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{{Infobox Story | {{Infobox Story SMW | ||
|image = MonaLisaPostcard.jpg | |image = MonaLisaPostcard.jpg | ||
|series = [[Doctor Who television stories|''Doctor Who'' television stories]] | |series = [[Doctor Who television stories|''Doctor Who'' television stories]] | ||
|season number = Season 17 | |season number = Season 17 (Doctor Who 1963)| | ||
|season serial number = 2 | |season serial number = 2 | ||
|story number = 105 | |story number = 105 | ||
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|enemy = [[Scaroth]] | |enemy = [[Scaroth]] | ||
|setting = {{il|[[Paris]], [[1979]]|[[Florence]], [[1505]]|[[Earth]], the [[distant past]]}} | |setting = {{il|[[Paris]], [[1979]]|[[Florence]], [[1505]]|[[Earth]], the [[distant past]]}} | ||
|writer = | |writer = David Agnew (writer) | ||
|director = [[Michael Hayes]] | |director = [[Michael Hayes]] | ||
|producer = [[Graham Williams]] | |producer = [[Graham Williams]] | ||
|epcount = 4 | |epcount = 4 | ||
|broadcast date = | |broadcast date = 29 September - 20 October 1979 | ||
|network = | |network = BBC1 | ||
|format = 4x25-minute episodes | |format = 4x25-minute episodes | ||
|serial production code = [[List of production codes|5H]] | |serial production code = [[List of production codes|5H]] | ||
| Line 28: | Line 28: | ||
|bts = DVD Special Feature Dudley Simpson - Doctor Who The Sun Makers - BBC | |bts = DVD Special Feature Dudley Simpson - Doctor Who The Sun Makers - BBC | ||
}} | }} | ||
'''''City of Death''''' was the second serial of [[season 17]] of ''[[Doctor Who]]''. It was first story to be filmed on location outside the [[UK]], being filmed in [[Paris]]. | '''''City of Death''''' was the second serial of [[Season 17 (Doctor Who 1963)|season 17]] of ''[[Doctor Who]]''. It was first story to be filmed on location outside the [[UK]], being filmed in [[Paris]]. | ||
If one follows the suggestion in the short story ''[[The Lying Old Witch in the Wardrobe (short story)|The Lying Old Witch in the Wardrobe]]'' that ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]'' featured [[the Doctor's TARDIS]] posing as [[Romana]] rather than the real Time Lady, it was also the first story to feature [[Lalla Ward]] as Romana. | If one follows the suggestion in the short story ''[[The Lying Old Witch in the Wardrobe (short story)|The Lying Old Witch in the Wardrobe]]'' that ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]'' featured [[the Doctor's TARDIS]] posing as [[Romana]] rather than the real Time Lady, it was also the first story to feature [[Lalla Ward]] as Romana. | ||
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''City of Death'' had the highest average viewing figure of the [[Tom Baker]] era, with a rating of 14.5 million. It also has the all-time highest rating for an individual episode with 16.1 million. However, this rating is somewhat misleading, as the story was transmitted at a time when [[ITV]] were on strike, and therefore it transmitted without significant opposition. | ''City of Death'' had the highest average viewing figure of the [[Tom Baker]] era, with a rating of 14.5 million. It also has the all-time highest rating for an individual episode with 16.1 million. However, this rating is somewhat misleading, as the story was transmitted at a time when [[ITV]] were on strike, and therefore it transmitted without significant opposition. | ||
In 2023, despite ''City of Death'' ranking as the most popular [[Fourth Doctor]] TV story ahead of ''[[Genesis of the Daleks (TV story)|Genesis of the Daleks]]'' in a poll by ''[[Doctor Who Magazine]]'',<ref name="dwm 590">[[DWM 590]]</ref>{{note|Polls by DWM are statistically invalid, as they do not feature a random sample of people. Respondents choose to participate on their own initiative, and are made aware of the poll because they subscribe to or at least frequently buy DWM. Thus, the poll is clearly weighted towards ''Doctor Who'' fans who are also residents of the United Kingdom. The views reflected almost certainly do not represent the "casual" viewer of ''Doctor Who'', non-English speaking fans, or other groups of fans who simply don't read or have access to DWM.}}, a later ''DWM'' poll that year with a shortlist of 37 finalists including the two aforementioned stories declared ''City of Death'' the eighth most popular TV story of the first 60 years of ''Doctor Who'', behind ''Genesis of the Daleks'', which placed third.<ref name="dwm 597">[[DWM 597]]</ref> | |||
== Synopsis == | == Synopsis == | ||
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Romana, having moved off for a few moments, returns and asks what she said. Before the Doctor can answer, there is another time slip back to the guide approaching the Doctor. The Doctor stumbles into her, passes by others and then collapses onto a bench where a lady was reading. | Romana, having moved off for a few moments, returns and asks what she said. Before the Doctor can answer, there is another time slip back to the guide approaching the Doctor. The Doctor stumbles into her, passes by others and then collapses onto a bench where a lady was reading. | ||
A man in a trenchcoat gets the crowd out of the way and gets the Doctor on to the bench. When the man, [[Duggan]], asks if he is all right, the Doctor tells him he just dented his head on his gun. Romana gets him up and takes him out. The lady on the bench nods to a man in a hat to follow. Duggan has already left to follow the Doctor and Romana. | A man in a trenchcoat gets the crowd out of the way and gets the Doctor on to the bench. When the man, [[Duggan]], asks if he is all right, the Doctor tells him he just dented his head on his [[gun]]. Romana gets him up and takes him out. The lady on the bench nods to a man in a hat to follow. Duggan has already left to follow the Doctor and Romana. | ||
