City of Death
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| 105 - City of Death | |
|---|---|
| Doctor | Tom Baker (Fourth Doctor) |
| Writer | "David Agnew" (David Fisher, Douglas Adams and Graham Williams) |
| Director | Michael Hayes |
| Script editor | Douglas Adams |
| Producer | Graham Williams |
| Executive producer(s) | None |
| Production code | 5H |
| Series | Season 17 |
| Length | 4 episodes, 25 mins each |
| Transmission date | September 29–October 20, 1979 |
| Preceded by | Destiny of the Daleks |
| Followed by | The Creature from the Pit |
| IMDb profile | |
City of Death is a serial in the British science fiction television series Doctor Who, which was first broadcast in four weekly parts from September 29 to October 20, 1979. The story is set in Paris, and was the first Doctor Who serial to feature footage filmed on location outside the United Kingdom.[1]
Contents |
[edit] Synopsis
While taking in the sights of Paris, the Doctor and Romana sense that someone is tampering with time. Who is the mysterious Count Scarlioni? Why does he seem to have counterparts scattered through time? And just how many copies of the Mona Lisa did Leonardo da Vinci paint?
[edit] Plot
Roughly 400 million years ago, a spaceship explodes on lift-off; its crew: the last survivors of the Jagoroth race...
Paris, 1979. The Fourth Doctor offers Romana a lunch date. At a Gothic Paris chateau, a certain Professor Kerensky complains of lack of funds for his experiments. His employer, a Count Carlos Scarlioni, grants him a million francs; the Professor insists that he will eventually need far more to continue his experiments. The Count and his butler, Hermann, discuss the sale of rare artifacts.
At the restaurant, Romana twice frustrates a sketch artist, resulting in déjà vu; the Time Lords realize they have stumbled on a time distortion. Back at the chateau, Scarlioni is impressed by the Professor's admittedly flawed demonstration and demands the project be expedited. The Doctor concludes their time sensitivity must be a result of their frequent time travel. When Romana shows a lack of enthusiasm for the artist's discarded sketch, the Doctor invites her to the Louvre, to see the Mona Lisa: one of the great works of the cosmos.
At the museum, the Doctor witnesses another time slip; he collapses, colliding with a rich lady on the way down, only to be helped to a bench by a large man in a coat — Duggan. After some frank comments about Duggan's concealed firearm, the Doctor and Romana retreat, followed by Duggan. As they depart, the rich lady nods to a man in a hat to follow as well. Meanwhile, Scarlioni is still largely impressed by the Professor's experiments; against objections, he asks the Professor to vastly increase the scope of the experiment.
As Duggan lurks after the Time Lords, the Doctor asks Romana to look in her pocket; inside is a bracelet belonging to the rich woman from earlier. The bracelet, it turns out, is a "micromeson scanner" that was being used to monitor the Louvre alarms. The Doctor and Romana discuss the origin of the bracelet — certainly alien — and what sort of alien would want to steal the Mona Lisa. Duggan presses a gun into the Doctor's back, revealing himself, and marches the two of them into the cafe.
Back at the chateau, the rich lady — revealed as Scarlioni's wife — explains the events in the museum; she assures him of her intention to retrieve the bracelet. At just that moment, the Doctor is held at gunpoint; he responds by placing the bracelet over the barrel of one of the thugs' guns, causing the thugs to retreat. The three exchange greetings, and discuss the Scarlioni problem.
The thugs return the bracelet to the Count, who orders their immediate execution and the retrieval of the protagonists. At the café, Duggan explains that masterpieces thought lost for centuries have been surfacing all over. Though they must be fakes, he says, the paintings have stood up to every scientific test. Cue two new thugs, who beckon the trio to follow.
The Countess is told that her husband is alone in the cellar; when she tries the door, she finds it locked. As she calls his name, Scarlioni — standing before a mirror — removes his human face, revealing himself as a one-eyed, green creature like nothing on Earth...
