LAST EDITED ON May-16-10 AT 08:04 AM (EDT)
 This move was inspired by something Deunan does in the action sequence at the beginning of Appleseed: Ex Machina.
 The borough of Beiwiru is so named as a sort of backhanded reference to X-Men Evolution, in which the town where the X-Men go to Regular School (as opposed to School for the Gifted) is called Bayville.
 Prompted by a Studio discussion of this recurring situation in the Tenth Doctor's tenure, which never, ever works out that the aliens in question give up and let the Doctor help. We thought, what if one did? Would he be mentally prepared for diplomacy to work?
 Coincidentally, .... is Morse for H (H for home?), but presumably the Time Lords are not deliberately signaling in a 19th-century Earth telegraphy code.
 As alluded to in The Way to Go Home, our version of Rose has been with the Doctor for several (subjective) years and had many adventures on her own by this point, so she knows the drill very well. (It's also worth noting that the Doctor's TARDIS has the 1996 TV-movie's Console Room, which it's kind of an odd mental exercise to picture the Tenth and Rose in. Something a little strange about the two of them standing around a console that's actually put together properly. :)
 The comedy value of the well-placed "elevator arriving" bell is amply demonstrated in film and television. A good example can be found at the end of the lobby shootout scene in The Matrix.
 I've hunted and hunted for a good place to work an explanation of Don's Time Lord name into the text, preferably by having him explain it to someone in dialogue, but it's never worked out elegantly enough to suit me. In this piece, for instance, he's always too busy. I'll get back to this later; for now, it's worth pointing out that, like most Time Lords, he selected it himself when he was fully initiated into the mysteries of Gallifrey. ("I've got a second-hand apron. I nearly got in at Hendon... ")
 Big fan of the Union Flag shirt, me. Can't help it. And yes, that is the Ninth Doctor's jacket. How it even comes close to fitting Rose is a mystery best left unexplored. :)
 The staser, preferred energy weapon of the Gallifreyan security services, can purportedly kill a Time Lord so thoroughly that no regeneration is possible. Weirdly, it also has a stun setting. It's like a sort of zillionth-century super-phaser.
 Captain Jack Harkness (having been a rogue Time Agent in the 51st century) also has one of these, and no, he's not the rogue Time Agent she's talking about. In addition to being a handy teleporter, it permits time travel without a ship, kind of like the Omni from Voyagers! (there, I've just dated myself), but that's very unpleasant.
 I knew going into this that I wanted to have a sequence in which the Time Lords get locked up and, rather than coming up with a clever escape, just kick back and wait for their trusty companions to come and rescue them, demonstrating both the competence of Kitty and Rose and Don and the Doctor's complete confidence in them. Hell, Kitty and Don were getting out of scrapes like this long before he was ever a Time Lord.
 I so wanted to make this line a "Radar Love" reference ("we've got a wave in the air", perhaps), but it always felt too obvious.
 Technically, unstable molecules for superhero costumes was Reed Richards's invention; Don's contribution was the "programmable" bit.
 Rose actually was a professor in the parallel universe she came back from in The Way to Go Home, so this isn't just a reference to her role on Professor Enigma.
 I made up the designs seen here for the Panopticon and the Eye of Harmony, since their original, canonical presentations were kind of underwhelming in scope, devised as they were in Doctor Who's "£20 and a soundstage" era. The Eye, in particular, I thought deserved to be much more impressive than either the giant screwdriver handle it was in The Deadly Assassin or the glorified manhole it appeared as in Doctor Who: The Movie.
 I think sometimes Rose sings the "self-defense, sweet self-defense" song from Gunsmith Cats when the antagonists give her an excuse.
 Contractually obligatory Dark Knight Returns reference.
 Rather pleased with this gag, as it's both a Right Stuff reference and a riff on one of my favorite lines in The Runaway Bride (the Doctor Who episode, not the Julia Roberts movie).
 Genesis of the Daleks, 1975.
 The Parting of the Ways, 2005.
 This is a good example of one of those things that just click together like a couple of magnets in the course of story development.
 Hoist by your own Professor X-inspired petard, Dr. Griffin!
 Working on this scene, it occurred to me that this would be far from the first time Kitty and Don have done something like this. They're professionals. And Don would surely have fitted out his armor to make it easier by now.
 I always thought that was a little weird; now we get at least a broad hint that there was an actual reason for it.