Duggan follows Romana and the Doctor through Paris. When they arrive at another cafe, Romana tells the Doctor they have been followed. The Doctor knows: "By that idiot with the gun". He tells Romana to look in her pocket. She takes out a bracelet the Doctor removed from the woman in the Louvre. It is a [[micromeson scanner]] which someone is using to monitor the alarms in the Louvre around the ''Mona Lisa''. Romana thinks the bracelet is too advanced a piece of technology for a [[Level 5 planet|level 5 civilisation]]. He tells her the bracelet is not the product of an Earth civilisation. She asks if an alien is trying to steal the painting. Duggan turns up, pointing a gun into the Doctor's back. | Duggan follows Romana and the Doctor through Paris. When they arrive at another cafe, Romana tells the Doctor they have been followed. The Doctor knows: "By that idiot with the gun". He tells Romana to look in her pocket. She takes out a bracelet the Doctor removed from the woman in the Louvre. It is a [[micromeson scanner]] which someone is using to monitor the alarms in the Louvre around the ''Mona Lisa''. Romana thinks the bracelet is too advanced a piece of technology for a [[Level 5 planet|level 5 civilisation]]. He tells her the bracelet is not the product of an Earth civilisation. She asks if an alien is trying to steal the painting. Duggan turns up, pointing a gun into the Doctor's back. | ||
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=== Part two === | === Part two === | ||
[[File:Doctor_plays_the_fool.jpg|thumb|left|"My dear, ''nobody'' could be as stupid as ''he'' seems."]] | [[File:Doctor_plays_the_fool.jpg|thumb|left|"My dear, ''nobody'' could be as stupid as ''he'' seems."]] | ||
Two thugs shove the Doctor, Romana and Duggan into the château. Hermann takes them to the lounge and shoves the Doctor in at gunpoint. The Doctor falls but gets up, delighted by “such a wonderful butler: he's so violent.” On his knees, he introduces Romana, Duggan and himself to the Countess. The Doctor crawls to a [[Louis Quinze]] chair. Dismissing Hermann, he invites himself to a drink and seats Romana and Duggan, preparing drinks for them too. He tells her he is a thief, Romana his accomplice and Duggan the detective who caught him. When the Countess tells him she was under the impression that Duggan was following ''her'', the Doctor says she is “a beautiful woman, probably” and that Duggan was likely after a dinner date. She asks who sent him. The Countess lets him know that the more he tries to convince her he is a fool, the more she will think otherwise. Romana picks up a Chinese puzzle box. The Countess insists she put it down, as she will never solve it; Romana opens it in seconds and takes out the bracelet. The Count enters and takes the bracelet. He seems curiously happy to meet these strangers, although he insists upon knowing why the Doctor took his wife's bracelet. The Count ends the interview, making the Doctor jump up and talk of lunch with Duggan and Romana. When Duggan picks up a chair in defence, the Doctor asks what is it he thinks he is doing with a priceless Louis Quinze. Because Hermann can shoot Duggan, the Doctor pretends to care more about the chair not being damaged. The Count orders Hermann to show them the [[cellar]] they will be locked in. | Two thugs shove the Doctor, Romana and Duggan into the château. Hermann takes them to the lounge and shoves the Doctor in at gunpoint. The Doctor falls but gets up, delighted by “such a wonderful butler: he's so violent.” On his knees, he introduces Romana, Duggan and himself to the Countess. The Doctor crawls to a [[Louis Quinze]] chair. Dismissing Hermann, he invites himself to a drink and seats Romana and Duggan, preparing drinks for them too. He tells her he is a thief, Romana his accomplice and Duggan the detective who caught him. When the Countess tells him she was under the impression that Duggan was following ''her'', the Doctor says she is “a beautiful woman, probably” and that Duggan was likely after a dinner date. She asks who sent him. The Countess lets him know that the more he tries to convince her he is a fool, the more she will think otherwise. Romana picks up a [[Chinese puzzle box]]. The Countess insists she put it down, as she will never solve it; Romana opens it in seconds and takes out the bracelet. The Count enters and takes the bracelet. He seems curiously happy to meet these strangers, although he insists upon knowing why the Doctor took his wife's bracelet. The Count ends the interview, making the Doctor jump up and talk of lunch with Duggan and Romana. When Duggan picks up a chair in defence, the Doctor asks what is it he thinks he is doing with a priceless Louis Quinze. Because Hermann can shoot Duggan, the Doctor pretends to care more about the chair not being damaged. The Count orders Hermann to show them the [[cellar]] they will be locked in. | ||
As he enthusiastically leads the way into the cellar, the Doctor questions Hermann. He learns that the château was built four or five hundred years before. The Doctor catches a glimpse of the equipment before Hermann locks them in a cellar closet and gives them a | As he enthusiastically leads the way into the cellar, the Doctor questions Hermann. He learns that the château was built four or five hundred years before. The Doctor catches a glimpse of the equipment before Hermann locks them in a cellar closet and gives them a lamp which will last two or three hours. Duggan asks the Doctor what he is playing at - they could have escaped at least twice. The Doctor tells him his plan: let them think they have them safe and escape after finding out what they came for. He takes out [[the Doctor's sonic screwdriver|his sonic screwdriver]] to open the door to the cell. | ||