The thugs bring the trio in for questioning; the Doctor puts on the charm, alternately dodging Scarlioni's questions and answering with blunt honesty. Perplexed yet curious, the Count orders them locked in the basement. On the way there, the Doctor prods Hermann about the chateau's history — it was built four or five hundred years ago — and spies Kerensky's machinery. Once incarcerated, Duggan shows frustration at their missed opportunities for escape; the Doctor pulls out his Sonic Screwdriver. It turns out to be nonfunctional; to the Doctor's horror, Duggan bangs it against the door — fixing it. Before they leave the cell, Romana observes that, judging by a geometrical discrepancy, there must be a hidden room nearby. Though intrigued, the Doctor first chooses to examine the lab.
After some brief expository dialogue, Kerensky enters; Romana and Duggan hide. The Doctor puts on his charm, convincing Kerensky of his desire to observe Kerensky's work. Obliging, the Professor demonstrates his equipment by aging an egg into a mature chicken in a matter of seconds. The Doctor is horrified. Upstairs, Scarlioni demonstrates to his wife and henchmen a device of his own invention — one that will enable his theft of the Mona Lisa. He plans to test it immediately. Meanwhile, the Doctor warns the Professor of the dangers of time manipulation. As they squabble, the chicken turns to bones and dies. The Doctor explains that Kerensky has the wrong idea entirely; rather than manipulating their own space-time continuum, Kerensky has created a separate, incompatible pocket universe.
The Doctor reverses the polarity of the machinery and the chicken reforms and becomes an egg again. Kerensky is very impressed, but admits that he does not ask too many questions. The Doctor says that he should ask questions: that is a scientist's job. It is at this moment that the Doctor sees Scaroth's face in the time field. As he sees it, Duggan knocks out the Professor. The Doctor doesn't realize this, but thinks he has fainted; until Duggan admits he did that. The Doctor yells that his philosophy is that if it moves, hit it. He will take severe measures if Duggan does that one more time: he will ask him not to. Romana has found another room behind the wall in the place they were sealed up in. It was bricked up, and is due for an airing.
Meanwhile the Count has created a holographic recreation of part of the Louvre to demonstrate his plan. He uses his sonic knife to cut through the glass with ease, and then uses his device to disrupt the air around the laser beams so he can get at the picture. The Count gives the Countess her bracelet back, saying she must wear it always. When she asks how he did it, he smiles enigmatically that he came from a family of geniuses.
The Doctor chisels on the brick, telling Romana that the Professor thinks he's breeding chickens but that Scarlioni is using the equipment to distort time. Duggan tells them there are seven people in his address book that would be willing to pay for the Mona Lisa for their private collection. To get through the last bit, the Doctor will need some machinery. Duggan obliges by knocking into the wall. Entering, the trio find a cupboard with a Mona Lisa inside - one which the Doctor claims is the real one. He finds: five other "real" Mona Lisas. The Doctor recognises the pigment and the brushwork of Leonardo. Duggan explains to the Doctor that if there was a Mona Lisa hanging in the Louvre, no one would buy the others: they would each have to think they were buying the stolen one. The Doctor, impressed, puts a hand on Duggan's shoulder and says he would not make a very good criminal. The Count appears behind them and tells him, "No, good criminals don't get caught." The Count has a gun and answers yes and no to the Doctor's questions. "I like concise answers," the Doctor smiles. The Count tells him he found Kerensky unconscious, "Can you throw any light on that?" Duggan can: he tosses a lantern at the Count's gun and punches him down. The Doctor wonders aloud why every person he has a conversation with ends up knocked out by Duggan. They then go upstairs and sneak back into the house as quietly as possible (in spite of a crash caused by Duggan). After knocking out the Countess, who was attempting to ambush them by herself, the Doctor laments: a priceless Ming vase, second dynasty, was destroyed in the process. He asks Romana to look after Duggan as he leaves to meet a middle-aged Italian in the Renaissance age.
He arrives at the Denise Rene Art Gallery, which is closed for the night, where the TARDIS is parked. He goes inside and says hello to K-9, and asks how he is. The TARDIS then dematerialises.
