THE DEFINITIVE GUIDE TO THE MAKING OF DOCTOR WHO
1B 1B 1c]
DOCTOR ..
WHO ~
THE COMPLETE HISTORY
. — ~
INSIDE THE SPACESHIP,
MARCO POLO, THE KEYS OF MARINUS
AND THE AZTECS
INSIDE THE SPACESHIP
MARCO POLO
THE KEYS OF MARINUS
THE AZTECS
DOCTOR
WHO
THE COMPLETE HISTORY
EDITOR JOHN AINSWORTH
EDITORIAL ASSISTANT EMILY COOK
DOCTOR WHO MAGAZINE EDITOR TOM SPILSBURY
ART EDITOR PAULVYSE
ORIGINAL DESIGN RICHARD ATKINSON
COVER AND STORY MONTAGES LEE JOHNSON
PRODUCTION ASSISTANT PETER WARE
ORIGINAL PRODUCTION NOTES ANDREW PIXLEY
ADDITIONAL MATERIAL JONATHAN MORRIS, RICHARD ATKINSON,
ALISTAIR McGOWN
WITH THANKS TO MARK AYRES, JOHN ATKIN, PAUL CONDON, JAMES
DUDLEY, SUE FLOWER, JOHN FREEMAN, DAVID GIBBES-AUGER, DAVID
J HOWE, MARCUS HEARN, NIC HUBBARD, WARIS HUSSEIN, ANDREW
MARTIN, BRIAN MINCHIN, STEVEN MOFFAT, RICHARD MOLESWORTH,
KIRSTY MULLEN, JULIE ROGERS, EDWARD RUSSELL, JIM SANGSTER, JO
WARE, MARTIN WIGGINS, BBC WALES, BBC WORLDWIDE AND BBC.CO.UK
MANAGING DIRECTOR MikE RIDDELL
MANAGINGEDITOR ALANOKEEFE
BBC Worldwide, UK Publishing:
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CYBERMAN and K- (word marks and devices) are trade marks of the
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1963, Cyberman image © BBC/kKit Pedler/Gerry Davis 1966. K-9image ©
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Contents
INSIDE THE SPACESHIP
INTRODUCTION STORY PRE-PRODUCTION PRODUCTION POST-PRODUCTION
PUBLICITY BROADCAST MERCHANDISE CAST AND CREDITS PROFILE
MARCO POLO
40 48 58 72
PRE-PRODUCTION PRODUCTION POST-PRODUCTION
INTRODUCTION STORY
PUBLICITY BROADCAST (MERCHANDISE CAST ANDCREOITS PROFILE
THE KEYS OF MARINUS
88 94 106 116
POST-PRODUCTION
INTRODUCTION STORY PRE-PRODUCTION PRODUCTION
PUBLICITY BROADCAST MERCHANDISE CAST ANDCREDITS PROFILE
THE AZTECS
130 134 141 =
128
IwTRODUCTION sTory PRE-PRODUCTION PRODUCTION POST-PRODUCTION
147 148 151 153 154
PuBLiciTY BROADCAST NERCHANDSSE CAST ANDCREDITS PROFILE
156
Inoex
DOCTOR WHO | THE COMPLETE HISTORY (3)
VOLUME 2 s&ni==
Welcome
Below:
Decadent
set-dressing
in The Keys of
Marinus.
3
ne of the things I have always
loved about Doctor Who,
particularly in its earlier days,
is its ambition. Right from the
very beginning and through
to the very latest episodes,
the production teams have always had an
upbeat attitude of ‘how are we going to do
this?’ rather than the more defeatist ‘can
we do this?’
The four stories in this volume of
Doctor Who — The Complete History, from
the very first series, are a testament that
limited finances and resources do not
prevent stories of epic proportions being
told. Marco Polo [1964 - see page 36] is
effectively a thirteenth-century road trip,
taking the Doctor and his companions
to a series of exotic locations, from
snow-capped mountains, through
burning deserts and sweltering jungles
to the palace of Kublai Khan. That this
DOCTOR WHO | THE COMPLETE HISTORY
was all achieved on a minuscule budget,
in a single tiny studio with obsolete
equipment and an incontinent monkey is,
quite frankly, amazing
Sadly none of the episodes of Marco Polo
survive, but thanks to a wealth of imagery,
some of it in colour, we can appreciate
what a superb job the set, make-up and
costume designers did
The Keys of Marinus (1964 - see page
84], set on an alien world, was similarly
demanding of the production team,
taking the travellers to five completely
different locations during the course of the
story - the island of Marinus, the city of
Morphoton, a jungle, ice caves and the city
of Millennius. The demands of this story
clearly pushed the design team to its limits,
as demonstrated by an interview with set
designer Raymond Cusick on the DVD
release of The Keys of Marinus, re-living the
agony of the experience over 45 years later
Limitations often lead to creative
solutions, with the TARDIS itself being
the most obvious example. Unable to run
to a flashy spaceship, the more affordable
police box exterior was settled upon by the
production team, and would become the
most enduring icon of the series.
Even today, with a bigger budget and
access to the wonders of CGI to create
just about any kind of environment or
monster, the Doctor Who production team
still pushes hard at the boundaries of what
is achievable. The results are often on a par
with the latest science-fiction blockbuster
movies - but always with that creative
Doctor Who twist.
John Ainsworth — Editor
=
|(THESE STORIES ARE
| THAT LIMITED RE
INSIDE THE
SPACESHIP
~ STORY .
ah
Following an explosion, unexplained events *.
occur inside the TARDIS. Suspicions arise and
the Doctor and his companions tum on one
another as they attempt to di$cover who - or
what - is at fault.
© 0.108 wo | THe conocer sry
DOCTOR WHO | THE COMPLETE HISTORY
INSIDE THE SPACESHIP » sow=
Introduction
Below:
Jan and Barbara
are concerned
about the
Doctor
any Doctor Who fans are
very familiar with the
series’ earliest episodes.
It’s tempting to regard
the 1963/4 series in
the same way that one
might look at any other run. Taking a step
back, however, it’s fascinating to see how
producer Verity Lambert, her story editor
David Whitaker and the various writers
went about creating a new TV serie
Of course, they struck gold fairly quickly
The first episode, An Unearthly Child
[1963 - see Volume 1], introduced various
elements that are still central to episodes
made in the present day; the second story
[1963/4 - see Volume 1] introduced the
Daleks and strongly established what
kind of a series Doctor Who was, Before
they pressed on, however, with an epic
adventure in history, there was a curious
two-part story set entirely within the
confines of the TARDIS. Later, stories like
The Invasion of Time [1978 - see Volume
8 DOCTOR WHO | THE COMPLETE HISTORY
SENS
28] and Journey to the Centre of the TARDIS
[2013 - see Volume 73] would present the
interior of the Doctor's time machine as
a labyrinthine maze of endless rooms and
corridors. While it was still beguilingly
bigger on the inside, during that first year,
we never saw more than two rooms.
There were obviously practical,
behind-the-scenes reasons why Inside
the Spaceship ended up being made [see
pre-production, page 12], but this unusual
story also serves a narrative purpose. Over
the course of the first two stories, an uneasy
alliance had formed between the Doctor
and the teachers he effectively abducted
More often than not, however, the Doctor
is paired with his granddaughter Susan,
and Ian is paired with Barbara. Inside the
Spaceship explores the paranoia and mistrust
between the travellers, and its resolution
solidifies their friendship. As they head
on to meet Marco Polo [see page 36] and
search for the keys of Marinus [see page 84
they are a united team. It’s only really The
Aztecs [see page 126] that features any major
dispute between the Doctor and one of his
new companions
It's uncommon for the Doctor's various
sidekicks not to consciously choose to
travel with him. Inside the Spaceship takes
time to consider how the extraordinary
events they've been forced to endure have
affected Ian and Barbara. It also begins
the softening of the Doctor’s character
- moulding him into someone more
gracious and heroic. Regardless of those
early triumphs or enduring innovations,
watching the first three adventures you can
see the series, as we would come to know
it, taking shape. I
bie .\\>
INS THE
pocTOR’s CHARACTER
DOCTOR WHO | THE COMPLETE HISTORY
here has been an explosion in
T the TARDIS, knocking everyone
unconscious. Barbara is the first to
awake, followed by Susan. The Doctor
has cut his head so Susan fetches him
a bandage. Ian wakes, initially thinking
himself to be back at Coal Hill School. [1]
Susan collects some water from the food
machine, even though it is registering as
empty. When she returns to the control
room, the exterior doors are open! [2]
Barbara applies the bandage to the
Doctor's injury and Susan collaps
Oddly, the exterior doors close when lan
approaches them. The Doctor regains
consciousness, claiming to have been hit
on the back of the neck.
Ian carries Susan into the crew room
and places her on a bunk. Susan attacks
him with a pair of scissors before
losing consciousness. [3]
3 i
The Doctor, Ian and Barbara discuss
what's happened. Barbara fears somet!
has got into the TARDIS; the Doctor and
Tan are convinced it is a mechanical fault.
Barbara attends to Susan. She
deliriously threatens Barbara with the
scissors, accusing her of hiding the fact
from her that something is in the ship.
Barbara confiscates the scissors. lan enters
to report that they couldn't find a fault.
The Doctor tries the scanner. It displays
a photograph of countryside, then the
exterior doors open with a roar. Susan
closes them. Then the scanner displays the
planet Quinnis, a moon, a galaxy and a
burst of light. [4] The Doctor accuses lan
and Barbara of sabotage. Barbara reminds
him he'd have died if not for them. Then
she notices that the numbers on the
control room clock have melted. (5)
The Doctor fetches drinks to help
everyone relax. Soon Ian, Barbara and
Susan are asleep. The Doctor returns to
the control room, thinking he’s alone -
until someone grabs him by the throat! [6]
THE BRINK OF
DISASTER
he Doctor's assailant is lan. The
Doctor knocks him down and Ian
loses consciousness, Barbara enters
and the Doctor resolves to put her and
lan off the ship, much to Susan's dismay
But then the fault locator sounds the
danger signal. The TARDIS is on the
point of disintegration! [1]
Ian comes around and explains that he
was trying to pull the Doctor away from
the console because he thought it had
been electrified
Susan reports that the alarm is
sounding every 15 seconds, and Barbai
reasons that time is being given bac
to them now that it’s running out. [2]
The Doctor fears that the source of
the TARDIS’ power, located beneath
the central column, is about to escape
because it is being attracted by a gigantic
magnetic force located outside
Barbara thinks the TARDIS is giving
them clues. The Doctor concedes that the
ship may be able to think. [3]
The Doctor confides to Ian that they
only have five minutes left. He tries the
scanner and it repeats the same sequence
of images. Then the exterior doors open
onto a void. The Doctor realises the
images represent their journey, and the
ship is about to be destroyed because it is
at the very beginning” of a solar system,
‘a new birth of a sun and its planets.
He explains that after they left Skaro he
used the fast return switch to send them
back in time. Examining it, he discovers
that it has got stuck in the ‘on’ position
He repairs the spring - and everything is
restored to normal. The Doctor apologises
to Barbara, admitting that they owe her
their lives. She forgives him. [5]
The TARDIS lands somewhere
extremely cold. Barbara and Susan go
outside, where they discover a huge
footprint in the snow, as though made
bya giant
DOCTOR WHO | THE COMPLETE HISTORY
a
ESE
N PIECE tents
A CHARACTER- DRIVEN
| “MORE FACETS OF THE DOCTOR’ S AMAZING |
SPACE/TIME SHIP. | \
~
VARA
Pre-production
he origins of this offbeat
and rather bizarre two-part
interlude featuring only Doctor
Who's regular cast and the
TARDIS itself can be traced
back to Wednesday 16 October
1963 when BBC Television's chief of
programmes, Donald Baverstock indicated
that - due to the available budgetary
information
he would only commit to13
weeks of the new show's projected 52-we
run. At this point, a number of serials
had been lined up, commencing with the
four-part Doctor Who and the Tribe of Gum,
followed by the seven-part The Mutants,
and then the seven-part A Journey to Cathay
(later known as Marco Polo). As such, anew
two-episode ‘filler’ needed to be inserted
after the first two stories in case Doctor Who
did not continue
n Friday 1 November, the BBC
issued a document entitled
Amendment to Promotional Material:
DR WHO; the first three serials now bore
the working titles of Dr Who and 100,000
BC, Dr Who and the Mutants, and a new
third serial, Dr Who Inside the Spaceship
which was to be written by story editor
David Whitaker. The director assigned
to this two-parter was Patricia ‘Paddy’
Russell, a former actress who had joined
the BBC in 1951 and become a production
assistant to the renowned producer
Rudolph Cartier. Russell was one of the
BBC’ first female directors, and had
been directing episodes of the soap opera
Compact since March 1963.
The two-part slot allowed Whitaker
to develop an idea he'd conceived during,
the show’s formative weeks in July:
a character-driven piece also exploring
more facets of the Doctor's amazing space/
time ship. Producer Verity Lambert made it
clear that there was no money available
for this filler and that the scripts should
be written to fit minimal resources. There
had been an overspend on the first two
serials, and that the Marco Polo narrative
was likely to be expensive; as a result,
a two-parter which required minimal
new sets and no guest cast would allow
considerable budgetary savings. There
would also be no pre-filming at all. “We'd
spent too much and we had to r
recalled Lambert in Doctor Who
‘oup some
money
Magazine 235. “We made the decision that
if we could find a good, claustrophobic
story inside the TARDIS, then we'd better
Below:
The Doctor Is
distrustful of
the two school
teachers,
do a two-parter and save money.”
eo
lg
DOCTORWHO | THECOMPLETE HISTORY 33
INSIDETHESPACESHIP »sow>
‘Above:
Susan becomes
paranold,
Above right:
“what's
going on.
Grandfather?”
Connections: |
Lost on Quinnis
Recalling Whitaker's development of
his scripts in the DVD documentary Over
the Edge, Lambert commented, “He and
I probably felt it was time to concentrate
on the characters and they had to move
forward in their relationships.” The
story also fulfilled the third criterion for
the types of serial orig
feature in Doctor Who - ‘
and ‘sideways: The BBC’s November
document also gave storylines for the first
three serials; the one for Dr Who Inside the
Spaceship was the shortest, reading: ‘Dr
Who and his companions find themselves
facing a terrifying situation within the
ship itself?
nally planned to
past’, ‘future
“As L recall, I spent about
two days and most of two
nights writing this weird.
mysterious set piece,”
Whitaker was quoted
as saying in Doctor Who
Magazine 98. “It was, to be
frank, a bit of a nightmare.”
Since he was also the story
editor, it was decided that
Whitaker would receive
a credit purely as the writer
of the episodes, thus avoiding
potential problems with the
“14 DOCTOR WHO | THE COMPLETE HISTORY
Writers’ Guild - which took a dim view of
story editors commissioning scripts from
themselves. Whitaker's formal clearance
to write the serial would not in fact be
given until Monday 10 February 1964,
during its broadcast, Drawing heavily
upon the influences of ghost stories and
haunted houses, Whitaker came up with
an atmospheric and complex tale, which
Lambert felt held the audience because
of the conflict between the characters
that they had become familiar with over
the preceding two stories; the travellers
had bonded, but now they could be
mad
h other. Retaining
the series’ original emphasis on the
ngerous to
communication of scientific principles,
Whitaker structured the peril for the ship
and its occupants around the physics by
which the galaxy was created, and gave the
Doctor a long speech on the subject during
the second episode
On Thursday 21 November, Paddy
Russell was one of those informed
that Doctor Who recordings from early
December would be deferred by a week due
to the re-recording of the first episode of
The Mutants (AKA The Daleks) on Friday 6
December, However, documentation dated
Monday 6 January indicated that associate
producer Mervyn Pinfield was now slated
to direct the third serial — replacing Paddy
Russell who was now directing the play
‘My One True Love for BBC TV’s prestigious
First Night strand. However, a synopsis
document for the third and fifth serials
issued the following day indicated that the
director was now junior director Richard
Martin who had handled some episodes of
the first Dalek serial. “A budget saver,” was
how Martin recalled the assignment
in Over the Edge.
he serial’s designer was Raymond
T Cusick, who had also worked on
the Dalek saga. With his colleague
Barry Newbery at work on pre-production
for Marco Polo, Cusick would carry on
working after the Dalek story to provide
the minimal new set requirements. Daphne
Dare continued to supervise costumes for
the regulars, while Ann Ferrigi took over
on make-up design from Elizabeth Blather.
Various amendments were made to the
script for the first episode, entitled The
Edge of Destruction, on Thursday 9 January
1964, including: the initial dialogue
between Susan and Barbara,
additional material about
the Doctor going to check
the fault locator and Ian
asking Barbara to keep an
eye on Susan, revision of the
material from Ian joining the
Doctor at the fault locator
to Barbara asking Susan how
something could get inside
the ship, additional material
from Ian in the living area,
plus rewritten dialogue
concerning the TARDIS'
landing on the planet
Quinnis, the ship's memory
bank and the sequence of images which
appear on the scanner.
In the camera script for The Edge of
Destruction, where Susan dragged herself
across the TARDIS floor to Barbara,
Whitaker indicated a shot from Susan's
point of view (‘De-focus Barbara and then
clarify the picture’). Susan was to take a
medical kit containing ‘various bottles,
tubes and boxes [which] must all look
“alien” from ‘one of the circular wall pieces
which should open as if it is a cupboard’.
The stage directions described the bandage
which Susan located for the Doctor as ‘a
Connections:
Space machine
» The ship's food
machine had previously
been seen in the first
episode of The Mutants
(AKA The Daleks) (1963/4
~ see Volume 1}. The
ain
Control console is ‘live’ in
this adventure, asithad
been when operated by
the Doctor in the opening
episode of 100,000 BC
(1963 - see Volume 1}
bandage with brown stripes on it, breaking FS
up the white material’ The food machine _ ries tosolve
was to dispense water in ‘acarton... rather _the puzzle.
like a pound carton of sugar, plainly
wrapped. A wax container’ - as opposed
to the clear plastic bag used in the finished
programme. Susan's collapse during her
attempt to activate the console would see
her swaying ‘backwards as if being pushed
by some invisible force’, In the girls’
bedroom, it was indicated that Ian ‘presses
a switch and three of the circular wall
pieces descend and a wall bed is revealed’.
A late change to The Edge of Destruction
was to emphasise Susan's use of the
DOCTOR WHO | THECOMPLETE HISTORY a8
INSIDE THE SPACESHIP > sww>
Right:
Jan and Barbara
Urge the Doctor
towork out
What's inside
the TARDIS.
Connections:
Faulty mi
jemory
scissors as a weapon. In the scene between
Tan and Susan in her room, the camera
script included a shorter
version where, after Susan
asked Ian who he was, she
dropped the scissors and
fell unconscious across her
bed without stabbing at the
bedding; “Susan, what's the
matter with you?” asked Ian.
The insert of Susan retrieving
the scissors was another
addition. Similarly, in a later
scene, Barbara originally
took the scissors from Susan
almost immediately after she
had asked for them, whereas
in the finished episode they
were retained asa threat for
most of the scene.
“36 DOCTOR WHO | THE COMPLETE HISTORY
oa Oa
Recalling the original design for the
control room from the pilot recording
in September, David Whitaker's stage
directions referred to the mirrored
hexagonal floor panel around the console
Doctor Who is standing near the control
column, but not standing on the silvered
floor around the base of the column.
Susan referred to the ship's visit to Quinnis
as being “six or seven journeys back
After Barbara's outburst at the Doctor,
Susan was to comment, “She's talking
sense, Grandfather.” When the clock f2
melted a moment later, the stage d
read: ‘All che numbers have melted
considerably. Although the original figures
are clear enough, they are misshapen
and frightening’ Following this, Susan
commented, “We're somewhere where
time doesn't exist; where nothing exists
except us” ~ and she was not seen watching
the Doctor and Ian later when they talked
in the living quarters. Susan looked in on
Barbara in ‘Barbara's bed{room|’ where
the history teacher was wearing ‘an
attractive nightrobe’
he camera script for the second
episode, The Brink of Disaster,
consisted of a mere four scenes -
the first in the main control room taking
up the bulk of the running time. The
material where the delirious Ian apparently
attempted to strangle Barbara was a
late addition; in the camera script, Ian
remained semi-conscious on the
floor with Barbara. Picking up on the
idea that a telepathic link might exist
between the Doctor and Susan, the stage
dir
and the Doctor look at each other as if
ions at one point read, ‘Susan
a silent communication has passed
between them,
The flaring of the
script occurred every 60 seconds, and
fault locator in the
originally the reasoning of the puzzle
had been shared equally between Ian and
Barbara with Ian deducing that time has
|
been replaced by the light
on the fault locator. Susan
originally referred to the
main console as “the central
column” and the Doctor
added, “The column holds
down the power too, of
course.” Asking the women
to stand by the doors, the
Doctor told Ian, “Justa
little ruse, Chesterton.”
The resolution of the fast
return switch problem was
originally resolved as the
Doctor simply ‘re-adjusts
[the] switch to off position’
Talking to Barbara, the Doctor originally
said, “Your companion is not insensitive
but somehow my threats to put you off
the ship had a deeper meaning for you.”
Originally, the Doctor told Ian that he
acquired the Ulster he was loaning him
Connections:
Recent
experience
» Barbara makes reference
both to lan making fire
while they were prisoners
in the Cave of Skulls as
seen in 100,000 BC [1963
see Volume 1] and the
tor’ trickery in getting
ellers to investigate
he Dalek city in The
Mutants (AKA The Daleks)
(1963/4 - see Volume 1},
from “Ferdinand de Lesseps, the canal
builder”; this was a reference to the
nineteenth-century Frenchman behind the
development of the Suez Canal. The stage
directions in the camera script indicated
that all four of the travellers were to leave _-_—Belowlett
the ship at the end of the serial, not just ee
e ship at the e e serial, not jus Who trusts
Barbara and Susan. il who?
DOCTORWHO | THECOMPLETE HISTORY x7
eh
Destruction bi
nuary at the Drill Hall
Uxbridge Road in
don, and would cc
til Thursd.
tinue
ring
TARDIS cr ripts initially
down badly with the cast. William Hartnell
he
en. sated?
complained about the number of long
speeches which he was expec
he also fumbled his lir
deliberately to amus
ed to learn;
sometim
Carole Ann Ford
turning “fault locator” into “fornicator
Jacqueline Hill welcomed the serial as
a chance to explore the characters in
more depth than an adventure narrative
normally allowed, and in Over the Edge
William Rus:
ll commented that the
UOUS BEHAVIOUR OF THE
IN THE SCRIPTS WENT
Y WITH THE CAST.’
| THE DISCONTIN
woe TARDIS CREW
| DOWN BADL
PLETE HISTORY Ep
wy
INSIDETHESPACESHIP >s=2 NAAN
Above:
Whatstrange
and mysterious
force has made
Susan faint?
Right:
The easily
identifiable fast
return switch.
Connections:
Maximum powe:
extraordinary script “gave you little
windows into your character”, Carole Ann
Ford initially disliked the scripts since
the characters appeared to be going mad
without reason; she did not understand
the rationale behind the events but realised
that this was a chance to do some real
acting. “Whenever we said, ‘But w!
we behaving like this?’ it was always a
question of, ‘Never mind, read the words
and get on with it” she recalled in Doctor
Who Magazine 86
Recording for The Edge
of Destruction took place on
it Friday 17 January in Lime
Grove, Studio D.
For this episode set
completely within the
TARDIS, the expansion of
the existing set elements by
Raymond Cusick included
a redesign of the living space
seen in the first episode
of The Mutants to make the
seating area larger, with a
corridor leading to the two
bedrooms. The food machine
was now located down the
corridor outside one of the
bedrooms. The rooms were
— DOCTOR WHO | THE COMPLETE HISTORY
basic affairs with two body-formed couch
beds - made by Shawcraft - which lowered
‘automatically’ from the wall; Cusick had
seen these as “sleep-inducing couches”
Cusick also modified Shawcraft’s TARDIS.
console by adding the fast return switch,
a raised unit with three buttons which
could be dismantled as required in the
script; the legend ‘FAST RETURN’ switch
was written above this by hand in felt-tip
pen during rehearsals as a guide for the
cast. The mirrored floorplates last seen
in the remount of the first episode of
100,000 BC were used for both episodes.
The TARDIS sets were linked, comprising
the main control room, the girls’ bedroom
Ian’s bedroom and the living quarters;
another photographic blow-up wall had
been added to the control room
At 3.45pm during camera rehearsals,
set and cast photographs were taken
for publicity by Radio Times, with some
portrait shots which were used as the
standard publicity cards for William
Russell, Jacqueline Hill and Carole Ann
Ford. The evening recording began at
8.30pm with a brief filmed reprise from the
end of the final episode of The Mutants; title
and writer credit captions were shown over
shots of the prone forms of the Doctor,
Ian and Susan (although the writer caption
now read simply ‘by David Whitaker’
rather than ‘Written by’ as on previous
instalments). Since events continued on
directly from the Dalek storyline, the cast
retained their costumes from that serial for
the opening scenes (although Carole Ann
Ford had taken the opportunity to lose the
socks she had disliked the previous week)
Moodmusic
s with the previous two stories, Brian
Hodgson's special sound effects were
prepared as a single Radiophonic
Workshop job under the cumulative title
Beyond the Sun; this comprised six items
relating to the TARDIS and the ‘animal
roar’ that accompanied the image
of Quinnis.
Unlike the first two serials, because of
budgetary constraints, only existing mood
music from library discs was used; the
directors outlined their requirements to
the librarian who provided a selection
of suitable tracks from which the most
suitable cue was chosen and played into
studio. Of the composers whose work was
selected for Inside the Spaceship, Eric Siday
was a British jazz violinist who became a
pioneer of electro-acoustic music following
his emigration to the USA in 1939, Buxton
Orr was a Scots composer who originally
trained as a doctor and had composed for
various films since the 1950s,
and Desmond Leslie was a
celebrated Irish eccentric
whose 1953 book The Flying
Saucers Have Landed became
a key New Age text (and
who punched Bernard Levin
during a live broadcast of
That Was the Week that Was
in April 1963).
Following the explosion,
the crew lay unconscious
to Mood Three, one of the
compositions by Eric Siday
from a set of Impress library
music discs entitled Musique Electronique
Connections:
bedrooms with fold-down
beds are seen with one
room shared by Barbara
and Susan, and another
forlan,
The Doctor,
released in 1960; this cue came from the thinks he might.
second disc (IA 249). The same record be going round
provided Space Agitato, heard as Susan the bend
stabbed at her bed. The third disc (IA 250)
provided Anaesthesia, used for the Doctor
talking to lan and Barbara in the control
room and later checking on his sleeping
companions. The clock faces melted
to Conflict No 2 from the first Musique
Electronique disc (1A 248).
When the TARDIS doors were seen
open onto a white void, a brightly lit
Open sesame.
DOCTOR WHO | THE COMPLETE HISTORY 2a
INSIDETHESPACESHIP »s0s
Connections:
What to wear?
DTh
lan iswary of
the Doctor's
behaviour,
white cyclorama was shown
beyond the entrance. There
was a recording break after
the scene in which Susan
attacked her bed with the
scissors; this allowed the
scissors to be placed in the
living quarters to indicate a
passage of time as well as an
opportunity to reposition
the cameras and for the cast
to change costumes. Just
before the second recording
break (to strike the food
machine and move cameras)
a point-of-view shot was
recorded of the Doctor seeing
the readings on the fault
locator defocusing before his eyes. The
third recording break came just before
Susan ran into the control room to stop
DOCTOR WHO | THE COMPLETE HISTORY
PROTA
her grandfather activating the scanner.
Different versions of the striped bandage
were made with fewer strips to indicate the
ointment going into the Doctor's wound.
The scanner images were caption images,
fed to the monitor via two cameras; these
comprised an English countryside vista,
a jungle area (representing the planet
Quinnis of the fourth universe); the
a distant view of the Earth; the stars
in the heavens and a flash of blinding
light. Richard Martin was disappointed
by the crude effe
t used for the melting
clockfaces. A final recording break after the
scanner sequence was required to remove
the ship's doors. The ‘Next Episode’
caption was superimposed after the fade to
black. Recording concluded at 9.45pm.
Rehearsals for The Brink of Disaster ran
from Monday 20 to Thursday 23 January
at the Drill Hall on Uxbridge Road. The
cast
dire
as now working with newly trained
tor Frank Cox who had taken over
from Richard Martin, who was not
available. Born in London in May 1940,
Frank Gox did some acting at Ealing
Grammar School, read English literature
at Leeds University and graduated in July
1962, returning to his parents’ home in
London with plans to become an actor
When his audition to study at RADA was
unsuccessful that summer, Frank heard
from a friend that there was a temporary
job at the BBC Film Studios at Ealing
When this job came to an end, he became
a floor assistant at the BBC working on
shows such as Maigret and Tonight. He
applied for the trainee director’s course,
and was then given some episodes of Doctor
Who as a further test.
“We were being tried out on those
episodes,” recalled Cox on Over the Edge
since this was his first drama production as
director. “I didn't really think Doctor Who
was the best place to start, but you have
to start somewhere. I mean, I didn't really
know what I was doing,” admitted Cox in
Doctor Who Magazine 213, “The kindness
shown by Russ [William Russell] and Jackie
to a young, inexperienced and shy director
was wonderful. I was perhaps a little shy
of Carole Ann, because we were probably
quite close in age. I was absolutely terrified
of Bill Hartnell.”
‘The Doctor's long speech about the
formation of a new solar system was
of concern to the show's star who was
worried about learning complex dialogue.
“William Hartnell had a great problem
learning the lines, and if he found a biggish
speech of half a page or so, he would say
‘Christ, bloody Macbeth!” recalled Cox in.
the fanzine TARDIS Vol 7 No 1, “William
Russell was a great help to me, mediating
between the irascible old Hartnell and the
trembling novice director Cox.”
resented with the conclusion to the
ee events in the TARDIS,
Russell felt that the incidents being
sed by something as trivial as a faulty
switch were “a little bit lame somehow
as an ending”. During rehearsals, there
were changes made to the dialogue to give
Barbara a far greater role in solving the
puzzle of what was happening to the ship,
particularly with the light indicating that
time was running out. The resolution of
the problem with the fast return switch
was considerably expanded in rehearsals
with additional dialogue between the
Doctor and Ian. During rehearsals, William
Hartnell added the Doctor's comment
to Susan that “I think your grandfather
is going a tiny bit round
the bend”, while dialogue
was added about the Ulster
belonging to “Gilbert and
Sullivan” - allowing Ian a
joke about it being made for
two. The Doctor’s comments
about Ian's laughter were also
a late addition, as was the
now standard confusion of
Ian's name from the Doctor,
this time as “Charterhouse”.
Recording took place on
Friday 24 January, again in
Lime Grove, Studio D. Only
youand what
have youdone
‘to Susan?”
Connections:
Keep warm
} The Doctor tells lan
that he acquired his
Ulster coat from Gilbert and
Sullivan, referring to the
Victorian-era partnership
of librettist WS Gilbert and
composer Arthur Sullivan
whose works between
1871 and 1896 included
The Pirates of Penzance
and The Mikado.
‘DOCTOR WHO | THE COMPLETE HISTORY ta
INSIDE THE SPACESHIP > sows
Above:
Ntwasa
broken spring!
PRODUCTION
three sets were needed for the recording
of the second instalment: the main control
room, the living quarters and a wintry
plateau (here, Jablite was used to simulate
snow). During afternoon rehearsals,
a photo call was held at 4pm.
Cues such as The Stranger and The
Stranger’s Quest by Desmond Leslie
composed for a 1959 film entitled The
Day the Sky Fell In were used in the episode
and taken from the 1960 Weinbers
library disc Destructures 2 (JW 231)
these covered Susan entering the control
room and the Doctor’s speech about the
creation of a new solar system (a 78 rpm
dise played at 45 rpm). As the Doctor
spoke of putting lan and Barbara off his
ship, Musique Concrete II composed by
Buxton Orr for a 1961 Chappell disc (C
713) was heard.
The episode opened with a filmed reprise
from The Edge of Destruction, with the title
and writer captions shown over shots of
the Doctor at the console. To accompany
the increasingly violent flares of the
fault locator, the camera was juddered
Fri7 Jan 64 Lime Gr
Fri24jan641i
RAINS
to indicate a shockwave hitting the ship;
the lighting was dimmed throughout
the episode until the Doctor solved the
problem. Photocaptions of the English
countryside and Quinnis were shown on
the scanner as per the previous week; the
sequence of pictures showing a planet and
the stars was relayed to the monitor off
film, having been film-transferred from
the previous instalment. William Hartnell
also delivered his major speech with
great effect; “I think that that was one of
his finest moments actually. He invested
it with quite a lot of dramatic force;
commented Frank Cox in Over the Edge
Ssnowyplateau
he only planned recording break
followed the resolution of the
situation with the TARDIS returning
to normal, before the episode's second
scene in the living quarters; this allowed
the cast to change into their costumes for
the next serial
For the final sequence, the scanner
monitor showed a camera image from the
small snowy plateau set, thus leading into
Marco Polo. At the end of the evening a
single shot of Susan and Barbara standing
at the main doors and staring out into the
white void was recorded; this meant that
Hill and Ford had to change back into their
nightwear. Recording concluded
at 9.45pm.
In the final tally, the first instalment
would cost £1,480 to make, with the
second coming in at £1,5
the nominal £2,500 budget per episode
of the time.
}6 - way below
- 2 DOCTOR WHO | THE COMPLETE HISTORY
Ce
Production
>
¥
ews
x,
Ae
LT THAT THE
| INCIDENTS BEING CAUSED BY SOMETHING |i
(eee :
| AS TRIVIAL AS A FAULTY SWITCH WAS
| “A LITTLE BIT LAME AS AN ENDING”.
DOCTOR WHO | THE COMPLE
® On Saturday 25 January Carole Ann
Ford made another live appearance
on Juke Box Jury alongside guests that
included Adam Faith and Phil Spector;
the live show from Television Centre
Studio 2 had the actress delivering
verdicts on new tunes including Cilla
Black’s Anyone Who Had a Heart. This
went out directly after The Ordeal, the
sixth episode of the Dalek story, and
host David Jacobs commented that
Ford had come “fresh from a
hair-raising adventure’.
Radio Times ran a preview of the new
serial in its edition of Thursday 6
February; this comprised a
half-page feature with a photograph
of the regular cast from The
Edge of Destruction. The teaser
item commented that ‘the four
travellers inside their unusual space
ship are joined by a strange presence’,
gave a résumé of both the series’
format and the first two stories
and hinted that a fifth presence
has got on board ‘the space craft
Tardis. Outlines of the episodes
were given in the Highlights section
at the front of each issue of
the magazine.
#4010 TWAS Irby 1H
The four travellers inside their unusual
space ship are joined by a strange
presence in today’s
Si er btn
a ens eae
scipaeteaste erat
ROA Be te
tre retract
ma ee arc
ges te a world shattered
Now, the
‘he ‘Dalek |
» The new serial retained the first
Dalek story’s high viewing figures
for its début episode, although these
declined slightly the second week.
ITV competition was poor, with many
regions rerunning old ‘swashbuckler’
film series, The following week,
ABC replaced Space Patrol with
editions of The Bugs Bunny Show.
Audience appreciation figures
remained good.
» Atthe BBC Programme Review Board
Meeting on Wednesday 12 February,
controller of TV programmes Stuart
Hood noted that the sequences in
which Susan had used the scissors
as a weapon ‘digressed from the
code of violence in programmes.
This scene also caused concern for
Doreen Stephens, the head of the
newly created Family Programming
(formed from the remainder of
children’s programmes and women's
programmes); the former children’s
programmes team felt that they ~ not
BBC drama serials - should have been
making the new series. “The wrath of
the children’s department came down
on us for that,” recalled Lambert in
Over the Edge. The young producer
apologised profusely to the former
children’s producers, and recalled
in Doctor Who Magazine 235, “The
children’s department, who had been
waiting patiently for something like
this to happen, came down onus like
aton of bricks! We didn’t make the
same mistake again.”
t¢
Publicity [Broadcast
» An extract from the Arabic-dubbed
edition of The Edge of Destruction was
shown on Nationwide on Wednesday
22 November 1978. Held by the BBC
as 16mm film recordings, the episodes
were screened by special arrangement
at a Doctor Who Appreciation Society
(DWAS) event, Inter-Face 1, held in
London on Saturday 9 August 1980.