Romana calculates the horizontal length of the stairs and figures there must be an unseen area of the room. The Doctor, impressed by Romana's mathematical skill, wants to look at the lab first. | Romana calculates the horizontal length of the stairs and figures there must be an unseen area of the room. The Doctor, impressed by Romana's mathematical skill, wants to look at the lab first. | ||
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The Count has created a mock-up of part of the Louvre in the lounge for a holographic dress rehearsal to demonstrate his plan to steal the ''Mona Lisa''. He uses a sonic knife to cut through the glass with ease, then uses his device to disrupt the air around the laser beams so he can get to the painting. After the rehearsal ends, the Count switches off a holographic projector, which has created the Louvre scene, and the surroundings change back to the lounge. The Count removes the Countess' bracelet from the projector and returns it to her, saying she must wear it always. When she asks how he did it, he smiles enigmatically and says he comes from a family of geniuses. | The Count has created a mock-up of part of the Louvre in the lounge for a holographic dress rehearsal to demonstrate his plan to steal the ''Mona Lisa''. He uses a sonic knife to cut through the glass with ease, then uses his device to disrupt the air around the laser beams so he can get to the painting. After the rehearsal ends, the Count switches off a holographic projector, which has created the Louvre scene, and the surroundings change back to the lounge. The Count removes the Countess' bracelet from the projector and returns it to her, saying she must wear it always. When she asks how he did it, he smiles enigmatically and says he comes from a family of geniuses. | ||
[[File:Mona_lisas.jpg|thumb|left|A hidden cache of ''Mona Lisa''s.]] | [[File:Mona_lisas.jpg|thumb|left|A hidden cache of ''Mona Lisa''s.]] | ||
The Doctor chisels on the brick. He tells Romana that the professor thinks he's breeding chickens but 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 bricks, the Doctor needs some machinery. Duggan obliges by knocking into the wall. Inside, the trio finds a cupboard with a ''Mona Lisa'' inside - one that the Doctor claims is the real one. He finds five other "real" ''Mona Lisas''. The Doctor recognises the pigment and the brushwork of [[Leonardo da Vinci]]. Duggan explains 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, says he would not make a very good criminal. The Count appears behind them and tells him, "No, good criminals don't get caught." Duggan knocks out Scarlioni, allowing them to go upstairs and sneak back into the house after knocking out the Countess, who was attempting to ambush them by herself. He asks Romana to look after Duggan as he leaves to meet a middle-aged Italian in the [[Renaissance]]. | The Doctor chisels on the brick. He tells Romana that the professor thinks he's breeding chickens but 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 bricks, the Doctor needs some machinery. Duggan obliges by knocking into the wall. Inside, the trio finds a cupboard with a ''Mona Lisa'' inside - one that the Doctor claims is the real one. He finds five other "real" ''Mona Lisas''. The Doctor recognises the pigment and the brushwork of [[Leonardo da Vinci]]. Duggan explains 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, says he would not make a very good criminal. The Count appears behind them and tells him, "No, good criminals don't get caught." Duggan knocks out Scarlioni, allowing them to go upstairs and sneak back into the house after knocking out the Countess, who was attempting to ambush them by herself. He asks Romana to look after Duggan as he leaves to meet a middle-aged Italian in the [[Renaissance]]. | ||
He arrives at the Denise Rene Art Gallery, where [[the Doctor's TARDIS|the TARDIS]] is parked. He goes inside and says hello to [[K9]], and asks how he is. The TARDIS dematerialises. | He arrives at the Denise Rene Art Gallery, where [[the Doctor's TARDIS|the TARDIS]] is parked. He goes inside and says hello to [[K9]], and asks how he is. The TARDIS dematerialises. | ||
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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 - the same conversation he is having with the Doctor more than four centuries earlier. | 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 - the same conversation he is having 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 rambles off 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 their saviour. The Doctor has heard of the Jagaroth: they destroyed themselves in a war some [[Distant past|four hundred million years ago]]. A few escaped in a dilapidated spacecraft and found Earth in a primeval, lifeless stage of its development. The ship disintegrated on take-off. Scaroth tells of how he was fractured in time, splinters of his being scattered across time and space, all identical, none complete. Scaroth asks what the mysterious blue box is. The Doctor acts as though he has never seen it before. He finds the (original) ''Mona Lisa'' and realises the Count's plan to produce more. While Scaroth collects the instruments