Read Ebook {PDF EPUB} Time-Flight by Peter Grimwade Doctor Who: Time-Flight by Peter Grimwade. The TARDIS materialises at modern-day Heathrow Airport, where a Concorde airplane has just vanished from the skies. The Doctor, Nyssa and Tegan offer to help, and they board a second Concorde which follows the same flight path as the first. They discover a time corridor which propels them back to the Pleistocene Era. There they find that the first Concorde's crew and passengers have been enslaved by the sinister sorcerer Kalid, who is forcing them to excavate a sanctum within a mysterious citadel. An alien intelligence takes possession of Nyssa, warning the Doctor of the great peril that awaits him within. Production. Peter Grimwade's first experience with Doctor Who came in 1970, as a production assistant on . He returned in this capacity intermittently over the next decade, during which he also began developing story ideas for the show. One proposal concerned an evil force which took control of a rogue element amongst an alien species; it was submitted to script editor Douglas Adams in 1979, but was rejected. In 1980, Grimwade resubmitted the concept to Adams' successor, Christopher H Bidmead, who felt that the notion was worth pursuing. Bidmead and Grimwade were soon engaged in further discussions. An errand at London's Heathrow Airport during one of their meetings inspired the involvement of Concorde -- the world's first commercial supersonic aircraft, which had only been in service for four years. In addition to being a timely and impressive element of the narrative, Bidmead thought that it would help ground the fantastical plot in reality. Soon thereafter, on March 14th, Grimwade was commissioned to produce a storyline under the title “Zanadin” -- a name which had been conceived by Grimwade, Bidmead and producer John Nathan-Turner to be intentionally bizarre. The production team liked this style of title, which they felt was more intriguing for viewers than the standard Doctor Who approach. Consideration was given to positioning “Xeraphin” as the final adventure of Season 18. Grimwade worked quickly on his outline, and consideration was given to positioning the story -- now renamed “Xeraphin” -- as the final adventure of Doctor Who 's eighteenth season. At about this time, however, Nathan-Turner hired Grimwade to direct another Doctor Who serial, , which meant delaying work on “Xeraphin”. It was subsequently agreed that Grimwade would revisit his adventure at the end of the summer -- after completing Full Circle and before directing the eventual Season Eighteen finale, -- with a view to making “Xeraphin” as part of Doctor Who 's nineteenth season. The postponement of “Xeraphin” was beneficial in at least one respect, as it gave Nathan-Turner more time to negotiate access to Heathrow Airport and a British Airways Concorde for filming -- both firsts for a television drama. Aided by specious insinuations that the Doctor Who production office was in discussions with Air France for similar accommodations, Nathan-Turner scored a major coup when he was able to obtain the necessary permissions. This development would later come as a surprise to David Reid, the new Head of Series and Serials, after he warned Nathan-Turner about the unfeasibility of a Doctor Who story based around Concorde. As 1980 wore on, it became clear that Grimwade would have to make several changes to his storyline. had now decided to leave Doctor Who , and so “Xeraphin” would feature a very different TARDIS crew. In addition, Nathan-Turner and Bidmead had reintroduced the Doctor's arch-nemesis, , and the producer was eager to feature the character in two stories every year. It was planned that the Master would appear in Season Nineteen's debut serial (eventually ), and Nathan-Turner asked Grimwade to incorporate the character into “Xeraphin” as well. With the storyline duly amended, Grimwade was formally commissioned to script his adventure on September 22nd. The contract was issued under the title “Zanadin”, but the story reverted back to “Xeraphin” soon thereafter. More alterations became necessary over the course of 1981. It had been decided that would be dropped as a companion in the story preceding “Xeraphin”, and so he would have to be removed from the action. Furthermore, since “Xeraphin” was now intended to be the last serial of Season Nineteen, Nathan-Turner wanted to end the year on a moment of suspense, akin to the Doctor's regeneration in Logopolis . It was agreed that “Xeraphin” should culminate in Tegan's apparent abandonment as the Doctor and Nyssa departed in the TARDIS. There were no plans to write Janet Fielding out of Doctor Who , but this development would also give Nathan-Turner the flexibility to change his mind about retaining Tegan, if necessary. Meanwhile, new script editor felt that the Master had worn out his welcome. He championed the idea of killing off the villain in “Xeraphin”, but Nathan-Turner was adamant that he wanted the Master to be a recurring foe for the foreseeable future. At one point, Peter Grimwade hoped to direct his own scripts. At one point, Grimwade hoped to