The TARDIS soon materialises in Florence, Italy in the year 1505. The Doctor takes a moment to enjoy the Renaissance sunshine. He calls for Leonardo after whistling with some birds. He tells Leo that everyone loved the Last Supper and most of his other paintings; even that dreadful woman with no eyebrows who wouldn't sit still. The idea for the helicopter took a longer time to catch on, however. A soldier points a long sabre at his face. Leonardo is engaged on important work for Captain Tancredi. The Doctor gasps, as if he knows the name. The guard asks the Doctor if he knows the name, which he of course does not. The guard makes the Doctor sit. Tancredi will want to question the Doctor; the Doctor coincidentally wants to question him, too. The door opens and in walks Tancredi.
The Doctor asks the Captain what he is doing here. Tancredi moves forward and his face is that of Scarlioni but with longer hair, and he replies, "I think that is exactly the question that I ought to be asking you, Doctor..."
Romana and Duggan, having broken into the Louvre, find a guard on the floor and that the alarms on the outside have been disabled. Romana takes the opportunity to inform Duggan that he has a very cynical look to life; he inquires of her how old she is, and she tells him 125. Duggan moves to the laser alarms, behind which the Mona Lisa should be; but, to their horror, it has disappeared. He accidentally triggers the alarm in the process and he and Romana are forced to flee. They break out of a window (literally, in Duggan's case), split up and agree to meet back at the cafe.
Meanwhile, the professor has found the secret room, the other copies of the painting, and the unconscious Count. As the Count stirs, he talks in his slumber - we see that this is the same conversation as he is conducting with the Doctor more than four centuries earlier.
Back in Renaissance Italy, Tancredi wants to know how the Doctor came to be in this time and country. The Doctor scrambles for an excuse, claiming he randomly "pops" out of time and space willy-nilly (but Tancredi's not fooled by this). Tancredi explains he is the last of the Jagaroth, and also their saviour. The Doctor has heard of the Jagaroth: they destroyed themselves in a war some 400 million years ago. Tancredi explains that a few escaped in a dilapidated spacecraft and found Earth in a primaeval, lifeless stage of its development. The ship disintegrated upon takeoff and Scaroth tells of how he was fractured in time, splinters of his being were scattered across time and space, all identical, none complete. Scaroth then asks what the mysterious blue box is. The Doctor avoids the answer, acting as though he has never seen it before; he finds the (original) Mona Lisa and realises the Count's plan to produce more Mona Lisas. While Scaroth collects the instruments of torture, the guard is instructed to confiscate the Doctor's tongue if the Doctor talks. When the Doctor asks how he can talk if he has no tongue, Scaroth leaves, reminding him he can still write.
The Doctor tries to humour the guard, telling him Tancredi is mad, to no avail; the guard tells him that when you work for the Borgias, you believe anything. The Doctor uses a camera from his pocket to take a picture of the wary guard. The instant picture forms and the Doctor gets the guard to lean in close to see it. He hits the man under the chin and gently lowers him to a chair. On the back of the extra six paintings of the Mona Lisa, the Doctor writes, "THIS IS A FAKE" in felt tip pen and puts them face down. He also writes a quick note to Leonardo, "Dear Leo, sorry to have missed you. Hope you're well. Sorry about the mess on the panels, just paint over them, there's a good chap. see you earlier, love the Doctor." Just as he is about to leave, Tancredi returns with the thumbscrews. The Doctor sucks on his own thumb...
Kerensky manages to awaken the Count, telling him he is in Paris. The Count thinks it was a dream. Kerensky asks who the Count is. He also mentions something about his face and asks who the Jagaroth are: the Count was mumbling about them. Scarlioni explains that the Jagaroth are the ones who need the experiments. Upon hearing Kerensky's thoughts that the Jagaroth need all the chickens, Scaroth laughs about such a giant intellect living in such a small mind. The Count hears voices: his other selves. He tells Kerensky he is working for more than the human race and their feeding.