of torture, the guard is instructed to confiscate the Doctor's tongue if the Doctor talks. | Back in Renaissance Italy, Tancredi wants to know how the Doctor came to be in this time and country. The Doctor rambles off 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 their saviour. The Doctor has heard of the Jagaroth: they destroyed themselves in a war some [[Distant past|four hundred million years ago]]. A few escaped in a dilapidated spacecraft and found Earth in a primeval, lifeless stage of its development. The ship disintegrated on take-off. Scaroth tells of how he was fractured in time, splinters of his being scattered across time and space, all identical, none complete. Scaroth asks what the mysterious blue box is. The Doctor acts as though he has never seen it before. He finds the (original) ''Mona Lisa'' and realises the Count's plan to produce more. While Scaroth collects the instruments of [[torture]], the guard is instructed to confiscate the Doctor's tongue if the Doctor talks. | ||
[[File: Cityofdeathmolalisacanvass.jpg|left|thumb|The [[Fourth Doctor]] writes "THIS IS A FAKE" on the Mona Lisa canvasses.]] | [[File: Cityofdeathmolalisacanvass.jpg|left|thumb|The [[Fourth Doctor]] writes "THIS IS A FAKE" on the Mona Lisa canvasses.]] | ||
The Doctor tries to humour the guard, telling him Tancredi is mad, to no avail; the guard says that when you work for the [[Borgia]]s, you believe anything. The Doctor distracts and then knocks out his guard. He goes to the canvasses for the extra ''Mona Lisa''s, 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." As he is about to leave, Tancredi returns with the thumbscrews. | The Doctor tries to humour the guard, telling him Tancredi is mad, to no avail; the guard says that when you work for the [[Borgia]]s, you believe anything. The Doctor distracts and then knocks out his guard. He goes to the canvasses for the extra ''Mona Lisa''s, 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." As he is about to leave, Tancredi returns with the thumbscrews. | ||
Romana painstakingly uses her sonic screwdriver to get into the closed cafe that night. Duggan smashes a window and climbs in. As they discuss the Count's plan, Duggan has an epiphany. How did the Count know where the bricked-up ''Mona Lisa''s were and how did he know where to get them? Even Romana is stumped. | Back in Paris, Romana painstakingly uses her sonic screwdriver to get into the closed cafe that night. Duggan smashes a window and climbs in. As they discuss the Count's plan, Duggan has an epiphany. How did the Count know where the bricked-up ''Mona Lisa''s were and how did he know where to get them? Even Romana is stumped. | ||
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. Hermann comes with the ''Mona Lisa'' from the Louvre. The Count tells the professor to continue with the work or he will die. | 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. 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 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 get 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 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. Taking advantage of the distraction, the Doctor dashes into the TARDIS. The guard attempts to tell the Captain but he is dismissed by Tancredi. All the splinters of Scaroth appear and converse; there seem to be twelve of him, including versions living in ancient [[Egypt]], [[Neanderthal]] days and classical [[Rome]]. The Doctor watches him on the TARDIS scanner as he proclaims that the centuries dividing him will be undone. The TARDIS dematerialises. It is now that Scarlioni realises the truth about the Doctor and | Back in [[1979]], the Countess gleefully talks to her husband about their recent heist. When she proudly thinks of the money they will get 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 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. Taking advantage of the distraction, the Doctor dashes into the TARDIS. The guard attempts to tell the Captain but he is dismissed by Tancredi. All the splinters of Scaroth appear and converse; there seem to be twelve of him, including versions living in ancient [[Egypt]], [[Neanderthal]] days and classical [[Rome]]. The Doctor watches him on the TARDIS scanner as he proclaims that the centuries dividing him will be undone. The TARDIS dematerialises. It is now that Scarlioni realises the truth about the Doctor and the girl... | ||
The Doctor returns to the same museum in Paris, 1979. | The Doctor returns to the same museum in Paris, 1979. | ||
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Hermann tells the Count the Doctor has arrived, but he has already guessed this. As the Doctor enters a debate with the Countess about charm, [[discretion]] and [[blind]]ness (specifically, the Countess's wilful blindness), he casually mentions that a green, one-eyed chap is ransacking the treasures of the art world to save his species, the Jagoroth. At this moment Hermann arrives and takes the Time Lord to meet his master, leaving the Countess to ponder on the thought. She removes a hidden book cabinet and takes out an ancient [[Egypt]]ian scroll... only to find a one-eyed, green "god" exactly as the Doctor described! | Hermann tells the Count the Doctor has arrived, but he has already guessed this. As the Doctor enters a debate with the Countess about charm, [[discretion]] and [[blind]]ness (specifically, the Countess's wilful blindness), he casually mentions that a green, one-eyed chap is ransacking the treasures of the art world to save his species, the Jagoroth. At this moment Hermann arrives and takes the Time Lord to meet his master, leaving the Countess to ponder on the thought. She removes a hidden book cabinet and takes out an ancient [[Egypt]]ian scroll... only to find a one-eyed, green "god" exactly as the Doctor described! | ||