Both episodes were also screened at
the Institute of Contemporary Arts on
Saturday 6 December 1986 as part of
a celebration of 50 years of television.
} BSB broadcast the two episodes under
the title The Edge of Destruction as part
of its Doctor Who weekend on Saturday
22 September 1990, but transmitted
the shows in the wrong order,
necessitating an additional screening
the following day; repeats scheduled
for December 1990 never took place
because the company was merged with
Sky in November 1990.
DOCTOR WHO | THE COMPLETE HISTORY mn
Above:
Susanusing a
pair of scissors
asa weapon
was astep
too far
INSIDE THE SPACESHIP > sows
Right:
The Doctor |
works it out.
® Billed as The Edge of Destruction,
red on UKGold
the episodes appea
episodically and as a compilation from
November 1992.
® The serial was sold widely overseas
as part of the initial batch of 13
16mm film recordings, with Spanish
and Arabic dubs available from
1967; the Spanish versions of these
programmes were entitled La Edad de
la Destruccién (T
and Al Borde d
of Disaster). The
Desastr
rial was
through to 1974, marketed under the
title Beyond the Sun (an erroneously
ORIGINAL TRANSMISSION
The Edge of Destruction
The Brink of Disaster
EERENAC
allocated title which had been a
worki
g title for the second serial).
® The 405-line master videotape of
The Edge of Destruction was cleared for
wiping on Thursday 17 August 1967,
while that for The Brink of Disaster was
authorised for erasure on Friday 31
January 1969. In 1977
both episodes
were recovered from BBC Enterprises
as 16mm film recordings and
negatives, along with Arabic prints of
both episodes and a Spanish-dubbed
print of The Edge of Destruction. Copies
are also held by the National Film and
Television A
rchive.
DOCTOR WHO | THE COMPLETE HISTORY
XA ARE Broadcast | Merchandise
Merchandise
ince David Whitaker had died felelc}
in 1980 without novelising . DOCTOR
his scripts, the episodes were
considerably expanded and a |
novelised by WH Allen editor
Nigel Robinson as Doctor Who THE EDGE OF DESTRUCTION
The Bdge of Destruction. In addition to
at deal of character work, after the
initial check of the fault locator, the Doctor
prepared oil lamps to take lan down into
the power rooms of his vessel, with the
schoolmaster becoming trapped when
doors closed in the TARDIS corridors. Frresudlobook
Later on, after the nightcap, there was an release of
additional sequence where Barbara visited the story
the ship's laboratory where the books flung
themselves from the shelves. The book
was published in hardback in May 1988
with a cover painting by Alister Pearson;
the paperback edition, book number 132,
was published by Target in October 1988.
William Russell recorded a reading of the
novelisation at BBC Audiobooks in Bath
on 31 August 2010; this was released as
Doctor W Ige of Destruction by
AudioGO in January 2011
Space Adventures, a cassette containing =
a collection of stock music used on Doctor The Target
Who during the 1960s, was compiled and rnovelisation by
released by Julian Knott of the Doctor Who _Nige!Robinson,
PS witha cover by
Appreciation Society (DWAS) in September _jjicter Pearson.
1987. A limited 300 copies were available.
The track from Inside the Spaceship was
Musique Concrete II. Some of the sound
effects from the story were released on
the CD Doctor Who at the BBC Radiophonic
Workshop Volume One — The Early Years,
1963-1969 by BBC Music in May 2000
DOCTOR WHO | THECOMPLETE HISTORY 28°
INSIDE THE SPACESHIP > sows
REG
and included on the four-disc and 11-disc
versions of Doctor Who: The SOth A
Aeon’ Collection by Silva Screen in Decembe
DVDand video and September/November 2014
covers. An Arabic-dubbed extract from The Brink
——, of Disaster was included on
GT ORM the VHS release Doctor Who
WAY a 12 Hartnell Years from BBC
Enterprises in June 1991
Inside the Spaceship was
‘ased by the BBC under the
title The Edge of Destruction,
along with the pilot episode,
‘on VHS video in May 2000.
© It was subsequently released
still as The Edge of Destruction,
as part of BBC Worldwide’s
three-disc DVD set entitled
rel
Ri s
nea The Beginning in January 2006. The set
onthe included the following extras:
Radiophonic ® Doctor Who: Origins documentary
Workshop.
3 Over the Edge: The Story of The Edge of
DOCTOR WHO | THE COMPLETE HISTORY
Destruction tary
} Inside the Spaceship: The Story of the
TARDIS tary
} Masters of Sound documentary
} Marco Polo: photographic reconstruction
» Photo galleries
} Production documentation PDFs
} Subtitle production notes
2 The Brink of Disaster: alternative Arabic
soundtrack
Cast and credits
William Hartnell.
William Russell
Jacqueline Hill
Verity Lambert
with trainee
producer's
secretary
Maggie Allen,
talk to William
Hartnell and
Wiliam Russell
‘onthe set
of inside the
TV Spaceship
Carole Ann Ford
DOCTOR WHO | THE COMPLETE HISTORY 31
INSIDE THE SPACESHIP > sww>
Right:
With Sean
Connery in
Requiem for o
Heavyweight.
Below:
Jacqueline Hill
looks pensive
Profile
Barbara Wright
race Jacqueline Hill was born
17 December 1929 in south
Birmingham into a working
class family. She was orphaned
at a very early age and raised by
her grandparents.
She was removed from school at 14 to
support her brother
born early 1931, later became Reverend of
St Michael’s Church, Skidby, Yorkshire, but
the teenage Hill meanwhile took a job as a
wages clerk at the local Cadbury chocolate
factory in Bournville.
Hill joined the firm’s drama society
the Cadbury Players, and spent a spell
working backstage with Birmingham Rep,
before winning a scholarship to RADA
at 16, where Joan Collins was among her
education. Arthur,
32 DOCTOR WHO | THE COMPLETE HISTORY
PANS
classmates. After graduating, Hill found
sta gements and, at a slender
modelling work including assignments
in Paris. One job in 1953 produced some
rather racy shots of Hill in her underwear
A short slot on BBC talent show Shop
Window in early 1953 brought her to public
attention, earning her the title of the “five-
minute success story” as work flooded in.
Theatre doyen Sam Wanamaker cast her
as Miss Cardell in his West End production
The Shrike, running at the Princes Theatre
from 13 February to 21 March 1953.
The same year also brought her film
début, with a lead role in crime thriller The
Blue Parrot (1953). Her first full TV part
came as Fairy Blackstick in BBC fairytale
The Rose and the Ring, shown November
to December 1953. She also appeared in
filmed BBC crime drama Fabian of Scotland
Yard (1954)
Her career and personal life soon became
intertwined with Alvin Rakoff, a Canadian-
born BBC director/ producer. They first
met when she auditioned unsuccessfully
for thriller serial A Place of Execution (1953)
but she soon became his leading lady.
NR ARR iD ees profile
Their first collaboration, Mexican folk
tale Legend of Pepito, aired (live) twice on
the BBC on $ June and 14 July 1955.
Rakoff next cast her in Three Empty Rooms,
broadcast 27 December 1955, then in his 9
Sunday-Night Theatre mystery The Seat of the
Scornful, shown 15 April 1956.
She contributed to the casting
of Rakoff’s next play. Hill was social
worker Grace in Requiem for a Heavyweight,
a Rod Serling play originally staged for
US TV. The play’s American star Jack
Palance dropped out of this UK v
sion
at the eleventh hour, giving Rakoff
a casting headache. Hill sus
a Scottish actor Rakoff had used in
ested
bit parts, Sean Connery. Rakoff was
unconvinced but Hill said simply;
“The ladies will like him.” Thus
Cc
when the play aired live on 31
March 1957.
Hill and Rakoff next worked
nnery earned his first lead role
on an Armchair Theatre play Man
in the Corner, aired 12 January
1958 and made by ITV company
ABC. Significantly, Hill and
Rakoff became friendly with
the show’s production assistant
Verity Lambert. Rakoff directed
Hill in another Serling play for
the BBC's Sunday-Night Theatre
strand, The Velvet Alley (shown
22 November 1959), the story
ofa TV scriptwriter.
Rakoff and Hill had married in
Kensington in spring 1958, and
set up home in Notting Hill. In
April 1959 the couple headed to New
York, where Rakoff directed two US TV
productions. Hill’s second and last film role
came in Rakoff's The Comedy Man (1964),
shot late 1962.
Their personal/professional relationshi
was a double-edged sword, Rakoff
DOCTOR WHO | THE COMPLETE HISTORY
INSIDE THE SPACESHIP > sows
Right:
Jacqueline Hill
retuned to
Doctor Who
asLexain
1980's Meglos,
pictured here
with Lalla Ward
asRomana
og
admitting to Richard Marson in 2014
that “it was a real stumbling block”. Many
directors wouldn't cast Hill, presumably
fearing their work would be critiqued by
her husband.
Despite this, single plays not involving
Rakoff included A Business of His Own
(BBC, 10 November 1955), Television
Playhouse: Poet’s Corner (Rediffusion, 30
May 1958), Play of the Week: The Curious
Savage (Granada, 6 August 1958), Saturday
Playhouse: The Man Who Came to Dinner
(BBC, 7 May 1960), The Sunday-Night
Play: The Chopping Block (BBC, 23 October
1960), thriller The Watching Cat (BBC, 3
April 1961) and Drama ‘61: The Executioners
(ITY, 30 April 1961). She appeared in
ABC's science-fiction anthology Out of
This World, in the episode Medicine Show (4
August 1962). Just prior to a certain BBC
‘science-fiction series she could be seen in
DOCTOR WHO | THE COMPLETE HISTORY
eo
Granada's Play of the Week, The Fixers
(8 October 1963).
More populist offerings included BBC
serial Joyous Errand (1957), an episode of The
Flying Doctor (1960), crime series The Men
from Room 13 (1961), BBC smuggling serial
The Six Proud Walkers (1962), No Hiding Place
(1962) and Maigret (1962).
When casting Doctor Who's first series
regulars, original producer Verity Lambert
immediately thought of Hill. Since meeting
in 1958, Hill and Lambert had become
particularly friendly after a chance reunion
in New York in 1961. Lambert however
doubted that Hill, with her reputation for
serious single plays, would take the role.
In Hill's only interview with Doctor Who
Magazine, in 1985, she recalled her casting
to Richard Marson: “I was at a party one
evening and the usual bunch of friends
e there
we Verity was in the process of
for Doctor Who. We
talked about it, and shortly afterwards,
casting the regul
she offered me the part of Barbara Wright
which I was more than happy to accept
Lambert later telephoned Hill with
a firm offer, while she and Rakoff were
holidaying in Italy in July 1963. Hill met
her fellow cast members at a photo session
on 20 September 1963, before recording
the series’ pilot episode on 27 September
Though the Daleks quickly made the
series a huge success, Hill preferred
the historical adventures. Her personal
favourites were The Aztecs [1964 - see page
126], The Reign of Terror [1964 - see Volume
3], The Romans [1965 - see Volume 4] and
The Crusade [1965 - see Volume 5]. As she
told Marson: “I adored all the dressing up
that went with doing the historical stories,
and they were much more colourful for us
because the historical sets were so gorgeous
to act in.”
Hill eventually departed with fellow cast
member William Russell. “William and
on:
I decided to leave virtually as a mutual
thing,” she told Marson. “We'd done two
years of it, which was a strain and there
wasn't a lot more we could do with it
either... it all just seemed to come together
at the right time for both of us.”
the duo’s final shoot was at Riverside
studios on 4 June 1965, for the concluding
episode of The Chase [1965 - see Volume 5],
which aired 26 June. Almost immediately
Hill and Russell were reunited on stage in
Terence Rattigan's Separate Tables at the
Grand Theatre, Leeds from 20 July 1965
Hill had confided to friends of her
sadness at not being able to have children.
She decided to adopt and, after a guest role
in an episode of No Hiding Place shown May
1966, quit the business to raise a family.
Daughter Sasha later earned a PhD
from Oxford and became an executive
for a women’s rights charity, while writer
son John would later collaborate with his
father, Hill herself took an Open University
histor
Her children were teenagers when Hill
returned to television with Crown Court
(1978) and as Lady Capulet in a BBC
adaptation of Romeo and Juliet (1978),
directed by her husband.
She also guested in Doctor Who, as Lexa
in Meglos [1980 - see Volume 32]. Director
Terence Dudley knew Rakoff, who had let
it be known Hill was back seeking work
course in the 1970s.
Though initially struggling with special
effects and recording out of sequence,
she recalled it as “a happy reunion with
a show that was really only the same show
by name alone”. Other work included
Angels (1982), two episodes of Tales of
the Unexpected - The Luncheon (1983) and
Accidental Death (1984) - and Screenplay
brass band drama Alll Together Now (1986).
Stage work included repertory theatre in
France alongside William Russell.
A private woman, Hill's singular
convention appearance came at DWASocial 5
on 6 April 1985 in Hammersmith. She only
attended knowing Carole Ann Ford would
be there, admitting on stage: “The idea
of a convention is terrifying.” Rakoff later
recalled: “She didn’t enjoy the adulation.”
She appeared in Thames’ John Mortimer
serial Paradise Postponed (1986), again
directed by her husband, playing the wife of
a TV director. Filmed from March 1985, the
last episode’s broadcast on 24 November
1986 marked her final TV appearance.
Hill was diagnosed with breast cancer
soon after. Given three years to live, she
withdrew from public life
Hill visited the BFI’s MOMI Exhibition
on London's South Bank in the late 1980s,
having heard there was a Doctor Who
section. Accompanied by Rakoff and Verity
Lambert, she was watching a monitor loop
of the series’ first episode when stunned
museum-goers realised who had joined Left:
them in the room. Jemma Powell
Hill’s cancer later advanced into her Pere
bones. She died at home in Bedford Park, in2013s
Chiswick on 18 February 1993, aged 63. An Adventure
Hill was played in Mark Gatiss’ drama paces
An Adventure in Space and Time (2013) by
Jemma Powell, but paid Doctor Who her own
tribute in 1985: “How so many people can
still appreciate what we did all those years
ago ina tiny black and white studio really
astonishes me. I suppose it’s unique.” ll
DOCTOR WHO | THE COMPLETE HISTORY 38
6) COCTOR WHO | THE COMPLETE HISTORY
STORY 4
The TARDIS has arrived on the Plain of Pamir
in 1289, The crew join Marco Polo and his
caravan on along journey to Peking to meet
the mighty Kublai Khan. But there is a traitor
among the travellers who is determined that
they will not reach their destination.
# ooctoR Wao | THE COMPLETE HISTORY C7)
to everyone apart from people who a
on its original transmission.
But somehow, none of these totally
ed stories have quite the same mystique
co Polo. It was a hugely ambitious:
. It speaksVolumes about the
g folk who first breathed life into
o, demonstrating the vision and
Megana gives
meaningful
took
kman story's journey ~a far cry from
sense of harmony between the TARDIS J} the superhuman Doctor that has emerged
in Inside the Spaceship (1964 - see page | over the years. Susan is more reckless
uncomplicated tale of adventure and impetuous. The story develops Ian's
ity allows writer John Lucarott]_ | boundless heroism, and Barbara's sharp,
sive the regular characters more | diplomatic qualiti
. The Doctor is at his most ‘Perhaps there is hope that some
Here he’s literally a frail old miraculous recovery will one day allow us
struggles over the course of the to see all of this. @
DOCTOR WHO | THE COMPLETE HISTORY
MARCO POLO
B sToRY 4
arbara and Susan have discovered
a huge footprint in the snow. Ian
points out that it could be an
ordinary footprint that has melted
The Doctor emerges from the ship,
announcing that a circuit in the TARDIS
has burned itself out, leaving them with
no heat or water
Susan spots a figure in the distance.
They follow him - and are ambushed by
a band of Mongol warriors! (1]
The warriors are led by Tegana, who
accuses the travellers of being evil spirits.
He is about to have them killed when
Marco Polo appears and invites them into
his caravan. [2
Inside, they meet a young girl, Ping-
Cho. Marco explains the year is 1289 and
they are travelling to Shang-Tu in Cathay
Susan shares Ping-Cho's tent for the
night. Ping-Cho confides that she is going
> ooctor wio | THe compere HistoRY
LX ANNRRRE
to Shang-Tu to be married to a man she
has never met. [3]
The next morning, Ian leads Marco
and Tegana to the TARDIS. He tells them
that it travels through the air but only the
Doctor has the power to make it fly. [4]
Ping-Cho cooks the Doctor some soup
He learns that the Warlord Tegana is an
emissary from the Mongol Lord Khan
Noghai, sent to discuss an armistice with
Kublai Khan
Marco has the TARDIS brought down
the mountain and agrees to conduct them
to the town of Lop, on condition that
they do not attempt to enter the TARDIS.
At Lop, the travellers are accommodated
in a way station. Marco tells them
he intends to give the Khan a gift so
magnificent he will be given permission to
the TARDIS! [5]
In analley, Tegana acquires some
poison. He intends to kill Marco and
the travellers as he wants the TARDIS
for himself - to bring the mighty Kublai
Khan to his knees!
return to Venice
he caravan sets out across the Gobi
desert. Polo explains to Ian that they
have eight gourds of water to last
them until they reach the other side. (2
They have a game of chess.
Barbara assures Susan they will get the
TARDIS back. [2] The Doctor won't talk
to Susan, so instead she joins Ping-Cho
in their tent. Ping-Cho describes the
moonlit desert as looking like a “great
silver sea”. They step outside and see
Tegana walking away from the camp.
Intrigued, they go after him
Ping-Cho sees a sandstorm approaching.
She and Susan head back to the camp but
are soon lost in the darkness. [3
Polo tells lan and Barbara that the
storms can sound like a familiar voice
calling your name. Polo notices Tegana is
not in his bed, and Barbara discovers that
Susan and Ping-Cho are missing.
Out in the storm, Susan thinks she
hears Ian calling to her. But it turns out
to be Tegana, who leads the two girls back
to the camp.
The next day, the caravan covers
another 15 miles. Tegana watches Polo
writing his journal, [4] then goes outside.
He sends the guard to report to Marco
and cuts open the gourds.
The sabotage is discovered the next
morning. They only have one day’s
supply of water left. Polo gives the order
for them to head north to an oasis, one
week's journey away
On the first day, they cover 20 miles,
but by the fifth day they only manage two
miles before they are forced to stop. [5]
Tegana offers to ride ahead and return
with water.
The Doctor collapses due to exhaustion;
Polo agrees to let him rest in the TARDIS.
‘Tegana reaches the oasis. He drinks
deeply, then fills and empties a gourd.
“Here's water, Marco Polo! Come
for it!” [6]
DOCTOR WHO | THE COMPLETE HISTORY
MARCO POLO » st
n the hope that Tegana has reached
the oasis, Polo inches the caravan
forward through the night
In the TARDIS the Doctor is woken by
water dripping on his face. (2] He tells
Susan to catch all the condensation that
has accumulated overnight. She emerges
from the TARDIS with a cup of water
Polo is suspicious until lan explains how
condensation forms.
The caravan reaches the oasis where
Tegana is waiting, claiming to have been
hiding from bandits. Barbara is not
convinced, however
Marco makes the Doctor hand over
the key to the TARDIS. The next day
they arrive at the city of Tun-Huang,
the location of the cave of Five Hundred
FE
evil men are painted on the walls. The
Doctor confides to Ian that he has made
yes, so named because the faces of 250
DOCTOR WHO | THE COMPLETE HISTORY
a second key for the TARDIS so he can
sneak inside and continue work on the
circuit. They join Barbara and Susan in
the way station where Ping-Cho relates
the tale of Ala-eddin, a wicked lord served
by a group of merciless killers. [3] lan
explains that these ‘Hashashins’ are the
assassins
source of the word
Barbara notices Tegana slipping away
and follows him to the cave of Five
Hundred Eyes where he meets two fellow
Mongols, Acomat and Malik, in a secret
chamber. [4] Barbara attempts to leave
but is caught by a warrior
Polo is furious that Barbara has
wandered off. Tegana says they will never
find her but agrees to search with Ian and
Polo. The Doctor thinks Barbara may have
e Hundred Eyes and
gone to the cave of
Chenchu, the way station manager, tells
him how to find it. [
The Doctor, Susan and Ping-Cho enter
the cave and find Barbara’s handkerchief.
Then Susan sees the eyes of one of the
faces moving! [6]
an and Polo join the Doctor, Susan
and Ping-Cho in the cave. Ian
realises that there is a secret chamber
behind them. A hidden door opens to
reveal a Mongol about to kill Barbara!
[2] Polo overpowers the warrior and lan
comforts Barbara
Back at the way station, Tegana warns
Polo that the Doctor and his companions
“will set us at each other's throats by lies
and deceit’. [2] Polo becomes suspicious of
the travellers and tells Ping-Cho that she
may no longer share her room with Susan
The caravan follows the Great Wall of
Cathay. In their tent, the Doctor gives Ian
and Barbara the news that he has nearly
finished repairing the circuit. [3]
Outside, Susan and Ping-Cho meet
in secret. Susan mentions the Doctor's
second key for the TARDIS, unaware that
Tegana is listening from the shadows.
of The Wall of Lies are available, Representative images used,
Three days later, the caravan arrives at
Sinju. Tegana meets Acomat in a tearoom
nd explains that the day after tomorrow
the caravan will enter the bamboo forest
On the second night Tegana will silence
the guard and signal to Acomat, who will
then slaughter them all. [4]
That night, Tegana spots the Doctor
sneaking into the TARDIS and informs
Polo. Polo is furious and rushes outside.
just in time to see the Doctor emerge.
Polo has the Doctor, Ian, Barbara and
Susan taken into custody [5] and seizes
the TARDIS in the name of Kublai Khan,
taking the second key
Three days later, the caravan has entered
the bamboo forest. In their tent, the
Doctor confirms to his companions that
he has installed the repaired circuit. But
Polo has both TARDIS keys, so the Doctor
and Ian plan to retrieve them by taking
him hostage. [6]
Ian emerges from their tent - to
find that the guard on duty has been
murdered!
OOCTOR WHO | THE COMPLETE HISTORY
MARCO POLO » stows
n the forest, a Mongol confirms
to Acomat that the caravan
is surrounded. [1]
uspecting the guard to have been
killed by bandits, Ian rushes to Polo’s tent
and warns him.
Tegana is about to signal to Acomat
when Polo appears and orders him to
wake the bearers. Polo hands the Doctor
and Ian swords. [2] Ian has an idea how to
deter the bandits
onto the fire, so that it will blow up.
by throwing bamboo
‘Acomat and the Mongols grow
impatient and attack, just as the bamboo
starts exploding. Tegana struggles with
Acomat and slays him. The rest of the
bandits flee. The Doctor explains that
they ran not because of “devils in the fire
but because their leader was killed.
The next day, the caravan emerges from
the bamboo forest. The Doctor and his
@ socroe wo | we cower stows
LAANRAARL
companions speak with Polo; he says that
if they promise not to attempt another
escape he will revoke the seizure of the
TARDIS, and Susan and Ping-Cho can
share each other's company. But Polo will
retain the keys
Ling-Tau, a courier, arrives from Shang-
Tu. [3] Polo makes Ping-Cho promise
not to tell anyone that he has hidden the
TARDIS keys inside his journal. Ling-Tau
delivers his message; Kublai Khan wishes
to see Polo without delay.
The caravan arrives at Cheng-Ting,
Susan and Ping-Cho discuss how they
both miss their homes. Ping-Cho realises
that if Polo gives the TARDIS to the Khan,
Susan will never be able to go home. [4]
‘Tegana meets with the sinister Kuiju and
arranges to have him steal the TARDIS. (5]
That night, Ping-Cho retrieves the
TARDIS key. The Doctor enters the
TARDIS with lan and Barbara and they
prepare to leave. [6] Susan goes to say
farewell to Ping-Cho - as she approaches
the TARDIS, she is grabbed by Tegana!
an emerges. Tegana threatens to kill
Susan if the Doctor doesn’t come out
of the TARDIS. [1] The Doctor and
Barbara emerge as Polo arrives and the
Doctor hands him the TARDIS key
Polo, Tegana, Ping-
his companions continue their journey
on horseback. The TARDIS will follow on
with a trade caravan. Halting at another
way station, Ian admits to Polo that their
“caravan” travels in time. [2]
‘The next morning, Ian and Barbara
discover Ping-Cho has run away. Ian offers
to ride back to Cheng-Ting to find her.
At Cheng-Ting, Kuiju pretends to
be the driver of the trade caravan and
‘ho, the Doctor and
convinces the way station manager to let
him take the TARDIS. [3
Several hours later, Ian arrives at
Cheng-Ting to find a distraught Ping-
Cho. He comforts her as the real driver
of the trade caravan turns up for the
TARDIS. Ian realises what's happened
the TARDIS has been stolen! {4}
Polo and the others pause at another
inn. Polo asks Barbara and Susan if they
are opposed to Ping-Cho’s forthcoming
marriage. When they say they are, Polo
becomes suspicious about Ian's motives,
and sends Tegana to Cheng-Ting to fetch
lan and Ping-Cho. At Cheng-Ting, Ian
learns that the TARDIS has been taken
on the road to Karakorum.
Arriving at Shang-Tu, the Doctor
Barbara and Susan are presented to Kublai
Khan. The Doctor kow-tows before him.
It turns out the Khan is also an old man
'5] who is sympathetic to the Doctor's
aches and offers to let him ride with him
in his carriage of state to Peking. The Khan
has received news that Lord Noghai’s army
are encamped at Karakorum
Ian and Ping-Cho catch up with Kuiju
on the road. He admits he is working
for Tegana. And then Tegana appears,
brandishing his sword! [
DOCTOR WHO | THE COMPLETE HISTORY (>
MARCO POLO =» stow
egana has the TARDIS. But then
T Ling-Tau emerges from the bushes,
leading a band of warriors. (1
Kuiju tries to flee and is stabbed. Tegana
s Ian of stealing the TARDIS, while
Ping-Cho accuses Tegana.
In the palace at Peking, the Doctor and
the Khan are playing backgammon. [2]
The Doctor has so far won 35 elephants,
4,000 white stallions, 25 tigers, the sacred
ace
tooth of Buddha and a year’s worth of
commerce from Burma. The Doctor
offers the Khan one more game, staking
all his winnings against the TARDIS. Polo
enters to inform the Khan that Tegana
has arrived, and is appalled to discover
that the Khan is gambling with his gift
Polo mentions this development to
Barbara and Susan. If the Doctor wins the
TARD)
Pir
an all go home, apart from
-Cho, who is due to be married the
@ vcroe wie | we come aston
LX NNNNRRE
next morning. [3] Ling-Tau arrives with
the news that he has Ian and Ping-Cho
captive, accused of stealing the TARDIS.
Then the Doctor emerges from the palace
- and he's lost everything!
The Khan inspects the TARDIS and
thanks Polo for his gift. Polo admits that
he seized it in the hope that the Khan
might let him return home.
Later that evening, the Khan gives Ping-
Cho some bad news; her husband-to-be
has died after drinking a virility potion.
He offers to let her stay in Peking. [
The Doctor and his companions realise
that Tegana intends to assassinate the
Khan. They warn Polo, who rushes into
the throne room just as Tegana attacks the
Khan. Polo faces Tegana in a swordfight
5] and, defeated, Tegana takes his own
life. Polo gives the Doctor the keys to the
TARDIS and the time travellers slip inside
and dematerialise. The Khan is sufficiently
impressed to let Polo return to Venice.
Polo wonders where - and when - the
travellers are now
(THE DOCTOR’S LITERAL
S OVER THE COURSE
‘DOCTOR WHDeh THE COMPLETE H.
sso
MARCO POLO » stow.
Right:
Wang-Lo
tellsian that
Ping-Cho has
been robbed
LN XANNANRRE
Pre-production
ne of the writers suggested
by head of drama Sydney
Newman to Doctor Who's
story editor David Whitaker
at the outset of Doctor Who's
development was John
Lucarotti, an old colleague of Newman's
from the Canadian Broadcasting
Corporation (CBC)
John Lucarotti had just moved to
Majorca when Whitaker, whom Lucarotti
had worked with, contacted him about the
new series, “David Whitaker phoned me to
say that he was story editing this new show
with Verity [Lambert] as the producer and
would I care to contribute a serial,” recalled
Lucarotti in a letter to Doctor Who Magazine
in July 1989, “I went to see them and the!
[asked] what I had in mind. Well, a few
years previously I had done a radio serial
called The Three Journeys of Marco Polo for
the Canadian Broadcasting Corporation,
so all the homework was already in my
head,” A major 18-part radio serial for
1955, The Three Journeys of Marco Polo had
concerned the thirteenth-century Venetian
explorer whose tales had enthralled
Lucarotti as a boy. The intention was
that Lucarotti would develop a seven-
part serial to fit alongside The Survivors
(later to become The Mutants (AKA The
Daleks) [1963/4 - see Volume 1}), a six-part
storyline from Terry Nation, and so form a
batch of 13 episodes. The plan on Tuesday
2 July 1963 was that ‘Serial No 3’ - the
slot the story was to occupy ~ would start
recording on Friday 27 December.
Whitaker commissioned Lucarotti
for Dr Who and a Journey to Cathay on
Tuesday 9 July. Concerned about the
@ vcroe wo | we comer asrows
serial’s length, the writer based his story
on Marco Polo’s long journey to Peking,
Working in Majorca, he attempted to
develop the storyline, but became bogged
down by the fourth episode. “I needed to
write scripts, to meet my characters, so
I phoned David (no easy matter in those
days) and told him my problems. ‘Start
writing’ was the reply,” recalled Lucarotti
to Doctor Who Magazine. The writer used
anecdotal details from Polo's memoirs to.
pad out the plot. The scripts also remained
strongly educational, presenting not only
historical information about thirteenth-
century China, but also scientific elements
about concepts such as boiling points and
condensation. He also approached it, in
part, as an adventure in the style of those
in the Boy’s Own Paper.
On Monday 15 July, filming on A Journey
to Cathay was provisionally scheduled at
the BBC's Ealing Studios from Monday
9 to Friday 13 December. By Thursday
18 July it was proposed that Dr Who and
af Pre-production
a Journey to Cathay could be recorded in
Riverside Studio 1, with Waris Hussein
directing; at this point, Hussein was due
to direct the introductary serial, The Tribe
of Gum (later to be known as 100,000 BC
[1963 - see Volume 1}), and then alternate
with Rex Tucker. On Wednesday 31 July,
transmission of the serial was scheduled
from Saturday 18 January 1964.
he draft scripts were in preparation
T around Monday 16 September. On
Friday 27 September it was indicated
that Lucarotti’s scripts should be arriving
by Tuesday 8 October, and had to be ready
by Monday 18 November. It appears that
the scripts arrived slightly late; on Tuesday
10 October, only the first 11 episodes of
the series had been delivered. At this time,
the story was still third, with the first four
episodes entitled The Roof of the World, The
Singing Sands, The Cave of Five Hundred Eyes
and The Wall of Lies. Recording, with no
director now assigned, had switched back
to Lime Grove Studio D from Friday 10
January for broadcast from Saturday
8 February.
Late in October, an extra two-part
serial was added to the schedules; David
Whitaker's Dr Who Inside the Spaceship
(later to be known as Inside the Spaceship
[1964 - see page 6]). In late 1963, the
end of Inside the Spaceship was written to
link into the beginning of Marco Polo. By
Tuesday 7 January 1964, the director on
the serial was once again Waris Hussein,
with taping to start Friday 31 January for
broadcast from Saturday 22 February.
The story synopsis had a different ending,
with the TARDIS landing in a strange
English-style country to lead into the next
serial, Dr Who and the Hidden Planet by
Malcolm Hulke. Over the next couple of
days, it was planned to have junior director
Richard Martin (who had worked on The
Mutants) direct the fourth episode The Wall
of Lies and the sixth episode Mighty Kublai
Khan, but on Thursday 9 January, Waris
Hussein was named as director on all of
the episodes.
At one point in early 1964, it seemed
as if Verity Lambert might be moving on
from Doctor Who. Head of drama serials
Donald Wilson was launching a new
twice-weekly serial about a council in the
West Midlands called Swizzlewick which was
to be made in Birmingham. As Lambert
was not married, Wilson felt that she could
most easily relocate. Lambert refused,
even considering a transfer to the family
department to work on Play School, a
pre-school programme being prepared
for the new channel BBC2.
There were various differences in the
draft scripts for Marco Polo. Originally,
the Doctor also had narration over
the montage at the start of the second
episode, The Singing Sands, commenting:
“Having stolen my ship, Polo forced us to
accompany him on his journey from Lop.
It was not a prospect which appealed to
me for ahead of us lay the Gobi desert -
a vast ocean of sand which rolls endlessly
away in every direction. To make matters
worse, our progress was slow because the
Below:
The TARDIS is
stored in the
courtyard of
away station,
MARCO POLO
The Doctor and
Kublai Khan,
both suffering
fromthe
ailments of
old age,
become
frien
STORY 4
hot sun made travelling between mid-
morning and mid-afternoon impossible.
And when we made camp at the end of the
third day, we had only covered about 30
miles,” Similarly it was later Barbara who
discussed the 15 miles covered the day
after the sandstorm and Ian later narrated
the trip towards the oasis; both speeches
were later rewritten for Marco Polo.
After the scene of Ian and Marco playing
chess, there was a scene of the Doctor
standing outside the tent looking up at
the night sky. Susan reassured him that
they would regain the TARDIS, certain
that Marco was honest and would keep
his word. The Doctor bitterly condemned
Marco as a fool, and after asking her
grandfather to try being civil to their host
Susan lost her temper with the old man
Smiling, the Doctor comforted her, telling
her: “We should be up there - another
dimension, another time, another galaxy
He agreed to try to be well-behaved, and
sent Susan to bed before muttering, “I still
think he’s a fool.
Following the rescue of Ping-Cho
and Susan, Marco gave instructions to
the travellers about trying to locate the
oasis and how they would all head off in
different directions: Ian going east, Miss
Wright to the south, “Doctor Who” to
the west and Marco to the north, then
circling back towards the caravan. After the
montage, there was then another scene in
the tent with Marco, the Doctor, lan and
Barbara. After Marco left, lan confirmed
to the Doctor that Susan was in bed,
indicating that they were all tired. “Do you
know what I'd enjoy
‘One of your Earthly weaknesses. A pipe
remarked the Doctor,
Ian suggested that he smoked one, but the
old man noted: “My pipe’s in the ship.
I don't want to ask Polo for permission to
go in yet.” Ian agreed that if “Doctor Who”
was caught then Polo would probably
confiscate the key. The Doctor told his
friends that it would take him at least
three days to create the new circuit, but
couldn't think of a good reason to justify
that amount of time. Ian then delivered the
narration for the journey north.
jN-gu
Ses
nthe third episode, The Cave of Five
I Hundred Eyes, it was originally Barbara
who gave the opening narration about
the caravan aiming for the oasis, after
which the Doctor's voiceover explained
how he had been forced to hand over
his keys to the TARDIS and relating the
three-week journey to Tun-Huang. Later
on, in the main room of the way station,
Ping-Cho told Susan that she was quiet,
thinking that their journey would end soon ©
and that she would marry an old man; lan
then entered, looking for Barbara who had
gone for a walk. The episode originally
ended with Susan seeing the eyes in the
wall of the cave move, and then Ping-Cho
alerting them to the fact that Tegana was
standing in the tunnel behind them with
his sword drawn.
The sixth script, Mighty Kublai Khan,
originally had a short scene of Polo seeing
the key from the secret compartment in
the journal on the floor and suddenly
realising about the other key.
There was then a scene in
the TARDIS of the Doctor,
Tan and Barbara impatiently
waiting for Susan, following
which Ping-Cho saw Marco
rush across the courtyard.
Ian's narration originally
covered the departure from
Cheng-Ting, and originally
at the inn there was more
dialogue from the Doctor
about his dislike of horse ci
riding and Ian telling later was transferred
into the new British
Marco how he came from
1964. Barbara was then to
have narrated the journey
beyond the Great Wall
towards Shang-Tu.
