With the Daleks closing in on his heels on a World War I battlefield, the Doctor leads Molly back to the TARDIS, but rather than gaping at the console room and stating the obvious, Molly surprises the Doctor by simply saying that she’s been here before. Through various eras of Earth history, the Doctor tries to evade the Daleks, and yet every time they lie in wait for him. Even when the Doctor decides to open Molly’s eyes to the universe by taking her to the planet Halalka, they are not safe – the Daleks are never more than a few steps behind them. And then Molly further surprises the Doctor by flying the TARDIS out of harm’s way…
written by Nicholas Briggs
directed by Nicholas Briggs
music by Andy HardwickCast: Paul McGann (The Doctor), Ruth Bradley (Molly O’Sullivan), Peter Egan (Straxus), Toby Jones (Kotris), Natalie Burt (Dr. Sally Armstrong), Nicholas Briggs (The Daleks / VSAI 001), John Banks (Dunkirk Sergeant / Halalkan Policeman / Srangor Herder / Window Cleaner), Alex Mallinson (Cab Driver / Baker Street Security Guard)
Notes: The Doctor’s house on Baker Street was previously occupied by his fifth incarnation during the 1850s in the audio story The Haunting Of Thomas Brewster; he later bequeathed it to Brewster in the 21st century. (The Doctor has also owned two other homes: Nest Cottage, the setting of much of the Hornets’ Nest pentalogy starring Tom Baker, and a house on Allen Road, visited semi-frequently in the 1990s comics and novels.) Actor Toby Jones, playing Dalek ally Kotris, has also appeared in TV Doctor Who as the Dream Lord in Amy’s Choice (2010); the two characters don’t appear to be related.
Timeline: after The Great War and before Tangled Web and Night Of The Doctor
LogBook entry and TheatEar review by Earl Green
Review: It’s almost a tradition in modern TV Doctor Who for the first or second story after a companion’s introduction to take them someplace mind-boggling: Rose gets to witness The End Of The World, Martha experiences Gridlock, Donna visits the Planet Of The Ood, Amy finds the secret of The Beast Below, and Clara 
is whisked off to The Rings Of Akhaten. But you’re 3/4 of the way through Fugitives before the Doctor finally agrees to take Molly someplace “nice” – and that’s only after they’ve barely survived a visit to World War II and Dalek assassins in 1972.
As much as Big Finish protests that it can’t touch new series mythology, Nicholas Briggs’ scripts boldly stick a few toes across that line here: the Time Lords forecast “something terrible” in their future with regard to the Daleks, and the Daleks certainly seem to be using Molly to somehow have a go at Gallifrey. And the Doctor protests that he doesn’t want to be fighting a war – a line echoed in McGann’s surprise return to TV Doctor Who in 
Night Of The Doctor. As much as The Great War (ironically for such a title) seemed to be business as usual, Fugitives is a welcome reminder that all is not back to normal yet for the eighth Doctor. Ruth Bradley continues to prove engaging as Molly, who finally emerges from her shell-shocked shell; her battlefield experience also comes in handy, as she realizes that the Doctor is suffering some sort of trauma as well.
At the halfway mark, Dark Eyes is turning out to be one of Big Finish’s best stories in ages.