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 | 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 her making a time machine. 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. | ||
[[File:Scarlioni_v_scarlioni.jpg|thumb|left|The Countess demands to know her husband's identity.]] | [[File:Scarlioni_v_scarlioni.jpg|thumb|left|The Countess demands to know her husband's identity.]] | ||
Entering the lounge, 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 to his wife for always wearing that bracelet he gave her. He presses the centre of his signet ring, and a charge of electricity goes through the bracelet and quickly kills the Countess. Scaroth takes the opportunity to tell his dead wife he is sorry she had to die, but it doesn't matter — soon, she would never have existed. | Entering the lounge, 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 to his wife for always wearing that bracelet he gave her. He presses the centre of his signet ring, and a charge of electricity goes through the bracelet and quickly kills the Countess. Scaroth takes the opportunity to tell his dead wife he is sorry she had to die, but it doesn't matter — soon, she would never have existed. | ||
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In the museum where the TARDIS is, a [[Art gallery visitor (City of Death)|man]] and woman discuss the function of the sublime colours of the "redundant" TARDIS. Romana and Duggan follow the Doctor past them, the Doctor tossing his scarf over his shoulder to almost hit the man and Romana. The trio goes inside the TARDIS and it dematerialises. The woman considers this "exquisite". | In the museum where the TARDIS is, a [[Art gallery visitor (City of Death)|man]] and woman discuss the function of the sublime colours of the "redundant" TARDIS. Romana and Duggan follow the Doctor past them, the Doctor tossing his scarf over his shoulder to almost hit the man and Romana. The trio goes inside the TARDIS and it dematerialises. The woman considers this "exquisite". | ||
The Doctor is following the time trace made by the Jagaroth to four hundred million years ago. The Doctor, getting out of the TARDIS on barren ground, tells Duggan that they are standing on what will be the middle of the Atlantic Ocean. Romana tells the Doctor that Duggan is "out of his depth". The Doctor finds the Jagaroth ship and the [[primordial soup|amniotic fluid]] from which all life on Earth will spring in the inert soup of low slurry. Amino acids form and fuse to make cells which develop into animal and vegetable life. Romana points out the Jagaroth's ship's thrust motors are damaged and they will try to take off on warp drive. The explosion which caused Scarlioni to splinter into time also caused the birth of the entire human race. Scaroth is there and calls to his brothers to stop trying to take off. The Doctor tells him he has "thrown the dice once" and "you don't get a second turn". Scaroth threatens to make history change, but Duggan steps forward and punches him — knocking the alien out cold. The Doctor tells Duggan that was "the most important punch in history". The trio watch as the unconscious Scaroth's time expires and he vanishes back to 1979. Duggan points out that the ship is about to take off. The trio rush back into the TARDIS and it dematerialises. The Jagaroth ship takes off and explodes, as it should. A mass of flame and radiation ignites the slurry soup. | The Doctor is following the time trace made by the Jagaroth to [[distant past|four hundred million years ago]]. The Doctor, getting out of the TARDIS on barren ground, tells Duggan that they are standing on what will be the middle of the [[Atlantic Ocean]]. Romana tells the Doctor that Duggan is "out of his depth". The Doctor finds the Jagaroth ship and the [[primordial soup|amniotic fluid]] from which all life on Earth will spring in the inert soup of low slurry. Amino acids form and fuse to make cells which develop into animal and vegetable life. Romana points out the Jagaroth's ship's thrust motors are damaged and they will try to take off on warp drive. The explosion which caused Scarlioni to splinter into time also caused the birth of the entire human race. Scaroth is there and calls to his brothers to stop trying to take off. The Doctor tells him he has "thrown the dice once" and "you don't get a second turn". Scaroth threatens to make history change, but Duggan steps forward and punches him — knocking the alien out cold. The Doctor tells Duggan that was "the most important punch in history". The trio watch as the unconscious Scaroth's time expires and he vanishes back to 1979. Duggan points out that the ship is about to take off. The trio rush back into the TARDIS and it dematerialises. The Jagaroth ship takes off and explodes, as it should. A mass of flame and radiation ignites the slurry soup. | ||
Scaroth reappears at the château within the time field. Hermann sees this and before the monster can convince him that he is the Count, shouting "No, Hermann. It's me...!", the butler picks up a pot and throws it at the equipment, triggering an explosion that kills Scaroth and sets the château ablaze. | Scaroth reappears at the château within the time field. Hermann sees this and before the monster can convince him that he is the Count, shouting "No, Hermann. It's me...!", the butler picks up a pot and throws it at the equipment, triggering an explosion that kills Scaroth and sets the château ablaze. | ||