In the version of the final
episode, Assassin at Peking, dated Monday
13 January 1964, the serial ended with the
Khan telling Marco that he will be sent
home. The story concluded with a TARDIS
scene in which Barbara commented on
how she liked Marco, and that - after
their departure - there was a war and
Noghai was defeated. Marco would then
reach home and write up his adventures...
although the Doctor realised that these
events would be missing, because he was
holding Marco's journal that he had picked
up from where Marco had dropped it
before the swordfight. Reading this, he
commented: “Is that what he thought of
me? Well - of all the cheek!”
Hussein was relieved to receive the
scripts for the serial, finding that they were
far better written and of higher quality
than those for 100,000 BC. Following the
baptism of fire a few months earlier, the
young director also felt that he now had
a greater feeling for the rhythm of the
show, and how the new series could be
best produced.
Corporation.
Pre-production
Connections:
Wireless circuit
» The circuit which the
Doctor asks Susan to bring
him in The Roof of the
World was named 2L0;
‘2L0'is the radio callsign
of the second UK radio
station which began
transmission from Marconi
House in London of May
Broadcasting Company
which in 1927 became
the British Broadcasting
Above left:
lan can't walt
tohear another
one of Ping-
Cho's stories,
DOCTOR WHO | THE COMPLETE HISTORY 4B)
MARCOPOLO »sowe
The designer for the serial was Barry
Newbery, whom Hussein had worked
with on 100,000 BC. A friend from the
Department of Oriental Antiquities at
the British Museum referred Newbery to
Ruins of Desert Cathay, a 1912 two-volume
work by archaeologist Sir Aurel Stein,
while other books used for research were
the recent 1963 work Chinese and Indian
Architecture by Nelson 1 Wu and the 1940
Right:
Marco Polo volume Chinese Houses and Gardens by
ponsns Henry Inn and SC Lee. Newbery also
sword,
found that Korean architecture in 1900
was similar to the period he was studying
Costumes were handled by Daphne
Dare as they had been since The Mutants.
Many of the period costumes came from
stock or Bermans Costume Hire, and the
serial also saw the first association with
the specialist props-making team of father
and son Jack and John Lovell - supplying
items later used that autumn in the cinema
epic Genghis Khan. Ann Ferrigi, who had
worked on Inside the Spaceship, remained as
make-up supervisor.
The incidental music for Marco Polo was
composed and conducted by Tristram
Cary who had produced a musique
concrete score for The Mutants; this
time the composer used conventional
instruments. The score
was recorded from 6pm
to 10pm on Thursday 23
January 1964 by the Eddie
Walker Ensemble performing
Connections:
Tan who?
} Asin The Mutants (AKA
The Daleks) (1963/4 ~ with flute, alto flute, harp,
see Volume ],the Doctor | timps and percussion, while
is stil getting Ian's name Cary himself subsequently
wrong, referring to him recorded electronic ‘voices’
‘as "Charlton" in The Roof for the sandstorm scenes
of the Worldand in the second episode.
“Carterford" ina Percussion, which featured
deleted scene in heavily in the Polo/Tegana
The Wall of Lies. duel, was played by renowned
musician Charles Botterill.
@ coctoR wo | THe comecete HistoRY
7/04” was cleared for The Roof of the World,
12'13” for The Singing Sands, 11'26" for
Five Hundred Eyes, 7'10” for The Wall of.
14°42” for Rider from Shang-Tu, 6'18” for
Mighty Kublai Khan and 730” for
at Peking. Two items of existing library
music were also used with BBC recordings
of traditional music (China: Three Ancient
Melodies) performed on the guzheng,
or Chinese zither, by Chen Lei-Sei, also
known as Louis Chen. The first of these
was At the Palace Gates (AKA Nan Jinn Gong
- Entering the Palace) with 1'57” being used
in Five Hundred Eyes to back the Doctor
and Ian in the way station courtyard and
1/27” for The Wall of Lies, when Tegana
met Acomat in the Chinese tearoom. The
second piece was A Merry Old Gentleman's
Song (AKA Teuey Ueng Charn - The
Strumming of an Elderly Gentleman in a State
of Refined Intoxication), with 1'45” used
in Rider from Shang-Tu for the first scene
in the Cheng-Ting courtyard, 1’36” for
Mighty Kublai Khan for the courtyard scene
where Wang-Lo dealt with Kuiju, and
1'54” for Assassin at Peking for the cloisters
scene in which the Doctor told his
companions that he had lost the TARDIS.
The serial did not require any input
from the Radiophonic Workshop; Brian
Hodgson’s sound effects from previous
episodes were retracked accordingly.
sChessmateh
ast as Marco Polo was Mark Eden
(born Douglas Malin) whom Hussein
had seen in the RSC production of
A Penny for a Song at the Aldwych in 1962.
Playing the villainous Tegana was Derren
Nesbitt (born Derren Horwitz), having
appeared frequently in various historical
film series of the 1950s. The other major
role was that of Ping-Cho, and for this
Hussein wanted a genuine oriental actress
who had not appeared in either the West
End stage production of The World of
Suzie Wong, which had run since 1958,
or the historical epic movie 55 Days at
Peking, which had opened in 1963. By
chance, 19-year-old Zienia Merton heard
from a friend of hers at stage school that
Hussein was looking for an eastern-looking
actress; born in Brunei, Zienia’s father was
English/French and her mother Burmese,
and her striking looks had already seen her
ast as a Venusian in the 1962 Children’s
Film Foundation serial The Masters of
Venus. Given Hussein's number, Zienia -
who was then rehearsing for Toad of Toad
Hall at the Comedy Theatre - went along
to his home in Fulham one Saturday
afternoon and gave a reading of a speech
from the script... impressing the director
sufficiently to win the television role. Also
in the cast playing the small role of ‘Man
at Lop’ for the first episode, The Roof of the
World, was Leslie Bates who had been a
caveman supporting artist in 100,000 BC.
‘The camera scripts bore no title, and
when rehearsal scripts were sent to the
cast during January, the serial title was
still A Journey to Cathay. Waris Hussein
had decided to make the narrative more
personal to Marco, and so all the narration
for the journey sequences was rewritten
for Marco alone. The scripts tended to
refer to the Doctor as ‘Dr Who’ or ‘Doctor
Who’ in the stage directions. In Episode
1, The Roof of the World, Susan originally
told Ping-Cho, “Grandfather and I have
been travelling for a long time.” Before
talking to Tegana about the strangers, Polo
commented, “They sleep soundly.” After
indicating to Ian that the TARDIS would
be taken down the pass on a sledge, Marco
told Susan, “Your grandfather can show it
to me there.”
In Episode 2, The Singing Sands, during
the chess match in the tent, after Tegana
asked Marco if he could save his king,
Barbara originally announced, “I'm for
bed. Goodnight Ian... I hope you can
get your king out of trouble, Polo.” “Er
- thank you Miss Wright,” replied the
Venetian, “I shall do my best.” Susan's
contemporary slang was increased over
and above the camera script; she had
referred to the moonlit desert as “crazy
but her explanation, “like dig
replaced the scripted “go for - I like it.”
The opening narration for Episode 3,
Five Hundred Eyes, originally had Marco
commenting, “The poor old Doctor, he’s
exhausted in the caravan and Susan does
what she can to help him.” At one point
in the scripted dialogue, Barbara asked
DOCTOR WHO | THE COMPLETE HISTORY a)
it, you know,”
RS CNN eens Se ae Pre-production
Below:
Teganais
determined
tohalt Marco
Polo's progress
toPeking,
MARCOPOLO »sove CANANNNARRE
“What about Doctor Who the rest of them.” When Polo demanded
Connections and Susan?” After Barbara that the TARDIS key be handed to him,
Not qualified
took her sip from the water | the Doctor's protests ran longer and he
} In Mighty Kublai Khan, the A 3 . “ rs
jug, Susan was to warn her, indicated that he had “many letters after
Doctorexplainsthatheis | “Not too much.” “Then we his name” After the Doctor revealed that
notadoctor of medicine. 35 | Can wait for Tegana here,” he had made a new key, Susan told lan
hehaddonein 100,0008C | tated Barbara, to which that she knew about this: “Of course, Ian.
[1963 see Vokume Polo replied, “No, Barbara Grandfather and I share many secrets.
1) (this wasan We shall go and meet him.” Originally when searching for Barbara in
unscriptedadli). } After Polo told Tegana that the closing scene, the Doctor was to have
he knew the story of water said, “She must've left. We probably passed
forming inside the travellers’ caravan to be} her on the way in the dark.”
true, the warlord replied, “I have warned In Episode 4, The Wall of Lies, Polo's
you, Marco. Kublai Khan will never see castigation of Ping-Cho for her accusations
the caravan that flies. Nor you Venice. about Tegana were not as severe, and when
That old man’s a magician.” Discussing Acomat told Tegana that he should have
Woe the ‘bandits’ at the oasis who didn’t light killed the rest of the party, the warlord
refuses to a fire, Barbara speculated, “What did they | originally replied, “And risk Polo's arrival
ee do? Sit and shiver?” Ian then asked the whilst I held a bloodied sword? You are
Srythingbut -- DOctor what he thought of Tegana, and still young, Acomat.” The younger Mongol
afriend, the old man replied, “He's a savage, like all} then said, “Test me with my task.”
Scorning Wang-Lo's treatment of
the TARDIS in Episode 5, Rider from
Shang-Tu, the Doctor originally said,
“What does he think it is ~ a bathing hut?”
When Ping-Cho said that she missed her
home in Samarkand, Susan originally
asked what it was like. “It's a comfortable
house - one that wants people to live in it,”
replied Ping-Cho. “There's a garden like
this (the Cheng-Ting way station], not as
magnificent but still very beautiful. And in
the summer evenings, the air is filled with a
thousand scents and the sof, tiny sound of
hummingbird wings. I used to watch them
for hours as they hovered in front of the
flowers, drawing off the nectar. It would
be nice to be there now.” “It must be very
lovely,” replied Susan. When Ian distracted
the guard, there was more dialogue with
Ian saying, “We must move quickly. We
must do something about that guard
Wait! I've got it,” and then saying to the
guard, “Drink, my lord... you see, there's
nothing wrong with it.” “Now’s our chance
@ ooctoR wo | THE comecete HrstoRY
NS
to get into the ship,” said the Doctor, with
Barbara adding, “Come on, Susan.’
When Barbara and Susan entered the inn
laughing in Episode 6, Mighty Kublai Khan,
Susan was saying, “...and then Grandfather
threw water all over him...” “The Doctor
has recovered his humour?” asked Polo.
“Yes,” replied Susan, “the water was
nearly freezing and so he nearly drowned
one of the servants.” At the palace, after
the Doctor commented that a Mongol
ruler like the Khan had adopted Chinese
architecture, Polo originally explained,
“Kublai Khan has adopted many Chinese
customs and methods.”
VAAN
arco Polo was a Venetian
merchant traveller who was
born around 1254 and died in
1324. Many details for John Lucarotti's
scripts were drawn from Marco Polo's
memoirs, Livres des merveilles du monde (The
Description of the World), a work which he
had dictated to his cellmate, Rustichello da
Pisa, while imprisoned in Genoa in 1295.
The book was published around 1300,
although in the teleplay Polo would be
shown to keep a journal. Polo specified the
year as 1289 in The Roof of the World and
related how he left Venice for Cathay with
his father and uncle in 1271; Polo’s father
Niccolé and his uncle, Maffeo, were absent
from the adventure, although he referred
to them in the first episode. The journey
to Peking took him three-and-a-half years
and when he arrived at Kublai Khan's court
he was 21; history confirmed this date as
1275. On his twenty-third birthday, in
1277, he was given an appointment in the
Khan's service as stated in the first episode
- and in real life, Polo was the Khan's envoy
to Yunnan, North Burma, South India, and
spent three years as the governor of Yang
Chow. As was further related in the script,
the Khan refused the Polos permission
to go home in 1287. Little is known of
Polo's travels between 1275 and 1292, but
it seems he did two tours of duty for the
Khan. In 1289 he would probably have
been returning from his second tour to
the Indies - thus John Lucarotti’s journey
was fictitious.
The route in the adventure was based on
Polo's first journey to Peking. Travelling
north through Persia this included
Kerman, Khurasan, Balkh, ascending
the upper Oxus before passing through
Wakhan to the plateau of Pamir, through
Kashgar and Yarkand to Khotan, north
east to Lob Nor and entering the vast Gobi
desert (which Polo knew as the Desert
of Lop). The Polos reached Shang-Tu (or
Xanadu) where the Summer City of the
Great Khan was located
In The Roof of the World, Ping-Cho told
Susan that Polo was referred to as “Messer
Marco” which is how the explorer was
named throughout his memoirs. Tegana
was named after one of six Tartar barons
mentioned briefly by the real Polo.
Tegana’s leader, Noghai (referred to as
Nogai by Polo), was a Tartar king and
great-great-grandson of Genghis Khan
in the lands north of Cathay towards the
end of the Khan's reign. Although the
DOCTOR WHO | THE COMPLETE HISTORY =>
die.
Above:
There are
mixed
reactions
from the time
travellers to
Ping-Cho's
rendition of the
Hokey Cokey,
Marco Polo
ismost
displeased wtih
the travellers
when they
try to escape
inthelr
flying caravan’
script referred to China as Cathay, the
modern name of Peking was used instead
of Khan-balik or Beijing, and the television
Polo spoke of the Gobi desert instead
of the Desert of Lop. Polo's comment |
that the cold of the Pamir Plateau was |
so intense that it robbed the flame of its
heat was inspired by his real counterpart’s
observations - explained by Ian in terms
of the lower air pressure at that altitude
Marco compared the Khan to the Punic
Carthaginian militar
tactician Hannibal who lived in the third
y commander and
and second century BC and Alexander the
Great, the Greek king of Macedon who
lived in the fourth century BC.
When having the TARDIS described to
him as moving “through the air” by Ian
Polo accepted this because of the miracles
he had witnessed performed by Buddhists
at the Khan's court, again from the real
Polo’s recollections. Polo commented
that he once transported an army to
India - apparently referring to the first of
the real Polo’s journeys for the Khan. At
the way station, Polo explained that his
gold seal proved that he travelled in the
service of the Khan and so could demand
DOCTOR WHO | THE COMPLETE HISTORY
provisions, horses and shelter. They could
be obtained from way inns, which Polo's
book described as ‘yambs’ or post-houses
about every 30 miles where apartments
were available for those travelling in the
state's service - several of which featured
throughout the serial
Polo's writing included details of the
illusions and noises heard crossing the
Desert of Lop, commenting on how
travellers “unexpectedly hear themselves
called to by their names”, mentioned in
The Singing Sands. The episode also had
Marco using a chess set from Hormuz, a
stage in his initial journey through Persia
in 1271/2, and an educational piece about
the origin of the phrase ‘checkmate’ from
‘Shahmat’ - ‘the King is dead
Five Hundred Eyes included a recital
by Ping-Cho about the Hashshashins,
recalling events of three decades earlier
in which Ala-eddin (or Alo-eddin), Marco
Polo explained that Ala-eddin was the
leader of a fanatical sect of assassins
which was destroyed 20 years earlier by
Hulagu; in fact Hulagu Khan, the brother
of Kublai Khan, had destroyed the sect
with an attack on their fortress at Alamut
in 1257. The script pointed out that
Ala-eddin’s base of operations had
been Alumet (which Polo called Mulehet)
in Persia, and not Tun-Huang at all.
Ala-eddin was a follower of Mahomet
who promised his young followers access
to Paradise - part of a brainwashing
process which made them trained
assassins. Barbara referred to “the Caves
of the Thousand Buddhas”, also known
as the Mogao Caves, a system of 492
temples which were many centuries old.
The character Acomat appears to have
been named after Acomat Soldan, a Tartar
ruler from 1281 to 1286 mentioned in
Polo's memoirs.
Shang-Tu, the messenger Ling-Tau
arrived from Shang-Tu having
ridden 300 miles in a single day. Ling-
‘Tau's description of how he had changed
horses every three miles was another
detail from Polo's memoirs. Later in the
episode, Tegana’s associate Kuiju (who was
not named on screen) makes reference
to the paper money introduced by the
Khan, as discussed in Polo's book. The
script of the sixth episode, Mighty Kublai
Khan, had Ping-Cho explaining about
Karakorum being a former capital of the
Mongol Empire - again drawing upon
Polo's memoirs. Marco also referred to the
Crusades in the Holy Land (“in Accra” as
he said in the script), which for him were
25 years ago; in fact the Ninth Crusade
had been an expedition mounted by the
future King Edward I against the Balibars
in 1271.
In the final episode, Assassin at Peking,
the Doctor’s winnings at backgammon
included the sacred tooth of Buddha
which Polo brought from India - an item
I: the fifth episode, Rider from
| recovered from Ceylon in 1284. One slip
in the script was the Khan’s reference to
“Uncle Jenghis”, the warrior of the family;
Genghis Khan was in fact the grandfather
of Kublai Khan, a fact which the real Polo
had got confused. This was corrected in
time for the recording.
The Ping-Cho sub-plot was based on
Marco Polo’s escorting of the 17 year-
old Princess Kokachin to wed Arghan,
the Ilkhan of Persia. Arghan was the
grandnephew of the Khan, and it had been
his wife’s dying request that a girl from
her own Mongolian tribe should take her
place - the message reaching the Khan in
1288. The bridal party had left for Persia 7
in 1289, only to be turned back by war
among the Tartars. After Polo’s return
from the Indies, he and his family were
allowed to leave the Khan's service and
escort Kokachin’s party, departing in 1292,
On arrival in Persia, Kokachin was to find
her elderly fiancé had died - as did Ping-
Cho in the serial.
John Lucarotti used Polo's memoirs for
the character's descriptions of the Khan's
stables of 10,000 white stallions and
his passions of hunting and falconry in
Mighty Kublai Khan. The summer palace
where the caravan met the Khan was
at Shang-Tu, and was based on the
descriptions given by Polo of the buildings
at Shandu. Kublai Khan, who lived
from 1215 to 1294, became Khan of
the Mongols in 1260 and was Emperor
of China from 1271. He had a splendid #
capital city at Cambaluc (ie Peking) and ry
was a liberal-minded ruler who welcomed
foreigners and improved his civil service.
John Lucarotti recalled the way the Khan
had been played in his CBC serial where
the director had urged the actor to portray
a fussy little administrator instead of the
mighty warrior - and had also created the
idea of the domineering empress. ll
DOCTOR WHO | THE COMPLETE HISTORY (GB
SeMARCO POLO © saw2
“THE EPISODE ENDED
FADING TO BLA
GRABBING SUSAN, a si
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X
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Production
hooting on silent 35mm
film took place at Ealing
Studios Stage 3B during the
third week of January 1964.
Hussein found the atmosphere
far more relaxed than it
had been on 100,000 BC, and again left
much of the filming supervision to one
of his production assistants, Douglas
Camfield. Monday 13 apparently covered
the establishing and cutaway shots for
rial, comprising a sandstorm to
sperimposed on The Singing Sands,
water spilling from the gourds in the same
episode, bamboo stalks exploding in the
fire in Rider from Shang-Tu, water droplets
falling on the TARDIS console in The Cave
of Five Hundred Eyes, and a slow pan across
the desert for The Singing Sands.
“swat tht) Mongol Took
he montage sequences for the serial
T showed the caravan travelling,
which Hussein envisaged could not
be achieved on the programme's budget
“| remember Waris Hussein having a
heated conversation with Verity,” recalled
Lambert's secretary Val Speyer in the
fanzine TARDIS Vol 15 No 3. “I remember
him coming into the office and yelling,
Verity, what the hell am I supposed
to do with two horses and a cart!” A
sequence for The Roof of the World was
filmed on Tuesday 14 January, with two
bearers moving towards Lop with the
TARDIS prop lashed to a cart. For the
first time, animals were hired for use on
the series with a horse pulling the wagon.
Asimilar shot was filmed for the Gobi
desert sequence in The Singing Sands (plus
travelling scenes in The Cave of Five Hundred
Eyes and The Wall of Lies).
‘The regular cast were not required for
filming (having been removed from a brief
montage sequence in the script for the first
episode), but the two main guest stars for
the story - Mark Eden and Derren Nesbitt
- were needed at Ealing; the actors already
knew each other well and were old friends.
Derren required make-up to give him
a swarthy Mongol look, his hair was
slicked back and he was also given a
bulky costume (which caused him to get
caught on some of the sets). Oriental
extras were hired as couriers and caravan
bearers in other sequences, as with the
studio recordings
‘A major action sequence was shot on
the set of the Khan's throne room for
Assassin at Peking on Wednesday 15 January
from 9.30am to 5.30pm. This was the
swordfight between Marco and Tegana,
with stuntman Derek Ware (with whom
Hussein had worked on 100,000 BC)
DOCTOR WHO | THE COMPLETE HISTORY €E
Production
Below:
The TARDIS
rolls along
on wheels.
MARCO POLO »s0~¢ 2
Far right:
fan declines
tocomment
‘on Barbara's
fetching
new hat.
Below:
Polo and
Tegana fightit
out inthe court
of Kublai Khan,
choreographing Eden and Nesbitt. “Swords
are my forté,” explained Ware in Doctor Who
‘Magazine 317, “so Waris [Hussein] asked me
to co-ordinate a fight between Mark Eden
and Derren Nesbitt using Saracen blades.
I worked out how Marco could win with a
fearsome blow, but Verity didn’t like that, so
it had to go.” The dematerialisation of the
TARDIS was also filmed on this set.
Nesbitt and Eden completed the fight
sequence first thing on the morning of
Thursday 16 January, with Nesbitt also
shooting a scene of Tegana appearing on
the ridge of the sand dune for The Singing
Sands. In the morning, a series of narration
inserts were filmed, showing the route
marked out on a parchment map and Polo
writing his journal, with calligraphist John
Woodcock's hand standing in for Eden's
The first of these inserts traced the journey
to Lop in The Roof of the World, another
showed the route into the desert in The
Singing Sands and onto Tun-Huang in The
Cave of Five Hundred Eyes, from Tun-Huang
along the Great Wall via Sinju in The Wall
of Lies, to Cheng-Ting in Rider from
© ooctoR wea | THe comecete HrstoRY
LC AANNNARRE
Shang-Tu, and finally to Shang-Tu itself
in Mighty Kublai Khan. Eden recorded
his voice-overs for these sequences the
same day. The day was also scheduled for
model shots (the tents on the plateau in
The Roof of the World, in the desert in The
Singing Sands, and in the bamboo forest
in The Wall of Lies and Rider from Shang-Tu
plus a mountain vista for The Roof of the
World) and the shot of the goldfish in a way
station pool in Rider from Shang-Ti, which
it was thought could be filmed on location
at Kew Gardens but was ultimately shot in
studio. Friday 17 January was added to the
planned filming schedule to complete some
camera shots left over from the previous
day. In editing, the map of the journey
would be superimposed over images of
Marco keeping his journal and the caravan
moving along.
ehearsals on The Roof of the World ran
from Monday 27 to Thursday 30
January at the Territorial Army Drill
Hall at 239 Uxbridge Road in London.
This was a new experience for young
Zienia Merton, and she was soon given
some advice on the nature of television
production from the show’ star. “Bill
Hartnell was pretty irascible off set and
on," recalled Merton in the fan-made
documentary The Making of Marco Polo,
noting that the old pro said to her, “Word
of advice, if you dry, they won't cut you
know. So just swear. F***, Just say that
very loudly and they'll have to cut.” Mark
Eden, who had worked with Hartnell on
the movie Heavens Above! a couple of years
earlier was given similar advice, and also
saw that the older actor could have a sharp
temper because he was under the weather.
“He had a particularly bad outburst,”
noted Eden in The Making of Marco Polo,
“He wasn't feeling well and things were
going wrong. And the next day he brought
flowers for the ladies.” However, by now of Douglas Camfield at Holland Park.
the working bond between Hartnell The guest cast members joining the show
and Hussein had strengthened, “He were made welcome by one member of
transformed through the period of time we | the regular team in particular. “Jackie was
family.” Over the coming weeks, the cast
and crew would also socialise at the home
knew each other,” explained the director recalled Carole Ann
at Gallifrey One's Network 23 convention,
“And it ended up with mutual respect
Now, that’s progression. And I think
that’s an important progression. All his
prejudices fell awa
“We were lucky in having people like
Waris Hussein,” commented Jacqueline
Hill in Doctor Who Magazine 105, “He
was extremely sensitive and knew how to
work with actors on that kind of hectic
time schedule so as to produce the best
possible end result.” Hussein established
avery good working atmosphere on the
serial. “I loved Waris Hussein!” exclaimed
Eden in Doctor Who Magazine 240, “He
used to make us laugh and he used to
take us back to his house. We had a big
Indian meal there one time, and met his
a lovely, lovely lady
Ford in Doctor Who Magazine
221. “She was great fun, a
great professional, and was
particularly concerned about
being friendly to other people
coming into the cast.”
The script itself was
popular with the cast. “I liked
Marco Polo and I think that it
was extremely well written,
exciting and diverting as well
as having a bit of history on
the educational side,” said
William Russell in Doctor
Who Magazine 115. “Seven
episodes was a little too long,
but the scripts were very well
written,” recalled Hussein in
_ Connections:
Feeling his age
} In The Roof of the
World, the Doctor
commer that he can't
ee anything without his
spectacles, which he had
worn in The
[1963/4 - see Volume 1},
and in Mighty Kublai Khan
it athe suffers
imatism; in both
this and Assassin at Peking
adistinctive
he walks with
cane with a coiled motif.
DocroRwHo | THE COMPLETE TORY (lp
MARCO POLO »sowe CANANNNANNAAR
Newbery assumed that these would all
have a similar layout of a basic courtyard
and inner room. Thus a basic set was
built which was redressed and made more
research.” During the first week, the ornate throughout the serial as the caravan
Doctor's introduction of Ian as “Charlton” | approached Peking, Barry designed his tent
Doctor Who Magazine 272, “He came to the |
was an ad-lib developed during rehearsals; sets along the lines of a yurta, tents carried
readthrough and rehearsals and explained
why held put various things in and what
they meant. He really cared about his
originally Ian was to have introduced the | on horseback by Mongols, and included a
travellers to Marco Polo. ge leather bag with a plunger containing
Bree: Studio recording for The Roof of the World | kumis - a mare's milk the Chinese lived on.
Ping-Cho has a took place at Lime Grove Studio between From his studies, the designer told Hussein
sodas 8.30pm and 9.45pm. During the afternoon | that every person entering or leaving the
AS as camera rehearsals, a photocall was held for { tent should pump the plunger to keep
Lean, the publicity shots at 3.45pm; a photograph of } it fermenting, although the director felt
gieatauntyof the Mongols finding the travellers featured } this would hold up action and ignored
the prop. This small section of tent with
pocter Whe in the February edition of the BBC's
deputy editor, internal magazine, Ariel.
Peter Ware, The plateau set consisted of stock flats
regards
themthrough with Jablite and sawdust as snow. For the
ions featurediin the serial, Barry
a partial canopy caused problems for the
lighting team. “John Treays still found
it very difficult to light,’ said Newbery
e Frame. “In
in issue 17 of the fanzine
t
O | THE COMPLETE HISTORY
\ '
fact, he eventually said that he wouldn't
do it and we had to get somebody else in
to replace him.” Generally though, the
crew was willing to tackle something a bit
more challenging. “Waris had a marvellous
group of technicians working with him,”
recalled John Lucarotti in the 1989
book The Doctor Who File. “One burly
red-haired cameraman would interrupt
studio rehearsals to say, ‘Hang on a mo,
guy, I can get a better shot by doing this;
and then reposition his camera to achieve
the impossible.”
ienia Merton had to quickly learn the
y hoe of studio work. “I was so
naive. ‘Oh goodie! Supper break!”
recalled Merton in The Making of Marco
Polo as she wondered why none of the other
cast members were eating much at the
canteen. “I had spotted dick and custard.
Iwas very leaden at the end of it and I
never ate that much again.” The episode
title and writer credit were superimposed
over the TARDIS on the snowy plateau,
and the companions spoke lines over the
telecine insert of the mountain view. For
this recording, the wig worn by William
Hartnell was modified slightly to fit more
tightly over his scalp. The first recording
break allowed the cast to move from
the plateau to the tent, while a second
allowed Mark Eden to return to the plateau
later on. The next episode caption was
superimposed over a close-up of the poison
phial in Tegana’s hand which then faded to
black. At the end of the episode, the final
alleyway scene between Tegana and his
associate was also re-recorded to act as the
reprise of the next episode - although this
was not ultimately used.
At the start of the following week's
rehearsals for The Singing Sands, from
Monday 3 to Thursday 6 February, William
Hartnell became ill and was unable to
attend. David Whitaker wrote to him at his
home on Tuesday 4 to wish him a speedy
recovery. Accordingly, rewrites eliminated
the Doctor from most scenes ~ he sulks
off-screen at the start of the episode. The
show's star would be able to appear in
studio, but his role was minimised to the
penultimate scene set at the side of the day
wagon. Even then, the Doctor had only
two brief lines of dialogue before falling
unconscious. A new scene of Barbara
talking to Susan at the start of the episode
was written to replace the main scene
between the Doctor and Susan.
Recording of The Singing Sands on Friday
| 7 February at Lime Grove, Studio D,
began with a re-enactment of the reprise
in which an extra doubled for Leslie
Bates as Tegana’s cohort. The opening
captions were superimposed over the film
sequence of the map journey into the
desert. A photocaption of a starry sky was
used as Barbara and Susan admire the
heavens, and the first recording break was
scheduled after Susan and Ping-Cho left
their tent to follow Tegana; this allowed
the cameras to be moved to new positions.
As with the previous episode, the sound
Above:
The TARDIS
prop on the
Plain of
Pamirset,
DOCTOR WHO | THE COMPLETE HISTORY =
Above:
Tegana reaches
the oasis, and
taunts the
thirsty Marco
Polo from afar
effects used in studio included those of
the horses whinnying, indicating to Polo
the approaching storm. A wind machine
was used for the sandstorm, over which
was superimposed the film shot at Ealing;
some musique concrete sound effects from
Tristram Cary were also played in at this
point. “They built a stage ramp about 10
feet and then put mattresses down below,”
recalled Zienia Merton in the fanzine
Mini-Mag Issue 6. “They'd covered them
with sawdust and put on a wind machine
and I was just blinded. I jumped down and
my eyes were just covered in sawdust and
I remember whispering to Carole, ‘I can't
see!’ and she replied to hang onto her and
we just charged across the stage to make
our entrance... I lost my shoes and tore
my dress and it was a wonder I arrived in
one piece in front of the actor who I had
to deliver my lines to and that was it.
I carried on not knowing where I was, until
it came to the break and then they got
the hose and [the nurse] washed my eyes
out.” Waris was less than convinced of the
effectiveness of the superimposed material
on the sandstorm, commenting on the
1989 documentary Cult People, “The result
was it looked like everyone's aerials had
blown over.”
@ ooctoR wo | THE comecete HrstoRY
CS AXKNANNANERE
The second recording break came
after Tegana emerged from the tent and
looked at the phial. This allowed costume
changes for Ford and Merton. The third
was after the film of the water spilling
from the gourds and allowed for camera
movements, while the fourth - after
Marco refused to let Tegana ride to Lop
- was for costume and make-up changes.
The closing caption, which read ‘Next
Episode: The Cave of Five Hundred Eyes, was
superimposed after the fade to black of
the cliffhanger of Tegana at the oasis
This was the working title for the next
episode, but the title had been changed
to Five Hundred Eyes on production
documentation, including the camera
script, prior to recording.
SApEreHENdeA UOT
als for Five Hundred Eyes took
place at the Uxbridge Road Drill Hall
from Monday 10 to 13 February.
On Tuesday 11 and Wednesday 12 Indian
dancer and actress Zohra Segal - who
played the uncredited role of Ping-Cho's
attendant in this and the two previous
episodes - coached Zenia Merton for her
Ala-eddin monologue. This sequence
caused the rest of the cast to tease the
young actress about her set piece, and
towards the end of rehearsals it seemed
that Hussein might drop this; Zienia,
however, asked production assistant Penny
Joy to keep the recital in. Some of the
Doctor's lines at the oasis were dropped
during rehearsals, removing the dismissal
of Tegana as a savage and his comment
that he has “many letters after his name”,
Another change was that Susan knew the
origin of the word “assassin” in the script
whereas on screen Ian had to explain this.
Five Hundred Eyes was recorded in Lime
Grove, Studio D on Friday 14 February.
ehear
A BBC photographer took publicity stills
of William Hartnell and Zienia Merton
during camera rehearsals from Spm.
Recording ran from 8.30pm to 9.45pm.
The episode opened with a re-enactment
of Tegana’s scene at the oasis with the
opening title captions superimposed over
a shot of the well. A photocaption of the
desert from Pinewood Studios was used
to establish the side of the day wagon.
The first recording break came after the
establishing shot of the Tun-Huang way
station, allowing the actors to change
costumes. Merton delivered her monologue
perfectly in one take, and so the scripted
applause from the cast was quite genuine.
After the recital scene came the second
break, allowing Nesbitt to move to the
outer chamber cave set. Mirrors were
used to get certain camera angles around
the passageway set in the cave structure
as Barbara searched for Tegana. A third
break was planned after a Mongol grabbed
Barbara, allowing Derren Nesbitt to return
to the way station and Jacqueline Hill to
be tied up for the rest of the episode. The
fourth break came after Chenchu's warning
Connections:
Home and away
® inthe first episode
Susan comments that
she and her grandfather
have had “many homes in
many places” when talking
toPing-Cho. She later
compares the desert to
the “metal seas of Venus’
In Rider from Shang-Tu,
Susan tells Ping-Cho that
her home is “as far away as
anight star’
to the Doctor, allowing
Hartnell, Ford and Merton
to reach the outer chamber
set. The closing credits were
superimposed over the wall
mask - the eyes of which
Susan claims she sees move
- and faded to black.
After the weekend break,
rehearsals resumed at the
Drill Hall on Uxbridge Road
for The Wall of Lies from
Monday 17 to Thursday 20
February. Former designer
John Crockett took over
as director for this week
and lighting supervisor John Treays left
the series at his request to be replaced
by Howard King. Born in Hampshire
in 1918, Crockett studied painting at
Goldsmiths College and focussed on
theatre design. In 1944, he and his wife
founded The Compass Players, writing
and producing with them to 1951, after
which he produced, directed and designed
at numerous theatre companies. His first
television work as a producer was People
of Nowhere in April 1961, shortly after he
appeared in the BBC TV play The Little Key.
In 1962, he co-founded the Ikon Theatre
Company in London, and had directed
three editions of BBC TV's anthology
Suspense in 1963 prior to directing
Doctor Who.
Of the cast, John Crockett had previously
directed Philip Voss in an edition of A
Suspense in 1963. On the last day of )
rehearsals, six minutes of extra scenes at 4
the way station were inserted; this covered A
from the start of the Doctor heading
off to the TARDIS away from Barbara,
through a new dialogue scene between
Ian and Polo and concluded with Polo
having the travellers apprehended as they
tried to leave in the ship. Originally to get
The Doctor and
his companions
are set to goon
an expedition.
DOCTOR WHO | THE COMPLETE HISTORY BD
MARCO POLO » ste
The travellers
feel the
heat in the
Gobi desert,
rid of the guard on the ship, Susan took
a flask of wine and offered the sentry a
drink, proving by drinking first herself
that there was nothing to be suspicious
of. This distracted the guard to allow |
Susan's friends to cross the courtyard...
bur then the guard threw the empty flask
down, with the noise alerting Tegana who
grabbed Susan as she was about to enter
the stables and held a knife to her throat
The same day, the first Radio Times
cover for the series appeared, which was
a major coup for the team - but much to
the dismay of most of the regular cast this
featured William Hartnell with guest cast
members Mark Eden and Derren Nesbitt
@ ooctoR weo | THe comecete HistoRY
Russell was particularly unhappy with
this. “It upset him very much. And I don't
blame him,” recalled Eden in The Making of
Marco Polo.
Studio recording for The Wall of Lies
took place at Lime Grove, Studio D, from
8.30pm to 9.45pm on Friday 21 February.
