasn’t the only crew 
member to be ‘promoted’ for this episode. 
While the regular crew was 
busy recording The Girl Who 
Waited, a lot of the team 
members who frequently 
deputised and filled in on 
production now formed 
the unit that would bring 
Roberts’ episode to life. 

What’s On TV broke the 
news that James Corden 
would be returning to 
Doctor Who on Thursday 
24 February, and this was 
confirmed formally by the 
BBC website the next day, 
as Corden’s comments from 


DOCTOR WHO | THE COMPLETE HISTORY 05 


Pre-production 


Left: 

Amy signs an 
autograph 
for one of her 
young fans. 


Connections: 
Redcorating 
® When the Doctor says 
of Craig's house, “Oh, 
you've redecorated - | don't 
like it,” he is repeating 
a phrase which - in hi 


second incarnation - he 
had previously used about 
the TARDIS interior 
Three Doctors [1972/3 - 
see Volume 19] and UNIT 
HQ in The Five Doctors 
[1983 - see Volume 37]. 


in The 


CLOSING TIME » storz2s 


the previous year were recalled: “There’s 
been no talk of my return. I’d love another 
adventure - it would be great!” This 
prompted the story Corden wants to see the 
Doctor from The Sun, while Corden himself 
(@JKCorden) tweeted, ‘I get the new script 
for Doctor Who tomorrow. Looking forward 
to reading it. Start filming on Thursday! 
Woo Hoo! I can’t wait to do it. Really 
looking forward to being back in Cardiff. 
Great memories filming there.’ ‘Start 
shooting Doctor Who tomorrow. Cannot 
wait!’ tweeted director Steve Hughes 
(@moviegoblin) on Wednesday 2 March; 

the shooting script for the still untitled 
episode was also issued that day. 

In the shooting script, of the staff 
at Sanderson & Grainger, George was 
described as ‘a big security man’, Shona 
was ‘25, black’ and Kelly was ‘20, white, 
Jafakean upspeaking accent... idle, won't do 
a hand’s turn if she can help it’. Originally 
there was to be a loudspeaker voice heard 
throughout the store at various points 
of the story. In the opening scene, this 
announced, “Your attention please, ladies 
and gentlemen, Sanderson & Grainger is 
now closed... Please take any purchases to 
the tills, thank you for your 
assistance.” As the Doctor 
recalled the missing people 
mentioned in the newspaper, 
he also gave their ages: Sheila 
Clark was 37, Atif Ghosh was 
19, and Tom Luker was 58. 
The name of the fragrance 
advertised by Amy was 
simply noted in the script as 
yet to be decided. 

As the Doctor and Craig 
stood facing each other in the 
lift, the stage directions noted 
that they were to be ‘nose 
to nose, like Smith & Jones’ 
in reference to the ‘head to 


Connections: 
Time Lord talk 


® As in A Good Man Goes to 


‘ar (2011 - see Volume 
68], the Doctor's special 
gift with languages means 
hat he can ‘speak baby’, 
and as in The Lodger 


2010 - see Volume 65], 

the Doctor is seen to be 

ost when it comes to social 

conventions, but also a 

very popular fellow in 
the workplace with 
his colleagues. 


106 DOCTOR WHO | THE COMPLETE HISTORY 


head’ dialogues between Mel Smith and 
Griff Rhys Jones in their BBC comedy 
sketch show Alas Smith and Jones which had 
run from 1984. 


Describing the actions of the Cybermat, 
the stage directions noted, ‘the mouth 
snaps open - revealing real fangs, and the 
red, fleshy interior. It writhes... like a snake 
and in its mouth, a spark of electricity like 
a taser’; later scenes referred to its ‘glowing 
red eyes [and] serrated teeth snapping’. 
The idea of the Cybermats now having 
teeth had been suggested by Steven Moffat. 

The Doctor’s speech to Alfie ran slightly 
differently in this version, with him 
commenting after his remarks that he was 
crabby, “That was crabby and snappy. And 
Iam so old.” Originally when fleeing from 
the Cybermat through the kitchen, Alfie 
was gripping onto the sonic screwdriver 
with the Doctor insisting, “No, let go of 
it. It’s not a toy, let go of my screwdriver! 
You can have a shot later.” However, Alfie 
then threw the sonic and it rolled along 
the floor, bumping into the scuttling 
Cybermat. Originally, after the battle in 


the kitchen, the Cybermat was to flick the 

baking tray aside, scuttle about and fix 

on the Doctor who said, “No you don't,” 

before buzzing it with the sonic. 
Although not specified in the script, 

Gareth Roberts decided that Sophie’s 

surname should be Benson - the surname 

of a waiter who served him at Balans 

in Chiswick. 


he script ended on the scene of the 
Tec looking at the Doctor with 

their recollection narratives from 
later in life; the sequence with River Song 
and Madame Kovarian did not appear in 
the shooting script. Roberts’ original script 
had ended with Alfie saying “Doctor” and 
the starscape appearing on his ceiling; this 
new ending - and the material about the 
fragrance advertised by Amy - was added 
by Steven Moffat. 

The script also contained a specific 

chronology for many of the scenes. The 
story spanned three days, starting on Night 


Pre-production 


1 - a Friday - at 17.55 with Sanderson 
& Grainger closing for the day and the 
Doctor arriving at Craig’s front door at 
18.00. After their catch-up, the Doctor 
went back to the TARDIS at 18.15. On 
Day 2 - Saturday - the Doctor was found 
working in the toy department at 16.30, 
with the brief visit to the Cybership at 
16.32, Craig’s interlude in lingerie at 16.54 
and the Doctor’s glimpse of Amy and Rory 
at 17.50. On Night 2, the Doctor captured 
the Cybermat at 18.10 and was attacked by 
a Cyberman at 18.23 before the group went 
“back to base” at 18.25. Craig went out for 
some milk at 21.15 and returned at 21.29 
after which the Cybermat was defeated at 
21.32 and Craig fell asleep at 22.30. Craig Left: 
woke at 08.00 on Day 3 and found the Old pals 
Doctor’s note at 08.14, heading out after a 
his friend at 08.20, and arriving at the store 
at 08.25. Craig defeated Cyber-conversion 
at 08.36 and he, Alfie and the Doctor 
departed for home at 08.49, arriving in the 
spotless house at 09.45. Sophie arrived at 
09.47 with the Doctor preparing for his 
final trip in the TARDIS at 09.48. 

By now, the BBC Wales team had 
established a production base in a car 
park at the Millennium Stadium which 
was in close proximity to the House of 
Fraser department store on St Mary 
Street that would feature as Sanderson 
& Grainger. The establishment had 
featured before in Doctor Who, when it 
had appeared as Henrik’s, Rose Tyler’s 
place of employment in Rose [2005 - see 
Volume 48], recorded in July 2004; since 
then, Howell’s - established by James 
Howell in 1865 - had been rebranded 
as part of the House of Fraser chain in 
2010. The only way that the BBC could 
use the premises without disruption to 
business was to record through the night 
after 7pm, once the staff had gone home 
for the day. Hf 


DOCTOR WHO | THE COMPLETE HISTORY 07 


n Thursday 3 March 2011, 
while Karen Gillan and Arthur 
Darvill continued to record 
with Nick Hurran’s Block Five 
crew on The Girl Who Waited 
and The God Complex [2011 - 
see page 50], back at Upper Boat during 
the day, Matt Smith spent the afternoon 
in additional dialogue recording (ADR) at 
Bang from 3.40pm and then travelled over 
to the House of Fraser department store 
where recording was scheduled from 8pm 
to 7am on Day 1 of Block Six (Day 120 
overall). Because of the tight production 
schedule, there was no formal readthrough 
for the episode. 

‘Geronimo!!!’ tweeted the director at 
6.36pm, shortly after James Corden had 


108 DOCTOR WHO | THE COMPLETE HISTORY 


* 


tweeted, ‘I’m in Cardiff for the first day on 
r Who. We're filming all night till 8am!!!’ 
Speaking to Confidential about his return to 
Doctor Who, Corden said, “It’s lovely to come 
back to the show. It’s a pleasant, unexpected 
surprise. I just love working with Matt 
really. It was a no-brainer really.” Smith 

was similarly delighted to be reunited with 
Corden, telling BBC publicity, “We had such 
fun on set; it was hard to keep a straight 
face when we were filming.” 

No babies were required for recording 
on this first day, with two different dummy 
infants standing in as Craig’s son. As well 
as Smith and Corden, Lynda Baron joined 
the pair in the role of Val; well known for 
the BBC sitcom Open All Hours in the 1970s 
and 1980s, Lynda had previously worked 


ONE IRMED THAT CRAIG HAD 
TH “LOVE”.’ 


CLOSING TIME » storvz2s 


Connections: 

Dog days 

® When looking at Yappy the 
robot dog in Toy Town, 
the Doctor comments that 
itis “not so much fun as | 
remember” with reference 


to his own robot dog K9 
seen regularly from The 
Invisible Enemy [1977 - 
see Volume 27] to 
Warriors’ Gate [1981 
) -see Volume 33], 


Right: 
Lynda Baron 
plays shop 
assistant Val. 


on Doctor Who, singing the 
ballad for The Gunfighters 
[1966 - see Volume 7] and 
guesting as Captain Wrack 
in Enlightenment [1983 - see 
Volume 37]. On the second 
floor of the store, the 
Doctor’s toy demonstration 
was recorded first, followed 
by the Doctor, Craig and 
Alfie entering the lift near 
childrenswear, and then 

the Doctor talking to Val 

in the toy department. 

The radio-controlled toy 
helicopter demonstrated by the Doctor 
was provided by Colin Newman and 
operated by Lyn Walters, the same team 
who had previously operated the remote 
control elements of the Daleks. Lyn chatted 
to the Confidential team, explaining how the 
helicopter was a particularly sophisticated 
and sensitive model which was needed for 
the confined space of the Toy Town area. 
‘We've just broken for ‘lunch’! Five hours 
to go until we finish! Great to be with 
Matt Smith though, nicest man you could 
wish to meet’ tweeted Corden at 2.51am 
that morning. 

Pink revisions to the shooting script 
were issued on Friday 4 March and were 
generally minor in nature. The role of a 
warehouseman attacked by a Cyberman 
while assembling a display mannequin was 
now made non-speaking; originally he had 
grumbled, “You seen this Dave, they’ve 
sent two left arms...” References to the 
Cybermat curling up when caught in the 
Doctor’s net were removed, but additional 
stage directions indicated the Doctor 
putting the Cybermat in a carrier bag and 
then later pocketing the house phone when 
Craig went to the shops. Small elements of 
the Doctor’s speech to Alfie were altered, 
and stage directions were changed so that 


uo DOCTOR WHO | THE COMPLETE HISTORY 


| 


Craig awoke with Alfie in his arms on 
Sunday morning and kept him with him 
during these scenes. 

Having rested and slept during the day, 
the crew members were back after closing 
time on Friday 4, this time with the Doctor 
Who Confidential team in tow for work in 
womenswear from 7pm to 6am. The first 
recording for the evening was the perfume 
department sequence on the ground floor 
in which the Doctor saw Rory and Amy; 
Arthur Darvill had not been required for 
Block Five that day, while Karen Gillan 
had been performing additional dialogue 
recording at Bang and then recorded a 
scene for The God Complex at Upper Boat 
in the afternoon. The shots of Craig 
leaving Alfie with Val and then Val trying 
to comfort the infant were recorded next 
(including the CCTV monitor shots), with 
twins Darcy and Jake Evans playing Alfie 
in shots captured over carefully monitored 
time periods. The closing scene of Val 
still believing the Doctor and Craig to 
be partners was recorded, along with the 
opening sequence of Shona offering to do 
Kelly’s work; Holli Dempsey played Kelly 
while Seroca Davis - who had appeared in 


ANN. 


Comin’ Atcha!, The Bill and Horne ¢e& Corden 
- was Shona. The final scene was of Val 
watching the Doctor ponder where the 
Cybership was. 

Wales on Sunday reported on the two 
nights’ recording over the weekend in 
Gavin and Stacey star Corden returns to Doctor 
Who. The next morning, The Sun picked 
up on Lynda Baron’s presence in Dan 
Menhinnitt’s piece Who’s Open All Hours 
for Lynda. 