Romana painstakingly uses her sonic screwdriver to get into the closed cafe that night; Duggan just smashes a window and climbs in. Romana tells him he should go into business with a glasser - they would have a perfect symbiotic relationship. He breaks the top of a wine bottle to drink with her, and reminds tells her you can't cook an omelette without breaking eggs. She replies that she would expect to find broken crockery, a cooker in flames, and an unconscious chef if Duggan attempted to make an omelette. As they discuss the Count's plan, Duggan has an epiphany: How did the Count know where the bricked up Mona Lisas were and how did he know where to get them? Even Romana is stumped here.
The Count shows Kerensky the end product of his labours: what he will make. The professor cannot believe his eyes: the plan will increase the very part of the project that Kerensky was trying to eliminate. It can work both ways. Kerensky thinks it is monstrous, what he is trying to do. He will never, ever do such a thing. Anyway, even the Count cannot afford such equipment. At that moment, Hermann comes with the Mona Lisa from the Louvre. The Count tells the professor to continue with the work or he will die.
The thumbscrews are on the Doctor's hand and the Doctor winces - the guard's hands are cold. He cannot stand being tortured by someone with cold hands, so he reveals that he is a Time Lord. Tancredi asks about the girl and the Doctor stalls for time. As the guard moves to the thumbscrews, the Doctor asks a question - how he communicates with his other selves across time.
Back in 1979, the Countess gleefully talks to her husband about their recent heist. When she proudly thinks of the money they will receive after their monumental theft of the Mona Lisa, the Count brags about the building of the pyramids, mapping the heavens, inventing the wheel and fire, and bringing up a whole race from nothing to save his own: he just wants a single life and to spare the lives of his people. He hears a voice and he asks his bemused spouse to leave him. Once she has gone, he communicates briefly with his 1505 self but it proves immensely draining for both selves. Taking advantage of the distraction, the Doctor escapes and dashes into the TARDIS. The guard attempts to tell the Captain but he is dismissed by Tancredi and asked to take his leave. All the various splinters of Scaroth appear and converse; there seem to be 12 of him. The Doctor watches him proclaim that the centuries dividing him will be undone from the TARDIS scanner. The TARDIS dematerialises. It is now that Scarlioni realises the truth about the Doctor and his girl...
The Doctor returns to the same museum in Paris, 1979, but he did not like the sound of Tancredi's last words.
Back in the cafe, Romana elects to leave a note for the Doctor - she feels their time would be better spent finding the real Mona Lisa. Romana then wonders if Scarlioni has found a way to travel through time; although there is but one flaw in this theory: Kerensky's machine cannot function. She tells a bewildered Duggan that you can have two adjacent time continuums running at different rates by all means, but without a field interface stabilizer you can't cross from one to the other. Romana suggests they get back to the chateau; even if nothing is gained, Duggan can at least hit something. They leave.
Outside of the Louvre, two guards tell him the news that the Mona Lisa has been stolen. The Doctor goes inside and sees that it has indeed vanished. He taps on the shoulder of the elderly tour guide, frightening her, and asks if a girl and a man with fair hair and a predisposition for hitting people (he makes a fist to demonstrate, petrifying her further) were here trying to stop the painting from being stolen. She advises him to tell the police. The Doctor informs her that when one has the human race to think about, there is no time for the police. He dashes outside - there is no time to lose!
The Doctor runs into the cafe and asks the bar tender about the two people he was in with yesterday, reminding him that they were the people who kept being held up, attacked, breaking things... As the man turns to fetch a note, the Doctor confidently states that they wouldn't be mad enough to go back to the chateau. The bar tender gives the Doctor Romana's note, which says that they have gone back to the chateau. The Doctor thanks the bar tender and takes his leave.
