8-12. Second Chances.

2 episodes. Running Time: Approx. 68 minutes. Written by: John Dorney. Directed by: Lisa Bowerman. Produced by: David Richardson. Performed by: Wendy Padbury, Emily Pithon.


THE PLOT:

Zoe remains a prisoner of The Company, though her execution has been stayed after she provided some genuinely useful information. Her advocate, Jen, has brought in a specialist to try to recover more of her lost memories, and it's someone Zoe has met before. Under a different name, Kym (Emily Pithon) had attempted to trick Zoe into revealing the secret of the Achromatics. Her career was destroyed by Zoe's refusal, and she is deeply bitter.

With Kym's less-than-gentle prodding, Zoe is able to remember another incident. The TARDIS materialized on a space station, Artemis, where the Doctor, Zoe, and Jamie are mistaken for experts sent by The Company to advise on a situation. Their sister station, Apollo, broke up shortly after sending a coded message. Zoe sets to work decoding the message, only to discover a virus. By decoding it, Zoe has set it free to destroy Artemis!

In the present, Kym reveals that Earth has only just lost contact with space station Apollo. This means that there is still time for her and Zoe to travel to Artemis, to save the people on the station from a cold death in outer space. It's a chance for Zoe to correct her old mistake - and a chance for Kym to regain her lost position and set her own life back on track.


CHARACTERS:

The Doctor: There's an amusing moment in which he loses track of the TARDIS key because of how much junk he keeps in his pockets. When he finds it, he holds it up in triumph - only for his enthusiastic gesture to send the key flying through the air to land at the feet of the station security guards. When he briefly comes into contact with the older Zoe, whose face is hidden behind a mask, he seems to sense something, though there's no direct sign that he recognizes her.

Zoe: She is horrified when she realizes the nature of the virus, which is designed to modify itself to affect humans as well as code. Though there was nothing her younger self could have done differently, she still carries the guilt of the deaths that followed the virus's release, which makes Kym's offer to try to change the outcome irresistible. John Dorney's script makes the best use of Zoe's perfect memory that I've encountered in any story, with her total recall a key to the resolution - a particularly good thing in an arc whose released have been constantly punctuated by the older Zoe stating, "I remember everything."

Jamie: There's a nice in-joke, as Jamie complains about them landing in space stations when he'd really like them to materialize in a castle in Scotland, with the ensuing banter referencing the planned but unmade story, The Laird of McCrimmon. He also risks his life to rescue the younger Zoe, though this occurs offscreen as she's unconscious at the time.

Kym: The final story in this arc brings back the guest character from Echoes of Grey. There are even a few moments in which the narration switches from Zoe's recollections to Kym's, allowing quick glimpses into what motivates her and why she is so angry. She is impatient with Zoe, rushing her through key parts of the narrative, a clever justification for Dorney's script to create gaps that get filled when the Kym and the older Zoe arrive in person in Episode Two. Emily Pithon is given more emotional material here than in Echoes of Grey, and she rises to it with a strong performance.


THOUGHTS:

Second Chances is not only the final entry in the Zoe/memories arc; it was also the final release of the Companion Chronicles as a monthly range. It's an excellent curtain call for both, a cleverly plotted story that also delivers surprising emotional impact.

The first episode essentially presents an "average Troughton" episode, as Kym is able to make Zoe remember the adventure on the space station. This is an entertaining mini-adventure would make for an effective Short Trip in its own right, - but it's only at the end, when things go disastrously wrong, that it starts to seem like more than a just a standard Second Doctor adventure.

The second episode is where the story truly delivers, as we see the same events again from the viewpoint of the older Zoe. The story fills gaps that initially seemed to be throwaway jokes: Kym urging Zoe to skip past a capture/escape bit; Zoe being knocked unconscious. The flip side of the first episode's events reveals new information, and the overall context is changed and the stakes raised even further than they were already. A climax that seemed abrupt in the first episode becomes a genuinely exciting sequence, the change in perspective allowing for more development in Part Two.

The story does an excellent job of paying off the full arc. Previous stories have established The Company as ruthless and oppressive, more than enough reason to fear them obtaining this virus. This allows the older Zoe to finally do more than just remember - She acts, closing out the "frame" on a strong ending note.


OVERALL:

I thoroughly enjoyed Second Chances. It is easily the best of the Zoe/memories arc, satisfying both as a finale and as a solid tale in its own right. All told, this was probably as good an ending as could have been hoped for The Companion Chronicles as a monthly range.


Overall Rating: 10/10.

Set during: Season 6

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6-2. The Rocket Men.

2 episodes: The Rocket Men, The Fall. Running Time: Approx. 67 minutes. Written by: John Dorney. Directed by: Lisa Bowerman. Produced by: David Richardson.


THE PLOT:

Jobis is a gas giant with gorgeous, multi-colored skies that are home to flying manta rays and crystalline insects that resemble tiny diamonds. It is the site of several airborne platforms, most of which are vacation spots - including Platform Five, where the Doctor and his companions have found themselves. The Doctor accepts an invitation to a platform dedicated to scientific research of the planet. Meanwhile, Ian, Barbara, and Vicki stay at the hotel to enjoy a much-needed rest.