‘Another week of night shoots with the 
Doctor here we come!!’ tweeted James 
Corden at 1pm on Monday 7. Recording at 
House of Fraser ran from 7pm to 6am and 
again saw the Confidential team present, 
along with Radio 1 DJ Greg James and his 
production team. “Someone said to me, 
‘Do you want to be in a bit of Doctor Who?’ 
And only an idiot would say ‘no’. How 
could I not be interested?” recalled James, 
despite the fact that to fit this cameo 
into his schedule would mean leaving 
London after his show to arrive in Cardiff 
for 7pm, grabbing dinner, heading off to 


location for lam, recording his scene at 
4am, catching some sleep, and then being 
aboard a train back to London at 8am next 
day to be ready for his live show. “He sent 
me a text saying, ‘I’m coming to Doctor 
Who,” said James Corden of James. “He’s 

a huge Doctor Who fan.” 


att Smith had been performing 
iwi ADR at Bang since 4pm and then 

travelled to join James Corden 
on set for the night’s work. The initial 
focus for recording was the ground floor 
and the scenes of the Doctor catching 
the Cybermat, and the Evans twins again 
played Alfie. Although a new form of 
Cybermat had been created for the 2010 
Adventure Game, Blood of the Cybermen, a 
different design was crafted by Millennium 
FX and was derived from the face of 
the Cybermen, complete with teardrop 
holes below the eyes with Steve Hughes 
keen for the prop to be reminiscent of 
the ‘facehugger’ creature first seen in the 
1979 sci-fi movie Alien. The design used in 
Revenge of the Cybermen had been used as 
the starting point. The radio-controlled 
Cybermat used in this scene was operated 
by Tim Berry of Millennium FX; this was 
one of three different Cybermat props, the 
other two being a soft silicone version for 
thrashing around, and a ‘hero’ version for 
close-ups with working mouth and jaws 
(operated by a device like a bicycle brake). 
At 1am, James caught up with Corden 
in his trailer during a lunch break, with 
Corden commenting on Steven Moffat’s 
invitation to return to the series, “He 
didn’t inform me that it would be two 
weeks of night shoots. But if I’m honest I 
would have absolutely come back because 
I love working with Matt... I feel really 
privileged to be part of it.” At 2am, James 


DOCTOR WHO | THE COMPLETE HISTORY om 


Production 


Left: 

There's a 
Cyber-invasion 
instore, 


CLOSING TIME » stowzzs 


caught up with Smith in the store’s 
make-up area and received advice on 
how to act in Doctor Who: “Pay attention 
for aliens.” The DJ was bemused by BBC 
Wales’ requests that he and his team did 
not take pictures of Matt Smith wearing 
the Doctor’s new, longer coat. 

After the ground floor scenes, the 
team then moved back to womenswear 
to conclude the scene where the Doctor 
confirmed that Craig had killed the 
Cybermen with ‘love’, and also record 
the sequence where Craig’s attempts to 
question Kelly went wrong in lingerie. 
This saw Chris Obi joining the cast as 
George, while Holli Dempsey completed 
her material. Also in this last scene was 
Greg James (who had previously appeared 
in EastEnders and Hustle), cast as a rather 


Below: 

The Doctor suspicious shopper whom the production 
demonstrates team nicknamed ‘Creepy Carlos’. The 
Sanderson ; ' i é : 

& Graingers conclusion of this scene with Craig making 


range of toys. 


his clumsy way away from the lingerie 


DOCTOR WHO | THEOMALPETE AIS 


. ~ 3 


‘a 


-- 


XN NNN NNOAAS 


section was ad-libbed in various different 
ways by Corden; while none of these 

were used in the finished episode (which 
required a cutaway to the reaction of the 
Doctor with Val), they were later presented 
in Doctor Who Confidential. 

Photographs taken overnight by fans had 
revealed the presence of both Craig’s baby 
and the Cybermats. Dan Menhinnitt of The 
Sun presented Who’s the daddy now, James? 
on Tuesday 8 in which he commented 
that Corden was playing a dad just three 


| weeks before his own child was due to 


be born. Meanwhile, Greg James had got 
back to his hotel at Sam, grabbed some 
sleep and was then woken at 7am for the 
train back to London. “I am shattered,” he 
told listeners of his Radio 1 show. “It was 
a big night last night. Long night. Good 
night. I did something quite magical last 
night.” Having teased listeners for a while, 
he finally explained how he had met James 
Corden and Matt Smith to record a scene 


4 “hi - 


for a top-secret night shoot Doctor Who 
at 4am: “Oh my God, it was the best 
night ever.” 

‘And you’re complaining about NIGHT 
SHOOTS! Ohhh, you wait!’ tweeted 
Steven Moffat to James Corden at 7.35am 
on Tuesday 8. Recording on the fourth 
and final night at House of Fraser was 
scheduled from 7pm to 6am and began 
at the back of the store for the scenes of 
George and the Doctor being attacked by 
a Cyberman - all carefully supervised by 
stunt co-ordinator Crispin Layfield. The 
lone Cyberman was played by regular 
monster performer Paul Kasey who had 
previously played Cybermen in episodes 
since Rise of the Cybermen/The Age of Steel 
[2006 - see Volume 52]. “People who were 
on the crew, and people who were in the 
cast, grew up being scared of them. So 
they still have that ability to - even though 
you know the person who’s inside the 
costume - scare you a wee bit,” Denise Paul 
commented on the BBC website. Dummy 
Alfies were used for the evening on these 
scenes as recording continued with the 
ground floor sequences of the Doctor 
asking Val if she had seen anything odd, 
and of George locking up at the start of 


the episode. The crew then moved outside 
to record the scene of Craig deciding it 
was safest to stay with the Doctor and the 
opening establishing shot of Sanderson & 
Grainger... with the appropriate signage 
erected over the House of Fraser branding. 


eturn of Doctor Who pet hate was 
R:: next item from The Sun on 

Wednesday 9 March in which the 
presence of the Cybermen and Cybermats 
was announced based on the images taken 
by onlookers outside House of Fraser. 
Meanwhile, the teams of Doctor Who and 
Doctor Who Confidential were setting up 
at a private house on Church Road in 
Penarth, with a unit base at the nearby 
Cogan Leisure Centre. The house had been 
found after location manager Iwan Roberts 
had done a letter drop asking for premises 
that could be used by the BBC in three 
or four different areas of Cardiff; he had 
received five or six replies out of a couple 
of hundred properties. Of the family at the 
Church Road house, the mother (Emma) 
had not been very keen on the idea, but 
the father (Richard) had 
persuaded her, saying that 
the experience would be fun 
for their children. 


Production 


Left: 
Val babysits 
little Alfie. 


Connections: 
Time flies 
»% The Doctor recalls the 


The night shoots were 
to continue for the week, 
starting with a 6pm to 3am 
schedule. ‘As soon as we 
finish filming Doctor Who 
tonight, me and Matt Smith 
are gonna drink Tigerblood 
and get vajazzled’ tweeted 
Corden at 7.30pm. The first 
night saw the main action 
set-piece at the home of 
Craig and Sophie as the 
Doctor saved Craig from 


Teselecta saying "Silence 
will fall when the question 
is asked" in Let's Kill Hitler 
[2011 - see Volume 68]; he 


knew from the Teselecta’s 
files when he was to die 
and knew that it was 
‘tomorrow’ - indicating 
that, for him, almost 200 
years had passed since The 
God Complex [2011 - see 
page 50], 


DOCTOR WHO | THE COMPLETE HISTORY a 


CLOSINGTIN 


Above: 
Trouble returns 
to Craig's life. 


nt 


being attacked by the Cybermat - different 
versions of which were provided by Tim 


Rose and Tim Berry of Millennium FX. 


Connections: 
Petrichor 


® The slogan for the 


Petrichor perfume 
advertised by Amy - ‘For 
the girl who's tired of 
waiting’ - referred to the 
Doctor's description of her 
as "the girl who waited” 
in episodes such as The 
Eleventh Hour [2010 - 
see Volume 63] and The 
Pandorica Opens/The Big 
Bang [2010 - see Volume 
66]; the name Petrichor - 
the smell of wet dust - had 
been one of the key words 
and sensations which Amy 
had used to telepathically 
activate the TARDIS doors 

in The Doctor's Wife 

[2011 - see 
y Volume 67]. 


This time around, twins 
Lucas and William Morris 
were on hand to play Alfie 
for the first part of the shoot, 
doubled by a dummy as 
appropriate for the action 
sequences arranged by 
Crispin Layfield. For the 
Doctor’s life-saving leap 
through the window, Gordon 
Steed doubled for Matt 
Smith, crashing through 

a replacement window 
installed at the rear of the 
property which was wide 
enough for a stunt performer 
to jump through. Because 

of its size, the window made 
by Danny Hargreaves and 
the Real SFX team employed 
toughened glass of the sort 
used in car windows rather 
than shatter glass; secreted 
in the base were explosive 
charges to send pins into 


me DOCTOR WHO | THE COMPLETE HISTORY 


the pane and shatter it just as Gordon 

was about to leap through it. Close-ups 

of Smith landing inside the house were 
then recorded with fake glass being thrown 
in behind him. The Confidential team 
chatted to Crispin and Danny about how 
their skills co-ordinated for this 

set-piece. In the subsequent struggle 

with the Cybermat, the delicate remote- 
controlled rodent came off badly thanks 

to Smith and Corden’s enthusiastic 
performances. On the first take, the 
Doctor’s blow to the creature was stronger 
than expected; “I’m sorry. I just really 
whacked it hard,” apologised Smith as he 
saw the Cybermat in pieces. “I found most 
of him and was able to superglue him back 
together, but he’s never been the same 
since,’ explained animatronics operator 
Tim Rose of his rodent charge. 

“They have a great chemistry on screen 
and off,’ commented Denise Paul of the 
two lead actors. Smith and Corden’s 
light-hearted behaviour helped keep the 
crew going on the long night shoots. 

The pair also clowned around with a 
handheld camera, making a video diary 
for Confidential around midnight. “Me and 


Matt one night, we lost it,” Corden told 
Confidential as he recalled the improvised 
routines the pair had made in which the 
Doctor/Smith had terrified Corden by 
pointing out a crack in a wall, or when 

a small Dalek model had been used to 
attack various cuddly toys. The duo also 
discussed how they had to learn 10 pages 
of dialogue for the next day. “And it’s 
already tomorrow,’ observed Corden, 
pointing out that it was now Sam. 


hree Alfies were required for 
Tess on Thursday 10 March at 

Church Road from 3pm to midnight. 
Isabelle and Josie James were on duty 
from 4pm to 9pm, with Ellis Pomeroy 
then pencilled in for appearances from 
8pm to 11pm. Confidential was present, 
following Iwan Roberts for its A Day in the 
Life feature. The main scene of the evening 
was the Doctor and Craig catching up 
in the kitchen at the start of the episode; 
the kitchen of the house was actually 
larger than the BBC crew wanted, so the 
design team scaled it down to two-thirds 


its normal size. In these 
scenes, Smith ad-libbed 

the Doctor rapidly reading 
the children’s books on the 
table (a technique of the 
Doctor’s first seen in City of 
Death [1979 - see Volume 31] 
and repeated in subsequent 
stories, including The Time of 
Angels/Flesh and Stone [2010 

- see Volume 64]) including 
Daisy’s Wild Ride by Bob 
Graham, a child’s first science 
book published in 1995. 

The Doctor’s arrival on Craig’s doorstep 
was then recorded, and the night finished 
on schedule with the Doctor trying to 
convince himself not to investigate the 
flickering street lamp as he returned to the 
TARDIS (with the new prop used during 
the episode); arrangements had been made 
with the council to have somebody turn 
up to turn the street lights on and off 

as required. 

The third day at Penarth was scheduled 
from noon to 11pm, with the Confidential 
team again in attendance. The first scenes 
of the day were outdoors with the Doctor 
departing with the Cybermat early on 
Sunday morning, and also the sequence of 
the Doctor wearing his new Stetson, and 
preparing for his last trip in the TARDIS. 
The team then moved inside the cleaned 
and repaired kitchen for the Doctor telling 
Craig about his trip to America. Following 
this came the other Sunday morning 
scenes of Craig and Alfie with four infants 
on set: first William Morris, then Jake and 
Darcy Evans, and finally Lucas Morris 
on call until 10pm. During breaks in 
recording, Smith and Corden were now 
making a fuss over the babies and singing 
songs to them whenever they had a spare 
moment. Tim Rose of Millennium FX 
was again present with his performing 


Connections: 

Full circle 

® Insetting up the fatal 
events seen at the start of 
The Impossible Astronaut/ 
Day of the Moon [2011 - 
see Volume 66], the Doctor 
announces that he is going 
to America, is seen to take 
some of Sophie's TARDIS- 

blue stationery and is given 

his Stetson hat by Craig. 