Romana and Duggan, having been caught already, are led into in the lounge by Hermann (with a gun) to converse with the Count. As soon as the man got into the window, the alarm went off. Hermann called off the dogs since he thought the Count would want to talk to the pair. The Count tries be civil towards them both. The Count tells Romana that the Doctor let it slip that she is an expert in temporal travel. (Duggan asks if anyone can get in on this conversation, or does one require a certificate. The Count instructs Hermann that should Duggan interrupt again, kill him.) The Count wants Romana to take a look at the equipment herself; if she refuses, he will destroy Paris (even though he would rather not use uncouth threats). Upon seeing the equipment Romana, worried, tells Duggan that the Count can indeed destroy Paris by blasting the capital into an unstabilised time field. Duggan asks her if she believes in all this time travel nonsense, in reply she asks him whether he believes wood comes from trees - time travel is just something she was brought up with. Kerensky wants to know why there is all this talk of destruction - his work was surely not designed for malevolent reasons! The Count asks Kerensky go into the middle of the field cones; the field generator needs examination. Once the professor is in position, the Count turns on the machine. Romana and Duggan can only watch, helpless, as the Professor falls, and withers and ages, until nothing but a skeleton is left...
The Count reveals that it is the unstable time field that has destroyed the professor, and the whole of Paris is next unless Romana complies and tells him how to stabilise the time field. Although Romana pretends not to care about the welfare of humans or Paris, Scarlioni sees through this and orders Hermann to kill Duggan to reveal her true intentions. When she agrees to help him, Scaroth reveals his plans to her and orders that Duggan be locked up. Romana shall build a field interphase stabiliser...
The Doctor, after having been caught by an armed man in the chateau, asks a maid to get the Count for him. The Doctor takes a second to compare the thug to a little boy he knew who never said a word when he didn't need to - he goes on to say this was Shakespeare. They enter the study and the Countess opens a secret door in the wall, revealing a secret cabinet in which lies the original manuscript of Hamlet; it has been missing for centuries. The Doctor recognises the handwriting - it's his own: his friend William sprained his wrist writing sonnets (the Doctor tried to warn him...). The Doctor finds a mixed metaphor in the text which he warned Shakespeare about. The Countess thinks the Doctor must be perfectly mad; he replies that nobody is perfect. He then explains about how her husband acquired the Hamlet: she doesn't know the Count as well as she thinks.
Hermann tells the Count the Doctor has arrived, but he has already guessed this to be the case. As the Doctor enters a debate with the (probably) beautiful woman about charm, discretion and blindness (specifically, the Countess's willful blindness), he casually mentions the fact that a green, one-eyed chap is ransacking the treasures of the art world in order to save his species, the Jagoroth. At this moment Hermann arrives and takes the Time Lord down to meet his master, leaving the Countess to ponder on the thought. Suddenly she remembers something she has seen - in her hidden book cabinet, she takes out an ancient Egyptian scroll... only to find a one-eyed, green "god" exactly as the Doctor described!
Once in the lab, the Doctor asks Romana what she is building. It must be a Gallifreyan egg timer or some such - after all, he would be angry to find his assistant making a time machine. At this moment, Duggan asks politely if they could get him out of his cell. The Count demands the Doctor help him; of course the Time Lord refuses - after all, he is a trained professional. Romana insists all is fine - Scarlioni only wants to go back in time to reunite himself. He goes to say his final goodbyes to his wife, asking his butler to kill the trio any way he likes.
Upon entering the study, the Count finds his wife aiming a gun at him and demanding what on Earth she married. He smiles, informing her how easy it was to keep surprises from her - a fur coat here, a trinket there... It is now that Scaroth reveals his true visage, and thanks his wife for always wearing that bracelet he gave her. He activates it and it kills her instantly; he takes the opportunity to tell her it doesn't matter - soon, she will never had existed.
Having realises the enormity of Scaroth's insidious plans, Romana is truly sorry. Only now is his monstrous plan clear - he tried to put the whole Earth into the time bubble by 400 million years. However, he only succeeded for a few seconds, which caused those time slips. However, now he has the device Romana has constructed, the field will be stabilised and nothing will stand in his way! The Doctor seizes the moment to confess how he has written "THIS IS A FAKE" on the back of all Mona Lisa, which will easily show up under an X-ray. The Doctor scolds Romana for giving the final piece of the machine to Scaroth - she should have known better. However, Romana reveals that she has rigged the contraption so that he will only be in the past for two minutes. The Doctor realises that he needs only one minute - if the Jagoroth is no longer splintered, the whole of human history shall be completely up-ended. The pair soon get a plan, which will only work if Duggan kindly agrees to knock down his cell door...