direct his own scripts, but this was made impossible when he was assigned to , the previous serial in production. Over the summer, Andrew Morgan was instead recruited for “Xeraphin”. However, he was unimpressed by Grimwade's scripts, and was then offered another opportunity he found more enticing. As a result, Morgan turned down the Doctor Who job at the last minute; he would eventually make his debut on the show with Time And The Rani in 1987. Now left with little time to find a replacement, Nathan-Turner turned to Ron Jones, a neophyte director who was just completing Black Orchid . Jones agreed to move straight onto “Xeraphin”. Anthony Ainley was contracted to play the Master on October 1st. It was agreed that he would be credited as “Leon Ny Taiy” (an anagram of “Tony Ainley”) at the end of Episode One, in order to preserve the surprise of Kalid's unmasking in the second installment. It was also observed that Adric's death at the climax of Earthshock might be spoiled if advance cast listings for the season finale omitted Matthew Waterhouse's name. Consequently, a brief appearance by an illusory Adric was added to Episode Two. Meanwhile, both of Grimwade's Concorde captains had to be renamed to avoid confusion with real individuals: Irving became Markham and then Urquhart, while Rathbone became Stapley. Flight Engineer Tulley was subsequently rechristened Scobie. In mid-December, the story was renamed Time-Flight . Other options such as “Flight Into Time” had also been considered, and there was some discussion as to whether or not Time-Flight should be hyphenated. It was originally hoped that filming for Time-Flight at Heathrow Airport would take place before Christmas. In the event, however, work there began on January 6th, 1982; as a result, more than a month had elapsed since the end of recording on Earthshock . The first day at Heathrow was spent on the concourse in Terminal One. On the 7th, the production shifted to the roof of the Terminal Three car park. Work on this day included Tegan's apparent departure, although Fielding had been reassured as far back as September that Tegan was returning for Season Twenty. The Heathrow shoot was intended to conclude on January 8th, but the Concorde which British Airways had planned to provide had to be pressed into service that day. As a result, scenes inside the aircraft and on the tarmac were postponed to the 11th, when they were recorded at the British Airways Maintenance Area. Unfortunately, a scratch was subsequently discovered on some of the Concorde footage. Since there was no way to re-record the material, judicious edits were required. In addition to the work at Heathrow, Jones had hoped that some of the scenes on the prehistoric heath might also be filmed on location or, alternatively, at the BBC Television Film Studios in Ealing, London. He was disappointed to learn that the budget for Time-Flight would not permit this. In the event, the heath was the focus of the serial's first studio block, on January 19th and 20th at BBC Television Centre Studio 8 in White City, London. Originally, this work was intended to be confined to the first day, but technical problems pushed some scenes back. This resulted in a race against time to complete the other planned shots -- in and around the Heathrow offices, as well as various special effects -- on what remained of the second day. Nathan-Turner was dissatisfied with the results, and some of the material was remounted in TC8 on January 24th. By this stage, there was considerable unhappiness regarding the Plasmaton costumes, which had been constructed by the freelance firm Imagineering of Witney, Oxfordshire. The intent had been to create something inhuman, but insufficient thought had been given to the eyesight of those wearing the outfits. Unable to see, the Plasmaton performers had to remain virtually immobile, and were scarcely able to generate a sense of menace. Meanwhile, it had been discovered that the script for Episode Three was drastically short; on January 25th, Saward asked Grimwade to develop a further seven minutes of action. Later that week, Grimwade provided various new and extended scenes, including more material involving Bilton and Stapley spying on the Master and later trying to pilot the TARDIS, and additional exposition about the Xeraphin. The second studio block -- again in TC8 -- spanned February 1st to 3rd. The initial day concentrated on TARDIS material. The middle day was devoted to scenes in the Concorde hold, the area outside the sanctum, and the various corridors of the citadel. Waterhouse returned to finish out his tenure on Doctor Who , more than two months after recording his farewell adventure. February 3rd was the final day of production for both Time-Flight and Season Nineteen as a whole. The material that remained to be taped included the sequences in Kalid's chamber and the Xeraphin sanctum, plus some further modelwork. The transmission of Time-Flight Episode Four brought Doctor Who 's nineteenth season to a close on March 30th. It aired fifteen minutes earlier than usual, at 6.50pm, because the animated short which usually preceded Doctor