A NON ae ee ee ee Production 


Left: 

“Craig, you 
wanted a 
chance to 
prove you're 
adad. You are 
never going 
to get a better 
one than this.” 


DOCTOR WHO | THE COMPLETE HISTORY as 


CLOSING TIME » stores 


Cybermats for the scenes of 
the Doctor at work in the 
kitchen in the evening, and 
the night wrapped with Craig 
assuring himself that he 
could cope for the weekend... 
just before he received an 
unexpected visit from an 

old friend. 

Confidential was on duty 
again at Penarth on Saturday 
12 March when recording 
chez Owens was scheduled 
for 1lam to 8pm; William 
Morris was first up on the 
day’s Alfie rota through to 
4pm, with Jake and Darcy 
Evans overlapping with him 
from 2pm to 7pm. Work 
began in the living room with 
Craig waking to Sophie’s 
voicemail, and then falling 
asleep as the Doctor talked. 
Following a pick-up shot of the kitchen 
door blowing in the wind, work switched 
to the hallway and stairs with the Doctor 
heading aloft in search of the strange life 
form. The team was now joined by Daisy 
Haggard to reprise her role of Sophie. The 
scene of Sophie leaving for the weekend 
was recorded, along with Craig’s return 
from the shops with milk the following 
evening; Daisy also recorded Sophie’s 
dialogue for the voicemail. 

Monday 14 March was the final day 
at Church Road and wrapped up the 
scenes at Craig’s house between 8am and 
7pm, with the Confidential team present. 
The schedule began with pick-ups of the 
Cybermat attack set-piece, followed by 
Sophie’s arrival home on Sunday morning 
and Craig seeing his spotless living room. 
The remaining scenes were all those set 
in Alfie’s room, with William Morris, Ellis 
Pomeroy, Isabelle James and Josie James 


Connections: 

River's source 

® River Song is seen to 
be researching eye- 
witness accounts of the 
Doctor as part of the 
studies she had begun 
at the end of Let's kill 
Hitler [2011 - see Volume 
68], only to be captured 


by Madame Kovarian 


and the clerics who had 
nipulated her childhood 
Good Man Goes to War 
11 - see Volume 68], 
then placed inside the 
modified NASA spacesuit 
seen in The Impossible 
Astronaut/Day of the 
Moon [2011 - see 
Volume 66], 


co DOCTOR WHO | THE COMPLETE HISTORY 


taking it in shifts to play the youngster. 
While Matt Smith was recording upstairs, 
another splinter unit under director 
Jeremy Webb recorded a cutaway scene 
for 2|entertain’s DVD release downstairs 
in the living room with James Corden and 
Daisy Haggard. The Confidential team took 
the chance to chat with the mother and 
grandmother of the James twins about 
their appearance in the episode, with Roz 
James noting that she had been giving tips 
on childcare to father-to-be James Corden. 

Photos from the Penarth shoot fuelled 
stories from the tabloids on Tuesday 15. 
...and Smith must score declared The Sun, 
which ran shots of Matt Smith keeping 
warm with a football kick-around between 
shots, while Wendy Fuller of the Daily 
Mirror penned the similarly-themed Matt 
Smith and James Corden have a kick around 
on the Dr Who set which also displayed the 
Doctor in his Stetson. The South Wales Echo 
also ran a picture of Smith in the Doctor’s 
new costume. 

The crews of both Blocks Five and Six 
were at work at Upper Boat on Tuesday 
15; Karen Gillan and Arthur Darvill 


worked with Nick Hurran in Studio 5 


while Steve Hughes’ team set to work 
from 8am to 7pm in Studio 6. The team 
from Confidential was present for the 

day alongside journalists from Radio 
Times, Total TV Guide, TV Choice, Sunday 
Express, Doctor Who Magazine and the BBC 
website. The focal set for the day was 

the Cybership which had been dressed 
with the modified cryogenic capsules 
from A Christmas Carol which now had 
Cybermen faces placed inside them. The 
brief teleport visit to the ship was recorded 
first - featuring a dummy Alfie - following 
which work began on the climactic scenes 
of the imprisoned Doctor and his heroic 
rescuer. Choreographer Ailsa Berk drilled 
the Cybermen performers in mechanised 
movement from 11am, with Tim Rose 
operating the repaired Cybermat prop. 
Millennium FX also provided the team of 
Lauren Wellman, Alex Wathey and Karen 
Spencer to prepare the Cybermen for 
action. By now, very few of the Cybermen 
costumes constructed in 2005 for Rise 

of the Cybermen/The Age of Steel were 

still in a usable state, and those which 


did exist were in a poor condition... 
fortunately commensurate with the script 
requirements. For Cybermen seen in the 
background, basic rubber Cyberman 
costumes made for the 2010 Doctor Who 
Live arena tour were employed. 

Work on the climax aboard the 
Cybership continued from 8am to 7pm 
in Studio 6 on Wednesday 16, with the 
cast posing for publicity photographs and 
James Corden chatting to the Confidential 
team. Crispin Layfield supervised all the 
action moves for the set-piece which was 
also witnessed by Gareth Roberts who 
was visiting the set with his Sarah Jane 
Adventures co-writer Clayton Hickman. 
After wrapping on Doctor Who, Matt Smith 
attended a publicity session for the BBC 
Two film Christopher and His Kind which 
was scheduled for broadcast that weekend. 


ANN NSS 


ames Corden’s final day on set was 
Jasin 17 March as Block Six drew 
to a close. Recording was scheduled 

from 8am to 7pm starting in Studio 6 with 
a sequence of the Doctor slipping down 
the muddy tunnel towards the Cybership, 
after which insert shots of the Cybermen’s 
heads exploding were recorded on the 
Cybership itself. The team then moved to 
Studio 2 - where the department store lift 
cubicle had been erected - and recorded 
all the lift scenes with a dummy Alfie. After 
this came more pick-up shots, this time in 
the toy department, before the scenes with 
the Doctor and Craig in the changing rooms 
area were recorded during which James 
Corden ad-libbed Craig’s line, “Don’t have 
a go at me just cos I don’t know the names.” 
Matt Smith was then released at 5.30pm to 
go for ADR work at Bang. 

Additional material for A Good Man Goes 
to War and Closing Time was recorded at 


DOCTOR WHO | THE COMPLETE HISTORY a7 


Left: 
Craig's 
domestic life. 


CLOSING TIME 


Above: 
Craig Owens 
versus a 
Cybermat. 


STORY 223 


Upper Boat on Sunday 20 March. Once 
Julian Simpson had directed his pick-ups 
for A Good Man Goes to War, Steve Hughes 
took over as director through to 7pm to 
record the scenes of Shona in the changing 
room area and also the attack on the 
warehouse man in the stock room, along 
with pick-up shots of the Cybermat prop. 

In real-life, James Corden became a 
father on Tuesday 22 March when his 
wife, TV producer Julia Carey, gave birth 
to their son Max. 

Close-up shots of Craig in the Cyber 
conversion machine - with Alex Williams 


== 


doubling for James Corden - were 
recorded by a second unit helmed by 
producer Marcus Wilson on Wednesday 6 
April during work for Let’s Kill Hitler [2011 
- see Volume 68] (Block 7A). Then the 
following day, the closing sequences with 
River Song were recorded by Steve Hughes, 
again directing a second unit. This time 
the venue was the early eighteenth-century 
Grade I listed building Hensol Castle in 
the Vale of Glamorgan where the scenes 

in the library and of the submerged River 
Song (performed against a greenscreen) 
were recorded from 10.30am before 
Hughes handed over to Jeremy Webb and 
Richard Senior to record material for their 
episodes. In addition to Alex Kingston 
and Frances Barber reprising their roles 

as River and Kovarian, Isabelle and Josie 
James were also available for insert shots 
of Alfie during the day, while Kate Walshe 
and Bethan Kate Harris of Millennium 
ensured that the Silents looked suitably 
scary. Further pick-ups of baby Alfie in 

the arms of Val were recorded at Upper 
Boat by Doctor Who Confidential on 
Thursday 21 April; these comprised 

shots of Isabelle and Josie James held by 
Christine Patterson who was standing 

in as Val. 


TNA A AAAS 


PRODUCTION 


Thu 3 Mar 11 House of Fraser, St Mary 
Street, Cardiff (Department Store - Toy 


Department/Childrenswear) 

Fri 4 Mar 11 House of Fraser 
(Department Store - Womenswear) 
Mon7 Mar 11 House of Fraser 
(Department Store - Ground Floor/ 
Womenswear) 

Tue 8 Mar 11 House of Fraser 


(Department Store - Back of Store/Ground 


Floor/High Street) 


Wed 9 Mar 11 Church Road, Penarth 


ae DOCTOR WHO | THE COMPLETE HISTORY 


(Craig's Backyard/Craig’s Kitchen) 

Thu 10 Mar 11 Church Road (Craig's 
Kitchen/Craig’s Hallway/Sheckley Street) 
Fri11 Mar 11 Church Road (Sheckley 
Street/Craig's Backyard/Craig's Kitchen) 
Sat 12 Mar 11 Church Road (Craig's Living 
Room/Craig's Backyard/Craiq's Kitchen/ 
Craig's Hallway/Stairs) 
Mon 14 Mar 11 Church Road (Craig's 
Backyard/Craig's Kitchen/Craig's Hallway/ 
Craig's Living Room/Alfie's Room) 

Tue 15- Wed 16 Mar 11 Upper Boat 
Studios: Studio 6 - Cybership 


Thu 17 Mar 11 Upper Boat Studios: 
Studio 6 - Cybership Tunnel/Cybership/ 
Studio 2 - Lift/Department Store - Toy 
Department/Changing Rooms Area 

Sun 20 Mar 11 Upper Boat Studios: 
Studio 2 - Department Store - Changing 
Rooms Area/Stock Room/Pick-ups 

Wed 6 Apr 11 Upper Boat Studios: Studio 
2 -Cybership 

Thu 7 Apr 11 Henso! Castle, Hensol, Vale 
of Glamorgan (Library/Below)/Pick-ups 
Thu 21 Apr 11 Upper Boat Studios: 
Studio 6 - baby pick-ups 


Production | Post-production 


Post-production 


uring editing of the episode, 

several cuts had to be made. 

After the Doctor explained 

to Craig how Alfie thought of 

himself as ‘Stormageddon’, the 

Time Lord continued, “Don’t 
worry, they all choose names like that. You 
should eavesdrop on a nursery some time. 
It’s like a Hells Angels’ convention.” “You 
know what he’s saying?” exclaimed Craig 
as the Doctor revealed that he spoke baby. 
When Craig pointed out that the Doctor 
didn’t just pop in to say hello, the Doctor 
maintained, “I said I would.” “You were 
lying - I’ve been in your head, remember?” 


retorted Craig, recalling their mental link 
in The Lodger. 

The start of the scene at the rear of the 
department store following the escape 
from the lift was cut. As the Doctor 
scanned the sky with his sonic, Craig 
asked, “What are Cybermen?” “They were 
people,” explained the Doctor, “but they 


‘enhanced’ themselves with machine parts. 


They want to make everyone like them, 
and they’re everything I’ve ever hated... 
There it is, still trying to signal. Directly 
above us, geostationary orbit. But why, 
what are they doing? Taking people from 
a shop? A shop, why a shop? What’s it got 


DOCTOR WHO | T 
7 


Below: 
Cybermen 
restrain 
the Doctor. 


COMPLETE HISTORY 


CLOSING TIME » storzzs 


Above: 

“We could just 
hold hands if 
it makes you 
feel more 
comfortable.” 