Then the planet is invaded by the Rocket Men, jetpack-wearing pirates under the command of the sadistic Ashman (Gus Brown). Ashman declares that the planet belongs to him, and he has set up a jammer to block communications with the authorities. This gives him plenty of time to plunder everything valuable on Jobis, most specifically the crystalline insects.

Though Ashman easily takes control of Platform Five, his rocket men cannot seize the research station. The Doctor was able to erect a force field during the invasion, sealing the pirates out, and even now is working to break through the communications jammer to summon help. Leaving Ashman desperate to gain some leverage over his enemy - leverage like the lives of his companions!


CHARACTERS:

The Doctor: William Russell does his usual fine job of suggesting elements of William Hartnell's performance, and John Dorney's script captures the First Doctor rather well. He's crotchety when Ian calls him on his lack of control of the TARDIS, but becomes ebullient when he gets to shows off his knowledge of Jobis. On arrival at the hotel, he blusters his way into not only getting the group free rooms, but even an upgrade for the "inconvenience" of the hotel losing their reservations! He spends most of the second half offstage, but he remains active in the story, marshalling the resources of the science station to thwart the rocket men's invasion.

Ian: The Rocket Men is a dream story for Ian/Barbara shippers. It opens with the line, "When do you know?" This becomes a refrain throughout the rest of the story, as the danger Barbara is put in forces Ian to confront his feelings for her. Though he acknowledges his emotions to himself by the end, he still seems content to leave them unspoken. It falls to the Doctor to warn him not to stay silent for too long.

Barbara: She defuses a potential argument between Ian and the Doctor after they land, pointing out to Ian that if the Doctor becomes annoyed that he'll likely just whisk them away from a place they'd probably prefer to stay a while. She comes down with a case of Plot Illness that keeps her from joining Ian and Vicki on the tour where they first encounter the pirates. Even in a weakened state, her protective instincts remain sharp. When Vicki is identified as one of the Doctor's companions, she steps forward to shield her, keeping the villains from focusing on the young girl.

Vicki: When Ashman holds a gun to a young woman's head, threatening to kill her on the count of three if no one admits to knowing the Doctor, Vicki steps forward. Ian or Barbara probably would have done the same. But they both hesitate, weighing the risks, the potential consequences, and the opportunities they may lose as a result. Vicki doesn't think about any of that, leaping to her feet by the time Ashman has finished enunciating, "One." She also shows her resourcefulness, as she works with Ian to gain a small advantage over their captors and fills Barbara in when she can do so without being noticed.


THOUGHTS:

The Rocket Men employs a non-linear structure. It opens in the middle, as Ian witnesses Barbara being put in jeopardy. Then it cuts back to the characters' arrival at Platform Five, with the rest of the story hopping back and forth between past and present.

This type of structure runs the risk of being annoying or confusing, particularly in an audio drama, where no visual cues are present. Fortunately, writer John Dorney and director Lisa Bowerman make sure the transitions between strands are clear and artful, guiding the listener through these flashbacks and flashforwards to good effect. Dorney's script makes particular use of repeated phrases and descriptions, with a calm description in the past mirrored by a more active but similar counterpart in the present.

This works to The Rocket Men's advantage in two main ways. First, and most obviously, it allows the story to open on a strong hook. If the structure was purely chronological, some listeners might grow impatient with the leisurely scenes of stage-setting as the time travelers check into the resort and relax with each other. Instead, the attention is grabbed as the characters are immediately in danger. If anything, cutting back to scenes establishing the Platform increases the tension, as listeners are forced to wait to see how specific events are resolved.

This also allows for a rather nifty reveal in Episode Two, as certain actions in the "past" thread begin to directly impact the situation in the "present" one. It's a reveal that could only work on audio, as any visual would spoil it instantly. When it comes, it's an effective moment that causes the listener to recontextualize a lot of the story up to this point.

Less successful is the script's attempt to extend the structure to the end. After the past and present threads converge, the story flashes forward for bits of epilogue that are then intercut with the climax. This mainly just distracts from the action at the end, disrupting the pacing for no good reason. In my opinion, it would have been better had the climax played out uninterrupted, with the tag providing additional context after the fact.

I'm a little surprised that this story ended up having multiple sequels. It's a good story, don't get me wrong - But the rocket men themselves represent the least interesting element. The structure keeps the pace moving, and the emotional thread of Ian realizing the depth of his feelings for Barbara gives some resonance. But the title baddies are merely space pirates with jet packs, while Ashman is just your bog-standard "sadistic baddie."

Even if I wasn't awed by the villains, though, the story remains entertaining. The character material and structure are more interesting than the actual conflict, but The Rocket Men kept me engaged throughout. Mix in a typically excellent performance by William Russell and good supporting work by Gus Brown (Ashman), and this makes for a fine 67 minutes' entertainment.