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* [[Writer]] - [[David Agnew (writer)|David Agnew]] | * [[Writer]] - [[David Agnew (writer)|David Agnew]] | ||
* [[Script Editor]] - [[Douglas Adams]] | * [[Script Editor]] - [[Douglas Adams]] | ||
* [[Director]] - [[Michael Hayes]] | * [[Director (crew)|Director]] - [[Michael Hayes]] | ||
* [[Producer]] - [[Graham Williams]] | * [[Producer]] - [[Graham Williams]] | ||
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* [[Costume dresser|Dresser]] - [[Michael Powell]] ([[INFO]]: ''City of Death'') | * [[Costume dresser|Dresser]] - [[Michael Powell]] ([[INFO]]: ''City of Death'') | ||
== | == Worldbuilding == | ||
=== Artists === | === Artists === | ||
* In [[1505]], in [[Florence]], [[Leonardo da Vinci]] painted at least seven identical paintings of the ''[[Mona Lisa]]''. | * In [[1505]], in [[Florence]], [[Leonardo da Vinci]] painted at least seven identical paintings of the ''[[Mona Lisa]]''. | ||
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* [[Tom Baker]] found filming in Paris to be a very different experience to what he was used to in the UK where crowds would gather to watch the filming and meet the stars. ''Doctor Who'' was not shown in France at the time and so the cast and crew were largely ignored. | * [[Tom Baker]] found filming in Paris to be a very different experience to what he was used to in the UK where crowds would gather to watch the filming and meet the stars. ''Doctor Who'' was not shown in France at the time and so the cast and crew were largely ignored. | ||
* [[Lalla Ward]] found this to be the most challenging serial she worked on but was pleased with the final outcome, saying, "We had to film loads of scenes in the rain and cold... there was no glamour in it at all... it was different from the ordinary stories too and I like the finished result". | * [[Lalla Ward]] found this to be the most challenging serial she worked on but was pleased with the final outcome, saying, "We had to film loads of scenes in the rain and cold... there was no glamour in it at all... it was different from the ordinary stories too and I like the finished result". | ||
* [[Lalla Ward]] clashed with costume designer [[Doreen James]] over Romana's outfit. Tensions were escalated when Ward blamed James for the disappearance of a pair of red shoes she was supposed to wear. This would ultimately be the last story that James worked on, as she quit during production. [[Jan Wright]] took over her duties for the reamainder of production. | * [[Lalla Ward]] clashed with costume designer [[Doreen James]] over Romana's outfit. Tensions were escalated when Ward blamed James for the disappearance of a pair of red shoes she was supposed to wear. This would ultimately be the last story that James worked on, as she quit during production. [[Jan Wright]] took over her duties for the reamainder of production. | ||
* At one point, the story was set in [[Las Vegas]]. | * At one point, the story was set in [[Las Vegas]]. | ||
* Filming in Paris proved difficult, as the dates coincided with the [[May Day]] holiday period, which meant that many of the locations chosen for filming were closed, necessitating considerable improvisation on the part of the cast and crew. The production team arrived to find the Denise René Gallery shut tight. [[Michael Hayes]] elected to proceed regardless: rather than have [[Tom Baker]] enter the gallery as originally planned, Hayes would simply show the Doctor walking up to the front doors and then cut to the interior, which would be taped in the studio. Unfortunately, during one take Baker actually pushed on the doors forcefully enough to set off the burglar alarm. Cast and crew scarpered, leaving [[John Nathan-Turner]] to explain what had happened to the police. | * Filming in Paris proved difficult, as the dates coincided with the [[May Day]] holiday period, which meant that many of the locations chosen for filming were closed, necessitating considerable improvisation on the part of the cast and crew. The production team arrived to find the Denise René Gallery shut tight. [[Michael Hayes]] elected to proceed regardless: rather than have [[Tom Baker]] enter the gallery as originally planned, Hayes would simply show the Doctor walking up to the front doors and then cut to the interior, which would be taped in the studio. Unfortunately, during one take Baker actually pushed on the doors forcefully enough to set off the burglar alarm. Cast and crew scarpered, leaving [[John Nathan-Turner]] to explain what had happened to the police. | ||
* [[Julian Glover]] was initially unimpressed with the script, but he was impressed by how [[Tom Baker]] made it come alive. He was disappointed that he didn't go to Paris. | * [[Julian Glover]] was initially unimpressed with the script, but he was impressed by how [[Tom Baker]] made it come alive. He was disappointed that he didn't go to Paris. | ||