The episode opened with a re-enactment
of the reprise, with the opening captions
super-imposed over the mask shot. The
first recording break came after the shot of
‘Tegana listening in on Polo, allowing the
cast to change outfits and move to the tent
set. The second break came after the scene
between Ping-Cho and Susan in the tent
where Susan promised to bid her friend
goodbye, and the third came after Polo’s
narration and before the travellers
decided to escape from their tent.
Stuntman Valentino Musetti played the
dead sentry found by Ian, with the shot
of him fading to black before the closing
credits and captions.
On Sunday 23, William Russell
complained to his agent, T Plunkett Green,
about the trying time he was having on the
series, His concern was that, as the second
lead, he felt he was having to fight for his
share of the story. He was displeased by the
sudden rewrites on The Wall of Lies, and not
being featured on the Radio Times cover.
s rehearsals began for Rider from
Shang-Tu at the Drill Hall, from
Monday 24 to Thursday 27 February
John Crockett handed the serial back to
Waris Hussein. Crockett was enthusiastic
enough to submit a memo to David
Whitaker on Wednesday 26 February
suggesting other historical serials about
the Peasant’s Revolt, Viking raids in
Britain, Bonnie Prince Charlie, Sir Francis
Drake and the Armada, the colonisation
undertaken by Sir Walter Raleigh, the
days of the Globe Theatre, an Australian
convict settlement, the Romans in Britain,
Richard I at the Crusades, the downfall
of Akhnaton, the Medicis of Florence,
covered wagons, eighteenth/nineteenth-
century Cornish smugglers and wreckers,
and Boadicea
During the week, Russell’s agent
informed head of serials, Donald Wilson,
of the actor's grievances and Wilson
spoke to Lambert; it was agreed that
Russell, Hill and Ford all had grounds
for complaint over the selection of
photograph for the Radio Times cover.
During rehearsals on Wednesday 26 and
Thursday 27, Lambert discussed the script
situation with the regulars now that the
series was guaranteed a full 52-week run
and explained how there would now be
more time to ensure that scripts were
commissioned and ready well in advance,
and not being rewritten at a late stage.
On Friday 28, Wilson replied to T Plunkett
Green to say that he himself had been
unhappy with the selection of Radio Times
cover image; shots of the four travellers
had been taken on set but the ultimate
choice had been that of the magazine. ‘All
we can do is protest after the event. This
Lam doing’ he wrote. Of future scripts
he added, ‘I assure you that I will, myself,
be watching very carefully to make sure
that neither William Russell’s nor our own
interests suffer from scripts which do not
use his talents to the maximum)
Publicity photographs were taken
during camera rehearsals for Rider from
Shang-Tu at Lime Grove, Studio D from
Spm onwards on Friday 28 February. The
recording required the presence of a small
monkey owned by the character of Kuiju.
DOCTOR WHO | THE COMPLETE HISTORY @#
Below:
Kulu, with
his naughty
monkey fleeces
Ping-Cho.
» a
wt,
MARCO POLO SUE NNN ANRNAAR
Connections:
Key facts
» in Five Hundred Eyes,
the Doctor reveals that,
he has made anew key
for the TARDIS overnight
(presumably replacing
Susan's key which had
been destroyed in The
Mutants (AKA The Daleks)
(1963/4 -see Volume
1)).In The Wall of Lies,
the Doctor warns Polo
that the incorrect use
of the TAROIS key in the
lack would destroy the
ship - which is consistent
with Susan's claimin The
Mutants that the lock
has 20 incorrect
combinations.
‘The untrained spider monkey
hired for the instalment was
less than popular with the
cast and crew. “It was a nasty
little thing peeing all over the
place and biting anyone who
came near it,” recalled Ford
in The Making of Marco Polo.
“The wind machine started
and the poor little thing got
so panicked that it had a
bowel movement all over the
man’s sholder,” remembered
Hussein on Cult People, while
Derren Nesbitt recalled
in Doctor Who Magazine
320, “That monkey was so
petrified that it escaped and
Went into the studio galleries,
and had diarrhoea through
the rest of the show... which
was difficult to deal with!”
A lot of valuable studio time
was wasted attempting to coax the animal
down from the top of Studio D.
For the first time, extras were required
to play more than one role per episode;
Gordon Bremworth and Stanley Chen
Marco and
Tegana
lock swords.
appeared first as Mongol bandits and
then as travelling merchants. Valentino
Musetti returned as a Mongol bandit and
another stuntman, David Anderson who
ran a martial arts school in Shepherd's
Bush, featured as the caravan warrior
who was knocked out by Ian. A publicity
photographer attended studio for the final
camera rehearsal.
Before the main recording, which ran
from 8.30pm to 9.45pm, a brief scene
in the TARDIS of the Doctor, lan and
Barbara waiting for Susan was recorded
to avoid later taping breaks during the
scenes at the climax as the travellers
attempted to escape; this was a minimal
set comprising the console, a wall panel
a DOCTOR WHO | THE COMPLETE HISTORY
and the illuminated wall section. The main
recording began with a film reprise of Ian
finding the dead guard, with the episode
captions superimposed over a shot of a
sword in Acomat’s hand. Following the
fight with the bandits, a recording break
was scheduled for camera moves. A second
break was scheduled after the establishing
shot of Cheng-Ting’s courtyard, allowing
the cast to move from the tent and change
costumes where necessary, and the third
came after the scene where Ping-Cho gave
Susan the key, allowing for further camera
moves. The episode ended with Tegana
grabbing Susan, fading to black and the
captions rolling; it was apparently from
this episode onwards that the closing
credits were centred rather than left-
justified as in previous instalments.
During rehearsals for Mighty Kublai
Khan at the Drill Hall from Monday 2
to Thursday 5 March, a photocall was
held by BBC publicity for Jacqueline Hill.
Several new speeches were added to the
conversation between Marco and Ian
shortly before recording, notably about the
tales of burning coal and flying fish which
allow Polo to believe that the TARDIS
travels in time,
Recording for Mighty Kublai Khan took
place at Lime Grove, Studio D. By now
paperwork on the serial was referringto |
it by the title Marco Polo. During camera
rehearsals at 10.
Sam, Mark Eden's right
identally lacerated by a
hand was ac
dagger waved about by Derren Nesbitt
Radio Times photocall was held during the
afternoon tea break.
Old Chinese props
t the start of the evening's recording
which ran from 8.30pm to 9.30pm,
ithe end of Rider from Shang-Tu was
re-recorded for insertion into the earlier
recording, comprising purely the last
camera shot and the closing credits.
Although the camera script indicated that
a filmed reprise was to be used to start
the episode, it seems more likely that
the scene was re-enacted by Carole Ann
Ford and Derren Nesbitt, after which the
episode's captions were superimposed
over the TARDIS’ door. The first break
was after Polo stated that the party rode
for Shang-Tu at dawn, allowing the cast
time to change and move to the next way
inn set. The second break - for re-lighting
of the sets from night to day - came after
Ping-Cho slipped away from Susan's room
The third tape stop was scheduled after
Kuiju tricked Ping-Cho out of her money
to allow the second inn to be reset for the
next scene with Wang-Lo. A fourth break
for camera moves came after Ian and Ping
Cho prepared to set out for Karakorum.
The main set piece of the episode was the
throne room at Shang-Tu for which Barry
Newbery had designed the paintings and
hired Chinese props dating back to the
early 1900s from Old Times props house.
However, for the start of this sequence,
one of the cameras crashed into one of
the columns on the elaborate set and
threatened to bring the whole arrangement
DOCTOR WHO | THE COMPLETE HISTORY
Kublai Khan
Above:
Susan and
Barbara enjoy
Asian culture,
down; the column swung - secured at the
top - on the spot without causing further
damage. The final break came before the
last scene, to allow cameras to move to the
small clearing set, The Next Episode caption
was superimposed over a shot of Tegana
confronting Ian.
Rehearsals took place for the final
episode, Assassin at Peking at the Drill
Hall from Monday 9 to Thursday 12
March. On Friday 6, the final TARDIS
scene had been extended, with the Doctor
explaining how - since the TARDIS was
on Earth - he aimed to move forward in
time only to get Ian and Barbara home.
“Dont go. Stay with us,” pleaded Susan
while the Doctor commented:
never get another chance like this. On this
You may
occasion I can achieve homecoming. Well
what is it to be?
“1 think Marco Polo was the first time
that William Hartnell got to grips with
Doctor Who,” recalled John Lucarotti in
Doctor Who Magazine 124, “I think he was
uncomfortable coping with machines
and robots - he couldn't really ‘find’ the
Doctor. He needed human rapport, and
@@> coctor wio | THe compere HsToRY
he really found his stride in Marco Polo,
It was all such a happy time. Billand I
were good friends. I remember him as
irascible, with a pungent sense of humour”
William Hartnell’s widow, Heather, later’
commented in Doctor Who Magazine 83,
‘Marco Polo was one of Bill’s favourite
Doctor Who serials.”
The serial’s concluding episode,
Assassin at Peking, was recorded at Lime
Grove, Studio D on Friday 13 March,
and proved to be problematical. There
was a late start due to storage problems
and a lift needed to move a camera dolly
breaking down. There were also 15
minutes’ delay when the studio fireman
was concerned by equipment on the
gangways. Stuntmen David Anderson
and Roy Vincente were hired as a soldier
(tripped by the Doctor and Ian) and a
courtier respectively, and an exotic bird
was used in the court scenes. Publicity
shots for the episodes were taken between
Spm and 7pm
Recording was scheduled to take place,
as usual, between 8.30pm and 9.45pm.
The episode began with a shortened
film reprise, the opening captions
superimposed over a close-up of Tegana.
‘The first of the nine scheduled tape
breaks came after the establishing shot
of the backgammon game at the start of
the second scene. Camera moves were
scheduled after the scene where the Doctor
revealed that he had gambled away the
TARDIS, and after the scene with Ian, Polo
and Ping-Cho in the antechamber, a third
break allowed the TARDIS to be set into
the throne room, with a fourth after the
shot of the defeated Polo in the cloisters,
and a fifth after Polo told Tegana how he
had underestimated him.
to be repositioned either side of a
brief corridor scene of the regulars,
allowing the quartet to move from the
ante-room to the corridor, and then to
another section of corridor. Another break
came before the main throne room scene
prior to the filmed swordfight. The final
recording break came after the film of the
TARDIS departing, so that the police box
could be removed from the set and the
control console for the ship set in for the
final shot of the serial. As Polo speculated
on where the travellers had gone, the
Fi: breaks allowed the cameras
| image of Eden was faded to a caption
slide showing a galaxy of stars, with a
shot of the travellers standing around the
TARDIS console (on a black drape set)
superimposed over it. The control
panel faded down, and the caption
slide - ‘Next Episode: The Sea of Death’
~ and the roller captions were then
superimposed. Recording overran and
wrapped at 9.57pm. A wrap party was
then held for the cast and crew. By this
time, John Lucarotti had been taken
ill, and was already working on a new
storyline, concerning the Aztecs (later to
become The Aztecs [1964 - see page 126},
which had been given the go-ahead in “
early February. .
Mervyn Pinfield detailed the ‘
circumstances causing the overrun in il
studio for Donald Wilson on Wednesday
18 March, noting that a lot of equipment
seemed to be permanently stored in the
already-cluttered Studio D. On Tuesday 24,
Donald Wilson wrote to Verity Lambert
about the delays in studio and noted that
under most circumstances, a production
assistant and the studio fireman would
have come to a suitable compromise
regarding the gangway issue. However, he
also stressed that to avoid the situation in
future, sets should be erected only within
the marked areas. ll
PRODUCTION
Fri14 Feb 64 | ime Grove Stu:
TARDIS disappearing]; Desert [Tegana
Mon 13 Jan 64 Ealing Film Studios on ridge}; Parchment Map; Tent on Five Hundred Eyes .
Stage 38:Sandstorm,Waterdroppingon Plateau; Tentindesert;Tentsinforest; ‘Fri. Feb 64 Lime Grove StudioD: H
sand, Bamboo sticks exploding, Water on Mountain vista; Bamboo forest: The Wall of Lies '
panel, Desert panorama Goldfishin pool Fri28 Feb 64Lime Grove StudioD: jar
Tue14Jan64€EalingFilmStudios Stage —-FriA7Jan64EzlingFilmStudiosStage _—_—Rder from Shang-Tu a
38: Horse-drawn wagon 38:Filminserts Fri6 Mar 64 Lime Grove StusioD:
Wed 15Jan64£alingFilmStudios Stage Fri 31Jan64Lime Grove StudioD: Mighty KubloiKhan and remount of final
38: Throne Room [Sword fight] The Roof of the World scene of Rider from Shang-Tu
Thu 16 Jan 64£EalingFilm Studios Stage —_Fri7 Feb 64 Lime Grove StudioD: Fri13 Mar 64 Lime Grove Studio D:
3B: Throne Room [Sword fight/ The Singing Sands Assassin at Peking
DOCTOR WHO | THE COMPLETE HISTORY
MARCO POLO © st t
The Doctor and
his party are
apprehended
Tegana and
hismen.
o bring The Wall of Lies down to
the required length, a section
of dialogue was edited from the
start of the tent scene where the
Doctor discussed his progres:
on the TARDIS circuit. The
Doctor was sitting on a stool with Barbara
on the floor and Ian standing when
Tegana entered. “We leave when Marco
Polo has finished writing in his journal,
Ve're ready
ana walked
announced the warlord
when he is,” replied Ian as Teg:
out. “How I hate that man,” said Barbara,
with Ian agreeing, “It’s his arrogance that
gets my goat’
us,” added Barbara, to which the Doctor
He despises every one of
DOCTOR WHO | THE COMPLETE HISTORY
commented, “Uncouth barbarian
ofall he despises the man whose friend
he's supposed to be,” observed Ian. “I won't
waste my sympathy on Polo,’ retorted the
Doctor, “He deserves all he gets.” “Id still
like to know what Tegana told him at
Tun-Huang,” pondered Barbara, “I know
I was captured because I followed him
to the cave. I know I was.” “There'
question about that my dear,” agreed the
Doctor, “No doubt at all. The man’s a
villain.” “Yet look how he gets away with
it,’ said Ian, “I wonder what he’s up to.
Dh for heaven's sake Carterford, let’s not
become involved in that,” said the Doctor
as he began to discuss the circuit.
Publicit
» Friday 14 February saw a Blue Peter
item recorded for broadcast on
Monday 17; Christopher Trace and
Valerie Singleton showcased “two
jolly good models of Daleks” made by
viewers Charles Cresswell and Robert
Barton, with Chris declaring, “I think
they deserve Blue Peter badges.”
® The Roof of the World was covered by
the February 1964 edition of the BBC
in-house magazine Ariel
% On Thursday 20 February, Doctor
Who gained its first Radio Times cover
showing Polo, Tegana and the Doctor
on the set of the first episode. There
was also a half-page introduction to
the new story with a photograph of the
travellers, TARDIS and caravan crew
at the way station; this referred to the
preceding two serials and outlined the
new situation which the TARDIS had
taken the Doctor and his companions
resmvany 22-28
RadioTimes E4
ost-production | Publicit
YourWeckend Saturday
: ao
Sateen
to. The cast listing emphasised that the
serial was ‘introducing Zienia Merton’
and introduced a regular teaser line
under the cast and credits (these would
sometimes vary between different
regional issues).
This page:
Radio Times.
publicity for
Marco Polo,
» Considering the importance of
imaginative television for children
in The Guardian on Thursday 20
February, Mary Crozier wrote, ‘There
is the amazing Dr Who on Saturdays
.and I find Dr Who fascinating, but
this is a new sci-fi thriller’ Promoting
the start of Marco Polo on Saturday
22, the Daily Mirror ran a photo item
entitled Guess Who... showing Carole
Ann Ford with her three-year-old
daughter Miranda, of whom the
actress explained, “She was scared P
the first week - but only because »)
Ilooked worried and unhappy. Now
Lact out the whole story beforehand ,
- and everything's fine.” The same
day in the Daily Express, comic writer
Sydney Jordan commented that
‘the popularity of Dr Who's Daleks
is undeniable’.
DOCTOR WHO | THE COMPLETE HISTORY @>
MARCO POLO
Marco Polois
adamant that
the Doctor be
denied access
tothe TARDIS.
STORY 4
Broadcast
The ratings for the serial remained
strong, as did the Audience
Appreciation Index, in the face of both
reruns of historical swashbucklers such
as The Buccaneers (ATV, Westward)
and The Adventures of Robin Hood
(Southern), as well as The Bugs
Bunny Show (ABC). A special Beatles
programme, The Beatles are Back,
covered the return of the band from
their USA tour and was taken by most
ITV regions on Saturday 29 February
in opposition to The Singing Sands.
Most ITV regions reverted to their
original shows from Saturday 7 March.
» At the BBC Programme Review
Board on Wednesday 26 February,
it was noted that there were ‘several
appreciative notes on Dr Who
The first backlash against Doctor Who
came in the Radio Times letters of
hursday 27 February when sixth-
former Lillian Roberts of Chorley said
that Miss Harris of Leeds “needs her
head examining... after Steptoe it is the
funniest programme on television
The ‘Daleks’.
the acting is ‘hammy"”’ In the Television
Mail on Friday 28 February, the
reviewer ‘Cyclops’ noted that Doctor
Who wa
were hilarious... even
‘an undoubted winner which,
to use a familiar quotation, keeps
children from their play and old men
from their chimney corner’
Weeks after their demise, the Daleks
still proved popular enough for
presenter Chris Trace to show
youngsters how to build their own
versions which they could get into
on the Blue Peter edition of Monday
9 March (pre-recorded on Friday
6) using a cardboard box, some egg
or fruit crates, some card, a plastic
fruit bowl, some ping-pong balls and
a plunger - with the instructions
outlined for Trace by Dalek designer
Raymond Cusick himself, to a budget
of 10s6d; this programme also
depicted the real Daleks in a one-
minute ea
act from the episode The
Ambush and Trace’s comments about
the designs earned Cusick a coveted
golden Blue Peter badge. M
Ms Roberts’ earlier comments in
Radio Times were refuted in the
edition of Thursday 12 March when
Jean Glazebrook of Cornwall said
that Lillian Roberts “needs her head
examining” as her family felt Doctor
Who was “a very clever programme’
anwhile,
and thoroughly enjoyed it
® Also on Thursday 12, the first
departure from Doctor Who's regular
cast was announced. A profile of
Carole Ann Ford by Television Today
revealed that ‘there is obviously
a danger in becoming too closely
identified with a character in a
television serial, particularly when
that character is a child. Miss Ford
recognises this, and much as she enjoys
the variety which the serial offers, she
will leave the cast in October, when her
year
contract expires.
} On Friday 13 March, the Daily Mail
revealed that there was to be another
Dalek story in an early piece of
advance publicity for the series, with
the similar piece Its those Daleks again
by request in the Daily Express. Having
spoken to Jack Bell of the Daily Mirror
on the evening of Thursday 12, Verity
Lambert was quoted in the Mirror's
piece Coming Back - The Daleks! as
saying, “We had no intention of doing
so originally, but in the view of this
large demand we have changed our
minds. It will take several months
before we can get the scripts written
to bring them back into the serial.’
At the Programme Review Board
on Wednesday 18 March, it was
noted that ‘there had also been some
good publicity for Dr Who based
Above:
The Doctor
lights the way.
DOCTOR WHO | THE COMPLETE HISTORY
MARCO POLO »s0~¢ 2
Right:
Everyone
envied
Teganais hat.
CA NANAARL
on the Daleks and an outstanding
photograph of Carole Ann Ford in the
Sunday Mirror’.
» On Friday 20 March, a columnist
on Universe reported on an 11-year-
old watching the series, noting that
‘though he liked adventures in the
past, like this, and thought Marco Polo
terrific, he really preferred the future
} On Friday 20 March, Verity Lambert's
team was informed that they had
succeeded in getting a new timeslot
for Doctor Who, the show moving
to 5.30pm with Mighty Kublai Khan
on Saturday 28; further editions of
The Telegoons were now scheduled at
5.15pm, with Doctor Who still followed
at 5.55pm by Juke Box Jury. This time
shift meant that Doctor Who was now
@) coctoR wio | THE compete HrsTORY
overlapping the second half of the
different shows in ITV's 5.15pm slot,
the ITN News at 5.45pm and the first
five minutes of the popular networked
music show Thank Your Lucky Stars at
5.50pm. The transmission of Assassin
at Peking also saw Doctor Who enter
the region TAM (Television Audience
Measurement) charts for the fir
ranking ninth in the Tyne Tees
} A syndicated interview with John
Lucarotti conducted by Elsie M
Smith appeared in a variety of local
newspapers from around Saturday 21
March, with the writer commenting
that he was working on a story about
the Aztecs which would appear in a few
weeks’ time. It was noted that a school
teacher had told Carole Ann Ford that
he was worried when one of his class
told him that Doctor Who was covering
Marco Polo... but was delighted to
discover when he tuned in that it was
all historically correct
® Philip Purser reviewed the serial in
the Sunday Telegraph on 1 April, noting
that Marco was ‘impersonated with
sartorial dash by Mark Eden’ but
that the characters ‘all could have
come from [the magazine] Modern
Boy, somewhere around 1935, Only
the bejeaned Susan is a purely
contemporary figure. The hero's gitl
Barbara, I'm afraid, will have been
written off by now as a persistent drip!
} On Friday 3 April, BBC South Today
featured Valerie Pitts’ live two-minute
report on the loan ofa BBC Dalek
to open a Fareham Easter Market;
the Dalek appeared in studio with
13-year-old schoolgirl Anne Mullens
who explained that she had wanted
something “out of this world” to open
the event and had sent an invitation
to the BBC. This event at the New
Foresters’ Hall to raise funds for the
British Empire Cancer Campaign was
covered in John Sandford’s article
A Dalek comes to earth — for a fete in the
Daily Mirror on Saturday 4.
» Saturday 4 April saw a Doctor Who
sketch in Big Night Out, an ABC variety
show hosted by Mike and Bernie
Winters. Entitled Doctor Shmoo, this
featured two Daleks along with Bernie
as Dr Shmoo and Mike as Ian in an
item which opened the show with the
TARDIS exploding and Dr Shmoo’s
clothes falling off. This aired in
London via Associated Rediffusion
on Monday 6 April
the serial attracted attention from
two sources for further development
In July 1964 the Walt Disney film
company made an approach for the
film rights to Marco Polo. During
June, Young World Publications were
interested in publishing a comic
adaptation for their Super Mag series
sometime afterwards, but were turned
down - the Doctor Who comic rights
having gone to the Express group for
use in TV Comic.
} Following the broadcast of The Singing
Sands on Saturday 29 February, Mark
DOCTOR WHO | THE COMPLETE HISTORY
Left:
Ping-Chois to
be the bride of
2 75-year-old
man
MARCOPOLO »s0w¢
Above:
"Hmm? Youve
wipedall seven
episodes, dear
boy? Well,
Im off.”
Eden received a letter from a child
warning him about Tegana’s treachery
at the oasis! ‘Dear Marco Polo. Don't
drink the water in the well. Tegana has
poisoned it’
rhe serial was sold widely overseas
as part of the second batch of 13
16mm film recordings; payments were
logged under the title Dr Who and a
Journey to Cathay while the publicity
material for the serial bore no name
at all. By the end of 1972, the serial
was no longer available and the prints
had been junked, although by 1974
ORIGINAL TRANSMISSION
The Roof of the World Saturday 22February1964 5.15pm-540pm
The Singing Sands
Five Hundred Eyes
The Wall of Lies
Saturday 29February1964 515pm-5.40pm
Saturday 7March 1964 _5.15pm-540pm
Saturday14March1964 _5.15pm-540pm
RiderfromShang-Tu Saturday21March1964_ S1Spm-540pm
Mighty Kublai Khan
Assassin at Peking
Saturday 28March1964_ _ 5.30pm-5.5Spm
Saturday 4 April 1964 5.30pm:
@@ coctoR wio | THE comecete HrstoRY
ch
CANXNNANNAARE
BBC Enterprises referred to the serial
as Marco Polo. Territories that the
serial was sold to included Australia,
Canada, Singapore, Malta, Nigeria,
Uganda, Ghana, Hong Kong, Thailand,
and Sierra Leone
® The serial had also been offered to
Germany and the USA by July 196
Spanish prints were purchased by
Radio Caracus Television of Venezuela
on 18 January 1967 after which the
order was cancel
led when the series
was not dubbed, and two undubbed
episodes were sent to National Iranian
Television & Radio (NIRTV) from New
Zealand in October 1967.
he 405-line videotapes of all seven
episodes were cleared for wiping and
subsequently erased on Thursday
17 August 1967. By 1972, BBC
Enterprises had also junked its film
recordings. Consequently, no copies
of the episodes are known to exist.
John Cura took telesnaps of all seven
episodes, and these are known to exist
for all bar The Wall of Lies along with an
additional eight off-screen shots taken
in Australia from Assassin at Peking
The soundtrack of the serial was
recorded off-air.
94M(33rd) 63
BBCTV
BBCTV 94M (33rd) 62
BBCTV 94M (34th) 62
BBCTV 99M(3ist) 60
BBCTV 94M (37th) 59
BBCTV B4M(4sth) 59
BBCTV 104M (22nd) 59
Broadcast | Merchandise
Merchandise
ohn Lucarotti novelised his also contained MP3 files
scripts in a slightly abridged form | of the episodes without
as Doctor Who — Marco Polo; his narration. The set also
dedication read ‘In fond memory featured a fold-out map
of the Inimitable Original, William | of Polo’s journey. This
“Bill” Hartnell’, WH Allen issued was included with PDEs
the hardback edition in December 1984, of the camera scripts in
with the Target paperback book number Doctor Who: The Last TV
94 following in April 1985 - the cover Episodes: Collection One
painting was by David McAllister. In late released by AudioGO in
1985 the book formed part of The Eighth August 2010.
Doctor Who Gift Set. A condensed, 30-minute re tated
The soundtrack, Doctor Who: Marco of Marco Polo, using the off-air soundtrack Bee ¥eingtrack
Polo, was ed by BBC Worldwide recording, off-air ‘telesnaps’ and CD box set for
in November 2003. The triple-CD set photographs, was incuded in the DVD Marco Pato:
featured a cover by Max Ellis. It was release of Inside the Spaceship (under the
narrated by William Russell. The first disc} title The Edge of Destruction) as part of the
three-disc DVD set, The Beginning. Il
Leftand
below:
DvDextra
reconstruction
of the story
t
es
Far left:
Target
novelisation,
with a cover
painting
by David
McAlister
DOCTOR WHO | THE COMPLETE HISTORY >
MARCO POLO » stow
CN NNN
Cast and credits
CAST
William Hartnell
William Russell
Jacqueline Hill
Carole Ann Ford
Mark Eden
Derren Nesbitt,
and introducing
Zienia Merton
Leslie Bates.
Jimmy Gardner
Charles Wade
Philip Voss
Michael Guest
Paul Carson.
Gabor Baraker
peo: Tutte Lemkow
Thereis Peter Lawrence
fearcerec Martin Miller,
timetravellers Basil Tang
andMarcoPolo, Claire Davenport
@ socroe wo | we comer wasroRs
and
with
Kuiju (5-7]
Vizier [6-7]
UNCREDITED
John Lee, Roy Vincente, Ronald Chee,
Carlton Ngui, Clem Choy, Bill Brandon
Mongolian Warriors
Zohra Segal Attendant on Ping-Cho
John Woodcock........Oouble for Marco Polo's hand
Violet Leon Chinese Lady of Quality
Suk Hee S'Hng... e Woman Attendant
O Ikeda Yeng, John Lee, Arnold Lee
Mongolian Warriors/Double for Man at Lop
Clem Choy, Irene Ho, Peggy Sirr.
Chinese Villagers (at Tun-Huang)
Eton Fing-On, Aman Tokyo,
Mongol Caravan Porters
Gordon Bremworth, Leslie Bates, Roy
Vincente, Santos Wong Mongol Bandits
Henry Loy, Maung Hlashwe, LL Lim,
Boon Wan Lee. Caravan Bearers
Ying Win Servant at Way Inn
Valentino Musetti Sentry
Leslie Bates, Philip Lee, David Brewster,
Valentino Musetti, Gordon Bremworth,
Stanley Chen Mongol Bandits (in forest)
Clem Choy, LL Lim, Aman Tokyo.
ndants at Wang-Lo’s Inn
Gordon Bremworth, Stanley Chen
Travelling Merchants
Kay Fong Noblewoman
David Anderson. Caravan Warrior
Olkeda Attendant at 2nd Way Inn
John Lee, Clem Choy. Litter Bearers
Robert Chow, Lloyd Lam... Travelling Gentlemen
Peggy Sirr, Violet Leon Travelling Ladies
Aman Tokyo, 0 Ikeda, Ying Wiu, Maung
Hlashwe, Robert Chow, Lloyd Lam
Noblemen at Court
John Lee, Clem Choy, Philip Lee, Santos
Wong, Ronald Chee. Palace Guards
Peggy Sirr, Violet Leon, Kay Fong
Court Ladies
Roy Vincente, Henry Loy Male Courtiers
Harry Dillon. Spittoon Bearer to the Khan
Gordon Bremworth, Carlton Ngui
Palace Guards
Iris Loy, Suk Hee S'Hng Court Ladies
WA Scully, Eton F‘Ong, Basil Tang
Male Courtiers
Clem Choy, David Anderson
Doreen Tang, Suchin
Attendants tot
CREDITS
Written by John Luca
‘Sword Fight arranged by Derek Ware [7]
Title Music by Ron Grainer
with the BBC Radiophonic Worksh«
Incidental Music by Tristram Cary
stume Supervised by Daphne Dare’
Make-up Supervised by Ann Fer
Story Editor: David Whital
Designer: Barry Newbery
Associate Producer: Mervyn Pinfield
Producer: Verity Lambert
Directed by Waris Hussein [1-3
John Crockett [4]
BBCTV
Credited on 7 only
Cast and credits
BOCTOR who (pTHe comPLeTE HIsTORS 4B)
MARCO POLO »s0%¢
Profile
Writer
ohn Vincent Lucarotti’s Italian
sculptor grandfather arrived in
England from Borgo a Mozzano,
a small town near Tuscany.
Lucarotti's father Umbert w:
soldier based at Alder
and had married English girl Helen Stark.
So Lucarotti was born 20 May 1926 in
Hartley Wintney, near both Aldershot and
Farnborough airfields.
The air and sea were lifelong
fascinations for Lucarotti, who saw
wartime service as a pilot in the Royal
Navy and remained there, based in
Portsmouth for nine years. Marrying
18-year-old Fareham girl Lorna Blane
autumn 1950, they left Lee on Solent for
Canada in 1951, where Lucarotti worked
a
Below: as an aircraft engineer for Imperial Oil
John Lucarott! Settling in Toronto, Lucarotti took
WoteforTe dian citizenship in 1956. F a
Troubleshooters Canadian citizenship in 1956. For a time
in 1966, he was a door-to-door encyclopedia
@ svcroe wo | we comer srows
aa
Broadcasting Corporation in 1954. Over
200 scripts included a radio series of
Robin Hood and an 18-part serial The Three
Journeys of Marco Polo (1955). TV single
plays included Playbill: The Window (1954)
and The Rock (1954), Folio: The Sailor and
the Lady (1957) and CBC Theatre murder
mystery After the Fact (1958). He wrote for
religious series Heritage, while children's
Western Radisson (1957/8) aired overseas
as Tomahawk.
CBC's supervisor of drama from 1954-8
ydney Newman and when Lucarotti
returned to the UK in the early 1960s he
found work with Newman, now head of
drama at ABC
For ABC Lucarotti wrote six episodes of
The Avengers between 1961-5, children’s
adventure serials City Beneath the Sea (1962)
and Secret Beneath the Sea (1963), science-
fiction serial Dimensions of Fear (1963) and
was
SAAA RRR
crime series The Protectors (1964).
Elsewhere he wrote a play for ATV’s
Drama 62 strand, The Key (shown 28
January 1962) and for ATV crime series
Ghost Squad (1963).
Given Doctor Who was Sydney Newman's
baby, perhaps inevitably Lucarotti’s first
BBC credits all came here. He wrote
Marco Polo while living in Majorca and
had returned to England by the time of
The Aztecs [1964 - see page 126]. Later
commissioned by Dennis Spooner to
develop a script about Viking explorer
Erik the Red, this was scrapped by the new
production team of John Wiles and Donald
Tosh, Lucarotti was very unhappy with the
interference of Tosh on its replacement The
Massacre of St Bartholomew's Eve [1966 - see
Volume 7].
Lucarotti wrote Thirty-Minute Theatre
play It’s On You, John (24 April 1968) and
occasional episodes of Dr Finlay’s Casebook
(1965), The Man in Room 17 (1965/6),
United! (1966), The Borderers (1969), The
Expert (1969) and Joe 90 (1969).
He wrote an episode of BBC oil company
drama Mogul in 1965, soon retooled as The
Troubleshooters in 1966. It was a perfect fit
for Lucarotti, given his time in the North
American oil industry, and he became chief
writer, providing 31 episodes by 1971
Lucarotti ended the 1960s by marrying
second wife, restaurateur Rose-Marie
‘Rolli’ Sandy in 1969 and gaining a
daughter, Charlann,
1970s credits came on Paul Temple
(1971), Brett (1971), Love Story (1973), New
Scotland Yard (1973), Crown Court (1974)
and The Onedin Line (1974 and 1978).
He returned to science-fiction with two
episodes apiece of Barry Letts and Terrance
Dicks’ Moonbase 3 (1973) and Anglo-
German film series Star Maidens (1976).
He submitted a whimsical 1974 Doctor
Who storyline about a space ark. At the
time, Lucarotti, a keen sailor and scuba
diver, was sailing the Mediterranean in
a catamaran, with a base in Corsica, and
there was no option but for Robert Holmes
to provide a ground-up rewrite as The Ark
in Space [1975 - see Volume 22].
Lucarotti indulged his penchant for
historical adventure in a BBC Sunday
classic serial adaptation of Treasure Island
(1977) and in two costume serials for
ITV’s Southern Television; Operation Patch
(1976), about an assassination attempt on
Admiral Nelson, and The Ravelled Thread
(1980). Lucarotti provided historicals for
HTV’s time-travelling children’s serial Into
the Labyrinth (1981), featuring the Siege
of Malta and Davey Crockett
He returned to Doctor Who with
novelisations of The Aztecs (1984), Marco
Polo (1985) and a greatly revised The
Massacre (1987). He wrote the first Brief
Encounter short story for Doctor Who
Magazine in November 1990, in which he
himself met the First Doctor.
In later life he and Rolli ran a restaurant
in London. His final broadcast credit Post
Captain at Quebec (1990) was a radio play
about the young Horatio Nelson. Lucarotti
died of spinal cancer on 20 November
1994 in Paris. il
DOCTOR WHO | THE COMPLETE HISTORY a)
Lucarotti also
wrote the:
Doctor Who
story The
Mossacre of St
Bartholomew's
Eve,
® STORY S
The TARDIS lands on the planet Marinus, on
an island surrounded by a sea of acid. The
travellers are compelled to find the Reys to the
Conscience of Marinus which have been hidden
from the evil Yartek and his Voord warriors.
a DOCTOR WHO | THE COMPLETE HISTORY
‘ee
eee ra any
Wir gS
DOCTOR WHO | THE COMPLETE HISTORY 38)
THE KEYS OF MARINUS \Wsiws 1
‘THE VOORD, INTERESTING
IN THEIR OWN WAY,
oT A MERCHANDISING GOLDMINE.’
©} cucror wo | THE comPLeTE HasToRY
here’s no way of knowing for
sure, but it seems reasonable
to argue that the Daleks
gave Doctor Who the boost it
needed to become a long-term
concern. In those early days,
Thowever, there must have been the hope
that the success the series had achieved
with the Daleks could be repeated with
‘other creations. The Keys of Marinus tested
the water. There were newspaper stories
introducing a new alien race - the Voord -
and they were included, optimistically, in
various licensed products released at
the time.