Who had been dropped from the schedule. The next programme to occupy the Monday and Tuesday timeslots on a regular basis was another twice-weekly series: the soap opera Triangle , which was entering its second season. Doctor Who: Time-Flight. reads this classic novelisation of a Fifth Doctor TV adventure featuring an old enemy. The TARDIS arrives at Heathrow Airport at a moment of crisis: a Concorde aeroplane has inexplicably vanished while in flight. The Doctor, Tegan and Nyssa join the crew of a second Concorde that sets out to simulate the fateful journey of the missing supersonic jet. but an old enemy in disguise is lurking at their destination. Seeing is believing, they say - but the Doctor and his friends realise that it just isn't that simple. Peter Davison - the Fifth Doctor himself - reads Peter Grimwade's own novelisation of his 1982 TV adventure. Doctor Who: The 5th Doctor (1982 - 1984) 4 episodes. Approx. 97 minutes. Written by: Peter Grimwade. Directed by: Ron Jones. Produced by: John Nathan Turner. The Doctor is trying to take Tegan and Nyssa to the Great Exhibition of 1851, to take their minds off Adric's death. But the TARDIS materializes at Heathrow Airport, 1982 - the very place the Doctor had been trying to reach throughout the first half of the season. They arrive to learn that a Concorde flight has vanished into thin air. The Doctor is enlisted thanks to his UNIT credentials, and he quickly determines that the missing airplane vanished down a time contour. He insists on recreating the conditions of the flight, using another Concorde to follow the first one's path. He has his TARDIS loaded onto the plane, and he and his companions monitor the flight from inside. The console readings tell him what he already suspected: They have been taken back in time, into the Jurassic era. But what waits for them isn't dinosaurs, but rather Khalid, an ancient wizard who has used what appears to be magic to transform the first plane's crew and passengers into a slave labor force. The Doctor confronts Khalid and appears to defeat him. But he has fallen into a trap. Khalid is actually the Doctor's old enemy, The Master (Anthony Ainley). And the Doctor has just become ensnared in his most insanely convoluted plan ever! The Doctor: I'll give Peter Davison credit for trying. The story opens with the Doctor, Nyssa, and Tegan mourning for Adric - then deciding to just get over it and make a trip to the Great Exhibition to cheer themselves up. As far as character writing goes, it's down there with a chipper Barbara telling us that she's completely over her experiences with the Aztecs in Part One of The Sensorites. The difference is that Davison and his co-stars do their best to play against the ridiculous dialogue. As they start chatting about the Great Exhibition, the actors put a note in their delivery to signal that they're simply going into very hard denial about what just happened and grasping for anything to keep themselves busy. An excellent look at actors trying to overrule bad writing through performance alone, and for that one scene, it just about works. Nyssa: Develops psychic intuition for this story - and only for this story, as her psychic abilities are never mentioned again on television (though Big Finish made use of them a few times on audio). Her mind is somehow receptive to the Xeraphin, which allows her to lead Tegan to their inner sanctum. She also takes the lead when with Tegan. She does mention the Master's killing of her father, but then barely reacts to the Master's presence in the story's second half - which is quite a comedown from the fierce, "That face - I hate it!" moment in Castrovalva. Tegan: Remains the more emotional of the Doctor's companions. She's the one who pushes the Doctor to violate the laws of time to save Adric. She does seem cowed by his angry response. But when she sees Khalid's illusion of Adric, apparently alive and pleading with her and Nyssa to save him, she is the one who wants to stop. It's the more intellectual Nyssa who recognizes the illusion for what it is and presses on. Left to her own devices, Tegan would have stopped at that moment. The Master: This is the story in which Anthony Ainley's reputation as a particularly campy Master begins to take hold. He spends the first two episodes disguised as the evil wizard Khalid. for reasons that completely escape understanding, unless you go on the assumption that the Master just wants to "drezz for the occasion." After revealing himself, the Master proceeds to do very little in the second half. He cackles a lot and threatens various guest characters and extras with his Tissue Compression Eliminator. But mostly he just prances from one set to another, marking time until the Doctor can fool him with the Technobabble swap meet that makes up the, er, "climax" of Episode Four. And yes, the climax of this story does indeed appear to be the Doctor and the Master swapping bits of plastic on a bad studio set. A rather good season of Doctor Who comes to a dismal end with Peter Grimwade's Time-Flight. Why is it so bad? "I'll explain later." No, wait. That was the Doctor, waving away any