* [[Douglas Adams]] recounted how he was left behind when the rest of the crew had left for Paris and [[Ken Grieve]], who was to direct ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]', ''came to the production office to see [[Graham Williams]]. Adams, who described Grieve as a "proto hippie and one of the biggest piss-heads [he'd] met", somehow was persuaded by Grieve to fly to Paris immediately. They met with the production team at the hotel and weren't made very welcome, as they wanted to party and the team didn't. The two proceeded to go on a pub crawl, moving on only when the bar they were in closed. When no more bars appeared to be open, Grieve said he knew a bar that was open, but it was in West [[Berlin]]. Only the fact that there were no immediate flights to Berlin stopped them. They flew back to [[London]] the next morning somewhat worse for wear, Grieve with stitches over his eye. Grieve went off to a research screening of ''[[Genesis of the Daleks (TV story)|Genesis of the Daleks]] ''and Adams went back to the office, simply so he'd be around when someone asked him if he'd had a good evening. | * [[Douglas Adams]] recounted how he was left behind when the rest of the crew had left for Paris and [[Ken Grieve]], who was to direct ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]', ''came to the production office to see [[Graham Williams]]. Adams, who described Grieve as a "proto hippie and one of the biggest piss-heads [he'd] met", somehow was persuaded by Grieve to fly to Paris immediately. They met with the production team at the hotel and weren't made very welcome, as they wanted to party and the team didn't. The two proceeded to go on a pub crawl, moving on only when the bar they were in closed. When no more bars appeared to be open, Grieve said he knew a bar that was open, but it was in West [[Berlin]]. Only the fact that there were no immediate flights to Berlin stopped them. They flew back to [[London]] the next morning somewhat worse for wear, Grieve with stitches over his eye. Grieve went off to a research screening of ''[[Genesis of the Daleks (TV story)|Genesis of the Daleks]] ''and Adams went back to the office, simply so he'd be around when someone asked him if he'd had a good evening. | ||
* [[Douglas Adams]] wanted the scene with the TARDIS in the art gallery scene shot differently and was disappointed that it missed the point of the joke that the Doctor parks a blue box somewhere and nobody cares, so an art gallery would be a perfect place. | * [[Douglas Adams]] wanted the scene with the TARDIS in the art gallery scene shot differently and was disappointed that it missed the point of the joke that the Doctor parks a blue box somewhere and nobody cares, so an art gallery would be a perfect place. | ||
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* [[Graeme MacDonald]] wrote to [[Graham Williams]] to question why the adventure was set in Paris at all, suggesting that the production would be much more straightforward if the action simply took place in [[Great Britain]]. Williams responded by pointing out that Scaroth's plan hinged on the proximity of the Mona Lisa and that no appropriate domestic substitute could be identified. | * [[Graeme MacDonald]] wrote to [[Graham Williams]] to question why the adventure was set in Paris at all, suggesting that the production would be much more straightforward if the action simply took place in [[Great Britain]]. Williams responded by pointing out that Scaroth's plan hinged on the proximity of the Mona Lisa and that no appropriate domestic substitute could be identified. | ||
* [[John Cleese]] agreed to a cameo appearance partly because the recording dates would coincide with his presence at BBC Television Centre to work on the ''[https://en.wikipedia.org/wiki/Fawlty_Towers Fawlty Towers]'' finale, and partly because [[Douglas Adams]] bribed him with the offer of bringing along his young daughter, Cynthia, who was a ''Doctor Who'' fan. | * [[John Cleese]] agreed to a cameo appearance partly because the recording dates would coincide with his presence at BBC Television Centre to work on the ''[https://en.wikipedia.org/wiki/Fawlty_Towers Fawlty Towers]'' finale, and partly because [[Douglas Adams]] bribed him with the offer of bringing along his young daughter, Cynthia, who was a ''Doctor Who'' fan. | ||
* The café scenes were supposed to be filmed at the Café Coquille St Jacques, but it was closed for [[May Day]] and the proprietor refused to open it. Ultimately, the scenes were instead mounted at the Notre Dame Brasserie. Since this building would not match the sets already being constructed for the serial, [[Michael Hayes]] tried to show as little of it as possible. | * The café scenes were supposed to be filmed at the Café Coquille St Jacques, but it was closed for [[May Day]] and the proprietor refused to open it. Ultimately, the scenes were instead mounted at the Notre Dame Brasserie. Since this building would not match the sets already being constructed for the serial, [[Michael Hayes]] tried to show as little of it as possible. | ||
* Some scenes were shot near Notre Dame Cathedral, but the picture quality wound up being too poor for the footage to be used. | * Some scenes were shot near Notre Dame Cathedral, but the picture quality wound up being too poor for the footage to be used. | ||
* [[Douglas Adams]] considered [https://en.wikipedia.org/wiki/Alan_Coren Alan Coren] for one of the art critics, while [[John Cleese]] suggested either [[Alan Bennett]] or [https://en.wikipedia.org/wiki/Jonathan_Miller Jonathan Miller] before [[Eleanor Bron]] was cast. | * [[Douglas Adams]] considered [https://en.wikipedia.org/wiki/Alan_Coren Alan Coren] for one of the art critics, while [[John Cleese]] suggested either [[Alan Bennett]] or [https://en.wikipedia.org/wiki/Jonathan_Miller Jonathan Miller] before [[Eleanor Bron]] was cast. | ||
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=== Production errors === | === Production errors === | ||
{{discontinuity}} | {{discontinuity}} | ||
* In the opening scene of part one, the Jagaroth gloves are visibly too big for the actor wearing them, as the wrists are far wider than the rest of the arm. | |||