Right: 
Two men 
and a baby. 


to do with the lights going out? And why 
am I asking you?” After Craig had insisted 
that the Doctor always won and the Time 
Lord smiled recalling the past, Craig 
added, “And you’re gonna need help, you 
always do.” The next scene was dropped as 
well. Set in the stock room, this featured 
a young warehouseman assembling a 
male display mannequin as the Tannoy 
voice announced, “Good afternoon, ladies 
and gentlemen, just a reminder there is 
currently 35 per cent off all items with 
the silver star...” A shadow fell across 

the warehouseman as he was chopped 

by a Cyberman and the dummy head 
rolled along the floor... while the Tannoy 
continued, “Sanderson & Grainger - we 
give high prices the chop!” 

When the Doctor originally asked Val 
about having noticed anything unusual, 
he added, “Anything about this shop?” 
“Where d’you want me to start, Doctor?” 
replied Val, “I mean, Pat Carter in the 
canteen, what is she thinking with 
that hair?” “Yep, anything more sort 
of mysterious?” clarified the Doctor, 
“Anybody acting strangely?” “Well...” 
began Val as she launched into the 


0 DOCTOR WHO | THE COMPLETE HISTORY 


ENV NNNANNAAS 


rumours about Don Petheridge snogging 
Andrea Groom. 

After Craig saw the Doctor’s note on his 
fridge, a couple of short scenes were cut. 
The first was of a desperate Craig on the 
telephone in his kitchen: “Sean - please, 
pick up, I know I said don’t pick up, will 
one of you pick up! I need you to look 
after Alfie - Sophie’s mum’s not answering, 
Jen’s not answering, please! Look, it’s the 
Doctor, he’s come back - he’s an alien - 
and there’s other evil aliens in a spaceship 
above Sanderson’s in town - and oh god 
what does this sound like?” Meanwhile, in 
the lift at the store, the Doctor stood with 
his sonic in one hand and the Cybermat 
in the other. “Here goes, Bitey - you get 
ready - Cybership - going up!” he said as 
he sonicked the panel. There was a clink 
and the lift started descending, causing 
him to exclaim, “Going down?” As Val 
entered the store on the basement floor, 
she originally saw the lift operating and 
commented, “Oh, they’ve finally got that 
working again then. Morning.” When the 
Doctor raced for the changing rooms, the 
bemused Val said, “I don’t understand the 
modern world.” 

Seeing the tunnel of mud and rock 
leading down from the back of the 


ANN. 


changing cubicle, the Doctor originally 
ruminated to the Cybermat, “From their 
spaceship, which any reasonable person, 
Bitey, would assume was up in space 

like most spaceships, hence the name 
spaceship, and not in fact actually - under 
the shop all along... Nothing to say, 

no ‘anyone would have made the same 
mistake, Doctor, don’t blame yourself’? 
Worst. Companion. Ever.” Entering 

the tunnel, he continued, “Right, the 
Cyberman climbed up so I shall climb 
down.” However, he slipped and emerged 
from the bottom of the tunnel in a muddy, 
filthy heap, gasping, “Geronimo.” 


ARRAN 


hen Craig burst into the 
W Cybership impressively wielding 
the bar-code scanner, he originally 
shouted, “Oi, Cybermen! Let him go! Or 
I fire!” “Craig - no! Get out of here!” called 
the Doctor. “You said they were in space!” 
exclaimed Craig. “I say a lot of things!” 
replied his friend as the first Cyberman 
advanced on Craig. After Craig destroyed 
the ship’s systems, in the chaos the first 
Cyberman said, “Help - us... it hurts - 
please...” to which the Doctor replied, 
“T’m sorry.” 

“T’m definitely writing to the council...” 
was Val’s comment as she heard the 
muffled explosion beneath the store. After 
the Doctor rushed off to the amazement of 
Val, Craig explained to her, “That’s what 
he does.” “Run to him, Craig. Take him 
in your arms,” insisted Val. “Yeah, okay,” 
agreed Craig. 

On Thursday 5 May, a total of 24 cues 
for the episode, composed by Murray 
Gold, were recorded by a 17-piece band 
led by Everton Nelson from 2pm to 5pm 
at Studio 3 of Angel Studios; these were 
then mixed through to midnight. For the 


Post-production 


Left: 
The Doctor 
goes shopping. 


scene of the Doctor talking to Val at the 
department store, the background music 
was Techno Fan by the alternative pop 
group The Wombats; this came from the 
album This Modern Glitch released in April 
2011 and was issued as a single in June 
2011. As with A Good Man Goes to War, 
the Cyberman dialogue was recorded by 
regular Cyberman voice artiste Nicholas 
Briggs, in post-production. 

“There was no title for ages,” recalled 
Gareth Roberts of his new episode. “We 
called it Carry-On Lodging or The Lodger 
II. We did try to think of something 
with ‘Lodger’ in but they were rubbish. 
Three Cybermen and a Baby worked when 
there were three Cybermen, but after 
they became six it went out the window. 
Clayton Hickman and I came up with 
a list of titles with a ‘shop’ theme - like 
Everything Must Go. Clay came up with 
Closing Time which was the one Steven 
and I liked the best.” The Last Adventure 
had also been considered as a title for 
the episode, referring to the Doctor’s 
impending demise in the final episode of 
the 2011 series. Although Karen Gillan 
and Arthur Darvill only appeared briefly 
in the episode - and indeed Darvill had 
no dialogue - the actors still retained their 
billing status in the opening titles. 


DOCTOR WHO | THE COMPLETE HISTORY oe 


122 


CLOSING TIME 


Craig has 
anasty 
encounter with 
the Cybermen. 


STORY 223 


Publicit 


Following the transmission of 

The God Complex on Saturday 17 
September, a text interview with 
Gareth Roberts was made available 
from the BBC website to promote 
Closing Time, along with a video 
interview with Denise Paul recorded 
at BBC Cymru’s new Roath Lock 
production facility. 


Sunday evening on Radio 4 saw the 
début of a new comedy sketch show: 
John Finnemore’s Souvenir Programme; 
this included the tale of one James 
Treadwell, a boy whose life-long 
ambition was to be the man who 


makes the noise of the TARDIS for 
Doctor Who and who worked hard 

to carve out a career in television to 
allow him to offer Russell T Davies the 
chance to revive the series in 2003. 


“Tam the Doctor. I work in a shop 

now. Here to help,” was selected by the 
Radio Times as the Moment of the Week 
on Tuesday 20 September. Closing Time 
was promoted by a one-page article 
entitled The odd couple in which Gareth 
McLean chatted to Matt Smith and 
James Corden at Upper Boat. Mark 
Braxton’s Pick of the Day for Saturday 
was Closing Time - illustrated by a shot 


DOCTOR WHO | THE COMPLETE HISTORY 


of the Doctor held prisoner by the 
Cybermen - and he enthusiastically 
described the episode as ‘part buddy 
caper, part domestic sitcom and utterly 
magical Doctor Who’. Three Doctor Who 
Confidential videos were also released: 
Up late with James Corden and Matt 
Smith, James Corden and the Dalek and 
Matt Smith prepares a Portrait. 


¥ On his Radio 1 show on the afternoon 


of Wednesday 21, Greg James revealed 
the details of his time on the Doctor 
Who set back in March and presented 
his interviews with Smith and Corden 
before announcing that he would be 
playing a “perverted shopper” in that 
Saturday’s adventure; “Even with me 
in it, it’s a great episode,” he assured 
listeners. To tie in with this, another 
video of James and Corden on set 
from Doctor Who Confidential was made 
available. The following night in the 
USA, a rather charming homage to 
Doctor Who appeared on Biology 101, 
the third season début episode of 
NBC’s comedy Community; pop culture 
junkie Abed Nadir fell in love with a 
low-budget British sci-fi show which 
had been on air since 1962 and was 
entitled Inspector Spacetime. (“This is the 
best show I’ve ever seen in my entire 


life.”) Another new Confidential video 
from the BBC website on Thursday 22 
saw director Steve Hughes promising 
“some scares, some laughs and a lot of 
male bonding” in Saturday’s episode 
plus a new video with Denise Paul in 
which she described Closing Time as 
“massively moving”; by now, preview 
clips were available showing the 
Doctor talking to Craig and his son 

in the kitchen and the Doctor talking 
to Val about strange goings-on. Also 
on Friday 23, the BBC One drama 
Casualty became the first programme 
to start production at Roath Lock after 
its move from Bristol, with Doctor Who 
announced as relocating in time for 
the official opening in March 2012. 


® The BBC One game show Epic Win 


featured a Doctor Who-related round 
when broadcast at 5.30pm on Saturday 
24 September; recorded on Sunday 1 
August, this saw North London Doctor 
Who fan Emrys Matthews attempting 
to name monsters from the series from 
the sound of their deaths in the show 
hosted by comedy actor Alexander 
Armstrong (the voice of Mr Smith in 
The Sarah Jane Adventures and then 
working on the Doctor Who Christmas 
Special, The Doctor, the Widow and the 
Wardrobe [2011 - see Volume 70)). 
However, he only managed to correctly 
identify two out of a Quark from 

The Dominators [1968 - see Volume 

12]; a Cyberman from Silver Nemesis 
[1988 - see Volume 45]; the Empress of 
Racnoss from The Runaway Bride [2006 
- see Volume 54]; a Sontaran from The 
Time Warrior [1973/4 - see Volume 20]; 
and a Silurian from The Hungry Earth/ 
Cold Blood {2010 - see Volume 65]. 


DOCTOR WHO | THE COMPLETE HISTORY a 


Publicity 


Left: 
Action man! 


Above: 
Close friends. 


» Closing Time aired on Saturday 24 


September in an extended 50-minute 
slot from 7.10pm opposite All Star 
Family Fortunes on ITV1, with Doctor 
Who Confidential’s Open All Hours 
screened from 8pm to 8.45pm on 
both BBC Three and BBC HD (and 
repeated on BBC HD at 1.30am the 
next morning). Once again, overnight 
figures indicated that while Doctor 
Who had been the most watched 
show of the night for the BBC, it 

had marginally been beaten by ITV1’s 
quiz show. However, when the final 


ratings for the week were accumulated, 


Closing Time had been seen by over 


1H DOCTOR WHO | THE COMPLETE HISTORY 


a million more viewers than All Star 
Family Fortunes. 


| ® Following transmission, a series of 


extras relating to the episode appeared 
on the website including a comparison 
of the Cybermat attack to the original 
storyboard sequence. In the press 
reviews that followed, Gavin Fuller of 
The Daily Telegraph saw Closing Time 

as ‘the most overtly comedic episode 
of this, and many other years’, Dan 
Martin of The Guardian was concerned 
about the portrayal of the Cybermen 
but saw the pairing of the Doctor and 
Craig as ‘turning into a fun annual 


SOS NN ee broadcast 


tradition’ and Neela Debnath of The 
Independent felt presenting the Doctor 
with children ‘was an interesting 
change of pace’ while ‘the final scenes 
of the episode were classic Doctor Who: 
terrifying yet fascinating to behold’. 


— 


» The transmissions from BBC America 
and Space retained the variant title 
sequence with narration from Amy, 
and following the broadcast of Closing 
Time, BBC America viewers could see 
Matt Smith’s appearance as a guest 
on the first television edition of The 
Nerdist (pre-recorded during his visit 
to the USA in July). BBC America 
also issued Doctor Who Insider Ep 12: 
Best Companion Ever? on Tuesday 


27 September; this saw Matt Smith ® “I like the episode because it’s sort of Above: 
and executive producers Beth Willis, like Three Men and a Baby in space,” i og 
Piers Wenger and Steven Moffat noted Smith, adding, “I’ve not laughed 
commenting on the latest encounter as much as I do with James on set. He’s 
between the Doctor and Craig. just wonderful.” 
5 5 — ~~ ® Because of Formula 1 coverage, there aot #6 
was no Sunday repeat of Closing collect his son. 


Time on BBC Three, although it was 
screened on Friday 30 September at 
7pm, followed by a shortened version 
of Open All Hours at 7.45pm. By the 
end of Closing Time, the threat posed 
by upgraded humanity was again 
defeated by the emotions of humanity, 
as Steven Moffat pointed out on Doctor 
Who Confidential: “It’s fatherhood that 
destroys the Cybermen. That’s the real 
story. It’s the Doctor Who version of a 
new father bonding with his son.” 