 Here's me playing with the tropes again; I wanted to give Don an entrance into the climactic scene that was dramatic, but not necessarily commanding. :)
 I'd had this line in mind since I first started on part 1.
 The Supreme, perhaps, has a touch of the ol' cosmic awareness. (There's actually a very good reason for that, and for why the UF universe, in particular, needs the Daleks, but we won't get into that here.)
 One of the problems with constructing a story in which a lot of the action happens on levels beyond normal human understanding is the fact that both writer and reader are obviously constrained to that level - or, as Devlin notes in Get Carter, the problem with telepathic combat is that it looks shit on film. Add to that the limitations the text medium imposes on imagery and you had me struggling harder with the preceding few paragraphs than the rest of the story put together. After establishing Rachel's cosmic credentials, as it were, I wanted to ground the pivotal bit back on a level that the reader could perceive directly, as it were, and that's when the notion for this little dream(?) sequence popped into my head.
 When I first conceived of this scene I'd just jotted in the things-I-haven't-gotten-to-yet notes that A Shadowy Figure emerges from the mists of probability to tell Rachel that she is, in fact, Screwing Up. Slarti suggested that this figure be Edison Bell, but I eventually decided that the Eleventh Doctor and the Master would be better reference points to the Time War and its consequences - but I liked the idea that Edison was involved somehow, hence the Doctor's mentions of him as having told them that Rachel would be visiting them (it's possible that he told them how to arrange for it to happen).
 And I couldn't resist teasing the Fandom a little. And making a Blues Brothers reference.
 Here we see that Don's transfictional genetic roots have bred true; you're not one of me unless you can make an aptly modified Ghostbusters reference in any situation.
 And now we come back to Don's Time Lord name again. Trokhai, which Tobernel was in the habit of calling him, is indeed an insult. It doesn't translate exactly, but it basically means "outsider", with various negative connotations piled on top - implying that one is a stranger with an untrustworthy purpose, an intruder, maybe even unclean in some way. Tobernel and some of the other what-is-this-ape-doing-here types called him that when the Doctor first enrolled him at Prydon; he took it as part of his Time Lord name to throw it in their faces, more or less. Martol, which close friends like Romana call him, is considerably more positive; it basically means "finder of ways", a reference to both his widely recognized skill at the controls of a TARDIS (which is why Rose's crack about his driving earlier wounded his pride) and his talent for improvisation. If he were to adopt a more declarative style, like the Doctor and the Master, it'd probably be something like "the Navigator".
 Actually the very first word the Doctor ever said to Rose; it's sort of their "No, Cleveland." :)
 The tactical regeneration! A concept that's been kicking around in the back of my head since they revamped the effects to make it all explosive and dramatic.
 Yup, it's the Series 1-4 Console Room. (The one in Rachel's vision was the Series 5 one, not that she ever got a very good look at it.)
 I can't help it, I'm just a sucker for the "Heavy Industries" construction.
 Said in that "Han Solo realizes that Princess Leia has a gun" sort of way.
 This is actually how Zoner ended up with a second BS in History - by taking so many history classes as electives while working on his Tech Writing degree that he inadvertently fulfilled the degree requirements.
A full list of Rose's qualifications, most of them earned in the parallel world, will be available whenever I finish her BPGD file.
 A convent, not a band. Kyra's not a nun, she lives at the convent because she's a) an orphan and b) Catholic.
 Might be my favorite exchange in this whole piece.
 I adore the John Simm Master. He's just so... wacky. And they played around a couple of times, on the show, with the idea that (unlike, say, the Anthony Ainley model) he might just be reachable, except that the drums always get in the way. So what if they were gone... ?
 The basic idea here was that the Doctor and the Master sort of parallel Don and Doctor Doom - the former archfoes bonded together by shared adventures, the intervention of a woman, and the removal of the villain's main motive for evil/insanity (Doom's mother's rescue from Hell, the drums in the Master's head). And, like Doom, the "reformed" Master is still not necessarily a very nice man - he is perfectly serious when he offers to drive whole worlds to their knees if Rachel would like - but he's at least a guidable missile now. :)
 Don probably doesn't really think that would be so bad, but he doesn't want a slap up the back of his head from Kitty, so he's not going to say it out loud.
 Speaking as the fat kid myself, I never thought it was fair that the fat kid in X-Men was automatically a villain. So the UF version isn't. He was probably on his way there before he ended up in Don's class, but hey. Man's got to have a calling.