* The sketch of Romana is different when it's seen outside the café (on location) from the one seen inside (in the studio). | * The sketch of Romana is different when it's seen outside the café (on location) from the one seen inside (in the studio). | ||
* At the end of part one, when the count unmasks himself and the camera directly focuses on his face, [[Julian Glover]]'s cheek is clearly visible through the Jagaroth mask. Said mask also nearly comes off with the latex one. This latter error is also present in part four due to footage of the mask removal from part one being reused. | * At the end of part one, when the count unmasks himself and the camera directly focuses on his face, [[Julian Glover]]'s cheek is clearly visible through the Jagaroth mask. Said mask also nearly comes off with the latex one. This latter error is also present in part four due to footage of the mask removal from part one being reused. | ||
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* When Duggan apparently "fixes" the sonic screwdriver by whacking it against the door, the Doctor jokingly asks him if he'd like to stay on as his scientific advisor. ([[TV]]: ''[[Spearhead from Space (TV story)|Spearhead from Space]]'') | * When Duggan apparently "fixes" the sonic screwdriver by whacking it against the door, the Doctor jokingly asks him if he'd like to stay on as his scientific advisor. ([[TV]]: ''[[Spearhead from Space (TV story)|Spearhead from Space]]'') | ||
* Romana apparently uses her own sonic screwdriver, when she breaks into the cafe where she's meeting with Duggan, while the Doctor is in 1505 Italy. She would later tell the Doctor that she made the screwdriver herself. ([[TV]]: ''[[The Horns of Nimon (TV story)|The Horns of Nimon]]'') | * Romana apparently uses her own sonic screwdriver, when she breaks into the cafe where she's meeting with Duggan, while the Doctor is in 1505 Italy. She would later tell the Doctor that she made the screwdriver herself. ([[TV]]: ''[[The Horns of Nimon (TV story)|The Horns of Nimon]]'') | ||
* The Doctor's insistence to Scaroth that he's "thrown the dice once" and doesn't "get a second throw" suggests that the Jaggaroth is bound by the [[Blinovitch Limitation Effect]]. ([[TV]]: ''[[Day of the Daleks (TV story)|Day of the Daleks]]'') | |||
* The Doctor emphasises to Scaroth that he cannot change history because the future is already written. ([[TV]]: ''[[The Aztecs (TV story)|The Aztecs]]'', et al.) | |||
== DVD and Video releases == | == DVD and Video releases == | ||
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* Photo Gallery | * Photo Gallery | ||
* Production Subtitles | * Production Subtitles | ||
* Easter | * [[Easter Egg]]s: | ||
** Continuity announcement for part one of ''[[The Creature from the Pit (TV story)|The Creature from the Pit]]''. To access this hidden feature, select Play All from Disc One's Main | ** Continuity announcement for part one of ''[[The Creature from the Pit (TV story)|The Creature from the Pit]]''. To access this hidden feature, select Play All from Disc One's Main Menu, at which point the feature will play following the end credits of part four. | ||
** MK III Jagaroth Battlecruiser advertisement. To access this hidden feature, press left at ''Paris in the Springtime'' on Disc Two to reveal a hidden ''Doctor Who'' logo. | ** MK III Jagaroth Battlecruiser advertisement. To access this hidden feature, press left at ''Paris in the Springtime'' on Disc Two to reveal a hidden ''[[Doctor Who]]'' logo. | ||
** Excerpt from a 1985 interview with Douglas Adams. To access this hidden feature, press left at ''Prehistoric Landscapes'' on Disc Two to reveal a hidden ''Doctor Who'' logo. | ** Excerpt from a 1985 interview with Douglas Adams. To access this hidden feature, press left at ''Prehistoric Landscapes'' on Disc Two to reveal a hidden ''Doctor Who'' logo. | ||
** Good Woolf, Bad Woolf: Outtake from ''Eye On... Blatchford.'' To access this hidden feature, press left at Photo Gallery on Disc Two to reveal a hidden ''Doctor Who'' logo. | ** ''Good Woolf, Bad Woolf'': Outtake from ''Eye On... Blatchford.'' To access this hidden feature, press left at Photo Gallery on Disc Two to reveal a hidden ''Doctor Who'' logo. | ||
** BBC Christmas tape sketch: Short comic scene between [[Tom Baker]] and [[John Cleese]]. To access this hidden feature, press left at ''Doctor Who Annual'' on Disc Two to reveal a hidden ''Doctor Who'' logo. | ** BBC Christmas tape sketch: Short comic scene between [[Tom Baker]] and [[John Cleese]]. To access this hidden feature, press left at ''Doctor Who Annual'' on Disc Two to reveal a hidden ''Doctor Who'' logo. | ||
Editing for the DVD release was completed by the [[Doctor Who Restoration Team]].<gallery position="center" captionalign="center" hideaddbutton="true"> | Editing for the DVD release was completed by the [[Doctor Who Restoration Team]].<gallery position="center" captionalign="center" hideaddbutton="true"> | ||
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* {{locguide|cityofdeath|City of Death}} | * {{locguide|cityofdeath|City of Death}} | ||
== Footnotes == | == Footnotes == | ||
=== Notes === | |||
{{Notelist}} | |||
=== Citations === | |||
{{reflist}} | {{reflist}} | ||
{{DWTV}} | {{DWTV}} | ||
{{TitleSort}} | {{TitleSort}} | ||
[[de:City of Death]] | |||
[[es:City of Death]] | |||
[[ru:Город смерти]] | |||
[[Category:Doctor Who (1963) television stories]] | [[Category:Doctor Who (1963) television stories]] | ||
| Line 419: | Line 429: | ||
[[Category:Four part serials]] | [[Category:Four part serials]] | ||
[[Category:Stories set in Florence]] | [[Category:Stories set in Florence]] | ||