Of course, these new creatures - like
malnourished, rubber-clad Teletubbies -
didn't make the same impact as the Daleks
Part of the reason why they failed to grab
the viewers’ attention is their limited
involvement in the story. Likewise, the
skittering ant-like Zarbi didn’t inspire a
return to the planet Vortis. The Web Planet
[1965 - see Volume 4] received impressive
jewing figures, but the Zarbi were not
uufficiently threatening or proactive. And
ha? tw ' Bay; Wy:
cz |
Introducti
it’s difficult to see how the creators of the
Quarks could imagine that the robots’ part
in The Dominators {1968 - see Volume 12] }
could have triggered Quark-mania.
There have, of course been other ‘
successes: Cybermen, Sontarans and
Silurians; the Yeti, Autons and Ice
Warriors; and more recently the Weeping
Angels. Their success lies in there being
something uniquely interesting about these
monsters. Although, naturally, it does help.
if they have a striking appearance and
a scary voice.
The Keys of Marinus’ writer, Terry Nation
would, after this, mainly focus on telling
stories about his Daleks. But even if the
Voord, interesting in their own way,
weren't a merchandising goldmine, the
story itself has a lot to recommend it
It's a quest story that takes us,
week-by-week, to different locations and
situations. It’s a story that doesn’t stay still,
shifting from science-fiction to horror and
ending with a courtroom drama. Nation
would use this budget-busting formula
in later stories. The Chase [1965 - see
Volume 5] took in the planets Aridius and
Left:
Mechanus, as well as visits to the Empire The Web
State Building, the Mary Celeste and an Planets
old haunted house. The Daleks’ Master Zanlareiiot
particularly
Plan [1965/6 - see Volume 6] went to the
planets Kembel, Desperus, Mira and Tigus,
as well as ancient Egypt and Liverpool.
Other writers spent the 1978/9 series [see
Volumes 28-30] on another quest to gather
up a bunch of lost keys.
The Keys of Marinus might not have
quite the same clout as the first Dalek
story, but it was still brimming with
formative innovations. ll
threatening,
DOCTOR WHO | THE COMPLETE HISTORY HA
THE KEYS OF MARINUS =» stows
THE SEA OF DEATH
he TARDIS materialises on an
island dominated by a vast pyramid
[1] The Doctor, Ian, Barbara and
Susan emerge to find that the beach
consists of glass rather than sand. Susan
accidentally drops one of her shoes into a
tidal pool and it dissolves. The sea is acid!
A sinister rubber-suited creature
attempts to enter the TARDIS, but slips
away as Susan approaches. Meanwhile,
the Doctor, lan and Barbara discover
some empty one-man submarines. [2]
Susan leaves the TARDIS and follows
some footprints to the pyramid. The
Doctor, lan and Barbara split up to
search for her
Part of the pyramid opens up and first
Susan and then the Doctor fall inside.
Susan finds herself in a dai
passage
where she encounters a robed figure. She
is grabbed by one of the rubber-suited
creatures (3] but the robed figure saves her
DOCTOR WHO | THE COMPLETE HISTORY
Barbara also falls inside the pyramid
and is reunited with the Doctor and
Susan. Ian finally enters the pyramid and
rescues the robed figure from one of the
rubber-suited creatures.
The robed figure is an elderly man,
Arbitan. He releases Ian's companions
and brings them to a room dominated by
the Conscience of Marinus, [4] It requires
five keys to be activated, whereupon it
will overcome the rubber-clad Voord and
their leader Yartek. But four of the keys
are hidden elsewhere on Marinus
‘The Doctor and his companions refuse
to find the ke ys but return to the TARDIS
to find Arbitan has placed a force barr
around it to compel them to comply. [5
They are each given travel dial bracelets
Barbara activates hers and vanishes. The
Doctor, Ian and Barbara follow - and
a Voord enters and murders Arbitan. [6]
The Doctor, Susan and lan arrive
outside a set of doors. Ian picks up
Barbara's discarded travel dial. It has
blood on it!
THE VELVET WEB
he doors open and the Doctor
Ian and Susan enter... to discover
Barbara lounging in an ornate
chamber. [1] She explains that she
scratched herself while trying to remove
the travel dial.
The travellers are greeted by Altos,
who explains that they are in the city of
Morphoton where no desire is denied
Susan asks for a dress while the Doctor
asks for a laboratory. Altos bids them
goodnight and they soon fall asleep. [2'
While sleeping a handmaiden places a
small disc on each of their foreheads, but
Barbara's disc falls off. The next morning,
the Doctor, Ian and Susan believe they are
in the lap of luxury - but Barbara now sees
Morphoton for the filthy ruin it really is
[3] Altos offers to have the physicians look
at Barbara, but she runs away.
The hideous brain-creatures that rule
Morphoton order Altos to punish the
handmaiden, Sabetha, and have Barbara
destroyed, Soon the other visitors will be
completely subjugated! [4]
While Altos shows the Doctor his
‘laboratory’ [8] Barbara finds Sabetha in
acell and discovers that she has one of
the keys of Marinus, given to her by her
father, Arbitan,
Altos enters the cell and Sabetha
knocks him out. Barbara runs into Ian
- who is now in thrall to the Morpho
brains! He takes her to their chamber
where they order him to kill her. But
instead Barbara smashes their jars, (6),
and Ian, as well as all the mesmerised
inhabitants of Morphoton, return
to normal
As the city burns, Altos and Sabetha
join the travellers on their quest. The
Doctor will go ahead to the location of
the fourth key, the city of Millennius,
while the others search for the other two.
Susan twists her travel dial and
finds herself in a jungle filled with an
horrendous screeching!
DOCTOR WHO | THE COMPLETE HISTORY
THE KEYS OF MARINUS
> STORYS
THE SCREAMING
JUNGLE
Bh sie sceeching ies lan, Barbar
Re: and Sabetha arrive, There's a
building nearby and lan, Altos and
Sabetha go to look for an entrance. While
they’te gone, a vine grabs Susan's leg. (2
Barbara bashes it with a rock
They discover an archway and go
inside, where Barbara spots a key resting
on an idol. As Barbara retrieves the key
the idol revolves, carrying her inside
the building. [2]
Sabetha points out that if Barbara is
vel
dial, Altos and Susan use their dials to go
trapped she can escape by using her tra
ahead in case Barbara has done so. Then
Sabetha notices that the key Barbara
found is an imitation. Ian tells her to go
ahead. He will stay and find the real
Ian discovers Barbara in a booby
trapped courtyard. The door leading
into the building is locked, so lan goes
to look for a crowbar. The door opens,
and Barbara steps into a trap, the spiked
ceiling falling towards her! [3]
Barbara is rescued by an old man,
Darrius, who takes her travel dial. While
he examines it, Ian finds Barbara - then
they hear Darrius calling out in pain
They rush inside to see him being
choked by a vine. [4] They save him,
but he is dying. “When the whispering
starts, it’s death”, he warns them. Asked
for the key, he gasps “D E three O two"
and dies
lan and Barbara search Darrius’
workshop. Ian discovers his diary,
revealing how his experiments caused an
increase in nature's tempo of destruction.
It grows dark and a sinister whispering
begins. The jungle starts overrunning the
workshop and Barbara is attacked by
a creeper. [5]
Ian realises the code is a chemical
formula and Barbara finds the key hidden
ina jar. They turn their dials - and arrive
in a freezing wilderness! [6]
DOCTOR WHO | THE COMPLETE HISTORY
THE SNOWS
OF TERROR
hey both lose consciousness.
Barbara wakes to find herself in a
hut with Ian. A burly trapper called
Vasor gives them warming drinks. {2] He
says he found them the previous night
when he was up on the mountain with
Altos, searching for Sabetha and Susan
lan decides to go and look for Altos, and
Vasor gives him some furs in exchange for
his travel dial.
Ian discovers Altos, tied up and left
for dead. They hear the howl of wolves,
attracted by the smell of raw meat put in
lan’s bag by Vasor! [2]
Barbara finds that Vasor has Altos,
Sabetha and Susan's travel dials. He
boasts that he found the two girls in a
cave. He advances on Barbara lustfully
but Ian and Altos arrive in time to save
her. [3] They force Vasor to guide them to
where he left the girls.
Deep in the mountains, Susan and
Sabetha get lost in the tunnels and come
to a chasm crossed by a rope bridge
They cross it and enter a cave where
a block of
of knights. [4] They retrace their steps
and meet Ian and Barbara at the bridge
- which Vasor unties!
e is guarded by four statues
The group enters the cave with the
knights and finds the key embedded
in the block of ice. The ice melts and
Sabetha takes the key - and the knights
come to life! Ian delays them with a rock
fall as Susan crawls across the chasm on
some huge icicles. [5] She restores the
rope bridge, allowing the others to
get away.
They return to Vasor's hut to retrieve
their travel dials. The knights have
pursued them and stab Vasor. They all
turn their dials... and Ian finds himself
in a vault with a dead guard and a
display case. [6]
He's clubbed unconscious by an
unseen assailant!
DOCTOR WHO | THE COMPLETE HISTORY
THE KEYS OF MARINUS =» s10%s
SENTENCE OF DEATH
an’s assailant places a mace in his
hand to make it look as though
he killed the guard. [1] When Ian
wakes he is questioned by Tarron, an
interrogator. Tarron asks what he did
with the key that was in the case. Ian
denies taking it. He is charged with
murder; in Millennius, you are guilty
until proven innocent!
Barbara meets Altos and Sabetha in
-orted
a
the court building. Ian enters, e:
by Tarron - and the Doctor make:
dramatic entrance. [2]
lan is sentenced to death, but the
Doctor is granted two days to prepare
a defence case. He tells Ian that the dead
guard was a man called Eprin who had
agreed to help him acquire the key
must have disclosed his plans.
The Doctor visits the vault with
Barbara. [3] He claims to already know
where the key is and who the murderer
$2) DOCTOR WHO | THE COMPLETE HISTORY
is. The only person who could have
attacked Ian and got past the security
guards would be the relief guard, Aydan,
pretending to be the first to the scene!
Barbara and Susan go to speak to
Aydan's wife, Kala. Aydan returns home
and Susan boasts that they know where
he hid the stolen key. After Barbara
and Susan leave, they overhear the
couple arguing, [4]
In court, the prosecution concludes
its case. The Doctor calls Sabetha as
a witness and she holds up her key,
claiming she was given it by the man
who murdered Eprin. Aydan admits his
guilt and is about to name his ac
when he is shot. [5]
The judges decide that Aydan’s death
does not exonerate lan. He is taken away
smplice
for execution
Barbara is handed a message
threatening another death if the Doctor
reveals where the key is hidden. She then
receives a phone call from Susan saying,
hey’re going to kill me!” [6]
en”
THE KEYS OF
MARINUS
arbara reasons that Aydan's wife
might know who he was working
with, so she visits her with Altos.
Kala sympathises; they must have been
sick with worry since they spoke to Susan.
Once she is alone, Kala opens a sliding
door; Susan is her prisoner! [4]
Barbara realises that Kala couldn't have
known about them speaking to Susan -
unless she was with Susan at the time!
They return to Kala’s apartment just in
time to prevent her killing Susan. [2]
The representative for the prosecution,
Eyesen, offers his commiserations to the
Doctor, Tarron instructs a clerk to place
the case exhibits in the court cupboard
He is then called by Barbara who tells him
that Aydan was shot by his wife, Kala.
Unfortunately, Kala names Ian as her
accomplice, so he still faces execution
But the Doctor has an idea. That night,
a figure enters the court building and
approaches the cupboard. He is grabbed
yesen! He is taken to
by guards; it is E
prison and Ian is released. The Doctor
explains that the key was hidden in the
mace all along! [3]
Altos and Sabetha go on ahead to
meet Arbitan, but end up as prisoners
of Yartek. [4
The Doctor, lan, Barbara and Susan
return to the island. They encounter a
Voord in the pyramid and split up; lan
and Susan enter the room containing the
Conscience. Yartek, disguised as Arbitan,
gives himself away, but Ian still hand
him the final key. [5]
The Doctor and Barbara find Sabetha
and Altos. Ian and Susan join them and
Ian explains that he gave Yartek the fake
key from the idol. They rush out of the
pyramid as Yartek places that key in the
Conscience, causing it to explode. [6]
The Doctor and his companions say
their farewells to Altos and Sabetha and
leave in the TARDIS
DOCTOR WHO | THE COMPLETE HISTORY
7
\
n late 1963, the fifth Doctor
Who serial had been designated
as a science-fiction story by
Malcolm Hulke entitled Dr W
and the Hidden Planet, but during 5
@a0"
January 1964, although the
storyline had been deemed suitable, the
first script was
Lambert and story
not what producer Ver
r David Whitaker
wanted. As it became clear that substantial
div
rites would be necessary, it was deci:
toc
r Hulke’s scripts pendin
rewrites, and a replacement serial would
quickly be needed to fill the slot as there
were no useable
cripts to hand. This was
a six-part slot so that - with the preced
seven-part serial - it formed a batch of
episodes for both overses
the series was suddenly
The first episodes of The
‘AKA The Daleks) [1963/4 - see Volume
1] featuring the Daleks had just been
as
broadc acc
panied by a major
improvement in the series’ viewing figures
and, in an attempt to repeat th
uuccess,
another ‘futuristic’ serial from the Dalek:
creator, Terry Nation, was considered
Nation had be
serial - the si
n due to write the eigt
en-part historica
Red Fort - from mid-Septemt
never delivered anything, focussing on
but h:
other projects away from Doctor Who since
he had no intention of writing for the
ned that he
Who
s aired
series again. Nation later cla
had actually forgotten all about Doct
until the first episode of The M
in late December
On Tuesday 21 January 1964, Nation
met with Whitaker, Lambert ar
producer Mervyn Pinfield, and was,
d associate
8S) OCOCTOR WHO | THE COMPLETE HISTORY
GocToRWHOy["THE comeLere wisToRY E> a
bin
THE KEYS OF MARINUS
Right:
The TARDIS on
theisland set
for the first
episode of
The Keys
of Marinus.
Below:
It's behind youl
» STORYS
commissioned to provide six scripts for
a futuristic story within four weeks.
Aware of the tight demands being made
on Nation, Whitaker offered to help him
with regular discussions - and the notion
of four ‘mini-adventures’ in one serial was
soon arrived at. Intrigued by the idea of
the TARDIS crew searching for parts of
a puzzle, Nation developed a premise for
an adventure story entitled Doctor Who and
the Keys of Marinus.
The story idea outlined just the start
of the new serial. This was to be set on the
planet Marinus, where law-breaking was
once abolished by the development of the
Conscience of Marinus. Unfortunately,
this device made the pastoral M:
vulnerable to attack - and the brutal alien
Voord, immune to the
able to invade the planet and dominate the
Marinians; it was noted of the Voord ‘they
nians
Jonscience, were
have only white corpuscles in their blood
The scientists who invented the Conscience
were immune to it and dismantled it,
allowing the Voord to be thrown off
the planet. For hundreds of years, the
Marinians resisted the Voord, who are
still being repelled as the story begins
Arbitan, ‘the last of the gr
at scientists’
DOCTOR WHO | THE COMPLETE HISTORY
decided to reassemble the machine, since
inter-marriage and constant exposure
to the climate and conditions of Marinus
have made the Voord somewhat akin to
Marinians’; only Arbitan still had the
secret of immunity. Arbitan took the
machine to an island fortress in a sea
of sulphuric acid, from where he sent out
five friends and followers to regain the
keys; only one returned and eventually he
was forced to send his own daughter while
he remained alone. Three of the Voord
crossed the Sea of Death in special vehicles
in order to steal the machine, and thereby
rule the planet. When Doctor Who's party
arrived, Arbitan forced them to enter
a ‘molecular reconstructor cabinet’ that
would transport them to the location
of the first key; when they reached the
first key, they would discover the location
of the second (and so on). Barbara
departed first, with the others close
behind. Arbitan (‘sitting on a carved stool
(made of fused quartz)’) was killed by the
third Voord. Barbara's friends arrived
at the first destination, finding only her
shoes, Nation noted that the first episode
would be called The Sea of Death
Whitaker attended a script conference
at Nation’s London flat to discuss the first
four episodes of the serial on Monday
3 February; the writers focussed on the
cast, set and pre-filming requirements. The
narrative for the first episode was entirely
Nation’s, with Whitaker making only
minor suggestions. The second episode,
about a city where people's dreams come
true, arose from combined discussions
between the two men. ‘Episode Three
began with a suggestion from me that
he wrote a sort of House that Jack Built
story, wrote Whitaker on 26 March 1964,
‘some house or other place that was full
of booby-traps. Since Episodes One and
‘Two had been basically interior sets,
[Nation] wished to tell a story more
“out in the open’ to give the designer
a chance for different settings. It was his
own idea to speed up nature's process
and have some of our principal artists
battling with vegetation rather than alien
people’ Following this ‘hot’ jungle setting,
Whitaker suggested a shift to the cold
of a snow-scape. Briefer discussions were
held regarding the last two episodes: the
fifth arose from general talks, while the
final episode was totally Nation's.
Whitaker collected a draft of the first
episode, The Sea of Death, from Nation on
Thursday 6 February, and the second, The
Velvet Web, on Tuesday 11. Nation then
delivered the third and fourth episodes,
The Screaming Jungle and The Snows
of Terror, on Monday 17 February. The
remaining scripts were delivered shortly
afterwards and were formally accepted
by Whitaker on Tuesday 25 February.
Threshold House directing a soap
opera called Compact when Verity
came in and said, ‘Now John, I would
like you to direct a Doctor Who story for
me,” recalled John Gorrie on the DVD
commentary for The Keys of Marinus.
“As long as it's historical,” he grudgingly
commented, aware that as a staff director
under contract, he had no choice in his
assignments. “No, no, it's science-fiction,”
replied Lambert
Born in Hastings in 1932, Gorrie began
his career as an actor, appearing regularly
on stage by the late 1950s and making
his first television appearances in 1958,
and featured prominently in a West End
version of Inherit the Wind. By 1962, he was
directing and writing shows in London,
joining the BBC as an assistant floor
manager and taking the BBC internal
director's course in early 1963. He directed
his first television play, Two Bits of Iron, for
the Suspense anthology in August 1963,
after which he moved onto Compact from
August 1963 to February 1964.
The scripts for The Keys of Marinus
were passed on to Gorrie. Out of his depth
with the concepts of science-fiction, this
was not a happy project for the young
director. On one occasion, Lambert found
Gorrie in his office with his head in his
hands, thoroughly depressed by the scripts
he had been given. “I came into television
to do things like Oedipus Rex,” he declared
sadly, with reference to Sophocles’ Athenian
tragedy. Lambert informed him that if he
T= minding my own business in
DOCTOR WHO | THE COMPLETE HISTORY (Hp
Pre-production
Left:
The Doctor, lan
and Barbara
enjoy some
generous
hospitality.
THE KEYS OF MARINUS =» sts
Right:
Exploring
Marinus.
Connections:
Essex boy
3 in The Seao
was a “good boy” on Doctor
Who, then maybe he would be
allowed to helm such a work.
‘The main design team
comprised Raymond Cusick,
Daphne Dare and Jill
Summers; set designer Ray
Cusick had already designed
The Mutants and the two-part
Inside the Spaceship [1964 -
see page 6] which had followed it, while
Dare had worked on Doctor Who since The
Mutants and Summers was new to the
show; Dare had also worked with John
Gorrie at Bristol Old Vic.
Incidental music was composed by
Norman Kay, who had scored 100,000
BC [1963 - see Volume 1] the previous
September. Playe
Kay’s score ran to including some
vocal tracks from a soprano used in
snow scenes for The Screaming Jungle and
The Snows of Terror; this was a steal from
Ralph Vaughan Williams’ 1952 symphony
‘Sinfonia Antartica (Antarctic Symphony)
which featured a wordles
n musicians,
three-part
women’s chorus and solo soprano in
its first and last movements. The music
cues were recorded in Maida Vale Studio
3 between 2pm and 9pm on Saturday7 |
March; the instruments used were a flute,
a piccolo, two trumpets, a clarinet, a bass
clarinet, a harp, percussion, a double bass
and a guitar. In The Sea of Death, 5'40” (13
cues) was used ” (3 cues) for The Velvet
Web; 3'10” (6 cues) for The Screaming Jungle;
3°20” (7 cues) for The Snows of Terror, 1’57”
for Sentence of Death and 2’50” for The Keys
of Marinus.
“Beg, borrow and steal,” was how Ray
Cusick remembered working on the
serial in the DVD documentary The Sets
of Marinus. “Everything depended on two
factors - time and money ~ and there
wasn't much of either.” With the number
(@®) ooctor weo | THE comptere uisToRY
SWAN
of different locations eating up much
of the set design budget, Cusick also
allocated a proportion of his visual effects
budget into the sets; he made use of black
drapes in the background since these were
readily available at no cost. “The most
unloved story as far as I’m concerne
recalled Cusick, who for this serial was
billed as ‘Raymond P Cusick’ - the P
standing for Patrick.
David Whitaker continued to fine-tune
the scripts; on Tuesday 10 March, he wrote
to Terry Nation's agent Beryl Vertue at
their dreams and were controlled while
asleep - came from Morpheus, the god
of dreams in Greek mythology. The highly
advanced city of Millennius came from
the term millennium for a thousand years,
derived from the Latin ‘mille’ (thousand)
and ‘annus’ (year). Arbitan - who kept the
Conscience of Marinus - took his name
| from the Latin ‘Arbiter’ as in a judge
Teles VOU
nthe camera script for The Sea
of Death, originally, when Barbara
commented that the TARDIS does
not have a colour scanner, the Doctor
(referred to as ‘Dr Who’
NR
in the stage
directions) replied: “I was working on that
uu remember the first
on your planet
time we met? My colour rays aren't mixing,
I went along to the British Broadcasting
Corporation but they were infernally
secretive.” “Was that the day you came back
in such a bad temper, grandfather?” asked
Susan, to which the old man snapped: “I
When the travellers
never lose my temper
realised that the beach was made of glass,
Barbara said, “I nearly had heart failure.
I thought [you] were going to tell us they're
diamonds.” “Oh, yes of course, diamonds
are precious stones on your Earth, aren't
they?” replied the Doctor, to which Barbara
Associated London Scripts to thank her replied, “Very.” “But what we have here is
client for his rapid work - and confirming __ glass,” continued the Doctor, “and the odd
that a commission for a third serial would thing is it seems to run right under the sea
follow shortly. The Daleks (later The Dalek | unless my eyes deceive me.’
Invasion of Earth [1964 - see Volume 4]) was {| “We'll have to be careful,” said Connections:
formally requested the following week. lan, “it looks sharp enough to _ Pyramid power
As with Skaro - the radiation-scarred cut through our shoes.” When Jf 3 Barbara - the history
planet inThe Mutants - Terry Nation Susan returned to the ship, teacher - compares the
drew upon existing words for the names it was noted that the door pyramid on the island to
in his new serial. The planet with the should be ‘partially opened’ of the Egyptians
acid sea was called Marinus from the While Ian examined the Indians of Central
Latin ‘marinus’ meaning ‘of the sea’. The tubes on the beach, the thern America.
city of Morphoton - where people saw Doctor said to Barbara, “See
DOCTORWHO | THE COMPLETE HISTORY (a>
Above:
ac
got int
if there are any other signs of habitation. Be
careful. I think it's dry but there may still
be enough acid adhering to the outside,
Chesterton.” As Barbara moved off, lan
told the Doctor, “There doesn't seem to
be any hinge or opening. Maybe the ends
unscrew.” “Quite likely yes, try it,’ agreed
the Doctor. “Which ever way it works it
would have to be absolutely watertight, or
acid-tight - absolutely essential.”
In the first script, the stage directions _|
referred to the three assassins as Voord 4
One, Two and Three, Watching the
TARDIS crew from hiding, Voord One was
described as having ‘a hand and arm cased |
in black rubber, the fingers webbed’ while
in a later scene, Voord One had a ‘head
cased in a black rubber mask. Respirator
DOCTOR WHO | THE COMPLETE HISTORY
type. Huge glass eye pieces. As sinister as
possible. Arbitan’s building appeared ‘to
have been built from great marble blocks
Arbitan was described as wearing ‘a
monk-like robe, the head concealed by
a cowl’. The Conscience of Marinus was
housed in the archive room, which was
envisaged as being ‘lined with shelves all
ed with documents and books. At the
centre of the room and dominating it is the
‘Conscience of the Planet’, a vast electronic
machine designed with symmetry. This
symmetry is broken at four points where
it is obvious that some parts of the
machine have been removed. Arbitan told
the travellers that “a man named Yartek
invented an immuniser. He made many of
these immunisers for his followers.” The
original script made it clear that “Voord”
was the plural - but deviations from this
during recording gave rise to the term
“Voords”, which was then echoed in the
closing credits.
eturning to the ship, Susan
BR “Soneaie ete
long. The climb was a bit steep for
Grandfather.” On finding the TARDIS
isolated by the invisible force barrier,
an remarked, “A change of molecular
structure.” “Wouldn't that mean an
explosion?” asked Barbara. “To achieve this
one doesn't divide the atoms,” explained
the Doctor. “You subtract them. For about
a foot in depth around the ship there is a
circular wall from which all atoms have
been taken, do you see?” Later on, Arbitan
explained of the travel dials, “It separates
molecular structure and reassembles at
one’s destination.” “In the same order
T hope!” added Ian.
‘The script for Episode Two, The Velvet
Web, introduced Altos who was first
Pre-production
described as wearing ‘flowing
robes [and is] young, tall
and good looking... his eyes
tend to move slowly, stare
and remain unblinking’. The
travellers were watched in
the reception room by ‘a pair
of huge, unwinking frog-like
eyes’ and attended to by
Sabetha, ‘one of the ladies in
waiting, She is very beautiful
in her flowing gown. Her
face is expressionless and
she walks as though in a trance.’ The stage
directions for the control room described ®
‘four high glass domes - similar to
Victorian display cases - in each is a brain.
They pulsate slowly, rising falling with
the wheezing sound... They are lit from
below and appear to glow from within.
On the top of each brain (like large human
brains) are two stalks on which grow
the eyes. The voice is a breathless croak,
and we cannot see where it emanates.
Connections:
Fragile
3 In The Screaming
Jungle, Barbara comments
that she wishes lan
wouldn't treat her and
Susan like Dresden china,
a delicate form of European
porcelain produced at
Meissen near Dresden in
Germany from 1710.
| These are called Morpho's [sic]’ When
Barbara asked Sabetha about Arbitan, she
continued, “Now listen to me. Can you
remember an island?” “Island?” asked
Left:
the girl. “There was an island surrounded Barbara takes
by asea of acid,” continued the teacher. iteasy
“Yes...” replied Sabetha, “sea of acid...”
“There was a building on the island,” said
Barbara, “It contained four keys similar to
this one. Please try to think back, Sabetha.
It is important. The man who controlled
these keys... do you remember him?”
The script indicated that the Morphos
would watch Altos placing the somnor
discs on the heads of the travellers. After
the Morpho told Altos that a thorough
search for Barbara would be made at light,
it continued, “Everyone not on essential
work must be put on it as priority. Get
the new ones to help. It will prove an
interesting final test to their subjection.
DOCTOR WHO | THE COMPLETE HISTORY lll)
THE KEYS OF MARINUS =» s1%s
But if you fail, you will be killed. She must
be found.” When Altos found Barbara in
the cellar, he was to attack her with a knife.
In Episode Three, The Screaming Jungle,
the scientist Darrius was ‘an old man, in
a robe like the one worn by Arbitan in
Episode One’. When the vines attacked
Darrius in his room, he was to have been
working at a bench when the vegetation
came through a window behind him.
Episode Four, The Snows of Terror, saw
Vasor described as ‘a very unkempt man.
His clothes made from skins, roughly
stitched together... a Brueghel [sic]
peasant’ after the work of sixteenth-
century Flemish painter Pieter Bruegel
the Elder, famed for his pictures of rural
life. Holding Vasor at bay in the wooden
hut, Barbara's eyes were originally to
flicker towards the door, where upon the
trapper leapt at her. The Ice Soldiers were
Below: is
Ve solles originally to be encased in a pillar of ice,
onthepow, immobile alongside the key: ‘Four figures
fez) DOCTOR WHO | THE COMPLETE HISTORY
They wear strange soldier like uniforms.
Fierce faces distorted through the ice...
Each soldier has a different weapon.
A huge sword. A battle axe. A lance and
a mace’ Originally seated in chairs inside
the ice pillar, the soldiers were generally
referred to in the stage directions by the
name of the weapon they carried - ‘Sword’,
‘Mace’, ‘Battleaxe’ and ‘Lance’, The party's
escape from the key chamber originally
saw ‘Sword! attack Altos, with the young
man saved when Ian skidded a lump of
ice across the floor to distract the soldier.
When the soldiers became trapped on
the far side of the chasm, they quickly set
about finding other icicles to construct
anew bridge. In the wooden hut at the end
of the episode, Vasor originally held a knife
to Susan's throat
Courtroom intrigue
IT: Episode Five, The Sentence of Death,
the treasure vault was described as
‘a small underground room: The
dead Eprin was dressed as a member of
the Guardian Division and wore ‘a semi
-military uniform of modern design’. Chief
enquirer Tarron wore ‘a close-fitting, one
piece, black uniform. From the heavy belt
at the waist, hangs a holster containing
a gun of advance design. Tarron is 28.
Good looking. Beside him is a small box
with keys on it. It is a futuristic tape
recorder’ Court administrator Larn was
‘a friendly, good hearted man who
interprets his job in the best possible way’
and the courtroom was described as ‘a
modern courtroom. The three judges sit
at the top of a‘U’ shaped table. Ian stands
facing the judges on a raised dais inside
the two arms of the ‘U’. Above the three
judges hangs a sword. On the table in front
of the defence side lies a shield. In front of
the prosecution lies an axe’ Aydan’s living
COULOURIS WAS THE AC
STANTLY THOUGHT OF FOR ARBITAN,
D WHEN THE VETERAN
TAKE PART.’ “ §
“Abe.
TOR WHOM
DOCTOR WHO | THE COMPLETE HISTORY EB
THE KEYS OF MARINUS =» s10x's
} Connections:
Warming waters
3 In The Snows of Ter
room was ‘very functional
modern, free from furniture
and rather stark”. Kala was
25, tough and ambitious
These qualities she conceals
for the moment under
dialogue between Kala and
Aydan overheard by Barbara
was unscripted.
aad Originally, the script for the untitled
Arbitan’s Episode Six also featured the courtroom
his keys and ain, and it was to have been Ian rather
forces the ; 2
pee than the Doctor who d out Voord
tra
find them,
Two in the corridor
facade of gentle concern’; the
The guest cast for the serial was
completely booked by mid-March. The Sea
of Death saw the booking of a major guest
star to play Arbitan - George Coulouris,
who had worked on Broadway in the
1930s and 1940s and featured in major
films such as Citizen Kane and For Whom
the Bell Tolls. Born in Manchester in 1903,
George Coulouris had made an impression
on John Gorrie when he had seen him on
stage at the Bristol Old Vic; the actor had
returned to England from America
years earlier, where his television work
had included numerous BBC plays, the
ABC ss All Aboard, plus two of Doctor
some
.
Pathfinders to Venus. Coulouris was the actor
whom Gorrie instantly thought of for the
character of Arbitan, and was delighted
when the veteran agreed to take part; “One
of the most rewarding things as a director
is to work with your heroes from your
childhood,” observed Gorrie on the DVD
commentary for The Keys of Marinus.
Left:
In the clutches
of a Voord,
The Snows of Terror, was Francis de
Wolff, another stage veteran from the
pre-war era who had a major radio career
because of his distinctive, commanding
Heron Carvic, a radio actor with a striking
voice who also wrote romantic fiction
under a pen-name; Gorrie had often heard
his sound broadcasts and was impressed
voice; his film work since the late 1940s with his dry, sinister voice. In the last two
had included Scrooge while on television he | episodes, playing Kala was Fiona Walker,
had featured in the commercial film series. _ who had written to Gorrie for a role saying
Richard the Lionheart. In the fifth and sixth that she was “far too good an actress not
episodes, Sentence of Death and The Keys of | to be working”, whereupon he invited
Marinus, the villainous Eyesen was played | her in for a reading. The main judge in
|
|
p=: Vasor in the fourth episode,
Who's precursors: Pathfinders to Mars and
by Donald Pickering who had a notable Millennius was played by Raf de la Torre
stage career in Rep and in the West End who was familiar to viewers as Mr Quelch
and had featured in various television in Billy Bunter of Greyfriars School.
plays. These episodes also featured Welsh Playing numerous roles - including the
actor Henley Thomas as Tarron; Thomas | Voord - during the story, Gorrie hired three
was an old friend of Gorrie’s whose major young actor friends of his: Martin Cort
television work had been the 1960 BBC (who had trained at RADA where Gorrie
TV adaptation of How Green Was My Valley was a director), Peter Stenson (who had met
along with the BBC Schools series Strife. Gorrie on an Arts Council tour of
Playing the part of Altos was Robin A Winter's Tale in 1959) and Gordon
Phillips, another old friend of Gorrie's Webster (the lead dancer in West Side Story).
from his acting days at the Bristol Old Vic | For the final episode, Gorrie cast Stephen
in 1961, Reading the roles of Altos and Dartnell as the masked villain Yartek, having
Sabetha, Gorrie wanted a stereotypical seen his work at the Royal Court, including
prince from a children’s story and felt Cards of Identity, The Making of Moo and
that this fitted Phillips’ handsome looks. Cock-a-Doodle Dandy in the late 1950s.
Similarly, Gorrie wanted an actress to play Under the title Keys of Marinus, Brian
opposite Phillips like a fairy-tale princess | Hodgson provided 19 new sound effects
and recalled a former drama student of his | from the BBC Radiophonic Workshop
at LAMDA, Katharine Schofield. covering numerous elements of the story,
Of the other roles, the ‘Voice of Morpho’ from the Conscience machine to the clocks.
in the second episode was provided by in Millennius.
OOCTOR WHO | THE COMPLETE HISTORY 08
THE KEYS OF MARINUS =» s0xs
Beit BECAME CLEAR THAT HARTNELL WAS
DARTICULARLY IRRITATED BY PEOPLE IN
THE CAST AND CREW WHO CRITICISED
IS NEW SERIES _IN ANY WAY.’
ay
i ’
fe) DOCTARIWHD, | THE COMPLETE HISTORY 4
ne day's worth of silent 35mm
model filming took place at the
BBC's Ealing Film Studios in
advance of studio work in early
March 1964. An establishing
shot of the island and pyramid
for The Sea of Death had a miniature
TARDIS, complete with flashing light,
materialising on the model beach via an
optical dissolve where a shot of the empty
beach was merged with that of one with
the box present; this was the first time that
the Doctor's ship had been seen to ‘land’
on screen. Using the same model set,
a sequence showing the four Perspex Voord
submersibles arriving on the shoreline
Was filmed for The Sea of Death; the models
moved on magnets beneath the model
set. Also filmed was a shot of Susan's shoe
dissolving in acid. Having read the script,
Ray Cusick recommended inserting a brief
film shot showing the demise of Voord
Two after its attack on Arbitan, thinking
that the way John Gorrie had planned
the sequence would have made it seem
as though the creature had simply fallen
into a cupboard. Cusick suggested a shot
of the figure falling down a well shaft,
realised by standing on a stepladder and
dropping a rubber model of a Voord down
a cardboard tube, acquired from a carpet
factory, into a bowl of water. The other
inserts were for The Snows of Terror: a shot
of Vasor’s snowbound hut, plus two point
-of-view shots of the rope bridge across
the snow chasm, as seen by Susan. Cusick
recalled Gorrie being disinterested, reading
a newspaper while he set up the shots.
Cusick kept the models in his office while
iiming was underway, and once the serial
roduction
was completed he gave them away to other
designers for their children to play with.
The other film insert for the serial
showed the wolves seen by Ian and Altos
in The Snows of Terror; for this, the BBC
purchased 14 feet of 35mm film from the
1957 Russian film Seryy razboynik (The Grey
Robber), a thriller about a wolf, directed by
Boris Dolin and acquired from the Russian
distributor Sovexport
Rehearsals for all six episodes of the
serial would take place at the Territorial
Army Drill Hall at 239 Uxbridge Road
in Hammersmith. This leaking hall was
a venue not beloved by William Hartnell,
who by now complained particularly about
a continually sniffling man, Joe, who served
tea and sandwiches.