ORIGINAL TRANSMISSION 
EPISODE DATE TIME CHANNEL DURATION — RATING(CHARTPOS) APPRECIATION INDEX 


Closing Time Saturday 24 September 2011 710pm-8.00pm BBCOne 45105" 6.93M(20th) 86 


DOCTOR WHO | THE COMPLETE HISTORY a 


CLOSING TIME » stowzzs 


erchandise 


‘ar right: n October 2011, 2|entertain’s 
ene iat DVD/Blu-ray release Doctor Who: 
DVD extras, Series 6 — Part 2 included Closing 

Time. The Complete Sixth Series 

DVD/Blu-ray box set, released in 

November 2011, also included 
the episode. Also included was the short 
version of the accompanying Doctor Who 
Confidential and Monster File: The Cybermats. 

In December 2011, Silva Screen’s two- 

disc CD Doctor Who Series 6 of Murray 
Gold’s incidental music, played by the 


BBC National Orchestra of Wales and 


conducted by Ben Foster, featured the 
following tracks from Closing Time: 
Stormageddon, Dark Lord of All, Definitely 
Going, Over Your Shoulder, Ladieswear, 
Fragrance and My Time Is Running Out. 

In September 2011 Character Options 
issued five-inch action figures of the 
Cybermen (including Cybermen with 
a Damaged Chest and Damaged Face) 
and Cybermats from Closing Time. In 
November 2011, a ‘Bump and Go’ 
electronic Cybermat was available from 
Character Options. 

Closing Time T-shirts were available 
from Titan in June 2013. Replicas of the 
Eleventh Doctor’s green jacket, as seen in 
Closing Time, were available from Think 
Geek USA in January. | 


Character 
Options’ action 
figures for 
Closing Time. 


DOCTOR WHO | THE COMPLETE HISTORY 


Cast and credits 


Matt Smith... 
Karen Gillan 
Arthur Darvilll....ccccccccccsessessseessessesien 


JAMES COFAED.... cscs 
Daisy HAGGaAIG...... iiss 
AleX KINGSTON... 
Frances Barber... 

Seroca Davis........... 

Holli Dempsey... 
CERES ODD ss ceccisncsssccopecanevinevceccininarssvvivansearssnvensenenniisen 
Lynda Bar On ipesiicwcancnncamnunnenmacmnennn 
Pall KaSOY, isisiisiiscissiscsnmananwannwnnine Cyberman 
Nicholas BriggG............00... Voice of the Cybermen 


Melody Brain, Lucy Faircloth, Lucy Harvey, 
Marsha McLeod, David Ulett, John Walker, 
Tim Reid, Sion Price, Meg Mossemenear, 
Emma Meneses De La Oliva................ Passers-by 


siiidsavaeasinaniaatntannanee Alfie 

Toy Department Worker 
Keiron Doney, Jessica Johnson, Charlotte 
Nolan, Alex Ranahani...........0e 16-Year-Olds 


Alison Ball, Paul Bogle, Ollie Bryan, Hayley 
Griffiths, Jane Harding, Howell Jones. Emily 


Pike, Keith Rose, David Ulett.............. Shoppers 
Joel Buousher, Morgan Miles, Katie Gear, Jun 
Wong, Chanelle Jade Leung..............05 Children 


lan Hilditch Warehouse Man! 
Antonia Forrest, Charlotte McGrane, Tanya 
Ong, Stephanie TUCKED |... im 
cumidnonsmuiuiname Perfume Counter Worker 
Alistair Sanderson............cccc0008 Security Guar 
Dean Anderson, Trish Dichler, Mandy 
Floodpage, Cleo Jarvis, lestyn Jones, Simon 
Pengelly, Karen Poolman, Kate Powell, 
Dave Rapley, Val Rapley, Milton Reid, Maria 
Vujinovic, Jeff Williams, lan Wilson, Gwen 
wright, Caro Zaliskys, Greg James... Shoppers 


wn 


ey 


“While | deal 
with this 
awkward 
moment, 
you go and 
find your 
parents slash 
guardians.” 


DOCTOR WHO | THE COMPLETE HISTORY 


CLOSING TIME » stowzzs 


Below: 
The Doctor 
remembers 
his previous 
robot dog, 


EMG GUNSIONs sroccceearsteccstasesiticnencnia Little Girl 
Marina Baibaf............ccccsccsssssn Parent 
Maria Honekef.........ccc0n Womenswear Staff 


Frank Baker, Jan Baker, Bex Gibbs, Dennis 
Gregory, Andrea Griffiths, Channon Jacobs, 
Richard Knott, Ying Qin, Gwion Ap Rhisiart, 
Matthew Rosser, John Sinclair, Leona 


Sutherland, Brian Tahr.............ccc0. Shoppers 
Jake Evans, Darcy Evann..........ccccssssses Alfie 
Lucas Elliot Morris, William Morris.............. Alfie 
Gordon Seed............... Stunt Double for the Doctor 
Matthew Doman, Kevin Hudson, Adam 
Sweet, Richard TuneSi.............ccs Cybermen 
Alex Willi€MS vin Double for Craig 
Christine Patterson cs Double for Val 
John William Carter, Ellie Rose Morgan Pirie, 
Chantelle EvanS.............cccssiin Children 
Harrisen Larner Main, Jamie Hill............... Silents 
Chester Durrant, Jon Davey... Clerics 


1 Not in finished programme 


CREDITS 

Written by Gareth Roberts 

Produced by Denise Paul 

Directed by Steve Hughes 
[2nd unit: Marcus Wilson] 


co DOCTOR WHO | THE COMPLETE HISTORY 


PA RASVA AAAS 


Stunt Coordinator: Crispin Layfield 
Stunt Performer: Gordon Seed 
1st Assistant Director: Sarah Davies 
[uncredited: Rhidian Evans] 
2nd Assistant Director: James Dehaviland 
3rd Assistant Director: Michael Curtis 
[uncredited: Barry Phillips, Jenny Morgan] 
Assistant Director: Harry Bunch 
Location Manager: lvan Roberts 
uncredited: Nicky James] 
Unit Manager: Jason Keatley 
uncredited: Rhys Griffiths] 
Location Assistant: Geraint Williams 
Production Managers: Phillipa Cole, Claire Hildred 
Asst Production Coordinator: Helen Blyth 
Production Secretaries: Scott Handcock, 
Sidn Warrilow 
Production Assistants: Charlie Coombes, 
Ross Southard 
Asst Production Accountant: Kristina Raschboeck 
Script Executive: Lindsey Alford 
Script Supervisor: Caroline Holder 
[uncredited: Nicky Coles] 
Camera Operator: Joe Russell 
[uncredited: Mark Waters, Nick Beeks-Saunders] 
Focus Puller: James Scott, Julius Ogden 
[uncredited: Matt Poynter, Chris Reynolds] 
Grip: Clive Baldwin 
Camera Assistants: Svetlana Miko, Becky Pesco, 
Kyle Brown [uncredited: Gail Jenkinson] 
Assistant Grip: Gary Sheppard 
Sound Maintenance Engineers: Ed Brookes, 
Laura Coates 
Gaffer: Micky Reeves 
[uncredited: Mark Hutchings] 
Best Boy: Francis Sparey 
Electricians: Geoff Holloway, Peter Scott, 
Scott Smallwood 
Supervising Art Director: Stephen Nicholas 
Set Decorator: Julian Luxton 
Production Buyer: Ben Morris 
Standby Art Director: Ciaran Thompson 
Assistant Art Director: Jackson Pope 
Concept Artist: Richard Shaun Williams 
Props Master: Paul Aitken 


RINSE N NEN CEST And Credits 


Props Buyer: Catherine Smauel 
Prop Chargehand: James North 
Standby Props: Julia Challis, Dewi Thomas 
Dressing Props: Phil Everett Lyons 
Graphic Artist: Christina Tom 
Draughtsman: Julia Jones 
Design Assistant: Dan Martin 
Petty Cash Buyer: Kate Wilson 
Standby Carpenter: Paul Jones 
Standby Rigger: Zac Henderson 
[uncredited: Dave Mount Stephens] 
Store Person: Jayne Davies 
Props Makers: Penny Howarth, Nicholas Robatto 
Props Driver: Medard Mankos 
Practical Electrician: Albert James 
Construction Manager: Matthew Hywel-Davies 
Construction Chargehand: Scott Fisher 
Assistant Costume Designer: Samantha Keeble 
Costume Supervisor: Vicky Salway 
Costume Assistants: Jason Gill, Frances Morris 
[uncredited: Nikki Lightfoot, Nicola Rodd, 


Make-Up Supervisor: Pam Mullins 

Make-Up Artists: Vivienne Simpson, Cathy Davies 

VFX Producer: Beewan Athwal 

Casting Associate: Alice Purser 

Assistant Editors: Becky Trotman, Lee Bhogal 

VFX Editor: Cat Gregory 

Post Production Supervisors: Nerys Davies, 
Ceres Doyle 

Post Production Coordinator: Marie Brown 

Dubbing Mixer: Tim Ricketts 

ADR Editor: Matthew Cox 

Dialogue Editor: Darran Clement 

Sound Effects Editor: Paul Jefferies 

Foley Editor: Jamie Talbutt 

Online Editor: Jeremy Lott 

Colourist: Gareth Spensley 

Cybermen Created by Kit Pedler & Gerry Davis 


With thanks to 

The BBC National Orchestra of Wales it 

Conducted and Orchestrated by Ben Foster Craig 

Mixed by Jake Jackson undergoes 

Recorded by Gerry O'Riordan Cyber- 
conversion, 


Original Theme Music: Ron Grainer 
Casting Director: Andy Pryor CDG 
Production Executive: Julie Scott 
Production Accountant: Dyfed Thomas 
Sound Recordist: Helen Mcllveen-Wilson 
[uncredited: Gareth Merion Thomas] 
Costume Designer: Barbara Kidd 
ake-up Designer: Barbara Southcott 
usic: Murray Gold 
Visual Effects: BBC Wales Graphics, The Mill 
Special Effects: Real SFX 
Prosthetics: Millennium FX 
Editor: Anthony Boys 
Production Designer: Michael Pickwoad 
Director of Photography: Balazs Bolygo 
[uncredited: Mark Waters] 
Line Producer: Diana Barton 
Series Producer: Marcus Wilson 
Executive Producers: Steven Moffat, 

Piers Wenger, Beth Willis 
BBC | Cymru Wales 
bbc.co.uk/doctorwho 


Sally Mason, Louise Martin, Amy Brown, Elle Kent] © BBC 2011 


DOCTOR WHO | THE COMPLETE HISTORY a 


_ Prope 


LYNDA BARON 


Val 


orn Lilian Baron on 24 March 
1939 in Urmston, Greater 
Manchester, her father was an 
interior decorator. 

Dancing since age five, Baron 
trained at the Royal Academy of 
Dance and found professional stage work in 
Dick Whittington (1954/5, Liverpool Empire). 
She left the north in 1956 to sing at 
London’s Astor cabaret club. Featuring in 
revue Living for Pleasure (1958, Garrick, 
\ London), a televised version brought 
Baron’s broadcast début on 18 
November 1958. 

She regularly appeared at the 
Don Juan Club during 1959/60, 
before co-starring in Kenneth 

Williams’ comic revue One 

Over the Eight (1961/2, Duke 

of York’s) and then in Fine 

Feathers (1963, Churchill’s). 
She starred in two revues 

at London nightclub Talk of 
the Town, Roman Holiday 
(1964/5) and Fatal Fascination 
(1965/6), for two years solid. 

Spotting Baron in cabaret, 
BBC producer Ned Sherrin 
cast her in comedy BBC-3 
(1965/6), where she sang 
Ron Grainer’s theme song 
It’s All Been Done Before 
and other topical ditties. 
While in BBC-3 and 
| performing at Talk of the 
)) Town, Baron sang The 
Ballad of the Last Chance 


DOCTOR WHO | THE COMPLETE HISTORY 


wae 
os 


CLOSING TIME yz Ea KN AAAS 


ww ANN. 


Saloon, which narrated Doctor Who historical 
The Gunfighters [1966 - see Volume 7]. 

Her first straight role was as a gangster’s 
moll in Douglas Camfield’s BBC2 thriller 
Breaking Point (1966). She was also in Theatre 
625: The Magicians (1967) and Z Cars (1971). 

Supporting film roles came in The Small 
World of Sammy Lee (1963), Hide and Seek 
(1964), Hot Millions (1968), Mrs Brown You’ve 
Got a Lovely Daughter (1968) and Hammer 
horror Hands of the Ripper (1971). 

