visual potential, but that the available studio facilities would limit it. He disliked the dialogue and found the scripts too short, working with new story editor Dennis Spooner on amendments. Martin overspent the serial's budget to achieve the desired visuals, which led to conflict with the cost-conscious Lambert. To account for the high cost of the props and costumes, Martin forwent a traditional, original score, instead using recordings of musique concrète performances arranged by Jacques Lasry and François Baschet for Les Structures Sonores; Martin found the sounds extraterrestrial, as they were created using glass rods and steel. Lambert edited the final episode as Martin had departed for a holiday shortly after its recording; she edited out a shot of the Carsenome web dissolving, explaining in a memo to Martin that "I thought nobody would know what on earth was happening". The scripts were due on 13 November; Strutton wrote them while in the process of relocating homes. Strutton's wife Marguerite created the name of the Zarbi. Other names originated from an encyclopedia: the Greek word Lepidoptera inspired Menoptera (later Menoptra) and Optera; and Carcinoma inspired Carsinome (later Carsenome). Spooner made edits to the script towards the end of 1964; he found the narrative to be multilayered, with the Menoptra representing free enterprise and the Zarbi communism. Spooner also made edits to tie the serial into the preceding one, The Romans; the golden bracelet used to make Barbara fall under the influence of the Animus was a gift from Emperor Nero in The Romans. Two of the Menoptra were renamed: Roster became Hrostar, and Papillus became Prapillus. The show's main designers, Raymond Cusick and Barry Newbery, asked for a third designer to be allocated to the production block, leading to the appointment of set and effects designer John Wood; Wood welcomed working on the show as it allowed more freedom than other programmes. He used Strutton's descriptions to create sketches for the eight-foot Zarbi; he wanted them to be believable while disguising the human element. They were also based on suits of armour for balancing. Lambert was enthusiastic about the design, though other members of the team were hesitant regarding its practicality. Four costumes were constructed by Shawcraft Models; light Styrofoam was originally suggested for construction, but fibreglass was used instead. The outfits were modelled on Robert Jewell, and they took around 30 minutes to don. For a shot of the