Moroks find the TARDIS and start tracking down the occupants who have become separated. The Doctor is the first to be found, but evades their interrogation tactics. Meanwhile, Vicki has made contact with the Xerons and, hearing of their enslavement, aids them in their plans to stage a revolution. They attack the Morok armoury and Vicki outwits its controlling computer. With their new weapons, the Xerons are able to begin a revolution, which slowly takes hold. Ian has meanwhile freed the Doctor from Lobos, who had begun the process of freezing him and turning him into an exhibit. Ian and the Doctor are quickly recaptured by the Morok guards, and Barbara and Vicki are captured shortly thereafter. Help comes from the Xeron revolutionaries, who kill Lobos and the other Morok captors. The Xerons destroy the Museum. The Doctor, Ian, Barbara, and Vicki take a time/space visualiser as a souvenir and leave in the TARDIS. On the planet Skaro, their departure is noted by the Daleks. Production Conception and writing Around early October 1964, outgoing story editor David Whitaker asked South African writer Glyn Jones to develop a story for Doctor Who; Whitaker had seen Jones's play Early One Morning (1963) and later encountered him at a dinner party. Jones had never seen Doctor Who, nor was he particularly familiar with science fiction. After Whitaker left the series and was replaced by Dennis Spooner, Jones was asked to develop a four-part serial of his story. By late 1964, the serial was titled The Space Museum; the first episode was originally named "The Four Dimensions of Time", and by early 1965, the fourth episode was called "Zone Seven". Spooner edited out much of the humour from the original script, which Jones was unhappy with; Spooner felt that the serial was more intellectual. Mervyn Pinfield was assigned to direct the serial in January 1965. The production crew hoped that The Space Museum could be made cheaply to offset more expensive serials like The Web Planet (1965), doing so with a small cast and few sets, and using Pinfield's technical experience to achieve visual effects without need for excessive filming. To save on cost, Pinfield used stock music recordings for the incidental score, including pieces from Trevor Duncan, Erik Nordgren, and Eric Siday. The sound effects provided by the BBC Radiophonic Workshop originated from previous recordings. The Dalek prop used in the first two