After BBC-3, she briefly opened her own 
nightclub in Glasgow, the Stage Door, with 
later cabaret engagements from Aberdeen 
to London’s Carousel. 

In 1962 she married hairdresser and 
interior decorator Carol London (real name 
Cyril Smith), with daughter Sarah born in 
1963, but divorced in February 1966. She 
married pianist John M Lee that September. 
Second daughter Morgan was born 1970. 

Continuing to feature in TV comedies 
like Up Pompeii! (1970), stage farces included 
The Bedwinner, as wife to Jon Pertwee 
(1974, Royalty Theatre), and in A Bedfull 
of Foreigners (1976, Victoria Palace). 

Baron's most famous role came as Nurse 
Gladys Emmanuel in sitcom Open All Hours, 
object of desire for shopkeeper Arkwright 
(Ronnie Barker). First shown in 1976 
(Baron missing 1973’s pilot episode), it later 
became a hit, with 19 million watching its 
final series in 1985. Baron was reunited 
with Barker in 1987’s Two Ronnies Christmas 
Special and guest-starred in a 1983 episode 
of Last of the Summer Wine, created by Open 
All Hours writer Roy Clarke. Other comedy 
included house-move sitcom A Roof Over My 
Head (1977), Oh No, It’s Selwyn Froggitt (1977) 
and Harry H Corbett vehicle Grundy (1980). 

Drama included Crossroads (1978) and 
Minder (1979/80) and quiz shows Punchlines 
(1983) and Blankety Blank (1983-90). 

A part in Barbra Streisand’s movie Yentl 
(1983) was reduced after rewrites. On stage 


Profile 


Baron co-starred with Diana Rigg and Julie Above: 
Mackenzie in Follies (1987, Shaftesbury). iyice Borg 
: : . Nurse Gladys 
Years before playing Val in Closing in Open 
Time, Baron was Eternal Captain Wrack All Hours. 


in Enlightenment {1983 - see Volume 37]. 
Baron was a friend of John Nathan-Turner 
and daughter Sarah Lee was Doctor Who 
production secretary during 1984/5. 

She guested with a wave of comic talent 
in KYTV (1990), The Upper Hand (1992/3), 
Alias Smith & Jones (1995), Visiting Day 
(1997), Dinnerladies (1998) and Goodnight 
Sweetheart (1999). For another generation, 
Baron was Auntie Mabel in children’s 
programme Come Outside (1993-7). 

Drama continued via The Mrs Bradley 
Mysteries (1998), Sunburn (1999), Doctors 
(2000-14), Peak Practice (2001), Holby 
City (2002/6), Marple (2010) and Father 
Brown (2017). She was Norma Patterson 
in Fat Friends (2002-5) with James Corden 
and Jane Beale’s mother Linda Clarke in 
EastEnders (2006/8/9/16). She played Ena 
Sharples actress Violet Carson in The Road 
to Coronation Street (2010). Baron returned as 
Nurse Gladys for a pilot and two seasons of 
comedy revival Still Open All Hours (2013-16). 

Other stage work included Rookery Nook 
(2009, Menier Chocolate Factory), When 
We Are Married (2010, Garrick) and Stevie 
(2014, Chichester Festival Theatre). 


DOCTOR WHO | THE COMPLETE HISTORY a 


132 


Index 


Page numbers in italic type refer to pictures. 


AGB iviiniscirresnnineesssiitiasnsicnitnninininiarinvinsnrnnentcnranitnieniddinrneielinsd 53 
Ageof Steel, The raniiciverccnmennnenimncannnnnvan 13, 48, 49, 

100, 113,117 
AlfiQs ionamin 90, 92, 93, 97, 98, 


104, 106, 107, 110, 111, 112, 113, 

114, 115, 116, 117, 118, 119, 120 

Alford, LIRUS GY ics anerosnunnnainn er nuaimmenniancap niente 70 
AN) |SQ DP, RON as sisesiancsssasssaianasasssicersosaicairivemnreiananeaniaasestoasusaditinns 26 


AlMOSEPCODIE, THE inisiisnnuonjnamnnmunesnnamnmmuarnemanie 74 
Angels Take Manhattan, TAC visi 53 
ADa] ABUE aavncnememsimnconenaare nor LO 7, 235,38 
Attack Of the CYBDErMENusssssssssssssisessssssessssssssssssiessessssieessssssnees 91 
BG KEN,, UGMA cipninvevscesnsne tauinavacesssensnenesteiceseintanovensaiarsiaanarapannireniaindaiis 62,81 
Barber FranCeS manniennmmcmninomamimnmniannnooneiTaeNT 118 
BaMMES IONS inrseivinianenunaisnevtinieeminieiniviiinsnistrdnniniianoininiustd 67 
Barony LY AGA svcniccinsrsmniansenieencanit 108, 110, 111, 130-131 
BBC National Orchestra of Wales... 40, 45, 78, 126 
BBC Roath Lotkiininmninnunnnnnncnnnninmnmnaien 122,123 
BBC WEDSING iinntinnninaciennamnmnmcay 16, 26, 42, 43, 79, 96, 
97,105, 113, 117,122,123 
BEfOFE thE FOO E ss cscscantnnpnnmaninaiiemeannmannnannsiies 87 
Berk, Ailsa 
Berry, Tim 
Big BANG; ThCiaisiccuniaaaaiuusauundauvar 9, 14,17, 28, 40, 
60, 63, 72, 97, 114 
BIG AF IMIS stn ihanmncatnnsasaneamiammnaatingietancmninidis 


Blackwood, Caitlin 


Bonneywell, Dave 


Bowen, LOUISE wisi 

Briggs; NICh@aSiwinsimnnmmnnctoimoncnmmemnereNs 
CaMitield, DOUGIAS ireenmincareemawennnsvnmnemeineaonenetsainien 131 
Coal Gl APQSCSW sersnivisacssacesssnnnvsneveeanecsesvvvssessvosisessavsounsdcenisictnionsnensastousiin 87 
Carey; SEPM AM en driavaconnmmiununcreninanvianinininanvennnntnes 31 
CORIVENOP MGR STICKS: sccsviuservavevverceroavvnveisicssivivmiinieecevauinierenientdeiiays 101 
Character Options action figures... 45, 126 
CHECK [AICI seivernscesrarresentonissensiersepsvnrivn wilt 23,25 
Christmas Carol, A..... 64, 78,95, 117 
(GVO) DER cincemnqiraceeunecneumnnanunrayadeninds 9, 27,115 
Claws:ofAxos, Theanccnc#«nannsniacnunmnimimnnimmenmuan 9 


DOCTOR WHO | THE COMPLETE HISTORY 


ClOSING TIME wmanimasnncacinannareemnanes 4,17, 27; 28;72+ 
80, 88-90, 91-93, 94-95, 96-97, 

98-99, 100, 101, 102, 103, 104-107, 

108-109, 110-111, 112, 113, 114, 115-118, 

119, 120-121, 122, 123, 124, 125-126, 


127, 128-129, 130,131 
DIE CAS binssinncenmmnnnnnammuncnmnammnnncnte 124-125 
cast and credits. 
Ciaht SCHDTS sannivercinaaanmananneenen 
ROTEL cerrsriscineriunrvversiavevtencensvcervomianeeriieveentvnivian nda 
merchandise... 
post-production 119-121 
pre-production... 94-107 
ROG UGH OM winswveecnierreciiecenvisrenicreneninea manner 108-118 


DIONNE sicavemminmommnnmmmmmmmntNRere 130-131 


COSTE. DOMINGUE cisngenngaomnonansmanessin 28, 31, 32,66, 67 
Cold Blood... 


COME REC conmmncminenaucanncrmramunancionies 33,66 
CDK, BE TT IMMUN casansacaszscnsaoayercornrancasgexnsceanoneaacasionransaunainsnoouazeatsanavesiasay 70 
Corden, James... 90, 94, 96, 103, 105, 
106, 108, 109, 110, 111, 112, 113, 

114, 115, 116, 117, 118, 122,123,131 

COMGEREY NICMOS -ecssconsennisainnscinciviiansrainsiusiaenilinaiamnuioniniieris 69 
Crashof the Elysium, The inivsrcninimencnnomimnemnnanes 41,49 
GRAWIEY, LIS Aix iiricnstiniccenemieiminanndinninienmnneininianatinrdntaE 61 
Curse Of Fennic, The inincnanissrammonnnmnnannianennnntancnne 53 
Curse of the BIGCK SPOt, THE wissen 9,69, 97 
Cuzner Nath ali@nnnscanicnnaccnimnnennninrorsunmnineacarinn 30 
Cyber Controller... 91,93, 99, 100, 104 
Cyber Leader nitiniciinainncninnimmnannmimnmminnmmnnnnnint = 
CYBENTIAES viisisinarssspincuisar anne 91, 92, 93,98, 99,100, 


102, 104, 106, 107, 110, 111, 112, 113, 

114,115, 116, 117, 118, 120, 121, 124, 126 

GYDENMEN ivinasnisnasientsuniensiauintiie 4, 5,13, 88, 91, 92, 93, 
97,98, 99,100, 101, 102, 104, 107, 

108, 109,110, 111,112,,113,.117, 119, 

120,121, 122,123, 124,125, 126 


DGUY MG sncsicotsvnronceennnnaacenonmnmemnnnannenaan: 

Daily Mirror. sins 

Daily RECO, TO rxiconcicmmnnmncnamnnmmnaennivaaanmn 48, 49 
Daily TEl€Graph, ThE vss 41, 42, 43,68, 81,124 


710,115 
, 45,66, 
67,69, 71, 72, 73, 79, 80, 

96, 108, 110, 116, tel 


DEUS; SCHOGE secsves creecruraceningastsdiictenineveetiveccy massreanvancuentnaceseiites 110 
Day of the Moon... 32, 82,115, 116 
PEGETOGRE DOES snenmnndnanaiinmanncontimaienaeunienn 99 
Dempsey) Aolliiximornnemmnmmearniancinaanimommnnanntan’ 110, 112 


DOEtOF DENGES, The iscinsconcmnmonninonimamnmnianenwnunn 9 
Doctor WHO CONFIGENTIC src: 20, 26, 27, 29, 
31, 32, 33, 42, 43, 45, 57, 60, 

61, 62, 67, 68, 69, 70, 71, 72, 73, 

80, 81, 82, 83, 95, 96, 104, 105, 

108, 110, 111, 112, 113, 114, 115, 

116, 117,118, 122,124,125, 126 


DOGIOF WD. EXPETENGBy, TA Givsessesceessevisrsavsinveseaseervesarn ceric 68 
Doctor Who Insider (BBC AMErica) wisses 20, 44, 80, 97,125 
DOctOr WHO MAGQZINE iiss 14,15, 16, 17, 20, 
25, 44, 57, 58, 59, 63, 66, 

70,96, 105, 117 

DOCTOF WHO WEDSITE wissen 60 
Doctor Who: The Ultimate AAVENture (Play) vss 62 


Doctor the Widow, and the Wardrobe, The.... 