The trio dash out, only to confronted by the true visage of the monstrous Scaroth, training a gun upon them. It is here that the Alien-Formerly-Known-As-Scarlioni reveals that he is fully aware of the limitations Romana has placed upon his machine, but it makes no difference - he will go back in time and prevent his spaceship from exploding, thus saving his race and avoiding being splintered. He vanishes, and the machine explodes - he's rigged it to blow! Now the Doctor cannot follow him with the machine. But Duggan, oblivious, thinks that's it - time for a drink. The two Time Lords correct him - it's time for a trip, 400 million years, to be exact! Thinking the pair absolutely mad, Duggan follows anyway.
They dash through Paris, passing the Arc de Triomph, and into the museum where the TARDIS is parked. There, two art critics are analysing the subtleties and complexities of the way a police box, devoid of its function, placed in such surroundings, is a remarkable feat of art (and so forth). When the Doctor, Romana and Duggan enter the time-space ship and it dematerialises, the critics can only comment on how absolutely exquisite a feat of art truly it is.
Following the time trace left behind by the Jagoroth, the Doctor lands the TARDIS in a barren, rocky area. He then goes on to say that this is actually the deepest depths of what will be the Atlantic Ocean; only realising, when Romana explains, that Duggan is out of his depth. The Doctor spots the Jagaroth spaceship, using his telescope; he then takes a moment to tell Duggan what a cold, monstrous race they really are. Romana observes that the ship's thrust motors are disabled and that the aliens will, rather idiotically, try to take off on warp drive. As the group runs to stop the calamitous event, the Doctor finds the primordial fluid from which all life on Earth will develop in the form of an inert slurry. Amino acids in the slime shall fuse to make proteins, which will then form cells, only to develop into animal and vegetable life, such as Duggan; the Doctor then gives him a handful of slime and tells him to meet the relatives. It's only now that the Doctor makes a shocking realisation: the explosion which annihilated the Jagaroth and caused Scarlioni to splinter throughout time and space also caused the birth of all life on Earth, including the entire human race. The they notice Scaroth is calling his brothers to stop the take off. The Doctor explains to him that he has thrown down the dice once, no-one gets a second chance; even if the human race comes from the ashes of the Jagaroth - it's happened before. He can't change history, but Scaroth claims: "I will change it!!" Duggan punches Scaroth and knocks him out. The Doctor realises - that was the most important punch in history. Scaroth's two minutes are up and he vanishes. Duggan points out that the ship is attempting take off. All three rush back into the TARDIS and it vanishes. The Jagaroth ship takes off but blows up, just as before. The exploding vessel releases a huge amount of radiation and heat, which then ignites the primordial soup...
Back at the chateau, Hermann watches, aghast, as a monstrous, one-eyed creature appears in the time field. Refusing to believe this creature is his master, he hurls an object at the machinery, destroying the equipment, setting the chateau alight and blasting the Count to oblivion.
Back on the Eiffel Tower, the three friends are discussing the fire. It turns out that the only Mona Lisa to survive the fire has "THIS IS A FAKE" written on the canvas. When Duggan claims that this will ruin the painting, as authorities will X-ray the picture, the Doctor says it would serve them right - if they have to X-ray it to see if it's worth anything, they may as well paint via computer.. like at home. Once Duggan asks where their home is, the Doctor says the best way to learn something like that is to find out where they are going and work backwards.. the problem is neither he nor Romana know where they are going. But the pair walk to the lift together, happy as can be; Duggan goes to a nearby stand and buys a postcard... of the Mona Lisa! He smiles, and looks down below. There he sees The Doctor and Romana, who wave at him, then run towards their next adventure...