need to provide a basis for any of the proclamations he makes at any point in the serial. Steven Moffat must have been thinking of Time-Flight when he wrote The Curse of Fatal Death. At least there, "I'll explain later" was meant to be funny. Here, it's just lazy writing, which is employed so often across these four episodes that it practically becomes a catch-phrase. Really, for a story that's notorious for poor production values, it's startling how much of Time-Flight's failure comes down to bad writing. The story is utterly nonsensical, with the Master's plan bordering on incoherence. The guest characters are flatly written, with the un-hypnotized characters behaving in just as artificial a fashion as the hpynotized ones! I find it hilarious, for example, that Professor Hayter (Nigel Stock) spends Episode Two being an irritating boor whom the Doctor barely tolerates. only for the Doctor to turn around and choose him as his pseudo-companion near the start of Episode Three! Sure, the story looks cheap. But the real problem is that the script doesn't even pretend to hold together. Too bad, because it all starts out fairly well. The first two episodes are absorbing. Cheap-looking, to be sure, but also well-paced and moderately intriguing. Had this been a 2-parter, with Khalid simply being who he pretended to be and his initial "defeat" being genuine, then this would have been a perfectly acceptable bit of fluff. Unfortunately, once it truly becomes a Master story, what had been entertaining nonsense transforms into abject stupidity. The Xeraphim are introduced midway through Episode Three, with their entire backstory delivered in a mind-numbing infodump. Meanwhile, the episode pads out its running time as the Master tromps in and out of the Doctor's TARDIS while the Concorde flight crew watches through a doorway. So half of the episode could be summed up as, "Nothing happens," and the other half consists of exposition so dense and clunkily delivered that it practically becomes white noise. Episode Four is even worse, alternately rushed and padded. As if to add insult to injury, the story is resolved and the Master defeated. via some trickery the Doctor performed offscreen! The good news is that Peter Grimwade would be recommissioned for stories in Seasons 20 and 21, and would do a much better job of writing something watchable in those stories. Based on this debut offering, I'd have probably advised him to stick with directing. Audiobook Review: Doctor Who: Time-Flight by Peter Grimwade. Nostalgically, “Time-Flight” holds a special place in my heart as the first Doctor Who serial I watched one warm summer evening on San Jose’s KTEH. The story of a Concorde vanishing into pre-historical times hooked me on Doctor Who for life. And since I didn’t have much to compare it to, I thought it was one of the best things I’d ever seen. It didn’t take me long to realize that “Time-Flight” wasn’t necessarily the best offering for not just the Peter Davison era but also Doctor Who as a whole. That’s probably why I skipped the Target book during my teenage years. Forty years later, I’ve finally experienced the Target version of the story in audiobook form. And it was about as disappointing as I thought it might be forty or so years ago. Freed of the limitations of an overstretched budget, I’d hoped that author Peter Grimwade might use the printed page to enhance and expand the story a bit. Instead, Grimwade seems to follow the Terrance Dicks of the Tom Baker era model and just translate the script to the page with a few descriptions of items, sets, and characters thrown in for good measure. The story of a Concorde being stolen down a time corridor in order to help out the Master’s latest nefarious scheme doesn’t even come close to making one lick more of sense on the printed page. It really does make one yearn for the days of Roger Delgado as the Master when the villain’s schemes felt like they had a bit more planning behind them. The audio version of this one tries its best with Peter Davison in there giving it his all and the story full of sound effects that try their darnedest to make it all a bit more palatable. Alas, it never quite all gels and I can’t help but feel that this one was a bit of a disappointment. КУПЕТЕ Peter Grimwade | Doctor Who Time-Flight - Цена Онлайн. Доставка: • Безплатно при поръчка над 69 лв. • 1-2 делнични дни. • До Вас или до офис на Еконт. Доставка: • Безплатно при поръчка над 69 лв. • 1-2 делнични дни. • До Вас или до офис на Еконт. Boarding a similar Concorde, and following the same flight path, the Doctor finds traces of disturbance and, although they arrive safely at Heathrow, they discover that they have travelled 140 million years into the past! As the Doctor and the crew struggle to come to terms with their situation they are faced with many important questions - What is the significance of a mysterious nearby citadel and who is the strange magician Kalid who lives there? How can they evade the deadly Plasmaton energy creatures? And just how are the events on prehistoric Earth connected to the fate of an ancient race of aliens called the Xeraphin?