DOGLOFS: WIFE; THE wcuiiannnsunnaesynnmvioncivenavmnneinunnnieny 114 
Dominators; The icsmcnneamevcnncmacanininacenranmanentratin 123 
DVD EX Spanncatvananienamens 45,126 
Doctor Who Figurime CONMeCtion saccssecccsesessecsssssasscssssanssscecen 45, 83 
EFlOVENTA FOUG (i@anicnuaiiminisniisiniaasuntenn 9, 14,17, 20, 
39, 58, 60, 61, 63, 
70, 97,114 
Empty Child, The 
End of Time, The 
EnlightENMENtarss ; 
Evans, Darcy ANd JAK@ vives 110,111, 175, 116 
FAgG Sh Bal Walia puniwninrevinmncavinsnnniciaenrmuninniyennmninneds 27 
Fangs FXniennncnmnnmannnnnrnmnnnannmmimninenconmninnmnn 27 
FIVE DOGIOTS, THe iindnaaascanmnnionionwmnninaneratinnnnin 105 
Flesh and Ston@ wun 59,61,115 
PORES COS the DOGG cscsccounnuccnsnauandemimmiieanmuuniiaaiens 30 
FOSTER BeNinncnncniinmmnmnnninniannminminimnmnniiin 45,126 
elralactallUllioeemmer meee roma tert comer terre r rrr tt 87 
GatiSSs Mar Kccsmnrcienunnmeoenenaieenemenntonemru 26,62 
GEG IES crsescnsssessoracivvmarangeoenpanessninpainngennstdonsasnennseitveievaneaitnats 93,100, 102, 
104, 106, 112,113 
CIEDISi cca iomnonamncadnemniee 54,55, 59, 62, 63, 64,65, 
66, 67,68, 70,71, A, 75, 76, 77,80 
Gat Neti, AIM educa encceina ans nnnesanscivecddestanwacepvnn eves esunetensen 8,9, 14,17, 
18, 20, 25, 26, 27, 28, 29, 30, 31, 
32, 42, 43, 44, 45, 47, 62, 66, 67, 
68, 69, 70, 71, 72, 73, 79, 80, 96, 
108, 110, 116,121 
Girl inthe FIEPIEGS). The anciinnnrncnamevonionnnmncansiun 14, 30 
Girl WhO WGItE, THE iiss 6-8, 9-11, 12-15, 16-17, 
18-19, 20-21, 22, 23, 24-25, 26-27, 
28, 29, 30, 31-33, 34, 35-37, 38, 39, 
40-41, 42-43. 44, 45-49, 60, 70, 71, 
72, 73,79, 96, 105, 108 
brad CastiisnmnnnimmanmoimmmnianmamnmTa 43-44 


CASPANG CLEGHS emninmnunaomnemnnnannaanean 46-47 


OST IM SSics civiessnisiscrctaroiaenaaiieatssiernsinasaanianaignionstinetisaetenaate’ 26 
draft scripts... 14-16, 20-21 
COTE cratimasnsscrnconmmininentuannuniumgnaian 34-40 
KINGRESS (WOTKINGITIE) coviconnonnnimamnnmnnancewuce) 17 
MEPCHANISC ives wn 45 
post-production 4-40 


pre-production... 


GOd COMPA, TG sis arisuseessianesomasijerreizn 17 20.20; 27,28) 
31, 32, 50-52, 53-55, 56-57, 

58-59, 60, 61-62, 63, 64-65, 

66, 67-69, 70, 71-73, 4, 75-77, 

78, 79-81, 82, 83-87, 91, 108, 


110, 113,122 
DICEO CAST commoxconmmennmnnmmmeremmeauerns 81-82 
cast and credits. 84-85 
COSTUMES ccciinncinnnimmnnannnimunmimminmnrecmR 61 
draft scripts 59-60, 61 
COILING sccccoremmmanicnncmnnen aman amMentEE 74-78 
PERCHA GISE  scasesseruseinasinjsicvagansdevtaricercedsavecninrasanunpnenientenasiiedtin 83 
POSEPHOCUCHON arasnmimssimnncmnimarnnneninnnNiaT 74-78 
PPE=CrEEIES SAQUEMEE’ vinesnineaeseveserrderinecieesieeriaiine 61 


PFe-PrOdUCTION wives ‘i 
PROCUCUOM wiiwiionremniaaviieennimnaninentinainie canoe, 66-73 


PHOT CawiwcminnrammmnmMRMeMNIETTE 86-87 
PUD Cl nnscrcarpenionvenmenirmincannvnrnnnneenasitemnnn 79-80 
PALIN Sissi 81,82 
readthrough... wok/,26,62 
PEhearsal SianncannmmniinmramnanmniaromnamniannTn 67 

SLORY sienna RRITURRNRERRAEMRNS 54-55 

Gold: MUpREYAiaiaaainainenianmnoninns 40, 45, 78, 83,121,126 
Good Man GOESTO WGEA ninincamiausararomnn 29, 72,98, 105, 
106, 116, 117, 118, 121 

Gorton, Neill... .28, 30-31, 32,62 
GEIL, JOD: cacsetaiccaneacinsnsiestasnianvacesscealtiasronninsteatiaennieenieunaaiadasnaatanan gen 9 
Green Anchor 420, 22, 27,29, 41, 44 
Ginallolal Cammeerer en nrc cntre een mre nnn nt reenter 72 
Guardian, The.... 44, 68, 81,124 
GIT FT ETE TS TITER cose sessiasccs scant vazsassistaahcopanstudonlpsasiintvapsataaay pi 110,131 
Haggard, DaiSYeessssssssssssesssesssssseessssssmssin 96, 116 
Hand bots cniananimnoniccnennenninmancnne 9,10, 11, 16, 20, 21, 
22, 23, 26, 27-28, 29, 30, 31, 32, 

35, 36, 37, 38, 39, 40, 42, 43,45 

FARGKAAVGS:, Das aiwerscnisncecssvewieessasperesivnnceneneaietiannnedeainniviornnriies 114 
Harris, Bethan Kate... 72,118 
Fehily Careline nnisnnnincaninmaninnndnerentnenmnnnciuiny 15,16 
Hicknan; Clayton niminnuimacsianimmuneanimmenniran T1721. 


DOCTOR WHO | THE COMPLETE HISTORY ro 


HOPASOF NOR: We acmeuiiommmaccmmaumnnnenntms 53,64 


FLEE ETC asst iesissocsranesnesivseoserdaigasosnnnstessnuantatnntes 50, 53, 54, 55, 56, 

57,58, 61, 63, 64, 65, 

70, 71, 72, 74,75, 78,79 

HOWE eras mominaonmionnmremmnnaente 54, 55, 59, 61, 62, 64, 

65, 66, 69, 71, 72, A, 

75, 76,77, 80 

HUGHES, STEVE  .ssisieenvssivesssssismnniniavaarisnndeasorenreniteenies 105,106,111, 

117, 118, 123 

FADES. MEE GW a sscccevricocesnvvvvvsveosivestenesvesdaveavcarireevivvesiertnsensnsinveeey 27 
Hungry Earth, The... 

PUNT GK icosueanieavannienin auniitauminimemnenis 17, 27, 28, 31,60, 

71,79, 84, 108, 117 


IMpossible AStrONGUE, TH sissies 32, 82, 91,115, 116 
Independent, The 43,81,125 
IMtenfaces THE a iamnsiiiamineaseasinve 10, 11, 34, 36, 37, 38, 40 
[NVOSION: The wonmurinncncnrmocnamamnmmimnnnnanuanep 105 
[NVISIBIE. ENEMY TING sistivsnsinsatnampniiunmniinmniniadnainaniini 110 
ELITES GREG sensxenipesvoninanrs cssheaaseavtasnosbutasiasninntauienirauscipaienn 111,112,123 
James, Isabelle and Josie.. al lS; 116; 118 
VGH sssasbsceacontundenasesevaestoravebececatvncnvavcurechecquavtespehatecie 54, 59, 64, 66, 67, 
68,69, 75, 76, 80 
JGTIES AEs scorsennscsuirscvazecizcveceasiannnsuvenapeiniaiasoonyavstonnieisinievicunietin Bil 
JOVaAKa; TEGEA ismsivcnininncnimminamineninecmanainimnnaTaNT 9 
KS stisccmmnnicmricantmm mma 87,110 
Karan, Amara. Oe, BL, 7L 
Kasey; Pall weismncnwmomnnn inraunconademmnnnnninimmancdntanras 113 
KEGAN AGE carccsinumantnsnninasccomrnaecnnccnimmanniuimins 67 
KeLY sicsrncsnncinns .96, 102, 106, 110,112 
KINGSTON ALEX corsisrananinriinnnronmonrinnnniamneninnn 118 
Ko varia; MAGA MIE iasssisaisesesnisininsnaiserseapineistines 93,107, 116, 118 
LATTE), GIST sacceccsionenecicensisversensithcrasuniocartysrqestunssiveapperiaviin 29, 31,32, 
113, 114, 117 
LGISUTEFUIVE: (NE nndstincnnirnmnnnunsieiapia sen neth GrkipeeteeNn 
Leonidas, Dimitri... 
ESET SUTUIFETEIENE scsscuissosavasussehvsavirapinioa vesasstruayuanignznivsin 
Lethbridge-Stewart, Brigadier viussssssssssseessssssssssesssey 69 
Li@of the Land, The jacsnspccensreueccumasmanacenpiesrepcaienens 87 
Location Filming 
Bute Esplanade, Cardiff Bayssssaisisvevvveisivvenvvsesideesen 72 
BUSPAR itoiiirutontionrrinnnnianurandeminanminenndinarunyin 63 
Cardiff Bayssiisvescssessvcsssvcsscerstivevescveersvnnimnnenimmensnmennviratiay 63 
Church Road, Penarth... ld, 115, 116 
Dyffryn Gardens, St Nicholas, Vale of Glamorgan. 
23,30 
Hensol Castle, Vale Of GlAMOPGAN wissen 118 


136 DOCTOR WHO | THE COMPLETE HISTORY 


House of Fraser, St Mary Street, Cardiff wissen 

107, 108, 110, 111, 113 
Johnsey Estates, PONTYPOOIL westerners 32 
Manor Parc Hotel, Thornhill, Cardiff . 
National MUSeUM Of Wale@S, Cardiff vices 23 
Seabank Hotel, Esplanade, Porthcawl. 


Uskmouth Nuclear Power Station, Newport... 23,29 
Wales Millennium Centre, Cardiff sss 28, 29, 30 
Lockwood Safahinvccurrannernsnmmmunnemndnnmnaonuves 
EGO GOG TAGE scvviscsvaverssssvessevisnvssesvesnetiineverenveieeeeveniies 
LOGO DONS secicievvcssccvnveecininiineninneisnsinvencawediadsmconverngrarnnnviie 
Look East (BBC One)... vite 
Love & MONStePSwesu 
LUCY eicmnsieecomtinensmnma ene 
MacRae; TOM siitiimnnninnnnviranantncinien 9; 13).14,.15,16,.17; 
26, 41, 42, 43, 44, 48-49, 60 
Mawel iyi Undead sicisnssinsisionionuinmdasnonsanuiaarauiaaiiniii 9 
MECOWSVIVESEE iccnannnronminnciammnucionamnnenanumanat 48 
MEGCHIMIMNON; JANN Gincsicsicssncannenrsnanisianrisniuasio vareanaganei arin sieagees 97 
McGinley, Belinda...... 26,29) 31,32 
AGTH eeraseinta rescasaissszvarceanpiaenste icone usimncasnnaies namurnanotaiors 49 
MINER EX croncirostansnartrervnanaewin 28, 29, 61, 62, 66, 67, 
70, 72,111,114, 115, 117, 118 
MIR CHIN; Bila Ricnnccicaromarnnemamununmaonienmnmenanarenannns 70 
MING RODDOL, Mild Obescissiagiszecinssvecinirissinatustivusiensinicisariver donates 68 
MIN Ota 7 th Oiscsieinnnninenmenmnmnmnronmran 52,53 ),55)'57 0 
58, 59, 61, 64, 66, 67, 68, 70, 
71,72, 78, 79, 81, 82, 83 
MG fat STEVEN a ssovvessan seoinsnvvrvenavevsceacnvigreasntieuessien 13,14, 16, 20, 44, 
57, 58, 59, 63, 68, 69, 80, 
82, 87,95, 97, 104, 105, 
106, 107, 111, 113,125 
Monster Of PEIGGON, THE) wecicucuguncumanirennnimeaetiarees 99 
Moonbase, The 
Mortis; Willlattiarid WUCES wsasturcnsmenaanomanin 114,115, 116 
MUSIC s iicanitineiaiciay Maeno GO 40, 45, 


Nathan sTUMer OM iciinsncacmnnmnmammmmnaaannnins 
NOW Earths 

Newman, Colin. 

Newsbeat (BBC Radio 1)...... 

NEXEDOCIOR TG icccsissienecceninencaninninmanccceeremsntccruns 
NIGIE ROTRONS exccccccvvvesstiivssvcsseiseviveren wistacesnvescenriatescisedasisivasivere 
Nightmare in SiVEP ss 
Northampton Chronicle.. 