Overall Rating: 7/10.

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5-2. Echoes of Grey.

2 episodes. Running Time: Approx. 77 minutes. Written by: John Dorney. Directed by: Lisa Bowerman. Produced by: David Richardson. Performed by: Wendy Padbury, Emily Pithon.


THE PLOT:

Decades after her time on the Wheel, Zoe Heriot is startled when she meets Ali (Emily Pithon), a young woman who remembers her from The Whitaker Institute, where she was among those saved by Zoe, Jamie, and the Doctor. This reinforces Zoe's own doubts about her memory. Ali suggests using a Delta Wave device to try to restore those lost memories, using her own recollections of the incident as a starting point.

This works, with Zoe soon recalling arriving in the TARDIS. Something is amiss. Hospital beds are identified with patient names, but there are no patients. The Doctor impersonates an official from the company backing the Institute, and the chief researcher, Dr. Cadden, grants them access - but carefully directed access, which leaves the Doctor fuming.

There's a lab that's kept off limits, supposedly due to contagion, and they hear whispers about "The Achromatics." A secret is being kept - and the consequences could be deadly!


CHARACTERS:

The Doctor: Impersonates a company official, freeing a captured Zoe and gaining access in a single move. After one person is killed, he tests Dr. Cadden by asking about the victim. When Cadden responds that he doesn't know where the man is, the Doctor knows that he's innocent; a guilty man would have had a story ready. Wendy Padbury does a much better job of capturing the Doctor here than in Fear of the Daleks, adopting a low, gravely tone that's a nice fit for the Second Doctor.

Zoe: She is mostly the standard Companion in the main story. She's in-character and active enough, but somewhat oddly for a Companion Chronicle, she doesn't particularly drive the plot. More interesting is the frame, which sees a middle-aged Zoe grappling with the hole in her memory. She tells Ali that she remembers wanting to travel with the Doctor, and then she simply... didn't. This mismatch makes her feel that she simultaneously remembers everything and nothing, and it leaves her primed to respond well to Ali's offer.

Jamie: Again oddly for a Zoe Companion Chronicle, Jamie has a stronger role in the main story than she does. He bickers with Zoe, who is irritated at him for a cut she sustained while trying to prepare haggis, grumbling that he can't help it if she can't follow basic cooking instructions. When he, the Doctor, and Zoe are threatened by the Achromatics, Jamie acts swiftly to throw the situation into chaos, allowing them to escape, and he pushes Zoe to climb to an at least temporary safety during the ensuing chase.

Ali: She bonds with Zoe over the difficulties of being a child prodigy. When she talks about being separated from her family and sent to work among adults who saw her as little more than a tool for calculations, Zoe admits that her story is almost identical. She pushes Zoe to remember, filling in the parts of the narrative that Zoe wasn't able to directly observe so that the story is complete.


THOUGHTS:

"I remember everything, and I remember nothing."
-Zoe Heriot grapples with lost memories.

There's a sharp divide in Echoes of Grey between the genuinely intriguing frame story and an entertaining but entirely standard main narrative.

The frame shows how the hole in her memory has affected Zoe's life and indicates that recovering her memories will make her feel whole again. It even folds in the bookends from Fear of the Daleks, with Zoe dreaming about traveling with the Doctor even though she knows she never did. It doesn't make Fear a better story, but it least it makes it less pointless. All of these scenes are quite good.

The story surrounded by that frame is a bit basic, a formulaic mystery/suspense story. There's nothing wrong with it. It moves along at a decent pace and everything is perfectly well-structured. The only problem is that it offers few surprises, with its major twist so clearly telegraphed early on that I doubt many listeners were at all surprised by it.

I still found it entertaining. John Dorney's script does a fine job of capturing the three regulars, and he's particularly good with the Jamie/Zoe dynamic. At one point, Jamie and Zoe hide in a closet to evade detection. Zoe shifts to peek through the gap in the door, digging into Jamie in a bit that would made for some amusing on-camera business; then the tone shifts toward horror as Zoe witnesses one of the Achromatics, leading to an effective cliffhanger.

Other than predictability, my main issue with this story is that Zoe doesn't actually do much. The frame presents an interesting dilemma, presenting an opportunity for her to recover her lost memories. But in the main plot, she gets the least to do of the three regulars. The Doctor puts the pieces together and resolves the incident; Jamie acts quickly to protect his friends; and Zoe... is there too. She's well-written and in-character. It just never feels like it's properly her story.


OVERALL:

If Echoes of Grey had been a television episode, its main plot would amount to midseason filler - but it would at least be pretty good midseason filler. It's far from indispensable, but it keeps me engaged throughout.

I wish I felt that the story was more centered around Zoe, rather than simply being a story that Zoe observes. Still, in the end I enjoyed Echoes of Grey, and I thought the frame was legitimately interesting. That's enough to boost my score by one point to...


Overall Rating: 7/10.

Set during: Season 6

Next Story: The Memory Cheats

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