The Sea of Death was rehearsed over
four days from Monday 16 to Thursday
19 March. Having admired Hartnell in
films such as Odd Man Out, John Gorrie
Below:
Glass
submarines are
lined up on set.
was apprehensive as he had been warned
OOCTOR WHO | THE COMPLETE HISTORY (dea
THE KEYS OF MARINUS »s0%s 0
Below:
Supercomputer
-the
Conscience
of Marinus,
y
about the star, but in fact soon realised
that he cared deeply about the show and
liked to engender a team spirit. “All the
regular cast were lovely,” recalled Gorrie
in Doctor Who Magazine 209, “I got on
very well with Bill Hartnell, which I was
told was not altogether usual because
he had a reputation for being very
difficult.” It became clear that Hartnell
was particularly irritated by people in the
cast and crew who criticised his new series
in any way. George Coulouris enjoyed his
week on Doctor Who, and was pleased to
work with his old friend Russell Enoch
(William Russell) again. “I used to envy
them because I thought they had more
interesting things to do than I did,” Carole
Ann Ford said of the guest cast members
on the DVD commentary.
David Whitaker rewrote The Snows
of Terror on Tuesday 17 March on learning
that the character of the Doctor had to
be eliminated from both this and the
preceding episode, The Screaming Jungle.
Back in July 1963, the regular cast had
been booked to record 52 or 53 episodes,
Ge oocToR wo | THE coMPLETE HISTORY
SESS
one a week, without a break between
Friday 11 October 1963 and Friday 9
October 1964, with one week off over
Christmas 1963. With all the characters
now well established, it was felt that each
cast member could be given a two-week
holiday, during which time their character
would either be absent or appear only in
pre-filmed inserts. William Hartnell’s break
came first: originally, the Doctor went with
Susan and Sabetha in The Snows of Terror,
Vasor’s hoard being noted as including
the travel dials, the micro-keys and ‘Dr
Who's ring’ To replace the Doctor, the
character of Altos was retained beyond the
second episode, The Velvet Web. Similarly,
Carole Ann Ford would be released from
rehearsals in mid-April to pre-film material
covering her absence in the following story.
Ford did not particularly care for The Keys
of Marinus because she felt that Susan was
written more like a child. Head of drama
serials Donald Wilson attended rehearsals
on Wednesday 18 March and made notes
on parts of the episode’s dialogue which he
wanted David Whitaker to change.
s with all of the episodes in the
Aj The Sea of Death was recorded
at Doctor Who's usual home of
Lime Grove, Studio D. The morning and
afternoon would be spent on camera
rehearsals, with recording taking place in
the evening between 8.30pm and 9.45pm.
John Gorrie found the studio days on
Doctor Who very tough, demanding great
technical complexity over a very short
recording time; also the tiny space in
Studio D meant that he was unable to
achieve any artistic wide-angle shots.
The Sea of Death was the first episode
of Doctor Who not to follow on directly
from the end of the previous instalment,
although William Russell continued to
wear his Oriental clothes from Marco Polo
[1964 - see page 36], including the jacket
from Mighty Kublai Khan. For this serial,
Ford wore a green corduroy top made for
her by her mother over the blouse which
Susan had worn in The Mutants. Opening
captions ~ which were in a different font
to usual for some episodes of the serial
and had reverted to the writer credit
reading ‘Written by’ - were superimposed
ove
the model sequence of the island.
A monitor fed by a camera from the beach
set acted as the TARDIS scanner, since only
a minimal set with console and doors
had been erected.
A recording break was arranged to allow
the regular cast to move sets and emerge
from the police box prop, and Russell
ad-libbed Ian’s dialogue about Susan getting
corns as she put his shoes on. Hartnell
then fumbled the line, “Pity you weren't
wearing shoes young man. You could have
lent her yours”; years later on the DVD |
commentary, John Gorrie commented,
“T remember thinking at the time, ‘Shall |
I stop?’ But because of pressure of time, Above:
‘ reir beats Landing on
Ithought, ‘Oh no, leave it, because it’s lencingets
eccentric and it’s wonderful and it's Bill.”
The full size submersibles were made
in Perspex by the external Shawcraft
(Models) of Uxbridge. A photocaption
depicted Arbitan’s building as seen by the
travellers, and backdrops painted with
a false perspective gave the illusion of
long exterior walls. One of the wall panels
was able to rotate on cue; this set element
was operated by a stagehand (who was
visible on several occasions in the
finished programme)
Following Terry Nation's vague script
descriptions, Daphne Dare based her
design for the three Voord on a rubber
wetsuit. The heads were made from
vulcanised rubber by Jack and John Lovell
a father-and-son team of specialist prop
builders based in Battersea. Inspired by the
look of a beetle, each of the Voord had a
different-shaped probe emerging from the
front of the head, with one of the masks
being modified for Yartek in the final
episode. Because Yartek was the only Voord
OCTOR WHO | THE COMPLETE HISTORY (tsp
» STORY
THE KEYS OF MARINUS
with important dialogue,
larger eye and mouth holes
were cut; the probe was
removed, too, since this
would prove impractical
in the scenes where Yartek
pretended to be Arbitan. The
suits were very hot, with one
of the actors fainting from
the heat. Years later, actor
Peter Stenson recalled his
time as a Voord in the pages of a rubber
fetish magazine.
In all the ea
Connections:
Doubting Doctor
sequences where
Arbitan was seen as a hooded figure, this
was George Coulouris’ stand-in, John
reany Beerbohm, who also took part in the
Ro uiaee fight between Arbitan and Voord Two.
submarine Voord One had Arbitan’s dummy knife
attached to his back throughout the whole
sequence in which he attacked Susan.
A recording break followed the first cell
scene, to allow for the fight between
Arbitan and Voord Two to be set up. As
much of the production’s meagre budget
as possible was spent on the archive room
set; the Conscience machine was made by
Shawcraft. Running out of money, Cusick
built the rest of the set using fibreglass and
metal elements which had been thrown out
after being used in a light entertainment
show recorded at Television Centre.
Further recording breaks allowed the
regulars to move back and forth between
the archive room and beach sets; another
me just before the attack on Arbitan.
Barbara's disappearance using her travel
dial was achieved using a split-screen inlay
effect; Jacqueline Hill stood against a black
background, which was then mixed out,
causing her to ‘vanish’, The appearance
of the Doctor's party was achieved by
fading from a photocaption of the wall
to the actors on the set which Cusick had
borrowed from another programme. The
‘Next Episode’ caption was superimposed
over a shot of Ian holding the discarded
travel dial. At the end of the evening, two
sequences were recorded; the first covered
from Susan at the acid pool through to her
return to the TARDIS, and the other was
from Arbitan handing the travel dials to
the travellers through to his demise.
VORA
our days of rehearsals began for
The Velvet Web at the Drill Hall on
Monday 23 March. On Thursday 26
March, Terry Nation's third instalment
became the subject of a minor dispute
involving writer Robert Gould who had
been invited to submit a story idea on
Tuesday 4 February; this concerned
a world where plants treated people
as people treated plants, but Gould
abandoned the notion five days later and
informed the production office of his
decision. However, he was now concerned
that Terry Nation's storyline for The
Screaming Jungle closely resembled his
‘plants’ idea. Having spoken to Nation
on Thursday 26 to confirm events, David
Whitaker was able to prove to Donald
Wilson that Gould’s story had not been
passed onto Terry Nation, and that no
plagiarism had occurred since the story
outline for Episode Three had been
discussed on Monday 3 February - the
day before the meeting with Gould.
The studio recording for The Velvet
Web took place on Friday 27 March.
The episode title and writer credit were
Production
superimposed over the opening title film Above:
as it faded to black - the first time that this camer.
had been done on the series - after which Fordis not so
anew version of the reprise was scared of the
Voord.
performed. Flashing lights and an
over-exposure of the camera were used
when the Doctor's party entered the
reception room and when
the ‘somnor disc’ fell from Connections:
Barbara's forehead. The Shipshape
first taping break came after 2 The TARDIS appears
Barbara passed out on the
fade to black. More recording
breaks were scheduled
around the scene in which
Barbara saw the reception
room as it really was; Hill
remained on the ‘fantasy’
set (for which Cusick was
and disappears silently.
In The Seo of Death, the
Doctor indicates that
his ship had a colour
scanner screen but that
itis currently “hors de
combat’ (outside the fight),
Later, Arbitan becomes:
reprimanded for his purchase the first person to refer
of expensive materials), while to the appearance of the
the other cast members Doctor's ship by the term
moved to the ‘reality’ set to
show her point of view and
Robin Phillips donned his
tattered outfit. These scenes
were then recorded out of
order, on the ‘reality’ set first
materialise’ During The
Velvet Web, the Doctor
notes that the time
mechanism of the TARDIS
is faulty.
DOCTOR WHO | THE COMPLETE HISTORY (ll)
THE KEYS OF MARINUS »s0s 000
Above:
The rulers of
Morphoton,
and then the ‘fantasy’ set. “I originally had
some stuffed rats on the grotty version of
the set, and John Gorrie didn’t like them,”
recalled Cusick in the fanzine The Frame
Issue 21/22. “I had to take them off! He
personally couldn't stand them.” Around
the recording breaks for the scenes on the
two sets, Jacqueline Hill and Katharine
Schofield also changed into their ragged
costumes. It had originally been planned
that the Doctor's party's view of the
‘laboratory’ would be depicted by means
of a photocaption, but a shot of the empty
room was used in the finished programme.
As well as the somnor discs and the eyes
which watched from behind the wall of the
reception room, Shawcraft made the four
red rubber brains in jars, which pulsated
by use of an air pump. “Those things gave
me nightmares,” recalled Carole Ann Ford
onthe DVD commentary.
A1'37” sequence featuring Hill, Russell
and Heron Carvic was pre-recorded on
videotape, presumably the attack on the
Morpho brains by Barbara. This was
arranged so that only one of the brains’
> ooctor wo | THE compLeTE HisTORY
SSS WR
jars broke when attacked by Hill since
even the smashing of brittle sugar glass
ina studio was relatively hazardous and
such actions were generally represented
off screen by sound effects; all of the
dying brains’ eye-stalks drooped. Hill
then donned her normal costume
during another break during which the
reception room set was ruined. Susan’s
disappearance using the travel dial was
achieved off-camera by means of a sound
effect. The ‘Next Episode’ caption ran over
a shot of the distressed Susan on the jungle
set. With recording complete, Hartnell
departed for his fortnight’s holiday.
ehearsals for The Screaming Jungle ran
R: om Monday 30 March to Thursday
2 April. For this episode Martin
Cort, who had played a Voord in The Sea
of Death, now played another masked role
~ this time as a warrior statue. “We could
have a few more giggles,” recalled Ford
of the fortnight without Hartnell on the
DVD commentary, and even John Gorrie
felt that, as much as he liked Hartnell, his
trouble with remembering lines would
hold things up at times. Joining the cast
for this episode as Darrius was Edmund
Warwick, who had worked with Russell
before on The Adventures of Sir Lancelot. By
now, Ford was telling people’s fortunes
in breaks during production. In The
Frame Issue 10, Warwick recalled that her
technique was to get her subjects to draw
three houses: “She would tell you that one
represented how you felt earlier on, and
the one with the smoke coming out of the
chimney was the one you were happiest
in... or something like that. She was very
good at it.”
Recording for The Screaming Jungle took
place on Friday 3 April. The opening
titles were again shown against a black
background before a short re-enactment
of the previous week’s conclusion. The
moving vegetation was generally operated
by fine wires. The ‘idol’ housed actor Bob
Haddow, whose arms projected from
the prop, allowing it to grab its victims;
this sculpture was constructed by Design
and Display Ltd, and during rehearsals
Haddow (who was unable to see out from
the idol) unfortunately placed his hands
upon Jacqueline Hill in a position which
meant that for the actual recording the
actress climbed higher up the statue so
that Haddow grabbed her legs instead!
The disappearance of first Altos and
Susan and then Sabetha was achieved
off-camera purely by the us
effects. A recording break was
after lan mounted the rotating idol on the
ruined city wall and before he emerged
into the courtyard, A model of the spiked
ceiling was shown descending towards
Barbara from her point of view. The walls
of Darrius’ laboratory were rigged to be
‘forced apart’ by the creepers (made and
operated by Shawcraft), and ,
there was another recording | Connections:
break during the fade to black | 9utfit continuity
prior fo Tan and Barbera) 2» The Doctor carries his
cane from Marco Polo
search for ‘DE302’ in the
laboratory. A recording
break before the final scene
allowed Ian and Barbara
to move ‘instantaneously’
from Darrius’ dwelling to
the snow-scape, where the
‘Next Episode’ caption was
superimposed over a shot of
the frozen duo. Here, Jablite
polystyrene was used to
simulate snow. Although absent for this
episode and the next, William Hartnell was
still credited on screen and in Radio Times
for contractual reasons. “I thought it was A
awful,” was Ray Cusick’s memory of the
episode in DVD documentary The Sets of
Marinus, “Others seemed to be satisfied. At
least we got through it.”
The Snows of Terror entered rehearsals
for four days from Monday 6 April. For
this episode, Peter Stenson, another Voord
actor, now played a masked Ice Soldier,
(1964 -see page 36}
Barbara wears the clothes
which she had on at the
end of inside the Spaceship
[1964 - see page 6] andin
Marco Polo, while lan still
wears his oriental jacket
and blue shirt from
Marco Polo.
Left:
| standing in for Martin Cort who had been ft
offered another job and was released by members
John Gorrie
With the Voord being the first monsters
get into their
positions for
atake
to appear after the Daleks, extra media
interest was hoped for - and so a special
publicity photo session took place prior
to recording The Snows of Terror on Friday
10 April, with Peter Stenson posing as a
Voord with Carole Ann Ford. The evening's
recording began with a re-enactment of
the reprise, the opening captions appeared
over a shot of Ian and Barbara collapsed
in the snow, and then a recording break
allowed the actors to move to the wooden
hut set. Raymond Cusick was unhappy
with the ice cave sets; he had asked for
‘rock walls’ but had been given ‘stone
DOCTOR WHO | THE COMPLETE HISTORY (#3)
THE KEYS OF MARINUS
Below:
Raymond
Cusick and his
design team
prepare the set,
» STORYS
walls’ “It looks awful. What are you going
to do about it?” asked a concerned Verity
Lambert, whereupon the only advice that
Cusick could offer the crew was to light
the set darker and make the shots tighter
in on the cast to hide the background. The
other ice tunnel walls were made from
paper over chicken wire, and covered with
cellophane to make them glisten like ice.
Expanded Jablite polystyrene was used to
make the ‘stalagmites’ which Susan used
to cross the chasm; unfortunately, the rope
bridge collapsed in studio while Carole
Ann Ford was crossing it. Falling a few feet
from the rostrum set, the actress was a bit
shaken but fine to carry on recording. The
film inserts of the chasm eventually went
unused, and Russell ad-libbed much of his
dialogue as Ian and Altos worked on the
large icicles. The block of ice containing
the key was switched between scenes. Part
of the icy tunnel set was rigged to collapse
when Ian blocked the Ice Soldiers’ path.
The travellers ‘vanished! from the wooden
€3> ductor who | THE COMPLETE HxsToRY
hut set between camera shots, after which
there was a recording break to reposition
Russell in the treasure vault set; the ‘Next
Episode’ caption was ran over a shot of the
empty display case in the vault.
William Hartnell rejoined the team
for rehearsals for Sentence of Death (or
The Sentence of Death, as the scripts were
entitled) from Monday 13 to Thursday 16
April. Hartnell’s fortnight’s rest meant that
he found it far easier now to learn his lines.
Martin Cort now played Aydan, with Peter
Stenson as the Second Judge; former Ice
Soldiers Michael Allaby and Alan James
became Larn and the First Judge. Carole
Ann Ford was absent from the first day's
rehearsals, filming scenes for the next se
- The Aztecs [1964 - see page 126] - at
Ealing Studios. John Gorrie received a final
draft of the concluding episode - The Keys
of Marinus - on Thursday 16 April which
he was able to forward to Stephen Dartnell
in time for the following week's rehearsal,
The recording of Sentence of Death in:
the evening of Friday 17 April, started
with a new reprise; titles were again
superimposed over the empty case. The
courtroom was mainly composed of stock
scenery, with the main features picked out
in red against a white background. The set
of Aydan's living room reused some of the
dividers seen earlier in The Sea of Death and
some of the fabrics acquired for the sets in
The Velvet Web; also featured was a metal
statue seen in the presentation of Sartre's
In Camera later screened in The Wednesday
Play in November 1964. For the scene
where Barbara spies on Aydan and Kala
in Aydan’s living room, a keyhole-shaped
mask was placed over the camera lens. To
indicate that Aydan had been shot, the
flaring of lights and camera over-exposure
technique was again employed. The ‘Next
Episode’ caption appeared over a shot
of Barbara.
Production
Left:
Yartek was the
spitting image
of Arbitan.
Doctor's departure. Since being put into
storage after the recording of The Sea of
Death, the Conscience machine prop had
been damaged, but could still be set to
illuminate in the scene where Yartek inserts
the keys. Playing Yartek, Stephen Dartnell
wore a modified version of the mask first
worn by Gordon Wales five weeks earlier,
but with the front probe removed. On the
archive room set, Martin Cort - unable
to see properly through his Voord mask
- tripped over the lower part of a door
| while manhandling Katharine Schofield,
ehearsals for the final episode, The
R:: of Marinus ran from Monday
20 to Thursday 23 April and saw
Martin Cort and Peter Stenson now revert
to being Voord, with Alan James this time
playing a guard.
The final episode of the serial was
recorded on Friday 24 April. Following
anew reprise, the opening captions were
superimposed over a shot of Barbara.
Against a dark background, the split-screen
and inlay effect was again used for the
shot of Ian, Barbara and Susan vanishing
from the ante room, and then for the
i
and on another occasion almost crashed
into the scenery. While rehearsing the
scene in which the Doctor strikes down
Martin Cort’s Voord with his cane, Cort
had asked if Hartnell could soften the blow
- only to find the strength of the impact
increased on recording. Flash charges and
falling ‘debris’, plus camera over-exposure,
were used to give the impression of the
machine exploding. A recording break was
scheduled before the last scene, to allow
the cast to move to the TARDIS set. The
caption ‘Next Episode: The Temple of Evil
was superimposed over the model shot of
the island; this was the same film sequence
seen at the opening of The Sea of Death but
played in reverse. ll
j PRODUCTION Fri27 Mar 64 Lime Grove Studio: The Snows of Terror
Mar 64£aiing Film Studios: The Velvet Web Fri17 Apr 64 Lime Grove Studio:
Model filming Fri3 Apr 64 Lime Grove Stucio D: Sentence of Death
Fri20 Mar 64 Lime Grove Studio The Screaming Jungle Fri24 Apr 64 Lime Grove Studio D:
The Seaof Death Fri10 Apr 64 Lime Grove StudioD: The Keys of Marinus
DOCTOR WHO | THE COMPLETE HISTORY (iB)
Arbitan
protects the
Conscience of
Marinus from
the Voord.
he Sea of Death was edited
from 6.30pm to 9.30pm on
Monday 23 March. Because of
its complexity, The Velvet Web
required two evening's editing
from 6.30pm to 9.30pm on
both Tuesday 31 March and Thursday 2
April. The Snows of Terror was edited on
Monday 13 April between 7pm and 10pm.
The final episode was edited on Monday
27 April between 6.30pm and 9.30pm. The
start of one scene in The Keys of Marinus
ae DOCTOR WHO | THE COMPLETE HISTORY
was trimmed for time: the sequence in
Aydan's living room when Barbara visited
Kala. Originally it opened with Kala pacing
back and forth, worried and nervou:
She stopped at the telephone and w:
about to use it when she fought h
impulse and took her hand back. To
calm herself, she moved to a table where
she started to fix her tear-stained face at
a mirror; this she was doing when the
door buzzer sounded and she went to
answer it. ll
From the let: George Colours,
Publicit
} Radio Times for 11-17 April 1964
carried an introductory article for the
new serial, illustrated by a photograph
of Arbitan with Susan, Ian and the
Doctor on the archive set. The article
then continued with a brief profile of
former Nicholas Nickleby star William
Russell who lived in a seventeenth-
century house near London.
® On the Thursday 9 April edition of
Junior Points of View, June Imray told
viewers that the Daleks “should be
back at the end of the year” with
story suggestions including Simon
Whitwam's proposal that Dr Who
should land at the birth of Christ, GR
Cree's notion of the TARDIS being
stolen by the Morlocks from HG
Wells’ The Time Machine, and Peter
Martinage noting that Dr Who and
Ian Chesterton never shaved. John
Lucas of Dagenham also attempted to
rationalise how the time machine was
bigger inside than out (“I would say
it was only a two-dimensional object
and that the third dimension had
be
n removed”) before the subject was
discussed by science-fiction writer and
electronics expert Charles Maine.
On Thursday 9 April, the Daily Express
ran After the Daleks a new horror
VOORDS, promoting the new serial
with a photograph of Martin Cort as.
one of the ‘black monsters’ destined
DR. WHO
igo planet begins today
OQ A ey umes tough ie 300 hvoUER
Nyhich they meet when they come into contac
of the ind wi se ways of thinking atv ideas good
‘The Doctor and Dt he conta adventurer which bei
font och in ahem farewell to tient
atary Cathay whieh tontnne te amar ay of ie
30 Physical
Nar a sine whove mame the
Hi Wels somentere ae ue
rc ce they Bd a world which seems to be bal «
w Tuientury house neat London.
Carle Aan Ford, Wiliam Rossel, and Wiliam Marae! in a sense in the past—in a 17tncentury bo
Below
Radio Times
publicity for
The Keys
of Marinus
DOCTOR WHO | THE COMPLETE HISTORY
THE KEYS OF MARINUS
Right: to take over from Daleks,
Cae with the text noting that
arms ofan the ‘rubber men from
outer space Marinus [with] heads of
creature
enormous beetles’ were
created by Terry Nation
® Also on Thursday 9
April, the Daily Mail's
New TV Monsters Will
Rival the Daleks by
Douglas Marlborough
was another visual piece
with a photograph of
a Voord. “They do not
appear in every episode.
They're only one of many
menaces,” commented
Verity Lambert. The Daily
Mirror also ran a shot of
A Voord from Outer Space.
» On Saturday 11 April,
the day that the first
episode of the serial
would be broadcast, the
Daily Mail featured In
the Grip of a Voord! which
included a photograph
of Carole Ann Ford
biting a Voord and -
noted that ‘the Voords are all rubber.
They bounce across BBC TV screens
today in the first episode of a new Dr
Who space series - and could rival the
dreaded Daleks’ Peter Stenson was
‘the actor with flippers on his feet and
a triangle on his head’.
» On the same day, the Daily Mirror ran
My word — it’s a Voord! and offered a
shot of Carole Ann Ford in the arms
of ‘an outer space creature’.
GH oocror wio | THe comPteTe HasTORY
2 An interview with Carole
Ann Ford conducted by Ruth
Makhlouf appeared in Reveille for
the week of 23-29 April under the
title When Work is Child’s Play. An
interview with William Hartnell
had also been conducted by a press
agency for syndication, and
appeared in papers such as the
Yorkshire Evening Press on Monday
27 April.
Broadcast
® Early episodes of the serial ran opposite
the end of ITV shows including The
Buccaneers (eg ATV and Westward), The
Bugs Bunny Show (ABC), the News and
then Thank Your Lucky Stars. Ratings
were strong at first, and The Sea of Death
was the top-rated BBC programme of
the week in the Granada region.
» On Saturday 25 April, The Screaming
Jungle became the first Doctor Who
episode to be transmitted on BBC1,
as the BBC Television service had
been renamed following the troubled
launch of BBC2 the previous Monday.
On Tuesday 28, the BBC's board of
managers expressed their concern about
the show’s creepiness; Kenneth Adam,
director of television, said his three
-year-old granddaughter had remarked
on how the travellers ‘always split up
so they could get into trouble: Head of
serials Donald Wilson discussed this
with Verity Lambert, informing head of
drama, Sydney Newman, on Wednesday
6 May that the best writers for Doctor
Who were not necessarily the best for
character and dialogue.
3 Dr Who Comes Down to Earth was
the title of Shaun Usher's chat with
William Hartnell in the Daily Sketch
on Friday 8 May. The star discussed
his fortnight’s break from Doctor Who
during a rehearsal break at Shepherd's
Bush, commenting: “I did spend
two splendid days racing at Lingfield
[Park]. The weather was glorious.
I went along with an old pal of mine,
and had a splendid time - picked two
winners and two seconds.”
» Dated Saturday 6 June, the Daily
Worker's Bob Leeson felt that the
fifth episode of the serial was the low
for the sei hat th
point for the series, noting that the Altos
sudden introduction of a trial scene challenges
was the mark of a flagging story and Barbaratoa
staring contest.
a rushed script.
»} From Saturday 9 May, Doctor Who
moved back to its previous time slot of
5.15pm with Sentence of Death which was
still sandwiched between The Telegoons
and Juke Box Jury. In its old slot, the
programme lost almost two million
viewers. Another million viewers were
lost the following week when Juke Box
Jury was off the air and replaced by
the film Where Coco Lives about Coco
the Clown. The audience appreciation
OOCTOR WHO | THE COMPLETE HISTORY &
‘Above:
AVoord lies in
wait forSusan.
ORIGINAL TRANS|
EPISODE
The Seaof Death
The Velvet Web
The Screaming jungle
The Snows of Terror
‘Sentence of Death
The Keys of Marinus
index for the serial hovered around the
60 mark, similar to that for Marco Polo.
} BSB transmitted the serial on Saturday
22 September 1990. A rights problem
with Terry Nation's agents meant that
the serial was not initially available to
UK Gold when it began broadcasting in
1992, The serial aired from Wednesday
5 January 1994, with compilation
transmissions on Sunday 6 February
1994, Saturday 11 July 1998, Friday 8
January 1999 and Friday 2 July 1999.
® The serial was sold widely overseas as
part of the second batch of 13 16mm
film recordings, with Spanish and
Arabic dubs available from 1967; the
Spanish versions of these programmes
were entitled El Mar de la Muetre, La
MISSION
one
Saturday 11 April1964
Saturday 18 April1964
Saturday 25 April 1964
Saturday 2 May 1964
Saturday 9 May 1964
Saturday 16 May 1964
5.30pm-5.55pm
5.30pm-5.S5pm
5.30pm-5.55pm
5.30pm-5.55pm
5.15pm-5.40pm
5.15pm-5.40pm
2 vocToR wi | THe compLerE HisroRY
Trampa de Terciopelo (The Trap of Velvet),
La Selva de los Gritos (The Forest of
Screams), Las Nieves del Terror, Sentencia
de Muerte and Los Micro Circuitos de
Marino (The Microcircuits of Marinus).
Payments were logged under the title
Dr Who and the Keys of Marinus while
publicity material referred to it as The
Keys of Marinus. By 1974, the serial was
no longer available.
On Thursday 17 August 1967, all six
master tapes were cleared for wiping.
‘The BBC Film Library retained only
a 16mm negative print of Sentence of
Death, but in 1977 it was confirmed
that BBC Enterprises had retained film
recordings of the entire the BBC
also has positives of The Velvet Web, The
Screaming Jungle, The Snows of Terror
and The Keys of Marinus plus viewing
prints of all six instalments and also a
16mm Arabic print of The Sea of Death
obtained from BBC Enterprises in 1978.
Copies of the episodes were also held
by the National Film and Television
Archive. It was later discovered that The
Velvet Web had five small cuts made to it,
while three small cuts had been made
to The Snows of Terror; in both cases,
off-air soundtracks recorded by David
Holman helped fill in the missing
material for restoration work.
par
99M (22nd)
9.4M (25th)
99M (22nd)
104M (20th)
79M (28th)
69M (431d)
GICHARTPOS)
APPRECIATION INDEX
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erry Nation's scripts were
faithfully adapted for Target
Books by former Doctor Who
producer Philip Hinchcliffe -
who had worked on the series
from 1974 to 1977 - as Doctor
Who and the Keys of Marinus; in minor
changes, the tale began at 701 zeniths
(Inter Galactic Time), the Voord a generic
in BXV sub-o nic assault craft, the Ice pie e of David
Soldiers were frozen inside the block of McAllister
(as per the script), and Eyesen became | artwork showing
Left
belo
Two of
Cadet’s Sweet
Cigarette cards
featuring the
Voord.
eventual cover
avelled was
Eyson. The book was published in both the TARDIS
paperback and hardback from WH Allen in | in space. The paperback
August 1980. Although a piece of artwork was included in The Doctor Who Gift Set, ae
specific to the serial had been planned, the | released in 1986 Target
with a cover
Voord,transfers by Davi
mate in 1964, the Voord appeared
L in the first half of an adventure
panning 50 collectors’ cards found mr
in packets of Cadet’s Dr Who and the eee
Daleks Sweet Cigarettes; on Marinus, ‘Dr Who Annu.
Who’ found the Voord
working with the Daleks
[AND THE KEYS OF MARINUS to attack Earth, but
PHILIP HINCHCLIFFE after crashing in South
America the Chief Voord
changed sides and helped
defeat the invaders. The
film company AARU
apparently pur
movie rights to The Ke)
of Marinus along with
Terry Nation’s Dalek
serials, but later dropped
them. The Voord
i appeared on rub-down
transfer sheets alongside
DOCTOR WHO | THE COMPLETE HISTORY (dai
THE KEYS OF MARINUS =» s10%s
Above:
Cover forthe
VHS release
of the story.
Right:
The DVD cover
by Clayton
Hickman,
gh ae
other monsters from
Tower Press in 1965.
The first edition of
The Dr Who Annual,
issued in September
1965, featured the
Voord both on the
cover and in the text
story The Fishmen
| of Kandalinga with
various continuity
MB references to the
Jy, % television serial; the
AYE Voord recalled how
the Doctor helped
| ‘the Arbitans’ to repel
them from Marinus
to the water world
of Kandalinga. The
personal travel dials
and two of the keys
‘of Marinus also reappeared in the story,
and it was stated that the organ projecting
from the front of the Voords’ mask gave
them telepathic powers.
T: Voord also appeared in mid-1987
in the three-part Doctor Who Magazine
comic strip The World Shapers, in
which writer Grant Morrison had the Sixth
Doctor return to Marinus, where it was
indicated that the Voord would eventually
evolve into the Cybermen.
A Voord bust was included in a set
issued in 1999 by Head-Up Display. Two
figures from the serial were also issued by
Harlequin Miniatures: a Voord Warrior
in September 1999 and a Voord Leader in
April 2000.
BBC Worldwide released The Keys of
Marinus on video in March 1999. The
serial was released on DVD in September
2009 and included some special features:
2 ooctor wwo | THE compLeTe HISTORY
SEW OLIN AES
2} Commentary with actors William Russell
and Carole Ann Ford, director John Gorrie and
designer Raymond Cusick. Moderated by
Clayton Hickman
2 The Sets of Marinus - designer Raymond
Cusick recalls his work on this story
® Cadet Sweets: Doctor Who and the
Daleks - scans of the entire set of the Cadet
Sweet Cards
» Photogallery
» Subtitle production notes
} Easter Egg - 8mm film shot of work at Lime
Grove by grams operator Pat Heigham
Sound effects from The Keys of Marinus
were included on four-disc and
11-disc versions of Doctor Who: The SOth
Anniversary Collection from Silva Screen in
December 2013 and September/November
2014. The track from this serial was
Sleeping Machine.
A4 prints of Andew Skilleter’s unused
cover for the BBC Video release of The
Keys of Marinus were available in
September 2011. i
WA BA
Cast and credits
Dougie Dean Eprin
DrWho' | Veronica Thornton, Valerie Stanton, David
lanChesterton | Kramer, Adrian Drotskie, Leslie Shannon,
Merchandise | Cast and credits
Jacqueline Hill Barbara Wright | Patricia Anne, Billy Dean, Tony Lampton,
and | Brian Bates, Monique Lewis, Heidi Laine,
Carole Ann Ford Susan Foreman | Rosina Stewart, Cecilia Johnson, jill Howard,
with Yvonne Howard, Tony Hennessey, Johnny
George Coulouris Arbitan[1] | Crawford, Leslie Wilkinson, Desmond Cullum
Francis de Wolff. Vasor(4] | Jones, Perrin Lewis. Citizens of Millenius
Donald Pickering
Henley Thomas CREDITS
Robin Phillips. Written by Terry Nation
and introducing Title music by Ron Graine
Katharine Schofield with the BBC Radiophonic Workshop
with Norman Kay
Martin Cort [1,5], Peter Stenson (1,5), Gordon C ut Dare’
Wales (1) Voords upervised by jill Summers
Heron Carvic Voice of Morpho [2] Whitaker
Martin Cort. Warrior [3] Raymond
Edmund Warwick Darrius (3] Producer: Mervyn Pinfie
Michael Allaby, Alan James, Peter Stenson, Verity Lam
Anthony Verner. Ice Soldiers [
Michael Allaby, Ui Below:
; ‘Now, where
Raf dela Torre. Senior Judge [5] id lesteae
Alan James. First Judge [5] tho 7
Peter Stenson Judge [5]
Fiona Walker. Ka ]
Martin Cort.
Alan James.
Stephen Dartnell
Credited but does not appear in 3 or 4
One doubles as Aydan in 4
UNCREDITED
John Beerbohm. Double for Arbitan
Faith Hines, Daphne Thomas, Veronica
Thornton, Sharon Young, Lynda Taylor
Ladies in Waiting
Bob Haddow. Idol
DOCTORWHO | THE COMPLETE HISTORY (lla)
THE KEYS OF MARINUS
Right:
George
Coulouris in
Birds Foll Down
in1978.
Below:
In Virus X
in 1962.
GEORGE COULOURIS
eorge Coulouris was arguably
the biggest guest star of Doctor
Who's first series.
Born George Alexander
Coulouris on 1 October 1903
in Hulton Street, Salford, on
Manchester's outskirts, his father Nicholas
was an immigrant from a Greek mountain
village, and mother Abigail (née Redfern) a
domestic servant from Knutsford. They ran
The King's Restaurant, Trafford Road, his
father also earning a small fortune trading
in auction goods in wartime.
Despite good grades from Manchester
Grammar School his father forbade
him from university studies. Wanting
to become an actor, Coulouris ran away
to London aged 20, but his northern
accent scuppered his plans. Actress Sybil
Thorndike suggested a scholarship to the
Central School of Speech and Drama. After
@} oocror wo | THe compLeTe HISTORY
working as a waiter on Cunard liner The
Majestic in 1924, then teaching English at
schools in Lucerne and Milan, he studied
at Central in 1925 but after nine months
returned north on his mother’s death.
His professional stage début came at
the local Rusholme Rep Theatre, playing
Reverend Duke in Outward Bound in
May 1926 and by October he had joined
London’s Old Vic company in small roles.
He next earned favourable notices with
the Cambridge Festival Theatre company
in The Hairy Ape, Romeo and Juliet and As
You Like It (all 1928/9). Coulouris made his
Broadway début in The Novice and the Duke
in December 1929. Marrying American
Louise Franklin, Coulouris found further
Stateside stage work including Saint Joan
(1936, Martin Beck Theatre) and made his
movie début in Christopher Bean (1933)
He met novice actor Orson Welles
during a disastrous play Ten Million Ghosts
in October 1936, and the following year,
when Welles formed his Mercury Theatre
company, Coulouris was Mark Antony in
a modern dress Julius Caesar (1937). The
company performed radio plays during
1938/9 including Julius Caesar, Dracula
and Treasure Island. Coulouris also spent
two years as US radio's Bulldog Drummond
from 1941
He was cast in Orson Welles’ cinematic
masterpiece Citizen Kane (1941) as financier
Walter Parks Thatcher, which won him
a National Board of Review award.
SN Se rai
Oscar-nominated as the villainous
Teck de Brancovis in Watch on the Rhine
(1943), Coulouris was subsequently mildly
typecast as bad guys. Other US films
included Mr Skeffington (1944), Hotel Berlin
(1945) and Joan of Arc (1948).