Obi; ChriStarnnacnnsannnisiennnninnnienennananunnatiann 
Observer, The.... 
Oswald; Clata isinaccommnas cinnamon 


OWENS; Cal G nccmununwannannarigins 88, 90, 91, 92, 93, 94, 
95, 96, 97, 98, 99, 100, 101, 102, 

103, 104, 105, 106, 107, 108, 109, 

110, 112, 113, 114, 115, 116, 117, 118, 

119, 120, 121, 122, 123, 124,125,129 


POAGONCEODEMS, CAC sweiwiiesccnnwuniiccceve 14,17, 28, 40, 

60, 63, 72, 97, 114 
Patterson; CAriStiNe masannininoencnnreenenimanaaanantt 118 
Paul, DENISE vee 105, 113, 114, 122, 123 
Penhale; Faith iusnminamaraiisncnannnmnmnniceanranmeniniaiaen 29 
Pertwee, JON vss wlll 


Pickwoad; MICHae livmssrevncasmmnientwmmnennvenmanancn tavern 69 


PUES) Dal aésiecroracunaarenranrncetssmnimnennsacnisiniripiainnsecisenn 66,68 
Planet of thé Dea Gssseccsiccsscissiverccccccerestcrecsnvssccvessnvccnnsticnevsinece 72 
POISGH SKY; Til misntcccuaniommanconnmenaanmenunanimrinin’ 67 
POMPENQVWELIS sccm niannnarndcmniinenimmaimanannt 115,116 
POAG ATIC siiiicnsieucandmvianimorninnrauannienansmasn 60, 62 
Pia eL AN TUIY cs assieasatinsevionaiasnnazastxisianiaavneantsivexanean entitanpnnies 6, 8,9, 10, 11, 


12,44, 15, 16,17,:20;.21,:22,.23),.25, 

26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 

36, 37, 38, 38, 40, 41, 42, 44, 47, 50, 

53, 54, 55, 57, 58, 59, 60, 61, 65, 66, 

67,68, 70, 71, 72, 73, 74,75, 76, 77, 

78, 82, 91,99, 102, 104, 105, 106, 

107,110, 114,125 

AOE ATI aicsessesiaansasesabvarceieoeseveronenaniepnrontscvonn 9,11, 14,15, 17, 
18, 20, 21, 23, 24, 25, 26, 27, 

28,29,30, 31, 32,36, 37,38, 


39, 40, 41, 47, 71 
PSVCHIG BEDS cinivmnonnmaninwudinnimmimnintenmtinunpniantnies 99,103 
Ouintrell Sarahniinmaaciniamnininasurvamrannmaiet 69, 73 
REGO MMECS ionmowmncusenonoy 
Rea Si ouvnsen 
Rebel Flesh, The... 
FRG AE Teelllisssssvscesaasovesasucnscesvvdenssnetanisisavanierd ensssriuaran 
REGS SIGVIEL, cena dpantntuatatianecin mace GARNER eROR Ronen 
Revenge of the Cybermen.. , 91,98, 102, 
RIS@ Of ThE: CYDEFMEN snessismuinosnmmnnceneneensione 13, 48, 49, 
100, 113, 117 
RICE icavarniniwnmneninranmcmmnmeniianinpa 54,55, 59,61, 62,64, 
67,68, 71, 72, 73, 74,7 
5,76, 77,78, 83 
RODEGES; Gare innancancnimmnmnncnnomnim 81, 94, 95, 96, 97, 
98, 99, 104, 105, 107, 
117,121,122 


I3,115 


ROSE cnninnanomuncnenmnamnmantumenmmmnncnnenmnnamnirennnin 107 
Rose, Tim 114, 115, 117 
Runaway Bride: Thess cuimmmmnnmnanmnanin 123 


Sanderson & GralNGelacnmoransecccerces 4,92,97,99, 100, 
102, 104, 106, 107, 112, 113, 120 

Sarah Jane AdVentures, Th wisn 28, 30, 69, 70, 117, 122 
MON LISA'S REVENGE vssssssssssssssssssssssssssssicesssssssssssnieteees 27 
SCHOO! REUNION sissies 57, 78,86, 37 
SEB; GOTO OM sisenvisssectscerriensicncnivisninnniounesiiaeninionniaenieer 31, 70, 114 
SENIOR CHAM wiisincnmmianicancnnrmianannenccnionmmiuceanin 118 
SHON aiicmsenavnrivsnitnsmnaniniiinnveiasiaenesenid 92,101,102, 104, 
106, 110, 111, 118 

SUCHEN THELIDIERY .oraseimnasinninannnninnveranientmimininets 30 
Silva SCIERN stuccmammmananncmnrnnmnnraraciontantieel 45, 83,126 
SUVET NEMESIS. wveivieesernteneessviecive ms ccvcnives ceveecsivognvasctaneecreniratatcivin 123 
Simpson, Julian... 118 
SMIEPANG ONES wa sicrentinscnntceninininrnenaninmind dinning 22 
Smithy Mat tinicammonninnnninncennnnamanis 15,1617, 26:27; 


28, 30, 31, 32, 33, 42, 62, 66, 67, 
68, 69, 70, 71, 72, 73, 79, 80, 84, 
85, 87, 90, 95, 96, 103, 106, 108, 
110, 111, 112, 113, 114, 115, 116, 117, 


119, 122, 123, 124,125 

SMITH, Saran lane nui aincniaicinaminumengnianmaaunia ail 87 

Sond) RIVET wonngonnnnoteatmonnnaaine 61,62, 78, 81, 93, 

96, 97,107, 116, 118 

SOMICSCLEWANIVER ceviuiamannnnmneniiamn 27, 35, 37, 38, 64, 93, 

100, 101, 102, 106, 119 

SOMLGIGN SUOLGGEM> The hiisiananiessacnrnanncavancstmnteriae 67 

SGM Sesser gccencatvensaacteiersesnnsincavecitiotostesiat 92, 93, 96, 97, 98, 99, 

107, 113, 115,116, 120 

SOUNG Of DIT: AG sciviciinrwevvininniiesidesinvenncniiiianvied nine 28 

South Wales Echo..... 28,116 

Southard, ROSS wissen .68 

Spearhead from Space.... wilS 

SPENCEL, KAM severe wll 

Staunton, Imelda.. wn 34 

SUM, (Ne ccsnccmarnniununantannnes 30, 68, 72, 80, 81, 106, 

IT,112;,71 3) 716 

SUNGGVEXDeSS cnccincnnummnennnnnnuenunercenmennanun 117 

Falonsiof Weng-Ghigg;, TG iusiuisurnseuusissinsnsiesiiseiceriinienniai 42 

TAR DIS cesinipncusnicnieanaatatsnunaosnammand 10,.11, 16,-17,,20)/21, 

23, 29, 31, 32, 33, 36, 40, 46, 50, 53, 

54,55, 61, 62, 65, 67, 68, 69, 71, 73, 

75,76, 80, 82, 93, 101, 102,104, 105, 

107,114,115, 122 

TAYLOR: OSA scsierernmvamnninmnnnimnmanmuaimmuumimtatammNiera 25 

TOREHPIGHEE THC scisiiscsciveaieiccnnicinniieriienamiiainnnininis 4,98 
Three Doctors, The... 

TASTES GSS isiscssssiescvsetevnisvesnspsecintveviavevuereenisesiien 10, 11,17, 21, 22, 30, 

32, 34, 35, 37, 38, 44 

TMS LOTS. dinidinenrnipminenrnorancnerunnnieandiiniidondt 10,15 

Time Monster [i@sincennwcncsnuncimnmnmmameans 9,68 

TIME Of ANGELS, TNO :rcciecisiiveeneeintiieniecimnsenriteanse 59,61,115 

Time of the Doctor Ti@misnccennmmnnmnmmmnenncnmaninnmcnnanin 53: 

TIME WGTIOR, Th@wumnriccnanmnmionavinamennnumn 2G; 123 

Tomb of the CYBErMEN, THE wuss 4,91,98, 100 


DOCTOR WHO | THE COMPLETE HISTORY 15 


LOCMWOOE j iroscmpomnnnmnmencinmRR 30, 70, 87 
HOWE GEG: MORCVA  isissccsessacoisisidiiniscnesianeiavauiidianirininiaisiitnais 87 
TallATSnensscnennsmnaninenema EME EEORR 79 


Tricl Of G TiMO@lOF, THE sessssssssssssssssssssssssssuecsssssssssssssiesesesssessusesees 16 
IMWiGE UPORG WM Ckcnanseniionmnnnemm etme 87 
TRVIELON: scicsssartctenacratotnticacenncltatncenuaonnnnncenincte 29, 43,106, 108, 

110, 111, 113 
TWO Streams Facility sscssssesssvvssssssssssssssssssvesoen 10,11, 27,28,35,39 
TIEF: ROSE ranrsinanntionivimiinannninmoN NRTA 107 
Vader the Lake wimraninnwncnaonnimammnnmnnntenarean 87 
UNICO ENGNG WESP, LMS vicscveisinvevscsineroniveveininveneitoes 13,49 
Wpper Bost Stud i0s awinimnmnenmnnnenoncn Vr 25n26;-27; 31; 


33, 62, 63, 66, 69, 70, 71, 
72,108, 110, 116, 118, 121 


Val camniinii auabauashtiiuananuannine 92, 93, 97, 99, 100, 101, 
102, 104, 108, 110, 111, 112, 113, 
118, 120, 121, 123, 130, 131 


Vampires Of VERICE, THE cncmmmrommmeminaaonans 57,59, 87 
WGIESOf SUNG GV iiccsiniosinnminnenninarmmmmmmtamnnnmanins 111 
Wellies DAV IG sissssisssvsisnnsoniasiseverteevievenses 62, 66, 67, 68, 71, 79, 80 


36 DOCTOR WHO | THE COMPLETE HISTORY 


Walshe; Kat sssnnnmnnnnonanananoniamainmnaaasis 118 


Walle SV tlvcanisinanr ce uenionumaouuamolmmuch aaa 110 

Ward, Rhiannon... 25; 29,20; 29,32 

WGIONS GOT seigiscrississianririncadinensantntionidaitanamimannan 100 

Wathey ALEX cinmcennteinnasnnmontenamannemm 117 

Webb, Jeremy..... 116, 118 

Wedding of River Song, The... 33, 40, 78 

WEE PINGPANG EIS: sctciseseisnnienisacsisiiannniaciserdrvnineinaeinieeien 59, 61,67, 

68, 70, 72, 80 

We lliiatt, LA GiG I, ev ccinisvaecensesterorcisennvonisevrecinavininveveentwtessinesicaensinn 117 

Wenger Pei Siinnaunamannnincemnimnenicannnntn 13;.29; 59).63) 69) 

70, 79, 80,125 

Western Mall isscininiaiscnnicnncncnnnmncmagnamcmnnaiananiente 72 

WEEN SHAG, MiGiccccceviccniciecesiviurecnsienninyantinamniniaivsa 91 

WHIThOUSe: TODY sanmomcnannnntcontnineinnn 49, 57,58, 59, 60, 

70,71, 79, 80, 81, 86-87 

Wilding; Spencer icsimnnmonconannannivananantaninn 61,67, 72 
Williams, Alex 

Williats ROM sanciinmnnnnnticannnanniamanane 6, 8, 9,10, 11,12, 

14,15, 16,17, 19, 20, 21, 

22,23, 26,.27,28,.29, 30, 

31, 32,33;.34, 36, 37,38; 

39, 40, 42, 43, 50, 53, 54, 55, 

60, 61, 65, 72, 73, 74, 76, 77, 

78, 82,91, 102, 104, 107, 110 

WIS, BER cnascorivesecssanavrsiseeienncesneanneneonteeger 15, 20, 44, 59, 63, 69, 

70, 79, 80,105, 125 

WilSOM Mal CUSiiiansmmnmannnncimmmnamanmemany 63,69, 71, 80, 

97,105, 118 


1B] BIC 


DOCTOR 


WHO 


THE COMPLETE HISTORY 


THE GIRL WHO WAITED 
Amy becomes separated from the Doctor and Rory on the 
paradise planet Apalapucia, in the middle of a plague. The Doctor 
and Rory must save her... but time for Amy is passing at 
a different speed. 


THE GOD COMPLE# 
Unable to find the TARDIS, the Doctor, Amy and Rory investigate 
what appears to be a 1980s Earth hotel, but with no exit. A mighty 


monster stalks the corridors and one by one the residents are 
checking out - permanently. 


CLOSING TIME 
As part of his farewell tour, the Eleventh Doctor returns to see 
his old friend Craig Owens. Things are not as they should be at 
the local department store, and the Doctor discovers a very old 
Cyberman invasion.