[edit] Cast
- Doctor Who — Tom Baker
- Romana — Lalla Ward
- Count Scarlioni / Scaroth / Captain Tancredi — Julian Glover
- Countess — Catherine Schell
- Kerensky — David Graham
- Hermann — Kevin Flood
- Duggan — Tom Chadbon
- Soldier — Peter Halliday
- Art Gallery Visitors — Eleanor Bron, John Cleese
- Louvre Guide — Pamela Stirling
[edit] Cast notes
- Features guest appearances by Julian Glover and David Graham, and cameo appearances by Eleanor Bron and John Cleese. Bron and Cleese both attempted to have their performances credited to pseudonyms, but the Radio Times declined. Bron later appeared in the 1985 serial, Revelation of the Daleks. See also Celebrity appearances in Doctor Who.
[edit] Continuity
- K-9 does not appear in this story, but no explanation is given for its absence. K-9 is assumed to have merely remained in the TARDIS during this story; when The Doctor enters the TARDIS in order to travel back to Florence, he is heard greeting K-9.
- Romana mentions a great art gallery of the galaxy named the Braxiatel Collection. The owner of this collection, a Time Lord named Irving Braxiatel, first appears in the spin-off novel Theatre of War by Justin Richards and thereafter in the Bernice Summerfield novels and audios, as well as the Gallifrey audio series.
[edit] Production
- Working titles for this story included Curse of the Sephiroth and A Gamble with Time.[1]
- The script is credited to "David Agnew", a department pseudonym used when members of the production team had to write the script rather than a contracted scriptwriter. In this case, the original scriptwriter for A Gamble with Time, David Fisher, was undergoing a divorce and was unable to complete the serial. As a result, Graham Williams and Douglas Adams rewrote it under the Agnew by-line.[1]
- The story originally involved the Countess using Scarlioni's bracelet to rig the roulette wheels at various Parisian casinos in order to fund her husband's time experiments. However, Graham Williams ordered that this subplot be removed, to avoid children getting any wrong ideas of gambling.[1]
[edit] Outside references
- Due to Adams's influence, the script has his distinctive brand of humour and dialogue. Adams reused part of the story's plot for Dirk Gently's Holistic Detective Agency (see also Shada).[2]
- This story claims that 400 million years ago Earth was devoid of life. However, a knowledgeable viewer pointed out that life on Earth began 4,000 million years ago. Producer Graham Williams replied, "The good Doctor makes the odd mistake or two - but I think an error of 3,600 million years is pushing it! His next edition of the Encyclopaedia Galactica will provide an erratum."[2]
[edit] In print
This is one of five Doctor Who serials that were never novelised by Target Books as they were unable to come to an agreement with Douglas Adams that would have allowed him or another writer to adapt the script. A fan group in New Zealand did publish an unofficial novelisation of the story [1].
[edit] Broadcast, VHS and DVD releases
- Due to the ongoing ITV strike,[3] all episodes of this serial, along with the previous Destiny of the Daleks, received very high ratings. This reached a peak with Episode 4, which got 16.1 million viewers, making it the highest rated Doctor Who episode ever.[4] It is also very highly rated on fan polls, often cited as the best Doctor Who serial with which to introduce non-fans to the series.
- This story was released on VHS in July of 1991.
- The story was released on DVD by BBC Worldwide on November 7, 2005.
[edit] References
- ^ a b c d Doctor Who: City of Death, Disc Two, Special Features: Paris in the Springtime [DVD]. BBC Worldwide.
- ^ a b Doctor Who: City of Death, Disc One, Part Three, Production Notes/Information Text [DVD subtitles]. BBC Worldwide.
- ^ Doctor Who: City of Death, Disc One, Part Two, Production Notes/Information Text [DVD subtitles]. BBC Worldwide.
- ^ Doctor Who: City of Death, Disc One, Part Four, Production Notes/Information Text [DVD subtitles]. BBC Worldwide.
[edit] External links
- City of Death episode guide on the BBC website
- City of Death at Doctor Who: A Brief History Of Time (Travel)
- City of Death at the Doctor Who Reference Guide
[edit] Reviews
- City of Death reviews at Outpost Gallifrey
- City of Death reviews at The Doctor Who Ratings Guide
