The response to the opening paragraphs of Monsters and Angels was overwhelmingly in agreement about one thing. They were the scariest lines in any Doctor Who story, simply because that scenario of a little girl riding her bicycle and being pursued by a stranger in a van, could happen anywhere and at any time. The realism frightened people. Some people said it was a sort of realism you wouldn’t GET in a Doctor Who episode. And that is probably true. The episode Fear Her, which dealt with missing children, didn’t dwell too much on the real gut-twisting fear that comes with child abduction. The closest, really, was Jackie’s reaction to Rose reappearing after being missing for a year in Aliens of London.

But that isn’t to say that it can’t be done as a Doctor Who story. And it WAS universally agreed that Vicki’s cry ‘Daddy help’, given who her daddy is, was the best thing a child could say at such a time, and that the appearance of that familiar blue box, the safe place in the universe, was a sweet relief from the sinister, horrible goings on.

The fact that life in the 23rd century has a huge disruption across it forty or more years before when the Dalek invasion took place has come up before in the stories, but in less devastating ways such as the fact that the jelly baby factory was blown up by the Daleks and so they have to be bought in the 21st century. This time I wanted to really get across just how much social disruption it caused with the fact that police records don’t go back beyond the invasion. The whole social infrastructure was lost and people had to begin again. This, I think, is perfectly feasible. The same problem faced a lot of Europe after World War II. There is a myth that Irish birth, death and marriage records can’t be traced back further than 1920 when the Custom House was burnt in the Civil War. That isn’t true, as local parishes have copies of everything that was lost. But it IS a bit harder to do genealogy in Ireland. Nevertheless, wars DO cut across society like chasms, and the Dalek invasion was one such chasm.

The scene where the Doctor goes into the 1974 police station has been compared to the TV series, Life on Mars, in which a modern policeman found himself time warped to that year and found the job very different. I picked that year because it was the earliest date that type of Ford Transit was around. Before then there was a markedly different style of van. But it is certainly true that The Doctor would have had a harder time getting into the custody suite in later years and would not have been left alone with the prisoner. At least not unless some rules brought in to ensure the safety of prisoners were being seriously compromised. It WAS, in that sense, a similar exploration of the way police work has changed to Life on Mars.

This story had some very dark moments. The Doctor faced things he wouldn’t want his children to know about, that he would be ASHAMED for his children to know about. But he also kept his integrity. He didn’t kill the child abducting alien. He, instead, put him into a mental hospital where he would live out his life in misery. A similar idea, in fact, was shown in The Family of Blood, in 2007, when The Doctor found different ways of making the ‘Family’ live forever but in ways that were worse than death.

The scene in the TARDIS when The Doctor had all the kidnapped girls together and was taking them home did bother me a little. These were girls who had been hurt and scared by a man, and now had to put their trust into another man. But as Tom Baker once said, Jesus, Father Christmas and The Doctor are the exceptions to the rule ‘don’t talk to strangers’ and The Doctor in this case was the one they could trust. I don’t think some of the girls hugging him and even kissing his cheek in thanks for the ride home was too over the top.

I did have the idea that the girl kidnapped from ten years before his own present date might have turned up as a young adult, and come to work at Mount Lœng House. But I decided that didn’t really fit, and I didn’t REALLY need any more members of the domestic household being brought in as characters in their own right. The butler, Grahams, and his wife are occasional characters, but the maids tend to be nameless and generic.

 http://en.wikipedia.org/wiki/Ford_Transit