Britain's thriving theatre scene lured him
home in January 1949, settling with wife
Louise and their two children at Chestnut
Cottage, Hampstead. He joined the Bristol
Old Vic for its 1949/50 season, taking title
roles in Tartuffe and The Admirable Crichton
and playing Brutus in Julius C
took the lead in King Lear (19.
Theatre, Glasgow), later reprised at the
Hollywood Globe (1977). Other stage
highlights included An Enemy of the People
(1959, Arts Theatre, Cambridge), Soldiers
(1968, New Theatre) and Cat on a Hot Tin
Roof (1970, Richmond Theatre).
His 1950s UK film roles included three
of the popular Doctor comedy s
of Robin Hood (1958) and deadly plant
B-movie The Woman Eater (1959)
After half-a-dozen single TV plays in the
1950s he diversified into series including
Hancock's Half Hour (1960), Maigret (1961
esar. He
2, Citizens’
ries, Son
|
1963), Danger Man (1966), The Prisoner
(1967), Lord Peter Wimsey (1972) and
Playhouse: the Mind Beyond (1976).
He played Harcourt Brown in science
-fiction serials Pathfinders to Mars (1960/1)
and Pathfinders to Venus (1961). Latter
feature films took in spy thrillers Arabesque
(1966) and The Assassination Bureau (1969),
horrors Blood from the Mummy's Tomb
(1971) and Tower of Evil (1972) and even.
sex comedy Percy’s Progress (1974). Notable
successes were Papillon (1973), Mahler (1974)
and Murder on the Orient Express (1974).
His final TV performances ranged from
kids’ thriller The Doombolt Chase (1978) to
Hart to Hart (1984)
A three-part BBC radio memoir
Hollywood and Back (1962) celebrated his
After wife Louise died in 1976 he
married Elizabeth Donaldson in 1977.
His two children by Louise were George
Jr, a computer science professor, and Mary _gelow:
As Arbitan,
with Wiliam
Hartnell in
The Keys
of Marinus
Louise, an artist
Retiring in 1985 after being diagnosed
with Parkinson's disease, Coulouris died
from heart failure on 25 April 1989. i
CSS SAME,
i ® STORY 6
In fifteenth-century Mexico, the TARDIS
crew meets the Aztecs, a highly civilised yet
_ barbaric race, When Barbara is heralded as
© ~ the reincamation of the high priest Yetaxa,
she decides to use her new Status to change
history for the better.
ity
THE AZTECS
STORY
7 REWRITE HISTORY
— NOT ONE LINE!’
CAN
aS
Introduction
hen we met, I said travel
with me in space. You
said no. Then I said
time machine...”
This is what the Ninth
Doctor says to Rose
‘Tyler in Father's Day [2005 - see Volume
49], after she catastrophically altered the
course of history. Rose, of course, wasn't
the first companion who was tempted to
tinker with past events.
The Aztecs is where it begins. Barb;
a history teacher, wants to civilise the
indigenous people of fifteenth-century
Central America. She is appalled by their
barbarism, but reasons that if she can quell
that instinct, the more civilised aspects of
their culture would flourish and they could
possibly avert their demise at the hands of
the Spanish,
At this stage in the development of the
mythology, the Doctor takes a very
firm stance: “You can't rewrite history -
not one line!” Two stories later, at the end
of The Reign of Terror [1964 - see Volume
3] Susan suggests that making changes is
impossible. The Doctor, however, hedges
his bets and simply says, “It's hardly fair
to speculate.” It’s a noteworthy exchange.
Obviously, as the series progressed, history
would indeed be rewritten. But more
importantly, the Doctor stresses that their
travels are an opportunity to learn. Rather
than railing against the inevitable, we
should seek to understand why things
are as they are.
Rose Tyler's better understanding of the
sacrifice her father had to make prepared
her to make a similarly noble decision to
rescue the Doctor in Bad Wolf/The Parting
series
Introduction
of the Ways [2005 - see Volume 50]. The
Doctor is forbidden to interfere. At the
end of The Massacre of St Bartholomew’
Eve [1966 - see Volume 7] the Doctor tells
Steven Taylor that history sometimes
gives us a terrible shock because we don’t
understand. And yet he recognises that
small victories are possible. When Donna
Noble is appalled that the Doctor is
unwilling to save anyone in The Fires of
Pompeii [2008 - see Volume $7], he relents
and saves one family. This would serve as a
reminder, in 2015's The Girl Who Died, that
it’s his role to save people
Of course, Barbara fails to save the
Aztecs. But she does at least change the life
of one man - the High Priest Autloc - who Below:
becomes more enlightened. Whether that Barbere's good
Ibe ul Ty cols bene betacl 2 intentions
will be ultimately to his benefit, only time change the life
can tell. of Autloc
THE AZTECS
» STORY
THE TEMPLE OF EVI
Ml he TARDIS has landed in a tomb.
Barbara and Susan emerge and
Barbara identifies the remains
of an Aztec priest. She puts on the
priest's bracelet. Part of the tomb wall
swings open and Barbara emerges to
be confronted by Autloc, High Priest
of Knowledge. (1!
The Doctor, Ian and Susan leave the
tomb through the pivoting wall - which
closes behind them. It can only be opened
from the inside. They are greeted as
“servants of Yetaxa”. Bart
ara has been
mistaken for an Aztec god because of
the bracelet!
The Doctor, Ian and Susan meet
Barbara dressed in Aztec finery. [2] Ian is
keen to find out how to get back into the
tomb, but the Doctor warns him not to
arouse suspicion
Autloc asks Barbara to appear at the
ceremony of the Rain God and she
330 QOCTOR WHO | THE COMPLETE HISTORY
agrees. Tlotoxl, High Priest of Sacrifice,
thinks that Ian should lead their army
instead of their chosen warrior, Ixta. [3]
Tan is taken to meet Ixta, who tells him
that they will be escorting the human
sacrifice to the ceremony.
Autloc takes the Doctor to the Garden
cof Peace where he meets a refined lady,
Cameca. He learns that the man who built
the tomb is dead but his son lives; Cameca
offers to arrange a meeting. [4] Ian arrives
to tell the Doctor about the sacrifice; the
Doctor warns lan not to interfere
The Doctor rushes to give Barbara the
same warning, but Barbara is determined
to prove that it is not necessary for
somebody to die to make it rain. “But you
can't rewrite history,” the Doctor tells her
“Not one line!
The ceremony begins and Tlotoxl is
about to perform the sacrifice when
Barbara commands him to stop. The
intended victim kills himself and it starts
raining. Tlotoxl is convinced Barbara is
a false goddess.
THE WARRIORS
OF DEATH
(QM vsan is sent to a seminary to be
S taught respect for Aztec customs.
8 The Doctor tells Barbara the more
Tlotoxl doubts her, the more she must
convince Autloc that she is Yetaxa. [
In the barracks, Ian tells Autloc he
could overcome an enemy with his
thumb, and demonstrates by rendering
Ixta unconscious by squeezing on
a pressure point. Tlotoxl enters and
Ian goes for a walk. They are joined by
the Perfect Victim, whose every wish
must be granted. Tlotoxl manipulates
the Perfect Victim into asking to see Ian
and Ixta fight. [2]
Cameca goes to see Ixta at the
barracks and tells him the old servant of
Yetaxa wishes to talk to him about his
father’s work.
In the seminary, Autloc instructs Susan
on how to behave when presented with
her future husband for the first time.
Susan objects to the idea of being told
who to marry. [3
Ixta finds the Doctor in the Garden of
Peace. Ixta agrees to bring the Doctor his
father’s drawings of the tomb after sunset
“if the Gods are willing”. He explains that
he must face another warrior in combat
The Doctor offers to assist him. [4]
Barbara talks with Autloc, prophesying
that if the Aztecs continue making human
sacrifices, it will end in their doom. [5]
The Doctor gives Ixta a thorn which
will drain his opponent's strength. He
then visits Barbara at the temple, and is
horrified to learn that the man he has
helped will be fighting Ian. The Doctor
leaves to warn Ian but is grabbed by
Tlotoxl's guards.
In the barracks, Ian and Ixta face each
other. Ian is scratched by the thorn and
weakens. Tlotoxl orders Ixta to kill him.
Barbara bursts in, telling Ixta to stop.
Tlotoxl turns on her. “If you are Yetaxa,
save him.” (6]
OOCTOR WHO | THE COMPLETE HISTORY
THEAZTECS »* sows
THE BRIDE
OF SACRIFICE
& arbara holds a knife to Tlotoxl’s
§ throat and orders Ixta to put down
D his weapon. He obeys and Autloc
and Barbara return to the temple, where
Autloc tells Barbara that the next sacrifice
will be in three days, during an eclipse
Tlotoxl enlists the aid of the priest
Tonila to help him destroy the false
Yetaxa, unaware they are being overheard
by Ian. [2]
Cameca meets the Doctor in the
Garden of Peace. She spills some cocoa
beans and the Doctor suggests making
some cocoa as a token of his esteem. [2
lan visits Barbara at the temple to warn
her that Tlotoxl is up to something. Tonila
and Tlotoxl then arrive, Tlotoxl handing
her a drink. Barbara realises it is poisoned
and hurls it away. [3]
The Doctor and Cameca share the
cocoa, which Cameca mistakes for a
DOCTOR WHO | THE COMPLETE HISTORY.
proposal of marriage. The Doctor
is dumbfounded. [4]
Tonila tells Tlotoxl about Susan saying
she would only marry someone of her own
choosing, which gives Tlotoxl an idea
He convinces the Perfect Victim to name
Susan as his bride. Susan turns him down.
Cameca gives the Doctor an amulet
that was given to her by Ixta’s father
Barbara is informed by Tlotoxl that
someone has spoken out against the
Aztecs’ teachings and must be publicly
punished at the temple on the day of
darkness. [S] The Doctor deduces there
must be a tunnel leading from the garden
to the tomb and tells Ian. Barbara is
visited by Autloc who tells her that the
person due to be punished is Susan.
That night, Ian meets the Doctor at
the garden. lan moves a stone to reveal
a tunnel and crawls inside. The Doctor is
disturbed by Ixta who repla
xplaining that the tunnel is a water
conduit. And, sure enough, it starts filling
with water. [6]
es the stone,
THE DAY
OF DARKNESS
Mg an climbs all the way to the tomb.
BB He hooks a strap over the door so he
WB can open it from the outside, then
emerges to greet Barbara. [1] The Doctor
goes to the temple and is delighted to
find Ian alive. Now all they have to do is
get Susan.
Susan is in Ixta's custody. Ian rescues
her and they return to the temple, but
even with all four of them pulling the
strap the tomb door remains closed.
What they need is a pulley.
Tlotoxl has another idea. Ixta must use
lan’s club to strike down Autloc so that
Ian will be blamed,
Susan goes with Ian to the garden
- where she finds Autloc lying on the
ground. Ixta accuses Ian of attacking the
priest and takes them prisoner.
Cameca keeps the Doctor company as
he carves a wheel. When he finishes, he
bids her farewell. [2] After the Doctor
has gone, Autloc gives Cameca all his
wealth. He intends to seek his truth in
the wilderness.
Cameca tries to bribe the guard to let
Susan go but Ian knocks him out to save
time. He changes into the guard captain's
ceremonial dress and escorts Barbara to
the sacrificial altar, where she is attacked
by Tlotoxl. Ian disarms Tlotoxl [3] and
the Doctor, Barbara and Susan use the
wheel to open the tomb.
Ian faces Ixta in a duel. After a struggle,
Ian hurls Ixta over the edge of the
pyramid. [4] He joins his friends in the
tomb as Tlotoxl prepares to sacrifice the
Perfect Victim.
The Doctor tells Barbara she
may have failed to save a civilisation,
but she helped to save one man. He
considers leaving behind Cameca’s gift,
but keeps it. [5]
The TARDIS materialises at a new
location - but the instruments say they’re
still moving. [6]
OOCTOR WHO | THE COMPLETE HISTORY
» STORYE
THE AZTECS
Pre-production
hilst Marco Polo [1964
~ see page 36] was still
being made, [story
editor] David Whitaker
J asked me, ‘What now?
J recalled writer John
Lucarotti in Doctor Who Magazine 171. “I'd
Below: _ lived in Mexico and had been fascinated by
aah the Aztecs - a highly civilised but barbaric
Aztec race, who had calculated the length of the
iA
ai}
DOCTOR WHO | THE COMPLETE HISTORY uum
year to three decimal places, knew nothing
of the wheel, and used to cut out people's
hearts in human sacrifice.”
Lucarotti’s second story for Doctor Who
originated around February 1964. This
time it would be a four-part historical
adventure, rather than a seven-episode epic
like Marco Polo. It was also around this time
that Donald Baverstock, the chief
of programmes, guaranteed Doctor Who its
initial 52-week run, and Lucarotti’s new
story was to lead off the second half of
this year.
“Aztec culture was literally wiped off the
face of the Earth,” commented Lucarotti
in a syndicated interview as he explained
his fascination with the contradictory
ancient Mexican culture. “They were a
highly civilised and cultured race. Children
were strictly disciplined, there was a high
standard of morality, people retired at 50,
their knowledge of astronomy was equal to
ours today. Yet they cut out human hearts
for sacrifice. There is a record of them
having cut out 10,000 hearts in one day.”
espite their advances in agriculture
D and medicine, they only learned to
work metals for decoration, not to
manufacture tools and weaponry; their
primary technology was chipped and
ground stone, They treated the wheel
purely asa children’s toy, not a powerful
mechanical device. They taught and
developed strict societal codes, but had no
written alphabet and relied on a form of
stylised picture-writing. Lucarotti was keen
to use these sharp contrasts to explore
a greater depth of human relationships
in the series than he had in Marco Polo,
blending the regular characters into the
historical setting. His formal commission
came on Tuesday 25 February, apparently
under the title The Aztecs.
One requirement imposed on Lucarotti
by Whitaker concerned the use of the
character Susan, played by Carole Ann
Ford. On Monday 24 February, Whitaker
wrote to Carole Ann Ford’s agent and
husband Walter Jokel who had asked if
the actress could be released in mid-April
for a holiday. Whitaker indicated that the
actress could be given a fortnight's holiday
| Verity Lambert's secretary
from recording on the series between
Saturday 2 and Sunday 17 May in ‘the
middle two episodes of a proposed four-
part serial about the Mayan tribe of
South America’. Whitaker added, ‘It is
giving us some brain teasing because
we are conscious of the excellence of
Carole’s contribution to the show as a
whole, however, I think, with a little bit
of devising we may be able to get away with
non-appearance for a fortnight’ Rather
than omit the character entirely from these
instalments (as with William Hartnell’s
Doctor during the middle two episodes
of the preceding serial The Keys of Marinus
[1964 - see page 84]), it was decided to
minimise Susan's appearances in them; her
scenes would be pre-filmed in
advance of studio recording.
Aboard his boat in
Majorca, Lucarotti worked on
the scripts from late February
through March, having
occasional meetings with
Whitaker in London. “John
Lucarotti,” recalled producer
Reserved
Val Speyer in the fanzine |
TARDIS Vol 15 No 3, “was 1
-DOCTORWHO | THE COMPLETE HISTORY 38
~ *
Pre-production
Above:
Aztec
civilisation.
Connections:
» In The Temple of Evil,
Barbara refers to the Royal
Enclosure at Ascot, the
elite area occupied by the
Royal Family for certain
race meetings at the
Berkshire racecourse since
itwasfoundedini7u. |
I
ey
H
ao
| Connections:
) Caningi
|B The Doctor once again is
seento
that he acquired in
Marco Polo
Below:
All hail Yetaxa.
beu
see pa
going through a very difficult
time in his life and he was
} often late for meetings. David
Whitaker was very patient
with him.”
| Aswith Lucarotti’s earlier
serial, he created a plot device
to prevent the travellers
returning to their ship and
leaving the adventure ~ in this case the
sealed door of the Aztec tomb inside which
the TARDIS materialises. One new element
was to be a quixotic romance for the
Doctor, who would unintentionally become
involved with a genteel Aztec lady, Cameca.
The scripts were delivered by Wednesday
18 March, despite Lucarotti being ill
prior to Monday 16; on Tuesday 17 he
delivered two-thirds of his material to the
production office and continued working
on the remainder of the scripts throughout
the day.
During the original opening sequence for
The Temple of Evil, Barbara recognised the
masked corpse of Yetaxa as being that of an
ngti
ne cane
964 -
192 36)
SN NNNRNNG
Aztec priest, concluding that the TARDIS
had landed circa 1430, during the height
of the Aztec civilisation - although this
was later revised to become an estimation
of when Yetaxa had died. Barbara also
referred to the treasures in the tomb as
dating from the early Aztec period. The
symbol of the serpent - as seen on Yetaxa's
bracelet - was very important to the
Aztecs; they believed that the sun drew its
life from the serpent, which represented
the Earth.
ARAN
nly one of the many Aztec gods was
een the script: Tlaloc the Rain
God, referred to by Tlotoxl in The
Temple of Evil. Tlaloc was not one of the
Aztecs’ major deities, but was important
since he was responsible for the irrigation
of crops in the hot climate. When Tlotoxl
spoke to Autloc in The Temple of Evil, he
asked the Priest of Knowledge if he still
worshipped “him who has fallen” and
not “him who has made us strong” This
was a reference to the gods Quetzalcoatl
and Huitzilopochtli, Quetzalcoatl was the
Green-Feathered Serpent, the God of Wind
worshipped by the Toltecs and later the
Aztecs; he ruled during the age of the First
Sun. Huitzilopochtli was the Aztecs’ Sun
God, to whom sacrifices had to be made
However, research into these legends
has since shown that Quetzalcoatl and
Huitzilopochtli were one and the same;
Quetzalcoatl was an earlier name used by
the Nahua for the Sun God
During The Bride of Sacrifice, Susan
recited lessons from the Annals of
Cuauhtitlan (Cuauhtitlan being the Aztec
city), making reference to the five suns in
the sky: “Four-Tiger, sun of Air, sun of Fire
and Rain, sun of Water, sun of Man.” This
referred to the Aztec myth of creation,
Which was in turn based on the older
Nahua myths
In The Warriors of Death, Tlotoxl tried
to trick Barbara with questions, one of
which concerned the number of heavi
Barbara answered correctly that there
were 13. These were the mythical heavens
ns;
ruled by Huitzilopochtli and guarded by
Coatlicue, the mother of the sun. In The
Bride of Sacrifice, Autloc referred to Cameca
possibly using her cocoa beans for barter
which was one of the uses the Aztecs put
them to. He then realised that she wished
to have them prepared as a love potion,
a reference to the bitter ceremonial
drink xocoatl.
The Perfect Victim was based on the
sacrifices made to Tezcatlipoca, an early
Aztec solar deity who later became
separated into four different figures
(including both Tlaloc and Quetzalcoatl).
Above:
lan meets
Tlotox!
and ixta,
None of the names used by Lucarotti for
his characters came from historical figures
but all were Aztec-sounding through the
use of prefixes and suffixes: ‘Ixta’ was
derived from the name of the Aztec city
Ixtapalapa, for example.
A planning schedule for the first series
was issued around the time that Lucarotti
was working on the scripts; the Aztec saga
was referred to erroneously
as ‘Sth Century’ Connections:
Staff director John Crockett _ I am the Doctor
was assigned to the serial >
having previously handled
The Wall of Lies, the four
episode of Marco Polo, in
February 1964. He also had
experience of working with
BBC's Schools programming,
and Lambert recalled on the
DVD commentary, “We chose
The Warriors of
OOCTOR WHO | THE COMPLETE HISTORY 437
THE AZTECS
‘STORY
him because of his special knowledge of
the period
The sets were designed by Barry
Newbery, who had previously worked on
100,000 BC {1963 - see Volume 1] and
Marco Polo, while costumes and m:
up
continued to be handled by Daphne Dare
and Jill Summers respectively; on the
third episode - The Bride of Sacrifice - Dare
would be aided by Tony Pearce. Additional
eh into the Aztec culture to ensure it
authentic a depiction of fifteenth-
resi
was a
century Mexico as possible was undertaken
by Jean Rodker
Woodwind and percussion
© write incidental music for the
serial, John Crockett acquired the
services of Richard Rodney Bennett
a composer well known for his work in the
fields of film, opera and ballet; Bennett
had also worked with Brian Hodgson
of the BBC Radiophonic Workshop on
Distance Piano
projects such as The Lon;
Player, broadcast by the Third Programme
on Thursday 17 Au:
Tourelle Skull for BBC
anthology (broadcast Monday 25
1963). Bennett's score used woodwind and
percussion to reflect the alternately gentle
and warlike sides of Aztec culture. The
cues were recorded by Bennett's favourite
conductor, Marcus Dods, who supervised
five musicians; Dods receiv
credit. Exactly 7'40” of musi
was used for The Temple of Ev
The Warriors of Death, 8'40” for The Bride of
Sacrifice and 10'28” for The Day of Darkness.
‘Ofall the stories I worked on, The
Aztecs was actually the most difficult to
research,” said Barry Newbery in the
fanzine The Frame issue 18. Little was
known about the Aztecs at the time,
and his initial work came from books
dan on-scr
6 cues)
24” for
DOCTOR WHO | THE COMPLETE HISTORY.
provided by the BBC; these indicated
that the Aztecs used a ‘comic strip’ style
of pictures which Newbery incorporated
into the tomb door. He was also aware
ofa documentary about Aztec finds by a
Mexican archaeologist which had recently
been shown on ITV
and felt more at ease
after a special viewing of the programme
However, he was concerned that the open
nature of the Aztec cities would require
cycloramas which worked best with a
large separation between backdrop and
actors. Consequently, Newbery asked for
the services of a larger studio such as BBC
Television Centre's TC3 or TC4, rather
than Lime Grove, Studio D which had been
Doctor Who's home since October 1963.
John Crockett passed on the request, only
but later problems with
to have it rejected
studio availability meant that the second
and third episodes of the story would be
moved to Television Centre's Studio 3.
Costume designer Daphne Dare’s
research revealed that male Aztecs wore
little more than brief loincloths and cloaks
and young females in particular were often
topless; both genders were given more
garments than was historically accurate
Ixta’s jaguar headdress was particularly
authentic, being a symbol of power
indicating the Jaguar-Knights. Ian’s Aztec
clothing included a feathered headdress
of the Eagle-Knights, the other of the two
higher military orders, The Aztecs were
experts in the art of dyeing , 7,
Connections:
and made use of cotton and
feathers, hence the feathered
sunflower headdress given to
Barbara. The costumes also
incorporated fake versions
of the jewellery, in gold, jade
and turquoise, for which the
ecs were renowned
Of the guest cast, Keith
Pyott, playing High Priest
Autloc, had a long television
ion for her, taking
her medallion with him in
the TARDIS at the end of
career with many plays
and films to his credit
The role of the villainous Tlotox! went
to John Ringham, an old colleague of
John Crockett’s from their days together
at the Compass Players in 1948 and
later at Manchester in the 1950s, and
most recently at London's Ikon Theatre
Company in 1962. Ringham had appeared
in BBC TV's prestigious Shakespearean
AnA ind, and modelled
his performance as Tlotoxl on Laurence
e of Kings str
Olivier’s famous interpretation of Richard
III from the 1955 film; “You've got to make
all the children in the country hate you
were John Crockett’s instructions to the
the Doctor
snd hi
actor. Cast as the warrior Ixta was Ian
Cullen who had starred as David Balfour
in a BBC adaptation of Kidnapped. Playing
the Doctor's romantic interest Cameca
was 29-year-old Margot Van der Burgh
whose television work included Great
Expectations. Dancer-turned-actor Walter
Randall got the part of Tonila when he met
June McMullen - John Crockett’s secretary
at a party, and she later suggested him
for the role. As Tonila, Randall had to
change his image for Verity Lambert. “She
came along and said, ‘You're not going to
play that with the beard and moustache,
because the Aztecs couldn't grow a hair
on their bodies”” he recalled in Doctor Who
Magazine 220. “So I said, ‘No, know. I'm
DOCTOR WHO | THE COMPLETE HISTORY 338
Barbara feels
the weight of
history on
her shoulders:
Martial arts
shaving them off tomorrow
expert David Anderson, who had appeared
in Marco Polo, was hired to play both the
Captain of the Guard
who had a few lines
of dialogue - and also to arrange the judo
fight between Ian and Ixta in the second
episode, The Warriors of Death, as well as
doubling for William Russell in the filmed
fight scene for the final episode, The Day
of Darkness.
In the camera scripts, the Doctor was
referred to as ‘Doctor Who’ throughout
The opening sequence set within Yetaxa’s
tomb was described as: ‘lying on a stone
slab in the tomb is the fully robed skeleton
of an Aztec High Priest. A mask of the sun
god covers the skull’ (the Sun God being
Huitzilopochtli). Lucarotti also indicated
that Susan should pick up an ‘obsidian
DOCTOR WHO | THE COMPLETE HISTORY.
knife’, referring to a blade sharpened from
a dark volcanic rock, like bottle glass.
Only two of the main characters
were given any description in the stage
directions for Episode One, Temple of Evil.
Tlotoxl, the High Priest of Sacrifice, was
introduced as ‘an unkempt, revolting figure
ofa man, his hair is matted, his loose
fitting garment stained with blood’. Ixta,
the Chosen Warrior, was described as ‘a
well-built young man, a few years younger
than Ian. He wears Aztec trousers, full-
length, and sandals. His hair has a short
ponytail. He is naked from the waist up.
Maguey cactus
uring dialogue in The Warriors of
Death, the Doctor described himself
to Cameca as a “scientist, engineer,
builder of things’. It is most likely that
this description was inserted directly
in response to a memo sent by Sydney
Newman, head of television drama, to
Verity Lambert on Friday 10 April. In this,
Newman encouraged his producer to ‘do
something in future episodes of Dr Who to
glamorise the title, occupation, etc of an
engineer’. Also, the stage directions noted
that as Ixta approached the Doctor, the old
man stood and, ‘Ouch!... He scratches the
back of his hand on the maguey cactus.
The maguey cactus - not named on screen
- is an indigenous plant to Mexico and was
known to both the Aztecs and the Mayans
for its intoxicating properties. From its sap
was brewed both tequila and also pulque
a drink with hallucinogenic properties. In
the dialogue, Cameca told the Doctor how
the medicine men use the sap of the plant
to induce sleep.
There was no input from the BBC
Radiophonic Workshop on The Aztecs,
other than the reuse of Brian Hodgson’s
existing TARDIS sound effects.
Production
arole Ann Ford was released of Death, Susan used picture books akin to
from rehearsals for the the true Aztec ones. To dress the sets, Barry
penultimate episode of The Keys Newbery acquired pots and vases which
of Marinus [1964 - see page 84] _he had painted with Aztec designs by art
on Monday 13 April to film students. The film sound was echo-effected
for the middle episodes of The _to give the room an impression of size.
Aztecs at Ealing Film Studios. Only one set On Tuesday 14 April, a number of silent
was required - Susan's cell - and only two _ filmed inserts were shot at Ealing, mostly
scenes were filmed, one for The Warriors on the sacrificial area set - which featured
of Death and one for The Bride of Sacrifice a painted backdrop of the city created by
Joining Ford were Keith Pyott as Autloc, scenic artist Brian Bishop - and included
Andre Boulay as the Perf
Walter Randall as
t Victim and the death of the sacrifice in The Temple
fonila. In The Warriors of Evil and the fight between Ixta and Tan in
Below:
Human
sacrifice pulls
in the viewers
on Saturday
nights.
IRWHO | THE COMPLETEMMTORY 22)
+
THEAZTECS »stws
Below:
"We beseech
you, great
spirit.”
The Day of Darkness. For The Temple of Evil,
stuntman Tom Booth was hired to play the
first victim and jump off the ‘temple roof”
in his character's death scene. For The Day
of Darkness, the fight was performed not
by William Russell and Ian Cullen but by
two stuntmen, David Anderson and Billy
Cornelius, whose features were largely
obscured by the Aztec warrior masks worn
by the characters; Cornelius had featured
in the caveman episodes and the fight was
arranged by Derek Ware, who had worked
on 100,000 BC and Marco Polo in the same
capacity. Ware was unimpressed with John
Crockett’s approach to the action scene.
commenting in Doctor Who Magazine 317,
“He was terrible! I talked him into using
two cameras, but the sequence still looked
boring. He should have shown close-ups
of the actual actors’ eyes, but he never
did. He shot the doubles alone - in one
terrible take!”
Barry Newbery had shields and clubs
based on the Aztec cartoon pictures
constructed from fibreglass and plywood;
he avoided using hard metals for the sake
of historical accuracy. One further filmed
insert was a brief shot of water spilling
© maDncTOR WHO | THE COMPLETE HISTOR?
WAN XARA
over Ian's sandaled foot for the scene at
the end of The Bride of Sacrifice in which the
tunnel began to flood
Rehearsals for The Temple of Evil took
place from Monday 27 to Thursday 30
April at the Territorial Army Drill Hall at
239 Uxbridge Road in Hammersmith -
the venue for all four episodes. The cast
assembled under director John Crockett
“He was quite an eccentric man,’ recalled
Verity Lambert in Doctor Who Magazine
235. “He was perhaps less sure with the
actors than some others, but he had a
marvellous visual sense.” Crockett even
ed to have a television in his house,
and John Ringham noted in the DVD
documentary Remembering the Aztecs that
“at the BBC, he was looked on as a joke.
But he was a wonderful man.”
The guests now got to work with
William Hartnell, whose behaviour was
becoming rather inflexible; learning his
lines on a Sunday, he reacted badly to late
changes to the script during the week. “He
wasn't the friendliest person, but he was
trying to remember all those lines,” noted
Ian Cullen in Remembering the Aztecs, “It
was very much his show and he wanted
to be responsible for it.” In Doctor Who
Magazine 194, John Ringham recalled the
show’s star as “a lonely man and rather a
bitter man, for some reason, though I've
no idea why”. While Hartnell was prone
to being tetchy at this time, Ian Cullen
recalled that William Russell was very
friendly and keen to put the new cast
members at their ease. However, The Aztecs
was to be an important project for Cullen
as he noted in Doctor Who Magazine 194:
“Lalso met two actors whom I have
remained friends with ever since: John
Ringham and Walter Randall.”
Recording for The Temple of Evil took
place from 8.30pm to 9.45pm in Lime
Grove, Studio D on Friday 1 May.
“I remember the atmosphere of terro!
recalled Ian Cullen of the studio recordings
in Remembering the Aztecs. “The fear of
getting it wrong was overpowering,” John
Ringham was upset by comments made
by some studio visitors, who saw him only
half-dressed in his red high priest outfit
that his costume was “inaccurate”. Before
the evening recording, a photocall was
held during the afternoon, It was on this
day that Hartnell accidentally fluffed
one of his lines, referring to the Aztecs
as “Anzacs” - much to the amusement of
head of serials Donald Wilson, who was in
the studio's gallery,
The tomb
he episode opened with stock model
film showing the TARDIS leaving
Marinus at the end of the preceding
story. After this, the opening title and
writer captions were superimposed over
a shot of Yetaxa’s burial casket; the police
box prop was already in position on the
tomb set. The tomb entrance caused
problems for Barry Newbery; it had to look
massive but be light enough to be carried
by two stagehands. Eventually the designer
created a door which swung over to the
horizontal and was supported on scenery
shoulders part way up, with weights. The
carved panels on the tomb were crafted by
Murray Andrews and Mrs C Oldnan made
the sculpted serpents. A real skeleton,
clad in a mask based on one in the British
Museum, was used to represent Yetaxa
‘Two recording breaks were scheduled.
‘The first came after the discussion between
Autloc and Tlotoxl about how Barbara
should be presented to the people; this
allowed Jacqueline Hill to change into
her yellow and orange Yetaxa garb;
“Thad the most magnificent headdress,
which was terribly difficult to balance,
but which looked superb and made me Pee
; 7
feel very regal,” recalled Hill in Doctor Who (atnions
Magazine 10S Barbara on her
attempts to
During the sequence when Ixta fought
change history
with the warrior, both actors found
it difficult to make the conflict look
convincing since the light wooden clubs
were actually very fragile. The second
recording break, which came after Ixta
tells Ian that he will escort
the sacrifice, allowed Russell
to change into Aztec warrior
gear. For the scene in which
Barbara was presentedto
the Aztecs, sound effect
recordings of cheering
crowds were used
to indicate the off-screen
populace. Ten feet of silent
35mm BBC film showing
cloudy skies and lightning |
was used to show the storm
breaking, and the ‘Next q
Connections:
Temple of Evil
ara comments that the
iod was one of
istory
she had previously
ities a
South Americain The Keys |
of Marinu
1964 - see
THEAZTECS > sows
The barbaric
Aztecs,
i]
Episode’ caption was superimposed over
a close-up of Tlotoxl (the original plan had
been to show film of the rain falling on the
sacrificial stone behind the closing credits
With recording completed, Carole Ann
Ford departed by Comet from London
Airport for a holiday in Lisbon with her
husband and daughter, as reported in the
Sheffield Telegraph on Tuesday 5 May
While rehearsals proceeded on The
Warriors of Death, the videotapes recorded
on the Friday were edited the following
Monday evening from 6.30pm to 9.30pm.
Rehearsals for The Warriors of Death
held at the Drill Hall from Monday 4
to Thursday 7 May with Walter Randall
joining the cast. Randall soon struck up
a friendship with Hartnell, having lunch
with him. Meanwhile, David Anderson had
problems arranging the fight between Ixta
were
and Tan to convincingly incorporate the
action of Ixta scratching Ian's wrist
@ bocroio eter =r story
The Warriors of Death was recorded on
Friday 8 May in Studio 3 at the BBC’s
Television Centre - the first time it had
been recorded there. The studio was about
twice the size of Lime Grove, Studio D,
where Doctor Who was usually recorded,
and far better equipped. However, Barry
Newbery was horrified to discover that the
scenery for the base of the temple, rather
than being stored after the last studio
session, had been broken up by mistake
Thinking quickly, he used parts of Susan's
cell set - which had been retained after
filming - along with plants hired from
Greenery Hire of Hampton and worked
with John Crockett to rearrange the
camera shots to show a ‘new’ part of the
Garden of Peace.
Taping began with a re-enactment of The
Temple of E
captions ran over a close-up of Tlotoxl;
’s closing scene, and opening
in
from this episode, the writer credit ag
changed to a simple ‘by John Lucarotti!
Clever camera angles disguised the fact
that the spear thrown by Ixta at the target
in the barracks was not the one seen
quivering on impact a moment later, and
insertion of the film sequence showing
Susan at the seminary allowed Ian Cullen
to don his warrior’s mask (which was
rather tight when worn over the wig he
sported as Ixta). Only one recording break,
just prior to the final scene, was scheduled
to reposition the cameras; the subsequent
fight between Ian Cullen and William
Russell was choreographed by David
Anderson. The closing credits ran over
a black background
uring rehearsals for The Bride of
D:: which ran from Monday
11 to Thursday 14 May, the studio
schedule for the next few months was
rearranged again. The final episode of The
Aztecs, The Day of Darkness, was to see the
crew return to Lime Grove, Studio D and
to remain there through the subsequent
serial, The Sensorites [1964 - see Volume
3]. The first four episodes . :
of The Reign of Terror [1964 Connections: “
- see Volume 3] would then Eclipsed
be recorded in Lime Grove, B loses history Shere
Studio D before Television wes no full ecipsachthe
Centre's facilities would be sunin South America wiuch
praises coincided with the setting
The Bride of Sacrifice was of this story as after 1430
taped in TC3 from 8.30pm but priortotie sirval
to 9.45pm on Friday 15 May. oF Cortez,
John Crockett planned the
evening's recording to run without any
recording breaks at all. The opening titles
z : pone Left:
were shown against a black background, panera pee
following which came a re-enactment the role of
of the reprise from the end of the previous _Yetaxavery
convincingly.
episode. In the scene where the drugged
Ian recovered to see Ixta, an out-of-focus
shot was used to show the teacher's point
of view. Both Cullen and Russell had
difficulty in making the polystyrene wall
panel bearing the sign of Yetaxa look like
a stone block when removing it to reveal
the passage into the tomb. No running
water was used in the sequences set in the
flooding tunnel; the illusion was achieved
by the use of lighting and sound effects.
There were problems with the recording
of the closing roller captions which ran
against a black background.
With the Drill Hall rehearsal rooms
closed on Whit Monday, Carole Ann Ford
rejoined the cast for Tuesday 19 to start
rehearsals on The Day of Darkness which
continued until Thursday 21 May. A photo
of Ford's return from Lisbon appeared
in the Evening Standard and Evening News
on Monday 18 May with the actress
commenting: “We've spent the last 14
days having a glorious family holiday.
Now I'm all set for more work on the Dr
Who series for television.” Having returned
to London on Sunday 17, the actress had
appeared over the weekend ata charity féte
on Whit-Monday at Gordon Field along
DOCTOR WHO | THECOMPLETE HISTORY 448,
Right:
Autloc
sports an
Impressive hat.
Susan's cell
Tue 14 Apr 64 Ealing Film Studios: Victim
jumps to death/ lan fighting Ixta
PRODUCTION
Mon 13 Apr 64 Ealing Film Studios:
‘2 STORYE
with two of the Dalek props which had
been loaned by Barnardo's.
On Tuesday 19, John Crockett made
arrangements to re-record the end of The
Bride of Sacrifice, since the closing roller
captions had failed to work properlyon |
the previous Friday’s recording, |
For the recording of the final episode,
on Friday 22 May, the cast and crew found
themselves back in the cramped venue of
Lime Grove, Studio’D, where the summer
temperatures were now so hot that the
sprinkler system was triggered during work
on the story.
aE ANN NNN
aping began at 8.30pm and had
a later than usual finish time of
10.15pm. The episode opened with |
a new version of the previous episode's
cliffhanger (albeit one which used the same
filmed insert), following which the titles
appeared over black. A recording break
was scheduled following Ian’s climbing
up through the hole in the tunnel; this
allowed Russell to move sets and be seen
apparently emerging from beneath Yetaxa’s
tomb. A second break occurred after the
scene in which lan overpowers Susan's
guard; this allowed both the pulley rope
to be fixed on the throne room set and
William Russell to don his headdre:
for the next scene. For the shot of Ixta
lying prone after his fall as seen from
above, Ian Cullen stood upright against
a 12-foot square backcloth resembling i
the floor pattern, and the picture was
s
Fril May 64
The Te
3s DOCTOR WHO | THE COMPLETE HISTORY.
flipped electronically to make it appear
upside-down. “I loved my death, My first
television death,” commented Cullen in
Remembering the Aztecs.
The eclipse was achieved by cross-fading
two photocaptions showing the moon
passing across the sun. John Crockett did
not show the TARDIS demater ialising,
and the final recording break occ
ina fade to black during which William
Hartnell moved to the minimal TARDIS
ed
control room set (the console with one
photographic wall) and William Russell,
Jacqueline Hill and Carole Ann Ford
donned the costumes they were to wear
in the next serial, The Sensorites; the ‘Next
Episode’ caption was superimposed over
a shot of Barbara. With the main episode
completed, the closing credits for The Bride
of Sacrifice were re-recorded and edited into
the videotape of the earlier episode the
following Monday. i
The Bride of Sacrifice
Fri22 May 64 Lime Grove Studio D:
Publicity
» An earlier syndicated interview with
John Lucarotti was now expanded with
new material concerning the Aztec
serial and appeared in various papers
during May, such as the North-Western
Evening Mail on Saturday 9 May. In
this, the writer noted that he had also
been commissioned for the BBC1 play
strand First Night and also planned to
use a Mexican background for this
new proje
3 On Thursday 21 May, the new serial
was previewed in Radio Times with a
half-page feature and a photograph of
the Doctor with Barbara in her Yetaxa
finery; it set the scene for the ‘baffling
civilisation’ in which the travellers
would find themselves and also gave
a short profile of Jacqueline Hill
DR. WHO
® The end of the month also saw a
parody of the series appear in Boys’
World comic from Odhams; this was
Dr What and his Time Clock, whose
slapstick adventures in the past and
future commenced in Vol 2 No 22 (30
May 1964)
Above:
Radio Times
promotes
The Aztecs.
Below:
Tlotox! fuels a
rivalry between
lan and Ixta,
prety
\cTOR WHO | THE COMPLETE HISTORY
THEAZTECS > scws
Broadcast
} As the summer months arrived,
audience figures showed a drop of
around two million viewers on the
preceding science-fiction adventure
of The Keys of Marinus. Audien
appreciation, too, tailed off for later
episodes, but the BBC still had a
larger audience share than ITV, which
was showing repeats such as The
Buccaneers (ATV London), The Bugs
Bunny Show (ABC) and The Adventures
of Robin Hood (Southern). Following
its week off, Juke Box Jury returned
to BBC1 after The Temple of Evil on
Saturday 23 May. According to the
BBC's own audience measurement,
on Saturday 6 June, The Bride of
Sacrifice ranked as the nineteenth most
watched television programme of the
~ the first time it had entered
|
|
|
WAN XRNARRAY
the top 20 - with 7.9 million people
tuning in. However, this was at odds
with the audience estimated by TAM
(Television Audience Measurement)
which counted millions of households
and prepared industry charts which
appeared in newspapers and trade
magazines; TAM’s estimation did
not include Doctor Who in its top 20,
the only BBC show in the charts that
k being the sitcom Meet the Wife
eenth with an estimated
5.7 million households viewing. For
many years, the disparity between the
different measuring systems was to be
a source of debate and argument in
the industry.
3} In Television Today, dated Thursday 28
May 1964, Bill Edmunds commented
‘It’s time Miss Hill had a chance to
look beautiful instead of worried.
1 liked Ian Cullen's Ixta - a coc’
character straight out of a boy's paper.
John Ringham’s villain also took my
fancy. If we are to have a villain, let
him be a villain from the word go.
This is the sort of character The Temple
of Evil gave us - a man who glared,
mouthed and hated from the moment
he appeared... a pat on the back for
designer, Barry Newberry [sic]... he
had taken care to fill every nook and
cranny with what looked like genuine
Aztec ornaments and oddments.
3B Inthe Daily Worker, dated Saturday
6 June 1964, Bob Leeson said the
serial had ‘charm’ and praised it for
‘painstaking attempts for historical
accuracy and a much tighter plot’ than
the previous episode.
» On Saturday 6 June, Kevin Manser
operated a BBC Dalek prop to open
a Barnardo's féte. On Sunday 14
British Pathé then released a colour
newsreel which included Robot Book
Seller, an item filmed in Coventry
which featured ‘Dodger the Dalek’
selling student rag mags
® On Tuesday 14 July, The Bride of
Sacrifice was the subject of a BBC
Audience Research Report. A panel
of 225 viewers seemed to demonstrate
a falling-off in interest in the series,
while it was estimated that Doctor
Who had gained a 16% audience share
compared to the 7% share of ITV’s
opposition. ‘Judging by the reactions
of many viewers in the sample
audience it would appear that there
is some falling-off of interest in this
latest adventure of Dr Who and his
party among the Aztecs of Mexico
began the report. Although there were
thrilling moments, a local government
officer wrote that he was ‘afraid that
this series has gone on far too long;
the danger and escape therefrom falls
into a never-varied pattern length and
repetition ~ result, ennui. A housewife
commented, ‘this series is based on an
excellent idea, but is carried out at too
high an emotional pitch - I don't see
why, either, they should get a hostile
reaction everywhere they go’ Some
viewers indicated that they preferred
the science-fiction adventure in
outer space to those with a historical
background. However, a large minority
Broadcast
were happy enough with the scripts of Abate: qi
e series whicl enough inge: In the Garden
the series which had enough ingenuity mea"
to engage adults and were ‘exciting
enough for all the family to enjoy’.
Some school children described the
Aztec instalments as ‘super’ or ‘fab’
while some youngsters did not find
the Mexican setting as engaging as
the ‘earlier space-time encounters of
Dr Who and his young scientists. The
reports noted that ‘the acting of Carole
Ann Ford [was] particularly good, but
apart from William Hartnell... the
rest of the cast were not referred to by
name’. There was favourable feedback
about the sets and costumes, although
one young viewer noted that the stone
at the tunnel entrance ‘looked as if it
were made of foam’
the Doctors
fond of more
than just the
flowers.
} The Bride of Sacrifice was shown at the
National Film Theatre on Saturday
29 October 1983 as part of its Doctor
Who: The Developing Art season in
1st Doctor — Selected Gems. The whole
serial was later screened at the venue
DOCTOR WHO | THE COMPLETE HISTORY $45)
Above:
Susan receives
an Aztec
education.
The Temple of Evil
TheWarriorsof Death Saturday 30May1954 5.15pm-5.40pm
The Bride of Sacrifice SaturdaySJune 1964 5.15pm-5.40pm
The Day of Darkness
THERZTEES Pome
as part of a Doctor Who weekend on
Saturday 3 December 1988, The serial
was broadcast by BSB as part of its
Doctor Who weekend on Saturday 22
September 1990, and was shown by
UKGold in episodic form from Tuesday
10 to Friday 13 November 1992, and
in compilation form on Sunday 15
November 1992, Saturday 18 July
1998, Friday 15 January 1999 and
Friday 9 July 1999,
The serial was sold overseas in the
form of 16mm film recordings as part
of the third block of stories comprising
Saturday 23May1964 5.1Spm-5.40pm
Saturday 13June 1964 5.15pm-540pm
27 episodes, with Spanish and Arabic
dubs available from 1967 (one of the
few historical tales to be dubbed). The
titles of the Spanish episodes were
El Templo del Mal, Los Guerreros de la
Muerte, La Novia del Sacrificio and El Dia
de la Obscuridad. The serial was initially
available until June 1969, but this
was later extended to June 1974; BBC
Enterprises had withdrawn the story
by 1974. The territories the episodes
were sold to included Australia,
Singapore, Nigeria, Jamaica, Tunisia,
Venezuela and Iran.
» Clearance was given for the original
405-line videotapes to be wiped
on Thursday 17 August 1967, but
fortunately BBC Enterprises retained
stored field 16mm negatives with
optical soundtracks and separate
magnetic soundtracks which were
returned to the BBC Film and
Videotape Library in 1978 Suppres e
field recordings of The Temple o
The Bride of Sacrifice and The Day of
Darkness were also returned from
Cyprus in January 1985. An Arabic-
dubbed print of The Day of Darkness
made in November 1967 for Morocco
also exists in a private collection.
» BBC America screened the serial on
Sunday 27 January 2013 as part of its
50th anniversary celebrations.
74M (25th)
74M(34th) 62
79M (19th) s7
74M (34th)
RLINAKNNNAAREY
ohn Lucarotti novelised his own
scripts as Doctor Who — The Aztecs;
this was published in hardback by
WH Allen on 21 June 1984 with
a Target paperback following in
ey September 1984 as book number
88. In his novelisation, John Lucarotti
firmly set the serial in the year 1507 and
introduced a great many of the Aztec gods’
names — absent from the televised version
— into the text (specifying, for example,
that Bi
messenger from
Quetzalcoatl,
who does not
demand human
sacrifice). He
also corrected
aisa
the year in
which Cortez
arrived in
Mexico. The
original cover
painting by
Nick Spender
was replaced
with another
by Andrew
Skilleter when
the paperback
was reissued by Virgin Books in September
1992. The novelisation was produced
as an audiobook, released by AudioGO
in August 2012. The story was read by
William Russell.
The serial was released on VHS
videotape by BBC Enterprises on
2 November 1992; damage to the print
of The Day of Darkness meant that there
was a minor cut at the end of one line of
dialogue and there was no ‘Next episode’
caption at the end of the story. The
artwork cover by Andrew Skilleter was the
same as on the recent paperback reissue.
Harlequin Miniatures released a figure
of Tlotoxl in 1999,
The Aztecs was released on DVD
in October 2002. In March 2013, The
Aztecs ~ Special Edition was released by
Clockwise
from above:
The VHS
release
with a cover
illustration
by Andrew.
Skilleter: the
audiobook
read by William
Russell; and the
original Target
novelisation
with a cover by
Nick Spender.
“This page:
Original and
“Special Edition
OVD releases.
2lentertain. This two-disc set featured an
array of extras, including those from the
2002 release:
} Commentary with actors William Russell and
Carole Ann Ford, producer Verity Lambert OBE
3 Arabic soundtrack - optional soundtrack for
The Day of Darkness only
2} Remembering the Aztecs - actors john
Ringham, lan Cullen and Walter Randall recall
the production of the story
} Designing the Aztecs - designer Barry
Newbery talks about his work on the story
® Cortez & Montezuma - an extract from an
episode of Blue Peter(21 September 1970),
introduced by Valerie Singleton on location
in Mexico
} Restoring the Aztecs - a short featurette
demonstrating the restoration and videoisation
effects used for the release
3 Making Cocoa - an animated guide to making
cocoa the Aztec way, volced in character by john
Ringham as Tlotox| and Walter Randall as Tonila
® TARDIS-Cam no.3 - the third of BBC's
TARDIS-Cam shots
3 Photo gallery - production, design and
publicity photos from the story
® Easter Egg - a 88C Enterprises logo recovered
from the end of one of the prints sold overseas
2) THEAZTEGS
Py
A ss
Fy WILLIAM HARTNELL Ye
rs 1963-66
} Intro sequences
® Galaxy 4 - a shortened reconstruction of the
missing story Galaxy 4 [1965 - see Volume 6),
using off-screen stills, audio recordings and
animation plus the complete third episode,
Air Lock, to tell the story
2 Chronicle - The Realms of Gold - john Julius
Norwich's superlative retelling of the story of
the Spanish conquest of Mexico and the Aztecs
(broadcast 8 February 1969)
» Dr. Forever! - Celestial Toyroom - the first
of a fseries that looks at Doctor Who toys
2 It'sa Square World - the very first Doctor
Who skit, with Clive Dunn in full First Doctor
costume broadcast on 31 December 1963
2 AWhole Scene Going - interview with
director Gordon Flemyng and a behind-the-
scenes look at filming of his movie Daleks’
Invasion Earth: 2150 AD (broadcast 16
March 1966)
3 Coming soon - a trailer for a forthcoming
OVD release
3 Radio Times listings in Adobe PDF format
2} Programme subtitles
The Aztecs was also released on DVD in
issue 122 of the Doctor Who — DVD Files in
September 2013.
TEEN
Merchandise | Cast and cre
Cast and credits
CAST
William Hartnell. Dr Who
William Russell lan Chesterton
Jacqueline Hill Barbara Wright
and
Carole Ann Ford. Susan Foreman
with
Keith Pyott. Autloc
John Ringham Tlotox!
fan Cullen. Ixta
Margot Van der Burgh. Cameca
Tom Booth First Victim [1]
Walter Randall Tonila [2-4]
Andre Boulay Perfect Victim [2-4]
David Anderson. Aztec Captain’
‘Billed as Warrior Captain in Radio Times for 1
UNCREDITED
Paul Duval, james Fitzgerald, Alan Viccars,
Andrew Jacks, John Beavis, Brian Baker.
Aztec Warriors
Alice Greenwood. Old Aztec Lady
Eileen Brady, Stella Wilkinson..... Aztec Ladies
John H Moore. Aztec Man
William Rayner, Lionel Gadsden.
Old Aztec Men
David Anderson. Stunt Double for ixta
Billy Cornelius... Stunt Double for ian Chesterton
CREDITS
Written by John Lucarotti
Title Music by Ron Grainer
with the BBC Radlophonic Workshop
Incidental Music by Richard Rodney Bennett
Conductor: Marcus Dods
Fights Arranged by David Anderson
[4;also 2, uncredited], Derek Ware [4]
Costumes by Daphne Dare
[with Tony Pearce on 3, uncredited}
Make-up Supervisor: ill Summers®
Story Editor: David Whitaker
Designer: Barry Newbery
Associate Producer: Mervyn Pinfield
Producer: Verity Lambert
Directed by John Crockett
BBC TV
Gredited on 4 only
‘DOCTOR WHO | THE COMPLETE HISTORY 353°
Left:
The painted
city backdrop
gives the
impression of
space
and height
THE AZTECS 9» sows
Profile
JOHN RINGHAM
Tlotoxl
ohn Henry Ringham was born 10
February 1928 in Cheltenham,
Gloucestershire. When John was
17, his father, a travelling book
salesman, died of cancer.
While attending Cheltenham
Grammar School for Boys, his acting talent
was discovered when he joined a local
drama group, hoping to meet
He performed his National Service in
Palestine bet n 1946-8 and became a
irls.
commissioned officer, but promptly mislaid
200 men in the Egyptian desert
On demob he joined John Crockett's
Compass Players, a touring theatre
company based in Gloucestershire. From
1948-52 Ringham travelled the country
performing classical fare. A Rep theatre
stint with The Queen's Players, Hornchurch
Below: saw his performance as Mr Worthy in The
ioeteaoa” Recruiting Officer aired on BBC radio on 18
Friends June 1956, providing his broadcast début
,-pgcTaR WHO | THE COMPLETE HISTORY
} popular dramas including Emergency
NXNRNANRRERE
Appearing in the likes of Niccolo &
Nicolette and Twelfth Night at the Library
Theatre, Manchester during 1957, he
met actress Elizabeth Shepherd and they
married in Wood Green in autumn 1959.
Sadly the marriage was dissolved in 1962
Ringham spent over a decade in Rep: with
the Belgrade Theatre, Coventry in 1958;
the Queen’s Theatre, Hornchurch again in
1961/2; the Ikon Theatre Company at the
Lyric, Hammersmith during 1962; and the
Bristol Old Vic in 1962/3.
Ringham remarried in 1966, to German
Hedwig Felizitas Nowacki, later better
known as Fee Ringham; the marriage
produced two sons and two daughters.
Two small roles in Hawkeye and the Last
of the Mohicans (195 the first of 300
television episodes over six decades. He
played a brickmaker in Bleak House (1959),
progressed to play the Duk
in Age of Kings (1960). Serious
work in the following decade included
Doctor Faustus (1961), The Caucasian Chalk
Circle (1962), David Copperfield (1966), Emile
Zola's Nana (1968), The Forsyte Saga (1968)
and The First Churchills (1969).
He portrayed reliable authority figures in
Ward
10 (1961, 1965), The River Flows East (1962),
Compact (1964), Redcap (1964), The Avengers
(1964, 1966), No Hiding Place (1965), The
Newcomers (1965, 1967), The Baron (1967),
The Saint (1968) and The Power Game (1969),
as well as 10 Z Cars between 1962-74, five
episodes of Softly, Softly (1967-74) and five of
Dixon of Dock Green between 196
Of three Doctor Who appearances,
Tlotoxol is his most acclaimed. He was
cast by director and old Compass pal John
Crockett. Ringham was later Blake in The
Smugglers (1966 - see Volume 8] and Ashe in
Colony in Space [1971 - see Volume 17].
He played intended series regular Private
Bracewell in the 1968 pilot episode of
classic sitcom Dad's Army but was dropped
for being too similar to other characters.
Ringham did however appear occasionally
as Captain Bailey between 1969/70.
Ringham later said he was glad to have
avoided typecasting. Further comedy
included Up Pompeii! (1970), The Liver Birds
(1972), Are You Being Served? (1974), Rosie
(1978), Terry and June (1987), The Piglet Files
(1990, 1992) and Birds of a Feather (1991)
His best-known role was as Penny's
henpecked father Norman Warrender in hit
sitcom Just Good Friends (1983-6). Perhaps
his most seen performance was a 1980s TV
advert for Terry's Chocolate Orange that
spoofed Raiders of the Lost Ark
Children’s television appearances included
The Railway Children (1968), Catweazle
(1971), The Ghosts of Motley Hall (1978),
Just William (19° Tripods (1985) and
as headmaster Mr Blocker in canine sitcom
Woof! (1989, 1991/2).
1970s drama parts came in Colditz (1972),
The Pallisers (1974), Warship (1974, 1977),
Barlow (1973, 1975), Poldark (1975-7),
Raffles (1977), The Onedin Line (1978),
All Creatures Great and Small (1979) and as
regular Percy Adams in Flambards (1979)
He was Supt Lake in three episodes of
Juliet Bravo (1980) and took one-off roles
in Minder (1980), The Barchester Chronicles
(1982), CATS.
The Adventures of Sherlock Holmes (198
Taggart (1986), Miss Marple (1987), Casualty
(1988), Hannay (1988), The Bill (1989), The
Darling Buds of May (1991) and London's
Burning (1990/1, 2001).
He completed episodes of Doctors (2008)
and Wallander (2008) shortly before his
death on 20 October 2008, aged 80.
yes (1985), Bergerac (1985),
),
John Ringhamis
most acclaimed
performance
in Doctor
Who was his
portrayal
of Tlotoxol
Left
Ashe In
in Space.
OOCTOR WHO | THE COMPLETE HISTORY 355
Index
Page numbers in italic type refer to pictures.
100,000 Bt
13, 14,15, 17, 20, 22,
49, 51, 52, 53, 54, 59, 98, 138, 142
Cove of Skulls...
7
The Tribe of Gum (working title) 13,49
}2, 43, 44, S2, 54, 57,68
35
Allen, Maggie.
Altos.
1
39, 90, 91, 92, 93, 101, 102,
105, 107, 108, 113, 114, 119
18, 70, 140, 142, 144, 145,
ww 43
» 88, 89, 93, 96, 99, 100, 101,
102, 103, 104, 105, 107, 109, 110,
111, 115, 116, 117, 122,124,125
Anderson, David.
Andrews, Murray .
Arbitan...
Ariel
Ark in Space, The.. 83
AudioGO: 29,79, 151
Autloc ), 130, 131, 132, 133, 136,
137, 139, 141, 143, 146
2, 93, 102, 104, 114, 115, 116
8, 34, 71, 83, 114, 126-128,
Aydan
Aztecs, The.
129-133, 134, 135-140, 141, 142-155
broadcast... -
cast and credits.. = 153
costumes... 139, 146
merchandise, 151-152
pre-production. 134-140
production. 141-146
profile.. 154-155
publicity.
The Bride of Sacrifice.
139, 141, 142, 145, 146, 148, 149, 150
The Day of Darkness 133, 138, 139, 140,
142, 145, 150, 151
The Temple of Evil. 15, 130, 135, 136,
138, 140, 141, 142, 143, 144, 148, 150
The Warriors of Death........131, 137, 138, 140, 141, 144
Bad Woff..
Bates, Leslie.
GB cocror wuo | THe comecete HasTaRv
BBC Audiobooks.
BBC Radiophonic Workshop ..
BBC South Today.
Beerbohm, john...
Bishop, Brian...
Blather, Elizabet
Blue Peter
Booth, Tom..
Boulay, Andre...
Bremworth, Gordon...
Cadet Sweets: Dr Who and the Daleks.
Cameca.....
'1, 30, 52, 105, 138, 140
wel
Camfield, Douglas
Carvic, Heror
Cary, Tristram
8, 10, 11, 15, 16, 17, 20,
21, 22, 23, 24, 29, 39, 40, 41,
42, 43, 44, 45, 46, 48, 50, 51,
52, 53, 54, 56, 60, 62,64, 65,
67, 68, 69, 70, 71, 72, 77, 88, 89,
90, 91, 92, 93, 97, 98, 99, 100,
101, 102, 104, 107, 109, 111, 113,
114, 115, 117, 130, 131, 132, 133,
134, 137, 139, 140, 141, 142, 143,
144, 145, 146, 148
154,155
97, 105, 108, 109, 112, 122, 137, 152
Colony in Space..
commentaries,
Connery Sean
Conscience of Marinus, the
100, 105, 108, 110, 115, 116
142
Cornelius, Billy
Cort, Marti 105, 112, 113, 114, 115, 117
Coulouris, Georg 103, 104, 108, 110, 124-125
Cox, Frank. 2, 23,24
Crockett, John... 5, 67, 137, 138, 139, 142,
144, 145, 146,154
Crusade, The. 34
Cullen, lan 139, 142, 143, 145, 146, 148, 152
Cult People documentary .. 64,68
Cura, John... 78
Cusick, Raymond. 4/15, 20, 75,98, 107, 110,
111, 112, 113,114, 122
Daily Express.
Daily Mail
Dalek Invasion of Earth, The.
Dalek:
, 21, 26, 34, 73, 74, 75,77,
94, 113, 117, 118, 146, 149
7
Daleks’ Master Pian, The..
(5, 52, 98, 109, 138, 139
90, 102, 112,113
105, 114,115
Dartnell, Stephen
dela Torre, Raf
de Wolff, Francis.. 105
Dicks, Terrance
Doctor Who - DVD File’
Doctor Who and the Hidden Planet.
Doctor Who Appreciation Socie'
Doctor Who at the BBC Radiophonic Workshop ~
Volume One - The Early Years
Doctor Who File, The
Doctor Who Magazine.
3
13,14, 20, 23, 27, 34,
38, 48, 60,61, 62, 68, 70, 83, 108,
122, 134, 139, 142, 143
Doctor Wha: The 50th Anniversary Collectioy 30,122
Dominators, The..
Dr Who Annual.
Dudley, Terenc
DvD extras...
U
121,122
35
14, 30, 98, 122, 152
Ealing Film Studios .. 23, 48, 59, 64, 107, 114, 141
10, 61, 63, 66, 69, 71,77
29
1, 15, 16, 17, 18, 22, 24,29
15, 52
129
3, 20, 21, 23, 24, 26, 35,61,
64,65, 67, 68, 69, 73, 75, 76, 108, 109,
111, 112, 113, 114, 118, 122, 135, 141, 144,
145, 146, 149, 152
3, 10, 11, 14, 14, 15, 16, 17, 20,
21, 22, 23, 24, 27, 39, 40, 41, 42, 43,
44, 45, 46, 50, 51, 53, 54, 55, 58, 62,
63, 64, 65, 66, 68, 69, 70, 77, 88, 89,
90, 91, 92, 93, 99, 101, 102, 107, 108,
109, 110, 111, 112, 113, 114, 115, 117, 120,
129, 130, 131, 132, 133, 135, 136, 140, 141,
144, 146,150
2, 112, 138
fault locator
Ferrigi, Ani
Fires of Pompeii, The.
Ford, Carole Ann..
Foreman, Susan...
Frame, The (fanzine).
Garden of Peace, th
Gatiss, Mark.,
Girl Who Died, The
30, 131, 132, 133, 144, 149
5
Gorrie, John.
17, 98, 103, 104, 105, 107,
1B, 109, 112, 113, 114, 122
Gould, Robert...
Guardian, The...
63, 65, 66, 70, 79, 106,
107, 108, 109, 112, 113, 114,
115, 118, 119, 125, 135, 142,
143, 144, 146, 149
18, 20, 23, 24, 32-35,
Hil, Jaqueline
61,65, 67, 68, 111, 112,
113, 143, 146, 147, 148
Hodgson, Brian.. 21, 52, 105, 138,140
Holmes, Robert
Hulke, Malcolm.
Hussein, War
19,94
38, 49, 51, 52, 53, 59, 60,
61,62, 64,67,68
1, 102, 113, 114,121
6-7,8, 9, 10-11, 12, 13-17,
24, 25, 26-32, 33, 34-35,
39, 49, 52, 79, 98, 113
10-11
22, 28, 30
10, 15, 20, 24,
26, 27, 28,79
1
The Edge of Destruction.
Invasion of Time, Th
Ixta,
J
James, Alan...
Journey to the Centre of the TARDIS.
130, 131, 132, 133, 137, 139,
140, 141, 143, 144, 145, 146, 148
Juke Box Jury.
26, 76,119, 148
‘Junior Points of View. 17
92, 93, 104, 105, 115, 116
98
DOCTOR WHO | THE COMPLETE HISTORY iSH)
Keys of Marinus, The
}, 84-86, 87-93, 94-95,
96-99, 100, 101-102,
103-104,105, 106, 107-109,
110, 111-113, 114, 115, 116,
117-125, 135, 141,143, 148
cast and credits.
merchandise..
post-production.
pre-production...
107, 108, 111, 112, 113, 114, 115, 141
Sentence of Death. 92, 98, 102, 105,
114, 115, 119, 120
story... 88-93
The Keys of Marinus 93, 98, 105, 110,
}, 115, 116, 117,120
The Screaming Jungle... 10, 97, 98, 101, 102,
111, 112, 113, 119, 120
The Sea of Death, 1, 88, 96, 97, 98, 99, 104,
107, 108, 111, 112, 115, 116, 119,120
The Snows of Terror. 11, 97, 98, 101, 104,
’, 108, 113, 116, 120
The Velvet Web. 89, 97, 98, 101, 108,
111, 115, 116, 120
keys of Marinus, the. 14, 88, 89, 90, 91, 92,
114,115, 122
Kublai Khan... }, 36, 40, 43, 44, 45, 46, 50, 51,
54, 55,56, 57, 59,60, 69
Kullu 1.44, 45, 46, 52, 57, 67,69
Lambert, Verity. 8, 13,14, 27, 31, 33, 34,
35, 48, 49, 59, 60,67, 71,
75, 76,94, 97, 114, 118, 119,
135, 137, 139, 140, 142, 152
Lam 102, 114
Letts, Barry..
Lime Grove Studios.
83
20, 23, 49, 62,63,
64,66, 67,69, 70, 108, 138,
143, 144, 145, 146.
44, 46,57
Ling-Tau.
Lost TV Episodes: Collection One, T
Lovell, jack and John,
Lucarotti, John
73
109
39, 48, 49, 55, 57,
61,63, 70, 71,76, 79,
82-83, 134, 135, 136,
137, 140, 145, 147, 151
Making of Marco Polo, The documentary.
Malik
60, 63, 66,68
42
GB cocror wwo | THe comecete HasTaRv
, 13, 24, 30, 36-39,
, 47, 48-57, 58-59,
60-61, 62, 63-65, 66, 67-71,
72,73, 74,75-80, 81, 82-83,
109, 113, 120, 134, 135, 136,
137, 138, 140, 142
AJourney to Cathay (working title) ..13, 48-49, 53, 78
Assassin at PEKING .n.n46,51, 52,57, 59,61, 70,78
Ga
post-production.
pre-production
Rider From Shang-Tu.. 44,52, 54,57,
59, 60, 65, 67,69
10-46
story.
The Cave of Five Hundred Eyes (working title).
The Roof of the World. 40, 49, 51, 52, 53,
55, 59, 60, 61, 62, 73
41, 49, 52, 53, 56,
59, 60, 63, 74,77
3, 4, 52, 54,
59, 60, 65, 66,67, 68, 72, 78, 137
8,13, 36, 38, 40, 41,
42, 43, 44, 45, 46, 48, 50, 51,52,
53,54, 55, 56, 57, 59, 60, 62, 64,
65, 66,67, 68, 69, 71, 72, 74, 77, 78
8, 84, 88, 96, 98, 99, 121, 122, 143
The Singing Sands..
Marson, Richard,
Martin, Richard..
Massacre of St Bartholomew's Eve,
McAllister, David
Meglos..
Merton, Zieni
Millennius.. 4,89, 92,99, 105
Mini-Mag {fanzine} 64
Morpho brains. 112
Morphoton 4,89, 99, 112
Musetti, Valentino. 7,68
music 21, 24, 29, 52, 98, 138
Mutants, The (AKA The Daleks) , 13, 14, 15, 16, 17,
20, 21, 27, 48, 49, 52, 68, 75, 94, 98, 99, 109
48, 87, 94, 95, 96, 97,
98, 99, 109, 111, 120,121
27
Nesbitt, Derren,
Newbery. Barry
53, 59, 60,65, 66,68, 69
15, 52, 62, 69, 138, 141,
142, 143, 144, 152
8, 82, 83, 119, 140
Newman, Sydney
Ninth Doctor.
Noble, Donn:
Over the Edge documentary
overseas sales
14,15, 18, 23, 24, 27, 30
28, 78, 120,150
Parting of the Ways, The.
Pearson, Alister
Perfect Victim, th
Pickering, Donald,
4, 71,94
10, 41, 42, 43, 44, 45, 46, 48,
), 51, 53, 54, 55, 56, 57, 62, 63,
64,65, 66, 67, 68,69, 71, 77
36, 55, 56, 62,63
Plain of Pamir, the.
Power of the Daleks, The. 38
Pyott, Keith...
Quinnis 10,14,15,16, 21, 22,24
26, 66, 67, 69, 73, 74,
75,113, 117, 147
Remembering the Aztecs documentary.
Reveille.
Ringham,
Riverside Studios.
Robinson, Nigel
Rodker, Jean
Romana...
Romans, The
Russell, Paddy.
Russell, William.
, 20, 23, 29, 34, 35,61,
66,67, 79, 108, 109, 112, 114, 117,
140, 142, 143, 145, 146, 151,152
89, 90, 91, 92, 93,
101, 105, 108, 113
105, 112,115
Segal, Zohra,
Sensorites, Th
Sets of Marinus, Thedocumentary.
Shawcraft Models. 10, 109, 110, 112, 113
Sheffield Telegrap! 4
Silva Screen.
Singleton, Valerie . 73,152
Skaro
Skilleter, Andrew.
‘Smugglers, The. 54
Space Adventures (cassette tape 29
Spender, Nick... 151
Speyer, Val 35
Spooner, Dennis. 83
3, 59,135
6, 8, 10, 11, 13, 14, 15, 16,
18, 19, 20, 21, 22, 23, 24, 29, 36, 39,
40, 41, 42, 43, 44, 45, 46, 49, 50, 51,
52, 53, 54, 56, 59, 60, 63, 65, 68, 69,
70, 71, 72, 74, 77, 84, 88, 93, 95, 96, 99,
100, 101, 109, 111, 115, 117, 121, 126, 130,
133, 136, 139, 140, 142, 146
29, 79, 121, 151
2, 93, 102, 105
20129
38, 40, 41, 42, 43, 44, 45, 46,
51, 52, 53, 54, 55, 57, 58, 59, 60, 63,
64,65, 66, 68, 70, 71, 72, 73,76, 78
8, 78
75,148
Territorial Army Drill Hall, ridge Road, Londor 8, 22,
60,64, 65, 67, 68, 70, 107, 111, 142, 144, 145
Thomas, Henley. 1.105
130, 131, 132, 133, 136, 137, 139,
140, 143, 144, 145, 147, 148, 151, 152
132, 139, 141, 152
travel dial bracelets.
Treays, John
Troughton, Patrick
Van der Burgh, Margot.
Vasor
Vincente, Roy.
-91, 102, 105, 107, 108
.70
DOCTOR WHO | THE COMPLETE HISTORY (#8)
Voord: 84, 86, 87, 88, 93, 96, 99, 100,
101, 104, 105, 107, 109, 110, 111, 112,
113,115, 116, 117, 118, 120, 121, 122
6S
Voss, Philip.
Wales, Gordor
Walker, Fiona
Whitaker, David. 8, 13, 14, 15, 16, 18, 21, 29,
48, 49, 63,67, 94, 96,97,
98, 108, 111, 134, 135, 136
GB cocror wu | THe compete HasTaRY
83
19, 67, 71, 108, 111, 119, 143
8, 38, 78, 120, 150
60
3, 10, 11, 15, 16, 17, 21, 22,
}, 29, 32, 34, 39, 40, 41, 42, 43,
44, 45, 46, 50, 51, 53, 54, 55, 57,60,
63,65, 68, 70, 72, 77, 88, 89, 90, 91,
92, 93, 96, 97, 99, 100, 101, 102, 104,
100, 111, 112, 113, 115, 116, 119, 126, 129,
130, 131, 132, 133, 135, 136, 137, 139, 140,
143, 145, 146, 147, 151
84, 88, 93, 100, 105, 109, 110, 115
(26, 130, 131, 132, 136, 140,
143, 145, 146, 147
«118
Yorkshire Evening Press.
DOCTOR
WHO
THE COMPLETE HISTORY
INSIDE THE SPACESHIP
Following an explosion, unexplained events occur inside the
TARDIS. The Doctor and his companions turn on one another as
they attempt to discover who - or what - is at fault.
MARCO POLO
The TARDIS has arrived on the Plain of Pamir in 1289, The crew
join Marco Polo and his caravan on along journey to Peking to
Meet the mighty Kublai Khan.
THE KEYS OF MARINUS
The travellers are compelled to find the keys to the Conscience
of Marinus which have been hidden from the evil Yartek.
THE AZTECS
When Barbara is heralded as the reincarnation of the high priest
Yetaxa, she decides to change history for the better.
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